Advanced Geometric Animation With Easing & Physics | Hongshu Guo | Skillshare
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Advanced Geometric Animation With Easing & Physics

teacher avatar Hongshu Guo, Motion Designer

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Introduction

      4:12

    • 2.

      Inspiration

      3:12

    • 3.

      Animation Planning

      3:53

    • 4.

      Speed Graph Basics

      16:23

    • 5.

      Speed Graph Advanced

      8:17

    • 6.

      Speed Graph Assignment

      1:41

    • 7.

      Animate First Action

      13:25

    • 8.

      Grid Background Animation

      7:31

    • 9.

      Scene 1 Stylization

      9:53

    • 10.

      Animate Main Action

      14:14

    • 11.

      Scene 2 Stylization

      12:40

    • 12.

      Create Smooth Transition

      14:16

    • 13.

      Scene 3 Stylization

      11:26

    • 14.

      Assignment Time

      1:25

    • 15.

      Faux 3d Animation

      9:23

    • 16.

      Main & Secondary Elements

      5:59

    • 17.

      Syncing Complex Action

      14:10

    • 18.

      Finishing Up Scene 4

      12:22

    • 19.

      Establish Main Action

      10:27

    • 20.

      Reaction & Secondary Animation

      7:43

    • 21.

      Animation with Simple Physics

      14:26

    • 22.

      Simple Geometric Animation

      11:46

    • 23.

      Natural Eye Animation

      9:15

    • 24.

      Background Elements

      8:45

    • 25.

      3D Cube Animation

      7:15

    • 26.

      Grid Animation with Repeater

      7:48

    • 27.

      Congrats!

      1:13

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About This Class

Welcome to this comprehensive course on advanced dynamic geometric looping animation. I will take you through the entire process of creating this dynamic geometric looping animation with punchy movements and slick style. I will show you the behind the scenes step by step of everything you need to know to create an animation just like this one. From developing your own storyboard to the final render of the animation.

If you're eager to elevate your skills, stand out in the industry and increase your earning potential as an animator, you’ve come to the right place. At the end of the course, you will be able to create animation that rivals the top motion studios and make a lasting impact.

In the class, we will cover below topics:

• How to establish the key actions that drive your animation

• How to build depth through background action

• How to add complexity with interaction between elements

• How to stylize the scene to enhance visual impact.

• Keys to make your animation punchy and filled with energy

• How to use the speed graph to gain full control of your movement.

• How to add life and character by using animation principles 

• How to create smooth and effective transitions

• How to intentionally guide your viewers eyes and create visual impact

• How to use secondary animation to supplement the main action

• How to use free and paid plugins to save time and make your workflow more efficient.

We’ll also delve into more advanced topics such as:

• Explore both Faux-3D and Real 3D Animation in After Effects to expand your creative possibilities.

• How to Sync Complex Actions and coordinate multiple elements for a cohesive visual narrative.

• How to apply real-world physics principles to create realistic motion that resonates with an viewers.

• How to gain precision in your animations by mastering the speed graphs, allowing you to control movement with accuracy.

• Tons of keyboard shortcuts and techniques that seasoned animators use daily to enhance their efficiency and creativity.

• How to approach a large project like this and figure out the priority to work on one thing at a time without being so overwhelmed

This course is your ultimate guide to fast-paced animation, packed with invaluable information and techniques designed to elevate your skills to a professional level. If you’re dedicated to engaging with the material and completing the assignments, I promise you’ll see incredible results. By the end of this course, you’ll emerge as a more confident animator, ready to tackle sophisticated projects that challenge your creativity. 

Join the Motion Circles Community , get together with other motion designers and learn together.

Classes mentioned in the lesson videos:

Beginner's Guide to Adobe After Effects 2023: Learn Motion Graphics

Animation Principles In Motion Design: Secrets of Great Motion Graphics

Other classes:

Explainer Videos From Storyboard to Animation

Stop Motion In After Effects: Animate Collage Style Explainer Videos

Meet Your Teacher

Teacher Profile Image

Hongshu Guo

Motion Designer

Top Teacher

Hey! My name is Hongshu Guo. I am a Motion Graphics instructor with 40K students online. I help beginner animators master After Effects animation through online courses. Thanks for checking out my profile. Please take a look at my courses below and hope to see you in my classes.

Watch more free After Effects tutorials on my Youtube Channel: www.youtube.com/@motioncircles

Join the Motion Circles exclusive community on Discord: https://discord.gg/weezcdqe

See full profile

Level: Intermediate

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Transcripts

1. Introduction: Hi, I'm Home Shoe and I'm a motion designer in Canada. I've been using Adobe After Effects for almost ten years now and have been teaching motion design online for over four years now. I've worked on brands like Adidas, PayPal, Walmart, 711, My More, and also had the honor to teach more than 50,000 students worldwide. My passion lies in helping designers discover the exciting world of animation and motion design. Making the learning process easy and fun and effective to help beginners embark on this creative and rewarding journey. In this comprehensive course, I'll take you through the entire process of creating this dynamic geometric looping animation with punchy movement and slick styles. I'll show you the behind the scenes step by step of everything you need to know to create an animation just like this one. You may have seen many captivating animations like these on social media and wonder how they achieve such complexity and details. If you're eager to elevate your skills, stand out in the industry, you've come to the right place. I'll equip you with all the essential tools and knowledge you need to master the dynamic style of animation. Please note that this is not a beginner course, to achieve the best results. A solid understanding of O Aftereffects and basic animation principles are required. We'll dive right into advanced techniques and concepts. So if you're new to motion design, I highly recommend you to check out our beginner focused animation courses first. Once you feel comfortable with the basics, I encourage you to return to this class and build upon your skills. So for the class, we'll kick off the course by exploring where to find inspiration for animation movements and storyboarding. Understanding how to gather idea is crucial as it sets the foundation for our creative process. I'll guide you through establishing effective guidelines and planning your animation using hierarchy. Ensuring you won't feel overwhelmed as you navigate the complexities of an advanced project. Next, we'll cover speed graph essentials with a few examples to familiarize you with the concepts before moving on to more intricate movements. This foundation will empower you to manipulate speed and timing effectively, a critical aspect of crafting, engaging animation. Heart of this course is our advanced animation project. Here is a glimpse of what we'll cover in the course. We'll cover how to establish the key actions that drive your animation, how to build depth through background animation, how to add complexity with interaction between elements, how to stylize the scene to enhance visual impact, keys to make your animation punchy and filled with energy, how to incorporate subtle, secondary movements, to add realism, and polish your scenes, how to create smooth and effective transitions, how to intentionally guide your viewers eyes and create visual impact, how to use free and paid plug ins to save time and make your workflow more efficient. How to approach a large project like this and figure out the priority to work on one thing at a time without being so overwhelmed. We'll also dive into more advanced topics such as explore both full three D and real three D animation in after effects to expand your creative possibilities. How to think complex animations and coordinate multiple elements for a cohesive visual narrative, how to apply real world physics to create realistic motion that resonates with your viewers, how to gain precision in your animation by mastering the speed graph. Allowing you to control movement with accuracy, tons of keyboard shortcuts and techniques that season animators use daily to enhance their efficiency and creativity. This course is your ultimate guide to fast paced animation, packed with valuable information and techniques designed to elevate your skills to the professional level. If you're dedicated to engaging with the material and completing the assignments, I promise you will see incredible results. By the end of this course, you will emerge as a more confident animator, ready to tackle sophisticated projects that challenge your creativity. I pack this course with everything I wish I had access to when I was first starting out, providing an insightful behind the scenes look at fast paced animation. It's not an easy journey, but if you're ready to embrace the challenge and grow as an animator, I'm excited to see you in class. Together, we'll unlock your potential and prepare you for future opportunities in the dynamic world of motion design. Let's get started, and I can't wait to see you in class. 2. Inspiration: Welcome to the class. In this lesson, I want to talk about inspiration and where to get inspired. If you're struggling to find inspiration for your next project, don't worry. I've got you covered. In this video, I'll show you how to tap into some free resources to find your inspiration. First up, let's talk about Pinterest. Pinterest is an amazing platform for discovering and curating visual ideas. Here's how you can use it effectively for motion design. Start by typing in keyword related to your project like motion design, animation, style frames, or kinetic typography. Pinterest will give you a lot of pin boards and pins that showcase a variety of styles and techniques. Don't just scroll aimlessly, create your own boards to organize your findings. You can create boards for different aspects of your projects such as color schemes, typography, or animation techniques. This will help you keep everything neat and accessible. Next, let's check up B Hands. Be Hands is a fantastic platform where professional designers and artists showcase their portfolios. It's a gold mine for high quality work and innovative ideas. Search for motion design projects using specific keywords or browse through the motion design section. Behance allows you to see detailed project breakdowns which can give you insights into the creative process and behind the scenes. Don't forget to follow creators whose work resonates with you. This way, you will get updates on their latest projects and stay inspired by their evolving styles. As it pertains to this specific style that we're teaching in this course, the geometric fast paced animation, we have to mention Austin from Ra V. Austin's work is fantastic resource for inspiration. His animation are not only visually stunning, but also showcase sophisticated techniques that can really elevate your own projects. Take a look at this animation by Austin. The fluid motion and innovative use of color and shapes are a great source of inspiration. Notice how he uses movement to guide viewer's eyes and create a dynamic visual experience. Breaking down works like this can give you insight into effective animation techniques, which you can adapt and incorporate into your own design. Our project in this course is heavily inspired by Austin's work, and he has tons of great content that you can check out on his social media channels. Lastly, I'd like to introduce you to our very own motion circles community. We are dedicated to exploring and sharing the latest animation techniques and inspirations through our YouTube channel and Disco group. If you're excited to stay on the cutting edge of animation and take your skills to the next level, Visit motion circles.com, our extensive range of courses will guide you from a beginner to an animation expert. With over 50,000 students trained, our courses are the fastest and most effective way to become a professional animator. Additionally, explore our after effects marketplace where top motion designers offer advanced project files for purchase, helping you to enhance your skills and learn from the best in the industry. So there you have it, whether it's diving into pinches for visual inspiration, exploring Bhands for high quality work, engaging with motion circles community and resources or checking out incredible examples like Austin's work at Ravi. These resources will help you find the inspirations you need for your own project and come up with your unique storyboard for the next animation. That's all with inspiration. I'll see you in the next video. 3. Animation Planning: Come to this lesson on animation planning. We'll be working with our pre design storyboard, which draws inspiration from Pinchs designs and the animation created by Austin a Ravi. Together, we'll analyze the storyboard to identify the animation we can implement and how to bring our ideas to life. To create compelling animations, we'll approach them with a clear hierarchy. This help us to prioritize our efforts and ensure that each aspect of the animation supports the overall vision. The hierarchy is main action, reaction, stylization, and transition. Let's go through them one by one. First, let's talk about main action. Our top priority is to establish the animation of the main object in the scene. For example, in our first storyboard, The central circle is the focal point. We wanted to enter the scene from one side and then shoot to the center with energy, pushing the square aside as it moves. After this dynamic interaction, both the circle and square we bounced together. This sequence established the primary action and draws the viewer's attention to the foreground elements, setting the stage for the rest of the animation. Sometimes not only do we have the foreground action, but also the background action. And this first scene, we'll also have a grid background animation as the action in the background to go with the foreground. The next hierarchy is the reaction. We'll focus on how different elements in the scene interact with each other. Reaction are crucial because they add realism and depth through the animation. For instance, when the circle pushes a square, this is a positional reaction. We can enhance this by incorporating scale reaction as well, where the square expands in size upon impact, creating a visual cue of force, and we might even explore color reaction as well where the square changes color momentarily as it react to the movement. By considering these four aspects, the position, scale, rotation, and color, we can create a rich dynamic animation that feels engaging and sophisticated. Next thing is the stylization. Once we have our action and reaction in place, we can move on to stylization. This is where we add the actual flare that makes our animation visually striking. In this project, we'll experiment with color and grading animations, utilizing vibrant color palette to capture attention, will also leverage repetition like repeating elements in one scene to create a sense of rhythm and enhanced impact of our visual, incorporating secondary animation such as burst of these circles that emphasize movements will further elevate the overall effects. Techniques like squash and stretch will give our main elements more character, making them feel alive and follow personality. Remember, stylization is a third priority. We need to establish the foundational actions and reactions first to avoid becoming so overwhelmed by the complexity of the project. And the last thing on the hierarchy is transition. While transitions are a fourth priority on the list, they should always be on your mind as you animate. A well crafted transition can significantly enhance the flow between scenes. Whether you draw inspiration from an ye catch pinches animation or just do a simple, yet effective match cuts. Planning these transitions is essential for creating a cohesive experience. In this project, we'll primarily use match cuts. So it's important to think about how each scene linked together seamlessly. Taking the time to plan these transitions will help you create a polished final projects. This lesson serve as a comprehensive guideline for our approach to complex animation projects. By breaking down the process into clear steps, we make it easier to understand and to execute. So as we proceed, I'll demonstrate how to apply these principles of action, reaction, stabilization, and transition in our animation. Ensuring that you feel confident and prepared to start such a complex animation project. Let's move on to the next video and bring our ideas to life. 4. Speed Graph Basics: Let's go through four different examples, and I'll show you how the speed graph works and how we're going to use it to get the exact movement that we want. First, let's go to this bouncing composition. This is our animation. You can see we have this one ball that's bouncing off this platform and then shooting the other way. If we go to the graph editor and show the graph of the ball animation, This is actually the bouncing curve that we have. In terms of the speed graph, we have two axis, the x axis is going to be our timeline, and then the y axis is actually the speed of the object or the elements. So it's speed against time. If we look at the first point over here and we have it on this point, it says zero pixels per second. The speed is actually zero, when the point is all the way at the bottom, and then the higher the point, the faster the speed is going to be. In this case, we have this ball here from zero speed, shooting pretty quick, almost to 15,000 pixels per second speed, and then hitting this platform and then it's bouncing off to the other side. So essentially, when we're doing a bouncing animation, it's expected to have a curve like this as symmetric because the energy is always carrying through when it's bounced off a surface. Basically, the first part we're increasing the speed of the ball because it's going down, falling down from the sky or like someone threw the ball is picking up speed, and then once it hit the platform, the energy is going to be transferred to the other direction. So we're going to have a symmetrical speed graph curve that's showing you as going off to the other direction and slowly losing speed as the ball is going up. So the key here is the energy. When we're thinking about the animation or the speed graph, we need to maintain the energy when it's bouncing. So let me show you how we animate this bounce curve here. Let me just copy the platform and the ball. Let's go to the main comp. I'm going to demonstrate here, and then let me just delete all the keyframes. We have the platform here, we have the ball here. Let's add a position property at 0 seconds, and then go forward, maybe ten frames. We have the ball hitting this platform, and then go ten frames again, spouncing off the platform, going off the screen. If we don't do any easing, this is actually the animation. However, this is not what we want. It's not natural. So what we need to do is re click keyframe assistant Easy Ease. And this is a default easing. However, it's not going to work because it doesn't look natural. What we need to do is we need to click on this button, which is called graph editor, and then we need to go to click on the second button here, make sure we select the edit B graph here. Everything we do in this course is based on the speak graph, so we are only using the speak graph to animate everything in this course. And we can use this button here to fit the graph to view. If we're thinking about physics, this ball is either being thrown by someone or it's just falling, free falling from the sky. So the ball is supposed to pick up speed, and the speed should be getting faster and faster. So in that case, we're going to just drag this handle to the right to make it 100% of influence. And then let's go drag this one, maybe give it a 15% of influence. So we're going to reach top speed over here. And remember what we said about bouncing curve, it needs to be symmetrical. So we need to dig this handle to the left and then drag this one all the way to 100% influence, make this one around 15% again. So you can see a almost symmetrical curve, which means the energy is carried over after the bounce. So the key here, like I said, is energy, we need to maintain the energy when the object is bouncing. With a curve like this, you can tell that the energy is maintained, is transferred, It's not lost. So we have the animation after we modify the curve, it's going to be like this. It is pretty fast. It's pretty quick. We can make more time if we want. But you get the idea, essentially, this is the type of curve that we need within a bouncing situation. We need a curve like this. Almost symmetrical to maintain the energy. And with our example, I also animate the position of the platform to have it interact with the ball when it's being hit. We're going to do a lot of bouncing animation in the course. So just remember this curve here that we're using for the bouncing is going to have almost symmetrical curves here to make sure the energy is consistent. And that's for the first example, bouncing example. Let's go to the second composition. And this one, we're going to show you how we do the match cuts. So we're using match cut for almost all our transitions within the course. So I want to show you how match cut work. Let's take a look at this example here. We have this circle, which is in the scene one. Assume this circle is the whole scene that we have in the scene one, and then the second scene would be this square. So for match cuts, basically, we're having a similar motion between the two scenes, and then we're cutting right between these two scenes, and it gives an illusion that something is almost like a magic is happening. If we look at the curve here, for the scene one, at the end of scene one, we always do an extreme easing curve, one is match cutting going out. So we always do 100% influence on the left hand side, and then 0% influence on the right hand side. So we have a extreme easing curve going out. And then for the second scene, If we look at the position, we always do an extreme easing curve on the other side. We're going to do a 0% of influence on the left and then 100% influence on the right. So basically, almost like a bouncing curve that you see just now, but we're pushing everything to the extreme because if we show the two graphs together, become just one exact movement, animation, whatever you want to call it, so that our transition is super smooth. Because at this point, it's supposed to be a transition or a cut between two objects. However, we're having the exact speed, or we're reaching the max speed for this movement, and then we're carrying the energy throughout this movement. So the motion is really smooth, but we're cutting in between two different seames. So that's a match cut that I want to talk about. Let me show you how we do this. Let's just copy the two semes, go to the main composition. We're going to delete the last example we had. And then we're going to also delete all these ones. Let's say we have two objects here. That's good. And then let's first animate the position property of this circle. We're going to have the circle moving down. Let's go 410 frames, have the circle moving down. From here to here. And then we're going to also have this square moving down as well. Square is moving here. So I'm going to move the square forward. And then this is a cutting point. I'm going to cut the circle here. So basically, when the circle comes here, this is where I'm going to start with my square, and then the square is going to come down over here. So that's animation we have for the match cuts. If I don't add any easing to it, this is actually what's happening. They're having the exact same movement, however, we're cutting in between. And now let's add some curve to it. Re click, H frame assistant, easy ease, and then let's go to the speak rap. Fit the graph to view in terms of the first scene because it's going out, so we need a extreme easing curve to the right. So push the left handle to 100%, and then push the right handle to 0%. And then for scene two, hit position. We also need to first right click, keyframe assistant, easy ease it, and then go to the graph editor, push the left handle all the way to the left to 0% of influence, and then the right handle is 100% influence. And now, if I show both keyframes, both layers, you can see this is the curve that we have, and if I show the animation, The movement is super smooth and we're cutting in between. So it's almost like magic. The circle just all of a sudden become a square. And later we can also add some rotation property to these two shapes, and we're going to get this example animation that we have shown here. So in this example, the most important thing that you want to remember is that for the match cuts that we're doing throughout the entire project, one is going out, when it's at the end of one scene, let's say scene one, this is the at the end. Make sure we're doing extreme easing to the right, shooting out with full speed. And then is at the beginning of the next scene, which is scene two here. We're going to do a extreme easing to the left. We're going to get all the energy, all the speed from the previous scene, because you can see the speed graph here, when it's coming in, is coming in with full speed and full force. So that's where the energy is coming from. It's coming from the previous scene. That's the most important thing. We need to remember the energy is from the previous scene. And in the third example, I'm going to show you how we're going to work with speed graph for a easier animation like this. We have a circle just going to travel along these two rings. However, it's going to follow the physics. It's going to speed up and slow down, what's going up, speed up, one's going down. So let's see how we're going to do that. Let's copy the three layers onto our main composition. And let me delete the key frames. Also delete the echo effect on the ball. I'm going to move this ball to the top of this first ring here. And this is the start point of my ball here. Essentially, I want this ball to travel along the outline of this ring, just as if it's a roller coaster, so it's speeding up, one it's going down, and then slowing down, one is coming up. That's the animation we want. Let's add a keyframe at zero second at the top point of the first ring, and then go forward 20 frames. Let's drake this ball here to the bottom of the second ring. Essentially, we only need to add a position change or a keyframe wherever there's a speed change. So we are Only adding four key frames in this case. Let's go forward 20 frames again. I'm going to just move it to the top of the second ring. This is another place where there is a speed change, and then go forward another 20 frames. Move this one down over here, and then go forward another 20 frames, move this ball here at the top. And that complete our loop. However, we need to adjust the motion path so that it's a curved path instead of a straight path. Let's go to select all the position keyframes, and then go to the pin tool. Click on this convert vertex tool, and we need to zoom in. Convert this point here to draw this handle so that we can almost give this motion path a curve following my original ring here. So I'm just going to drag this handle to make sure our motion path is following this ring that we have in the back. So I'm just going to drag this handle out really big. And then I'm going to drag this handle out to make sure it's almost following the motion path like this. That's good. And then I'm going to drag this handle here. Drag this handle again. Just fine tune this motion path to make sure it aligned with my rings at the back end and then drag this one outside. So it's really hard to see where this handle is if you don't select the last key frame. Select the last key frame, and then you can drag this handle outside, like this. Move this inside a little bit. Okay, that completes our motion path, and you can see the motion path is totally aligned with my circle at the back. First of all, let's select all the key frame on the position property. And then we can reli Keyframe Assistant, easy E. Let's go to the graph editor. If I don't give it a speed graph change, this is what it looks like. This is what the default easing looked like. It's not natural. This is not the animation that we want. Instead, let's go back to the speed graph and then fit the graph to view. Let's think about this animation here. So on the ball comes to the top, it should be the slowest because it's reaching the top point. And then when it's going down, it should accelerate picking up speed. So this point over here would be the fastest point that the ball is going to have. So essentially, over here, I'm going to drag this handle all the way to the right to give it maybe like 0% of influence. And then for the first point, it's going to be the slowest, so I'm going to drag this handle all the way to the right, to give it 100% influence. So we have a curve like this. It's slowly picking up speed, and then at this point, it's going to be the fastest. However, the energy was just remain because once the ball past this point, it's going to slowly start to lose energy because it's climbing a very high mountain here or it's climbing a very high slide here, going all the way to the top. So basically, from this point on, I need to move my handle to the left and then move this handle to the left to form a curve like this. So that one it's reaching the top point here, it's going to be a flat curve that's losing a lot of energy. And then the same thing, I'm going to change this curve to this side and then change the curve to this side. So we're going to have a curve like this where three points are going to be flat, when the ball reaches the top of the roller coaster, and then one is at the bottom point, it's going to be traveling the fastest, which is a full speed. Let's see what it looks like now. And you can see, it's just much smoother. It's really interesting. It's very natural now because you can see the ball picking up speed going down and then slowly losing speed coming up. That's essentially what we need with the speed graph, we are able to achieve this natural animation, and also, this is the exact movement that we want. We can also add some echo effect to the speed graph, and this is going to be the final that we have. That's interesting. And that's it with this example. 5. Speed Graph Advanced: Let's take a look at this forced example. This is a complex animation that will animate using the speed graph. We have a ball in the scene, and this ball will move along this motion path like a roller coaster. It will speed up while going downhill and slow down while climbing uphill. Let's preview this for now. You can see it is following physics and traveling like a roller coaster. Let's see how we can animate this one from scratch. Let's copy these two layers. Put them inside main Comp, delete all the key frames. Turn off the echo effects for now. We'll need this ball to travel along this path. To do that, let's go inside this path layer, go to content, shape, and then go on path property. Click on the stopwatch a keyframe on the path. Then we can copy this keyframe, paste it onto the position property of the ball layer. Now you can see this motion path is applied to our ball layer. We just need to move the path to the side a bit to align with my path layer. If I preview, this is what the default animation is looking like, a bit crazy and doesn't make any sense. It's also going to the wrong direction. I want the ball to travel from the left to right. So let's select all the keyframes in position property. Right click, keyframe assistant, time reverse keyframes. Now, the traveling direction of my ball will be reversed and it's going to the right. Next, let's select all the keyframe. One thing to note here is that when we are drawing a motion path, it's very important that we draw on the anchor point wherever there is a speed change during the motion path. Meaning we only draw the anchor point or vertex point at the top and bottom of each loop. Because that is where the speed change is going to happen. This way, once we apply the keyframe, we can use the speed graph to control the change in the speed at the top point and at the bottom point of each loop. Next thing, with all the keyframes selected, click, turn off rove across time. By default, it will create those roving key frames when I paste in the motion path. However, the animation is not working, so we need to change them back to normal keyframes here. And then we can just go to Easy Ease all the keyframes. Go to the graph editor, and this is the speed graph we have now. It's a default speed graph. If I preview, the animation doesn't make any sense, either. So first, let's select all the keyframes. Let's make this animation slower overall. So hold down option key to drag the last keyframe to space out these keyframes evenly and make it 4 seconds. So we're adding more time to this animation. It will take 4 seconds now for the whole animation to complete. That's good. Next, let's analyze this animation with our speed graph. We can do this animation in two steps. The first step we'll apply the speed graph that makes sense for each loop. When the ball is at the top point, it should be having a very slow speed. And then once it's slide downhill, it will just start to accelerate. So the second point here will gain some speed. Then it will start to climb uphill again to lose some speed, and then it'll slide down to accelerate again. So, our object will travel like a roller coaster constantly speeding up and slowing down. Let's first make sure we are in the speed graph here. Let's adjust the curve. First point, drag the handle to the right for 100% of influence. So the curve is flat at the beginning with very slow speed. And then the second point drag the handle to the right. So it will be the fastest speed here. And then the ball will slow down, so drag this handle to the left and make the third point flat. As it's a high point with slow speed. So we'll just keep switching the graphs between high speed and low speed. Over here, it'll be pretty fast, so drag the two handles to the center to create a spike here, and then it will slow down in the next point, so bring the curve flat here, and then it will speed up again. I'll slow down here again. Fast speed here with the spike, and then slow speed here with a flat curve. Same thing for the rest of the points. Let's see what happens after we have the curve adjusted. You can see the ball is speeding up and slowing down when it's traveling around each loop, we have in the motion path. That's a great first step. However, the problem is these loops are connected, and we are not treating each loop individually. We have to treat them together as one single big motion path. Like you are on a roller coaster. So when the ball slows down at the second point here, it won't lose all the speed. The speed won't become zero. It will still have plenty of speed. So we need to bring the second point up to give it more speed, and then bring this point closer to the first point because it will actually take a really short time for this ball to climb up the small hill. Then make the third point with the higher speed, but not as high as the first spike here. The speed will be the fastest as the first downhill, and then the energy will slowly lose as we travel up hill here and there. So let's see what happens to our animation now with this adjustment to the speed graph. I'm having an issue with this point here. I don't want this point to lose all the speed as is almost becoming zero on the graph. So I need to give you some speed manually. Let's re click on this point, go to keyframe velocity, change it to 200 pixels per second for both incoming and outgoing. So at this point, you can see it slightly lifted up and it's got a bit of speed at this point. I think the right side loop is looking great. Let's turn on the echo if I and see what it looks like. I think over here, the speed is too fast. So let me decrease the influence on the handle to make this part of the speed slower, and let's take a look. I think that works. This looks a lot like a roller coaster now on this right hand side. And let's compare this animation on the right hand side loops to the left hand side loops. And you can see the left side is not following physics, and the speed changes are all over the place, but we'll fix that now. First, let's go to the second highest points. Re click, keyframe velocity changes to 100, so it's not going to stop here when the ball passes. And then at this point, it's not going to lose all the energy. So we need to lift this point up to still have it maintain some speed. And also try to move this point closer to the keyframe before it because this is a really short distance for the ball to travel. It should happen really fast, and we'll bring the keyframe closer. And then we'll also bring the next point closer as well, so I will have the smaller spike in the speed that we need here at a low point. And then the next point, we don't want the speed to be zero, so go to keyframe velocity change to 200 pixels per second again. And the last section, it will be just speeding up first and then slowing down to climb this final big hill. I think the curve is looking great. Let's preview the whole animation. That's looking really smooth. I think I like it. There's a great contrast between slow and fast speed in various loops, and it's following physics. It's traveling like a roller coaster. So there you have it. This is how you will use the speed graph to animate a complex motion path animation. 6. Speed Graph Assignment: In these previous two lessons, we have covered various scenarios where speed graphs are used. In this class, I stip into your first assignment. Remember, practice makes perfect. Understanding the concept is just the beginning. It's through the practice that these skills will become second nature and help you elevate your abilities. For your assignment, I'd like you to follow the examples from our recent lessons on speed graphs. Start with a simple animation where a small circle travels along two rings, similar to the third example, and then create a more complex animation featuring an intricate motion path inspired by the fourth example I showed you. Feel free to use the motion path a create it in the lesson. Or you can design your own. You might even want to create your own roller coaster. The key is to ensure that the animation feels natural with a clear contrast between slow and fast movements. The roller coaster should speed up when descending and slow down when climbing just as we practice in the class. I can't wait to see what you come up with. Once you grasp how speed graph function, you will be well prepared for the upcoming lessons in this course. Before diving into the main content, make sure you thoroughly understand these examples. We will be focusing exclusively on animating with speed graphs. So a sell understanding of how they work is crucial for keeping up with the future lessons. If you find yourself struggling with speed graphs, don't worry. We also have a comprehensive course on both speed graph and the Value graph and the graph editor that provides a deeper understanding. Feel free to check out that foundational course first and return to this advanced course once you are comfortable with the basics. That's it with this lesson. I'll see you in the next video. 7. Animate First Action: Here we go. Now, let's get started with the animation. Here's our storyboard. We can go from the first scene here, as you can see, we already have the first scene established. And as we talked about before, we mentioned there's going to be action in every single scene. And in terms of this first scene, the action would be the ball just hitting the center of the square and somehow maybe bouncing around in the scene. I want this ball to shoot from the left corner and then shoot up and maybe bounce back a little bit, goes up and come down. So this is going to be the ball movement in this scene as the action of the animation in the foreground. And then in terms of reaction, I want this square to be triggered by the ball hitting, and then goes with the ball, travel in the scene to create some animation with energy. And later on, we're going to talk about the silzation of the first scene, which is going to be the color gradient, the repetition, secondary animation, and some squash and stretch on the ball. So let's get started first with the animation. I'm going to use the plugin overload. Let's go to windows extension overload. This is going to be the easiest way to transfer shape layers between Illustrator and After Effect. First of all, I need to create a After effects project. Let's go to After effects. Let's create a new composition called this one Main Comp, making 1920 by 108030 frames per second. Duration, we can give it maybe Around 15 seconds. That should be enough. Click on. This is going to be my working area. And then the plug in that I'm going to use is one called Ease Copy. This is very important because sometimes we're not going to re animate something that we already have. We're going to just copy the easing value with this plug in. And then for the motion tools, you can also explore on your own, but most of the time, I'm just using it to reposition the anchor point. Go back to Illustrator. Let's push this circle into After Effects project. Just hit this first button here, and now we have a circle. Oh, sorry, The comp that we created, we need to make it a vertical one, so it's going to be 1080 by 1920. Click on okay? And now we have a vertical size. Let's go back to Illustrator again. Let's click on the square that's already rotated. Transfer this one into After Effects, and then go back again, click on this one, push the square into after effects. And then the last thing we're going to do is actually the grid, but the grid is already designed in Illustrator. I know what it looks like and what it should be, so we're going to recreate the grid inside After Effects because we need to animate these lines. In terms of the elements for the first scene, these are all we need. Only three elements that we need. Go back to After Effects. We can rename these elements, called this one. Ball. And then for these two squares, it actually didn't copy my grading value. I want to hide this one. Okay. The grading value is actually not a part of the square one it's designed. So it's actually two separate thing. In this case, I'm just going to recreate this square inside after effects to make it easier. So to do that, we don't even need these two squares anymore, but you know what, let me just go to hit the rectangle tool and then just draw a rectangle, hold down. Option and command to make it perfect square, and this is going to be my square in the center. Let's go to a line in the center, and then make sure the anchor point is right in the center of the square. Just hold down command and double click on this pan behind tool. It's going to reposition the anchor point to the center of the square. Let's call this one square one, and then duplicate square one. I can change the scale maybe like this, just to make it a little bit bigger, and then I can hide square two, delete these two squares, and then for the first one, we're not going to stylize it for now. So I'm just going to go to add a color fill to the square. Maybe change it to a green color like this. And then for the stroke, let's do a two points, change the stroke color to maybe a white color, and let's move the ball on top. So the ball is in front of the square, change the green to a darker green like this. Okay, that looks good. So that's going to be our initial setup. Later on once we add the animation, we're going to sylize it in the next video. But for this video, we're going to animate this first scene. First of all, I want to animate the ball moving in. So let's go hit P on the keyboard for position. Hit the sop watch add a keyframe, go forward five frames. Commit right arrow, one, two, three, four, five, for five frames. And then then add a keyframe over here. Go back to 0 seconds, move the ball to the outside of the frame. The ball is just going to shoot from the left bottom corner to the center of my screen. And then once the ball hit the square, I want the square and the ball to travel together. So basically, only these two key frames are going to be the action in this case in my And in terms of reaction, I need these two to travel together, so I need to go to layer, create a new null object, call this one control, one, and then parent these two layers to the control. Now, hit P on the keyboard to bring up the position property of the controller null object. Once the ball just hit the center of this square, I'm going to shoot everything, both the ball and the square to the right. So it stopwatch at a keyframe and then go forward, maybe three frames, one, two, three. I want this action to be really quick. So now you can see a parent the wrong thing. I need also to parent the square one, and then let's hide the square two for now. Go for three frames, one, two, three. Now let's move the null object to the right so that the ball and the square is moving together. And this is a basic setup of my first animation. And then I'm going to go forward maybe another ten frames to have these two objects bounce back again, and then go for another ten frames. Make this one bounce up, and then let's go for 15 frames. To have everything go down. And now you can see they're traveling in a path that I drew with my null objects. So let's go select all the keyframes. R click. Keyframe Assistant, Easy Ease. We're going to need to add some easing to these animations. Let's select the two keyframes on the ball. Go to graph editor. I want this ball to shoot in. So it's going to be pretty quick coming in. And let's go to the speed graph, fit the graph to view. So when the ball comes in, I wanted to come in hitting the square with full speed. So once it hit the square, I want the ball to be full speed. So let's drake the handle to the right. And this is the point on the ball is hitting the square. It's going to get all the way up to, like, 10,000 pixels per second in terms of the speed. And then when it comes in, I just want to have a easing curve like this. So this is going to be my ball coming in at zero pixels per second, all the way to 10,000 pixels per second over here. That's the motion of my object, let's preview this. You can see already that my ball is having a force hitting the square. However, as you need to adjust the curves of these keyframes, let's go to graph editor. In terms of the curves on this one. So you can see once the ball hit the square, the square is going to be affected by the full force of the ball. So in this case, once a hit is going to have a full speed. So my handle is going to be go to the left, and then this curve is going to go all the way up with a lot of speed, and then I'm going to just easing into a second position. Once it bounce back over here, I'm just going to give it maybe a 75% of influence on the right hand side. And then over here, this is where the ball kind of bounces back to the left corner of the frame. I'm going to just give it a slight bounce curve over here like this. It's going to pick up some energy. So the ball is easing in, almost lose all the energy, and then it kind of bounces to pick up some energy. And then it goes over here to the top, where it's going to lost a lot of the speed, making the curve really flat. And then it's going to free fall from the top, making a falling curve like this, having a full force going out from the bottom of the screen. So this is going to be my curve in terms of this motion here. Let's see what it looks like once we have the curves adjustment. And as you can see, the last point here, we're not making these two objects going out of the screen because we're going to do a match cut between the first scene and the second scene. So we don't have to have these two elements go out, because we're going to cut right here or even before here, the second last frame. So in terms of the animation, I think this is what we want. I think it looks pretty cool. And now we just need to adjust some extra things like the rotation of the square, and then we can add square two as well. Let's go back to the main timeline. First of all, I want to add some rotation to my square, one it is hit by the circle. Let's say R on the keyboard to pull up the rotation, and then I'm going to add a keyframe over here once I get hits. And then once we have this two elements over here, I want to turn this maybe square a 45 degree angle. And once it goes back to the life corner, I wanted to turn again back to a zero normal position, maybe, like, overshoot a little bit. And then once it reached the top, I kind of wanted to rotate again, maybe to this end, and then give it a rotation like this, and on the drop down, I just want to keep rotating this way and drop down like this. So let's go to rel, Keyframe Assistant, Easy Ease, go to the graph editor. In terms of these curves, I want this rotation to basically go with the motion that I already have, right? So basically, let's scrub that timeline over here. Once this ball hit the square, I want the square to turn this way. Maybe around here, it's going to be where the highest point of my curve is. I want the square to turn the most at this point, when it's being hit by the ball to the one end of my motion path. So it's going to turn over here. And then once I go back, everything can be just gentle like this. And I'm just dragging all the handles to each side and then form a graph like this to make the rotation really smooth. I think it looks fine. I don't know why this square was not a perfect square. So I just need to go inside the rectangle path property and link this one and make sure we're having the exact same width and height. So in this case, let's do 350 by 350. And now you can see it's actually a perfect square. It's going to be the same thing for square number two. Let's go change at 2350 by 350. Now we just need to add some rotation property on square number two. R on the keyboard, and then we need to turn on the square number two. I want the square to show up maybe around this point here once they reach the bottom left corner. I'm going to cut this layer over here and then make sure I hit a stopwatch on the rotation property. Once it comes in, I already wanted to have a bit of rotation. And then this one is going to rotate the other way around and then maybe just go down like this. Let's try that, and then I'm going to select the three key frames on the rotation property of M square one, go to ease copy, copy the easing, and then select the three key frames. Pace the easing. Let's see what it looks like. Let's turn this second square to the other direction. So it's rotating the same way as M square one. Going to be negative 100 over here. A here. Let's see what it looks like. Yeah, I think that looks fine for my action and reaction part of my first scene. 8. Grid Background Animation: Now, in this video, let's work on another action in the first scene, which is the action of the backgrounds. And we just need to animate the grit animation in the storyboard. Let's go back to my after effects, and then let's add a solid layer. Go to layer new solid. Call this one grid. We can actually make this one a white color. That's fine. And then let's put the grid at the bottom of the composition. Let's go to effects and precess and search for special effects. Let's use this one generate grid. And now you can see we have a grid generated. However, we need to animate this one. So basically, we need to anchor the grid at one position and then animate the width and height of this grid to have a animated grid. And to do that, let's go to the anchor, and then let's select the anchor, put it to the bottom right corner of my composition. And now let's side from width and height sliders. All of a sudden, you can see all this little grid here. We can just change all these settings and make sure we have more lines or less lines. So this is what we need. Add a keyframe on the width and height and then go to you on the keyboard to show the keyframes on the timeline. First of all, we need to animate the width, and I don't want the scene to have any grid at the beginning, so I want to drag it all the way up, maybe really, really big. Let's drag it all the way to maybe 2,500. And then for the heights, same thing, I want to drag it all the way to 2000. All of a sudden, you don't see anything in my frame. So let me go forward ten frames, and then I want to change the width of the grid to be maybe around 300 so that we have a couple of grid in, and then let's go forward another ten frames. Let's change this one to 400. And then let's go for another ten frames, change this one to 250 again. So it's just going to come in and bounce between a couple of numbers. Same thing with my heights. I want to go over here, change this one to 300, and then maybe come over here for this one, I want to make it a bit more, maybe like 650. And then the last one, this is going to be where my grid is going to settle, so change it to 250. Let's go select everything re click keyframe assistant, Easy Ease. And in terms of the graph, I wanted to come in with some force. So I'm going to drag this curve all the way to the left to an extreme easing curve to the left, coming in with some force, and then it could just stay here with a little bit of easing like this. And then for this one, I'm just going to drag both ends to the center. Like this. Let's see what it looks like now. Next thing we need to do is we need to move all the keyframes of my height forward to use the first keyframe to align with the second keyframe of the width. And then I can maybe drag this one out a little bit more. Let's see what it looks like. If I slow the grid layer, this is the animation. Basically, we're just bouncing around between these grids to give it some energy to resemble the first action that we have, which is the ball and the square action of the first scene. And now we're matching that energy with my second action, which is a background action. That looks pretty cool. Let's turn on everything. Let's see what it looks like. It's almost aligning. I can align it better if I want. Maybe just align these keyframes better so that they are happening at the same time. I think align these keyframes better, give us a better result. So since we already have the grid, I'm just going to go ahead and maybe create the gradient for the grid as well so that we don't have to recreate it in the next video. So let's now go to rectangle to double click to add a shape layer, the same size as my composition, and then let's move it down. Over here, now we just need to delete the stroke of this layer, and I want to change the feel to a radio gradient and change the gradient color. Over here, I want it to be this white, and then over here, let's change it to yellow. And then we can change it to the green color like this. And the last one, let's change it to the blue. Click on. Now we need to drag this to make sure it's going from the color that we want. Let's go back to my illustrator file and then make sure we're selecting the correct color palette. So for the green is going to be this color here. And then for the blue, let's try this color here. O. Yeah, something like this. So this is going to be my color palettes. Let's move the color above the grid layer. Let's go to effects and precess and search for set mat effects, and make sure we select layer six grid as the mat and change it to effects and masks. Now, you can see the grid is taking on the color from my shape layer. I can call this one grid color layer. And now the grid is taking on my grid and color from this layer. And you can see my grid is now having the color that I want. That looks pretty cool once we have the deep glow, which I can add right now to see the effects. Let's go to add an adjustment layer. Move it all the way to the top, call this one deep glow. And then we can add on deep glow to see the effects for now. It's going to be pretty cool. We can tone the radius down a little bit. I haven't started with the stylization of our first couple of layers yet. We only have the background animated and stylzed. But this is the whole thing, what it looks like now. There's a little glitches over here. I might want to move this anchor out of the way a little bit more, so it's not showing at the start. There you go, that's our second action, which is the action of the background of the first scene. 9. Scene 1 Stylization: In this video, let's work on the syzation of my first scene to finish up. If we go back to the Illustrator file, our storyboard, We already worked on the action foreground and background. We worked on the reaction, which is the square being pushed around with scale position and rotation changes. We haven't worked on the color yet, but that's what we're going to do in this video. We're going to work on the stylization of the color grading color animation, and we're not going to have any reputation in this case. We already have a duplicate of the square. So that's the reputation part. And then secondary animation, we don't have any. We're going to do some squash and stretch on the middle circle to give us some more energy, and that's it. That's all we're going to do in this video. Let's First work on the grading color changes of my square one. Let's go back to after effects. First of all, I want to go to my square one in terms of the grading color. I need to go click on this fill, change it to a radio gradient. Click on, and now we have a gradient fill under my square one. L et me drag this cursor here. And this is not exactly what I wanted. So I'm going to edit the gradient over here in terms of the gradients for the yellow color, I want it to be something like this, and then the green. Over here, the last one, I want it to be a darker darker green or maybe even black at the end. Just delete this one. So the color goes from a really light yellow to yellow color, and then to a green color over here and to a dark black color. So this is going to be my color for my original circle. Let me turn off the deep globe for now. I feel like the color is not very vibrant. So what we can do in this case, is we can let me zoom in. Let's see if we can make this color more vibrant. Okay, this is my color for the first square, and the stroke is just going to be a two point stroke. That's good. Let me hit the stopwatch on the color. This is going to be my original color of my square at the beginning. And once I got hit by the circle coming in, at this point over here. I want to change this gradient color to a fully orange color like this, as a reaction to the height of the ball. And then let's go forward a couple of frames again. Once it reaches over here, maybe about to go back to the left. I want to edit the gradient again. In this case, I'm going to change the grading fill at this point to be zero opacity. Delete this one. Delete this one. Change the color like this. And I also want to modify the anchor point to be on the left. So it's almost as if there's a light that's leading my circle going down. Yeah, I think that works. Let's select the three keyframe re keyframe assistant, go to Easy E and make sure we're in the speed graph. I don't want any transition between these two colors. So over here, I want this point to be a whole key frame. Sorry, I want the first point to be the whole key frame. So there's no transition from the first and second. It's just going to appear as yellow once it got hit. And then I want this one to do an extreme curve to the right. So it's changing quickly to this orange light or yellow light to the left to be leading my square to go to the left of my composition. And let's see what it looks like. Yeah, I think the reaction is looking great. We have a reaction of the color of the square, and we also did the rotation reaction in the previous video. I think it's looking pretty cool. Although I might want to make the green color appear even more, because right now, I think I'm losing all the green color over here. Let's put this one on the top. That looks good. That's my szation from my first square. In terms of the second square, let's go to my second square. Over here. I guess, all I wanted to do is give it a gradient, a slight dark green glow, choose radio gradient, click Okay, and let's this to go like this. And I also need to make sure my second square is under my first square, so it's not covering anything. And in terms of the grading color, I just want to make these two a 0% opacity. And then maybe I should make it a linear gradient instead of a radial gradient. Just have a slight green glow over the edge. That's going to look pretty cool. Yeah, I think I like that. Just want to make it a bit more darker. Choose this one, drag it down. You can see there's a green glow going over from the edge on one side of the edge, it's giving some texture or, like, stylezation. That looks pretty cool. I like it. Save the project. Let's turn on deep globe and see what it looks like. Tone down the deep globe exposure, maybe to 0.3 or like 0.5 that might work. Let's see the animation now. Still feel like exhibit too much. That's 2.3 for now. Yeah, I think 0.2 works for now. Let's do 0.2. This green is becoming too bright. Like this. Okay, that works. Let me turn off the deep glow. And the last thing we're going to add is the echo effect on my circle layer, so we get some smear squash stretches on the circle. Let's go add an echo effect. On the ball layer. And then for the echo time, let's change it to negative 0.001. And in terms of the number, let's change it to maybe 15 operator, let's change it to composite in back. Let's see what it looks like right now. It's going to give us 15 copy of my ball layer as an echo. So it looks like a smear or squash and stretch. Let's take a look what it looks like now. It might work in one place and not in the other place. So the issue is, we need to add some key frames to make sure it goes well with the whole scene. I think it works fine in the first scene over here. Let's add a key frame on the eco time, and then go forward over here. We need to change it maybe to 0.002. To give a more reaction time. So we got some smear over here as well. Or instead of using 0.001, we can let's try use 0.002 altogether. U on the keyboard. And then let's delete this one. Okay. It doesn't work because if I put 0.002, there's a disconnect between these balls here because it's coming too fast. So I need a faster reaction time over here because the ball is traveling too fast. And over here, once it settles down a little bit, the speed is slowing down so that we can give it a bit more time, and then we're going to show all these 15 copies over here. That looks pretty cool. Let's preview this. We're going to mostly cut it from here to hit in. Save the project. This is what the first scene looks like. 10. Animate Main Action: In this video, let's move on to our second scene, which is this one over here. In the last scene, we have this ball coming down from the top shooting down. And in the second scene, we're going to do a match cut to match with this ball coming down. We're going to have this little ball goes up. And then it goes up, we're going to have these columns or cylinders, whatever you call those, to push the ball up, come with the ball going up again. And then almost like a piano key thing, I want this ball to shoot up and then come down to push on one of these middle keys. The key is going to drop down, and then All these other keys beside it is going to drop down. Again, it's going to trigger the circle thing, and that's going to be our second scene animation. To animate the second scene, we need to first push all these elements into after effects. Let's use overload again. Let's do this circle first, push it to the after effects. And then we're going to push this key here. And then we're going to push this background color. That's good. We just need to move it down, so it's in the back. And then we're going to push a couple of these little rectangles. Like this one, and there's this one. Push all these to after effects. And we don't need to push the circles yet. Let's first animate all these first. Or I can push one of them and see if we're going to use it later on. Ather way is that we can recreate the circle inside after effects. I think that might be easier. You know what, let's do that. Let's recreate the circle inside After Effects. Now that we have all the elements ready, let's go back to after effects. Since we already animated the first scene, we're going to cut everything a This time frame over here. Let's move everything to here and then change the label color to maybe yellow, so you know these are going to be the second scene that we're working with. Everything in the first scene would be like one color. Let's make it a blue color like this. And then over here, I'm just going to cut all these layers. So we're going to have this ball come in like this from here, This is going to be my ball. P on the keyboard. We're going to animate the position property of this ball first. Let's move the ball all the way to the top because it needs to be the first layer of my second scene. At a keyframe. Let's go for ten frames. Let's have the ball go all the way up like this. And then we're going to do another 12 frames, one, two, 12 frames. I want the ball to shoot down to push one of the keys. So it's going to shoot down somewhere around here. Not in the middle, maybe like around this area here. It's going to push one of the keys, and then it's going to bounce back up again. However, this time it's not going to bounce as high because the first time we're going all the way from down there. So we only needed maybe five frames, one, two, three, four, five for this motion to happen because the distance is shorter, and we're going to just move it all the way up around here. And once it goes up, I want the ball to, you know, drop back down again, maybe give it another ten frames to go down so that it's moving outside of the scene and trigger maybe the third scene. So this is the action of my ball movement in the second scene. If I select all the keyframes, right click keyframe assistant, ease the ease, and let's go to the graph editor. I can turn off the render time for now because these are going to be really simple animation that we don't really need to show render time. Fit the graph to view. In terms of the speed graph, first of all, it's coming in from the first scene. So I want the ball to come in at full speed, meaning we want the handle to be all the way to the left, so this is giving us full speed. And once they reach the top, it's going to lose some energy. So the curve is going to stay flat. On both end, it's going to lose a lot of energy. However, I want to give some bouncing curve over here because once the push the keys at this area over here, this position, I want it to be almost flat as well so that we can hang there when it's pushing all the keys. And then the last parts, when it goes out the scene, I wanted to shoot out so that it's almost like free fall, so the speed is always increasing. So we have a speed increase all the way to the max speed at the end, and then we're going to cut to the third scene. So this is the thought behind my curves for the ball. Let's see what it looks like for now. Let me just cut the preview range so we're only previewing the second scene. I think I might need to move everything one more frame ahead. So this ball is going down there, and then our ball is coming up so that the match cut is matching up better. Once we add in the acl effect, it's going to match up better, I think. But this is what it looks like now. I think the hang is not really effective. I need a couple more frames, I think, over here to give it more hang time when it pushes. So over here, I'm just going to give it maybe two extra frames to work with. And then let's go to the graph editor again. Now we have two extra frames to work with. I want the hang to be more obvious or more noticeable. So I want this curve not be in the middle. I want it to skew towards the right, so there's more hang to the left. So I'm going to skew this one to the right a bit more like this. All we are going to do is to give it more hang time at this push point here. And then it's going to bounce up. I feel like I can push it a bit higher. Oh. And then it's going to free fall. Yeah, I think that looks better. In terms of our ball animation, I think that works. Now that we have the ball animation in the second scene. Let's work on the actions of these columns here, or I can call them piano keys. Because I'm imagining these are the piano keys, and then we have a ball just hitting one key, and the other keys just kind of there's a ripple effect this goes to both sides, and then the other keys are kind of pressed as well. Let's see which one is the middle one. We have the color one. We have the middle column, and then we have the right three, write two, write one. Left one, f two. Left three. Okay, these are all my columns. So in terms of the animation, let's go animate the scale property of these columns. First of all, let's go to my middle column here. As on the keyboard for the scale property. First of all, we need to make sure the anchor point is at the bottom of my column. So go to motion tools. Hit this bottom anchor point here so that we have the anchor point over here. And then let's unlink the scale property. Let's add a key frame on the scale. At first, I just want the Y scale to be zero, right? So it's not showing up anything. And then once the ball comes in, I want this to grow up maybe to 10 5%. And then once the circle is going down to push the key, I want this column to align right with my circle to be the key that's been pushed. And then once the circle goes up again, I'm going to just make it taller like this go all the way out. So we're going to just drop the size down once the circle goes down. Something like that. So we're aligning our key frames with my position key frame of the ball. Let's select all the key frame of my position of the ball, go to ease copy copy it, and then paste it onto the scale property of my middle column. Let's see what it looks like after we paste in the easing. Yeah, I think it looks pretty good. I like what it looks. So the next thing we're going to do is this big color block in the background. So we're going to do the same thing, S on the keyboard, unlink the property, and then make sure we have the anchor point to the bottom middle of the block. And then, in this case, since we're only animating the scale, we can actually copy these scale property keyframes. Can see, and then paste it onto my middle block. Let's see what it looks like now. I think it works. Only thing that I didn't like is this, like, block my middle column at the end that's showing this edge that I don't like. But if I just move it taller like this, I think it might work out. Yeah. I think it should be fine. So let's try that. And then we're going to do the same thing for all these columns. Let's hit everything. Select everything as on the keyboard, and link these scale properties. And select everything, make sure they all have the anchor point to the bottom of the layer. We're going to copy the scale keyframes command C, and then paste it on to all these different columns, command V. And now we have an animation like this. That's pretty simple and straightforward. We haven't done a lot of complex animation so far. So another thing after this animation is done is that we need to stagger the keyframe so that not all of these columns are coming in at the same time. And that's pretty easy to do, so I'm going to think about which one come in first. In this case, I want my gradient column to come in first. It's going to be the last one at the bottom, and then I want my middle column to maybe come in second, one frame delay. Or you know what? Let me delay just one frame for this middle block. Let's see what it looks like. Yeah, I like that. And then once we delay one frame, the middle block, we can actually delay this left one. And then let's delay the right one. And then let's delay the left two by one frame again. Each one is delayed by one frame. And this one is going to be over here. This one is going to be over here. Once the ball goes up and then all these columns go up, at this point, I actually want this column to go all the way up to give it a little bit more randomness. So these right three and left three, I want these two to go all the way up to cover everything and then shoot down. And the left two and right two, when the ball comes down, I actually wanted to go all the way down. Just to give us a little bit more variation. With our copy and paste keyframes, right? So we did everything copy paste, but at the end, I don't want it to look too similar. So we're adjusting a couple of keyframes to make it a bit more random. This one can go down, and this one can go down. And then once the ball goes out, I'm going to cut, so no one's going to see the last couple of frames. That's a bit messy, but that's okay. Because when the ball hits, like, over here, I'm going to cut right away to the next scene. And this is about where it's going to cut. Let's see the animation for now. Yeah, I think that looks cool for the action part of my second scene. 11. Scene 2 Stylization: All right, in this video, we're going to work on some reaction of my second scene and some stylization of my second scene. In terms of reaction, we already have the main animation going on, which is the ball just hitting this piano key thing, and everything just kind of ripples. The reaction of that would be if we want to change the color of these columns once it get pushed. So all these columns is going to turn blue instead of staying black when it got pushed, and then once the ball goes up, all the blue colors will disappear. So that would be the reaction of the color once it got pushed. And then we can also animate some secondary animation, which is these little circle rings that's going to burst out when the circle is making contact with my columns. And for the secondary animation, it could also be repetition as well, because once the ball push on this middle key, we're going to create the secondary animation, which is a circle burst, but at the same time, all these circles will also burst on the other columns as well. So that'll be the repetition effects of my second scene. And then the last thing we're going to add is some squash and stretch on the main circle just like the first thing. So that's all we're going to do. In this video, let's get started. Go back to Aftereffects. Now, let's get started. First of all, I'm thinking we can animate this right column number two to give it some color once it get pushed by this middle circle. Let's go click on this drop down and then add a grading fill color. Let's change the grading fill like this. And then over here, make it darker. And then we need to change the star point and end points. Let's change the end point exposition to zero and then push the end point down, so the bottom of the column is going to stay black, and then the top is going to stay blue. For the blue, I also wanted to give it a darker blue. Maybe like this blue color here. Okay. And then once we have the gradient fill, let me copy the gradient fill. Let's apply it onto all these columns. Okay, that's good. And then all we need to do is let's animate the opacity of migrating fill. So let's say if the Bs the ball hit this circle here, it's going to trigger all these column to become blue for opacity at a keyframe, and then change it to 0%. Within maybe one, two, within three frames, it's going to become blue, and then within the next four frames, it's going to become zero again. Let's sce re click, keyframe assistant, easy. L et's try a curve like this. How about if we give it more time? Let me drag this keyframe out to give it more time. So it's going to be blue like this. And let me copy all these opacity keyframes. I'm going to put it on left number one column, C it on the keyboard to show the key frame. And then we're going to put it on right number two, give it one frame delay. And then we're going to put on this one. Left number two, give it one frame delay, and then I'm going to put it on right number three, one frame delay, and then I'm going to put it on left number three. One frame delay. Let's see what it looks like now. Yeah, it's giving a color change like this. I think it looks pretty good. Once I hit the middle key, it's going to change everything to blue. And I feel like this one is not pushed down enough. So maybe so left three, the sides over here. Maybe I should give it, like a bit more push. And then the right three position is here. Push it like this. Yeah, that looks better. And now we have a color change color reaction to my second scene. Next thing I want to do is the ring that's showing up, a circle burst once they push the metal key, right? So let's save the projects, and then without everything clicked, let's create a circle. Make sure the anchor point is right in the center, Let's align the circle right in the center as well. For the circle, I don't want any fill to it, just delete the fill, and then change the stroke to a gradient stroke. Color can change this to a blue color gradient like this. And then we need to animate the size of this thing here. Let's say if we have a 40, at the beginning, I want it to be zero, and then go forward ten frames, change it to 300. And then we also need to animate the stroke width. So if we go to grading stroke and then go to the stroke width, make sure we hit a stopwatch on here. I want the width to be around 20 points at the beginning, and then at the end, it could just go back to zero, so it's disappearing. And then let's also animate the rotation of my circle. So if I hate shift R to pull up the rotation property. We've got the rotation here. Let's just do maybe 180 degrees of rotation. So still I need to make sure my anchor point is right in the center of the circle. Let me cut the layer over here. First of all, let's go re click keyframe assistant, es ease. Let's adjust the curves. Steal a extreme easing curve to the left, so it's kind of easing out at the end, almost like a burst like this. So if I slow this, this is what it looks like. And once we have this circle to push on this piano key over here, we're going to position the circle right here. Once it pushes, it's going to appear, and then what if I make it happen quicker? So let me just make the size of the circle a bit bigger and then move it over here. Once it pushes, it's going to appear like this, and then let me duplicate the circle, make it smaller, position it over here. On top of each column. If I play the animation, it might be too quick. So let me hit you on the keyboard and then move these keyframes out a bit more. Let me change the curve, move this one back and then give it speed. So it's not that quick. And now I just need to kind of stagger these anchor points so that they're not all coming up at the same time. For this big one, I can make it even bigger. And then I can also animate the position a little bit. So P on the keyboard and shift. I want to animate the position a little bit so that it's kind of going with the circle one is animating in to go up a little bit like this. Use a curve like this. To match up with the position of that circle. Yeah, I think that looks better. And then we just need to stagger the circle a little bit, maybe one frame apart. So they're not coming up at the same time. Let's see the animation for now. You get the idea. We can make it a bit more polished, but we're going to move on for now. The last thing we're going to do is to add the echo effect on the circle, which is our ball layer, going down here, choose echo effect, or we can just copy the keyframe that we had in the first scene. Let's go to the ball, and then just copy you on the keyboard. Let me copy this effects and key frames. And let's drop it onto our ball in the second scene. I wanted to just go from the first frame, paste it in. For the number of echos, let's try 15 again. Okay, I just realized we did something wrong here. You can see right now, since we animated the opacity change, let's say you on the keyboard for the box one, which is this column here. Since we animated the opacity on the master layer, it's actually making my outline disappear as well. So you can see, it's bringing up our blue color, but once the blue color disappear, the outline is disappearing as well. So instead of animating the opacity outside in the master layer, we have to cut this opacity, and then just go inside again, go to content, go to gradient fill, and under the gradient fill, we need to add the keyframe on the opacity over here. Just paste it in so that, in this case, if we were to animate the opacity under the gradient fil, so we're still having this blue color change. However, my outline is going to stay there once the blue color disappears. So now we need to do the same thing for all these other columns. Need to cut all these opacity keyframes and make sure to turn these master opacity back to 100%, and then go inside to the content gradient fill. Click on the opacity under there and then past the key frames back in. Let's do the same thing, past the key frames, and then let's do the left columns. I'm going to cut these keyframes, and then change the opacity back to 100%, go under to the gradient fill. And paste in the opacity keyframes. Now, let's see the animation for the first two scenes. 12. Create Smooth Transition: In this video, let's keep going with our animation. Now we can reference back to our illustrator file. This is going to be our third scene. However, I wanted to do some different transition in this case, because right now you can see from this frame to this one. It didn't really show you how it was going to transition between these two scenes. So I want to come up with something that's interesting to have a bit of energy so that we can spice up the animation. Sometimes we're given storyboard, and it doesn't show all the necessary transitions between each scenes. It depends on our creativity or our references or whatever idea that we can come up with to link all these scenes together. And we can go online to search for some references or some good videos for great transitions. So that's where our inspiration is going to be coming from. In this case, I'm going to do something interesting and bear with me. Let's get started for this scene here between the second and third scene, and then we're going to establish the third scene in this video. First of all, let's send all these elements to After Effects. Let's hit the circle here, push it to Aftereffects. Let's do the same thing for all these ones. So we have all these elements that's already pushed to after effects, and that's all we need. Go back to after effects. We're going to move all these layers forward. So this is where I'm going to or maybe here, this is the exact frame that I'm going to cut the second layer. So I'm going to align my third scene with this timeline indicator. Let's rearrange the order. And for the ball, let's call this one ball again. And for the third scene, let's try to make it a different color, maybe like a lavender or let's do a pink color. Remember, we changed the label color for the second scene. So I should change all these to yellow because these belong to the second scene here. Now, you can see where are clearly labeled. The first scene labeled in blue color. Second scene is in yellow, and then the third scene is in Peach. Or let's do something that's easy to see. Let's do an orange color here. Yeah, that's easy to see. First, let's animate the circle and the blocks. I want to have a match cut between these two scenes as well. And I also want these different circles and blocks to be thrown into the air as if someone is throwing them into the air and then it's going to free fall into position. So that's kind of the idea I have for now. Let's take a look at how we animate this circle and also maybe one square. Let's rename this one to square one. The square two. Square three. Okay. We've got three different elements here. And I also want to cut all these layers. So there's nothing that's behind it that's going to distract me. I'm going to move these one more frames ahead. So it's cutting over here. And you see the circle is going down. In this match cut, I need my ball to come up from the bottom. Almost similar to the first scene to the second scene transition. Let's do that. Let's go to the circle here. A for a position. Let's add a key frame, move it all the way down. Yeah, let's try this from here outside and then let's go for 12 frames. Let's move it all the way up as if someone is throwing the ball into the scene. And then go forward another maybe eight frames. It's going to land or free fall into position. So this is going to be the final position, and that's my animation. Let's go to the graph editor, make sure we right click Keyframe Assistant, easy ease those keyframes. And since we're doing a throwing animation, it's going to be a curve like this to the left end extreme, and then we're going to hang in the air in the middle and then drag this curve all the way to the right again. It's going to lend or slam into position. So both ends are going to be pretty extreme. I can maybe tone it back down to 85 on the right end, so it doesn't slam so hard when it ease into the middle of the scene here. Let's see the animation now. I need the two scene to tie it better. When the scene is cutting into the third scene for the first frame, I already need the ball inside the scene, I think. So for the position, I would have to move the ball up a little bit, maybe over here. Yeah, I think that's hide the scam better. And then we have a throw like that and it fall into position. Something like that, but I want to move this position down a little bit because I want to have another square that goes over the circle around this area here and then another square over here. So let's try that. Let's do hide the square two, the blue one, and only work with these green squares here. Let's go back to my key frame. Select the two layers, square one and square three, P on the keyboard for position at a keyframe. I kind of want to establish the scene because right now, since we copy these elements from the storyboard, and this angle of the square is actually a angle that's in motion. So I actually wanted to stay static when it comes in, meaning like I want to level these two square maybe horizontally so that we need to rotate these two layers like for 90 degrees. First of all, let's also rotate these two squares. Hit shift r for the rotation. Let's do negative 45 degree. Both squares, and this is going to be the final position when they settle in place. However, I wanted to be thrown at the beginning. So basically for the position, let's say square one for the position. This is going to be the final position, and then I want it to be thrown over here. And then the first frame, it's going to be starting from this position over here. So it's going to be thrown to the top and then land into position. However, I want to make sure there's no ex position change. So the ex position should stay 540 across the board. And then for this one, I'm going to do the same thing, put a keyframe over here. However, I need to make this one smaller. So I also need to adjust the size. Let's hit a keyframe on the scale on both scales, I would say, and then shrink this one down a little bit, maybe like really small at the beginning. Being thrown around here and then keep the size small. So this is going to be my animation. I also want to change the scale of my ball to make it a little bit bigger at the beginning. So the three shape have a better ratio, I would say. So the ball is going to be this big at the beginning, and then the first square is going to be shrink this one as well, make it a little bit smaller, and then it's going to go into position. Everyone is going to zoom up or zoom down. The two square is going to change size, and then the circle is going to change size as well. So all we did is to animate the position scale together for the three different elements so that they're synchronized together when they're coming in. Let's try to copy the easing on the position property of the ball because I already have the easing, copy that and then paste it onto the position property of square one and square two. And for the scale property, let's just go right click easy ease and then maybe We can just do a easing like this. I think that works like 85% easing. Let me copy the easing to these key frames as well. I don't need this key frame. So let's see the animation. Yeah, that's kind of what I want. And in terms of the position, I also want to move this one down atle bit and then maybe move this one even further down. L et's try to move this one down. So there's a little bit of overlap between the elements. It might look better with a little bit overlap. With scale and position, I also want to add some rotation to my elements. So let's pull up the rotation property. So like all three hit shift R, and then let's animate a little bit of rotation to give it some more interesting movements. In terms of rotation, when they first come in, because I know they're going to stay like this rotation at the end, so we can animate backward. The ball doesn't have to rotate because you can't really see it even if it rotates. However, for the square, this is right now negative 45. L et's try maybe a 90 degree angle. So negative 45, I would say, plus 90. So this one, we're going to change it to 45 and change it to 45 here as well. And then when it comes in, we're just going to do 180 plus 45, so 225. Let's make it 225 at the beginning. The square is kind of rotating. Let's see the animation. We haven't add any easing to it. So we need to add some easing. Let's go to square one. Right click over to keyframe assistant, easy ease. Let's turn on the graph editor, and I need to show the position graph as well. Let's hit the position. Let's make it a little bit bigger. What we want to do is when the square reaches the top here. You know what? I think we need to move these two keyframes back forward a little bit so that this is going to be Okay, I think that's what I want to do. So basically, I want to have this rotation like this. And then when everything settles, I'm going to turn on square two and then cut it over here. Let's make this 170 5%. Okay, that makes more sense now. And then we're going to also animate square two in the other direction. So let's hit R on the keyboard, add a rotation. This is going to be final, and we did 90 degrees. So in here, we're going to put in negative 90. So the blue square is going to rotate a different direction from the green square. And then let's go back to the square one rotation curves. I need to make sure when this square is hitting maybe the top, I want it to rotate from there. So basically, I'm going to match my curve. Top point to the highest point of my motion path of the square. So I want the square to rotate the most when it hits the top, and then I want it to ease it into position when it settles into the final position. So this is kind of the curve that I want. I'm going to match this top point to the top point of my square. Maybe around here, I think it's too late. It should be in the front over here. And then when it lends, it's going to animate really fast. The rotation is going to animate really fast. Yeah. So that's the curve that I want. And then I'm going to apply this curve copy to my square three. Apply the easing, and then copy the last two keyframes and copy the easing to my square two. And let's see the animation now. Maybe I should drop this circle like even further down. I just feel like the position is a bit weird between these ones, so I'm going to make this one bigger, I guess. I think I like that transition. You can feel the force and energy. Yeah, we're gonna leave it like that. So that's the action of my third scene. 13. Scene 3 Stylization: In this video, we're going to work on some reaction and slezation of my third scene. We already finished the action of the third scene in the previous video. So now it's time to add some more variation of my colors or gradient colors, secondary animation, or some squash and stretch. So let's take a look at what we can do for the third scene. Let's go to after effects. This is our animation so far. First thing I'm thinking about, if we refer back to my illustrator file here. We can actually add some reaction for the background. So this is something that's missing in this scene here. We already have the action of the background, like the grade animation in the first scene. We can also add You can either call it action or reaction for the background in this case. Let's take a look at what we can do. I want to maybe add one more layer of background in this blue color. So basically, let's duplicate this square two. And then put it down here. Now it's called square four, right? So I wanted to delete all the keyframes we have, and then move it forward, make it bigger. Unlink the scale property, like, make it longer, like this long here. And then let's try to animate the scale property. Let's hit the keyframe on the scale. When it first come in, Maybe let's try 136 as a square before and then go forward 12 frames, one, two, change this one bigger, almost like a pulse that we're trying to make in the background. You can feel like there's a pulse in the background that's kind of going with the animation in the foreground to add some extra layer of movement. Let's go for ten frames again and then make this really thin again. And then let's go for ten frames again. Me it goes back to this bigger version. And the last one, maybe just go for ten frames again, fill the whole space to fill the hosting, and this is what we're going to do. In terms of the easing, let's re click from Assistant. Easy Ease, go to the graph editor. Make sure inside the speed graph, let's fit the graph to view. I'm going to drag this curve here. To give it an extreme easing over here in the middle. And then for this one, remember when everything settles in place, we have a very extreme easing to the left, just like the rotation property we had. And then this one, I think we're going to do an extreme easing to the left again. I think we can delete the last keyframe. We can just use the second last keyframe to fill the blue color all the way, so it's occupying the whole space, and this is the animation. And then what I want to do is, I want to add an extra line that goes across from the top to be a secondary animation. And almost as if it's a skewer that's going through all the shape to knock the shape into position. So it's very easy to do. Let's just go to the penol and then draw a line like this. Let's make the line ten point and make the color into a white color. We can just do a solid white color in this case. And make sure this line here, let me call it line, make sure it's centered in the center of the composition. So I want to appear over here. Let's go add a trim path effect, and then add a keyframe on both start and end. Change the ending to zero, go forward ten frames, change the start and end both to 100%, and then re click, go to keyframe assistant, easy East. Let's move the curve to drag both end to the middle so that we have an extreme easing in the center, and then let's move the two keyframes on the end forward. So we have almost a drawing animation. So this is what we have. We have a line that's drawing from the top to the bottom and then going through all the shapes to knock the shape into position. And the next thing I want to add is, I want to change some color of these shapes here. In terms of color like this one here, I want to have these two squares come in in a black color instead of in green, and then they can become green once the skewer is going through across these shapes and then knock them into position, it's going to change the color of that square. So basically, the square one is going to be here. Let's go inside to the group gradient fill, and then let's dit the gradients. It's add a keyframe over here. At the beginning, I'm going to delete the white and yellow only use green and dark black. Something like that. Then let's also relate to make it easy to sc to keyframe velocity, just change it to 66.66. That's a general easing that's going to give you some kind of energy. That looks good, and then I'm going to copy the key frame, go to square three. Let's go down to the gradient fill and then add it over here. Let's see if we can change this blue color into a green at the beginning. So for square four, let's go inside the gradient fill, and then add a key frame. Over here, and at the beginning, I wanted to be the green gradient that we have instead of the blue. Let's see if that's going to work. I'm going to change the yellow here and make sure it's not much yellow. I want more green to it. I'm going to move it here like this. And then and make this third square not so visible, so I need to change the third square maybe to a pure black instead of a green black. Basically, we're just animating some stylization of the color changes as we already have the action of the third scene, we just want to add something that extra to make the scene looking more interesting. And now, basically we change this blue color background into the green color. So it's going to animate between the two colors. However, I kind of don't want the transition in between because it's kind of washed out. So I kind of need to go to square four and then make sure I have a very fast transition between the two colors. Maybe just do a very extreme easing curve in the middle so that we have a very fast transition like this. All of a sudden, the green turns blue. I think that works. The green turns blue. And at the beginning, we got two black square coming in for the black square. I'm hoping we can use stroke effect to make the border more visible. Yeah, you can see, once it become bigger, it is very visible, but once it's smaller, it's not so visible, but it's going to be a hint of the style. So we're going to do the same thing for square two to add a gradient stroke. Let me copy the gradient stroke and then put it on square one square two, like this. So each square is going to have a gradient stroke going on at a little bit of extra depths to my color. And the last thing we want to do is I don't want the transition between this black to this gradient green. So I'm going to do the same thing, maybe just copy the easing of my square four copy and then paste it onto the gradient fill animation so that the change is really fast. Or let's just do re click, keyframe velocity, change it instead of 66, let's change it to 88 or 88. Let's try 88. 88 is going to give you a curve like this. I'm going to just drag it all the way in, maybe 100% influence on both sides. Copy this 100% influence on both side and then paste it onto my square one color key frame like this one, easing. No, it doesn't work. Doesn't work for the copy and paste, so I have to adjust manually, just drag out 100% easing influence on both sides. So the curve looks like this. And then we're going to have a color change that's really fast. It's not so visible. And you can see the energy that we have now. It's looking super cool. We've got some color changes. We got some secondary animation of the line going across. We got some rotations. We got some background that's reacting to the animation in the foregrounds. So that's all we want to add in terms of the stabilization in the third scene. Let's see the animation we have now. 14. Assignment Time: Now, let's discuss your major class assignment. Up to this point, we have explored how to animate using speed graphs and work through the initial scenes of our project. I hope you're finding it enjoyable and are getting comfortable with this fast paced geometric animation style. For your major project, you have two options to choose from. First option is to follow my demonstration and complete at three scenes from the example we're animating in class. The final assignment should be around 6 seconds long. While you don't need to finish all nine scenes, I encourage you to tackle more if you feel comfortable. Remember, everyone learns at their own pace. So focus on animating at least three scenes from our storyboard that resonate with you. This will help you build your confidence and understanding this animation style. The second option is, if you're up for a bigger challenge, I've provided a brand new storyboard, the one that I created for the section cover. You can choose to animate something similar to my section cover animation or use it as an inspiration to develop your own unique animation. Feel free to explore platforms like pinches, B hands, or Ravi for additional ideas. I can't wait to see what you can create. After you're done with the assignments, don't forget to upload to share with me and your fellow students or share within our discord community. I'm looking forward to seeing your animation. That's all I have for now regarding the assignments. We'll continue with the animation in the next video. 15. Faux 3d Animation: All right. In this video, let's keep going with our animation. We're going to animate the fourth scene over here that looks like this. And in terms of the transition between the third and force, you can just look at the third scene as a top view of a pyramid or, like, a a bunch of blocks. It's actually the top view, and then we're going to turn the camera in this case, to show the side view of my stairs or like my pyramid so that you can see all these stairs going on so that we can show some volume that's going to look super cool and make your project interesting. So we're going to do some fun animation for the fourth them. Let's go back to after effects. First of all, let me make a screenshot of this layer because I need the position of these stairs to make sure we're going to do the same position as the storyboard. I'm just going to add this screenshot to my project. And then we're going to use this screenshot to position our squares. I want to see where the animation ends. So this is where everything kind of settles in place. And after it settles in place, let's create a null object so that we are able to control the size of my blocks. I forgot to cut this line. Since we only have keyframes over here, I'm just going to cut this line over here really quick. And then go back to the null object. We're going to call this one controller. For the null, let's pair the ball, the square one, two, three, four. Parent all these to my null. And now I can change the scale to make sure we can modify the scale. So before I turn everything, I kind of want to give it a bit of scale animation so that it's not so static when we're turning, we're giving it a buffer layer of animation. So let's change it back to 100%. This is where it ends. I want to start scaling before it ends rotating. Maybe around here. And then we can give it maybe one, two, three, three frame of anticipation, make it bigger, and then go for ten frames, make it smaller. It's going to be the actual animation. Also, even if we are making it smaller, I don't want my square four to be totally within the scene, so I still want it to bleed off the scene. Let's try to make this square four still a bit bigger. So that even if we scale down everything, it can still just bleed outside of the scene. I need to make it even taller. Still a bit more taller. Here. Just make it taller like this. So when we're scaling down, my blue color block is still outside. We only show these smaller blocks getting smaller. R click Keyframe Assistant, easy ease. Let's go to the graph editor. Let's change the curve. Just drag both side to the center to give it a easing like this. Oh. Okay, that works. And now, we're going to turn the squares sideways. To do that, we need to animate the path property of these squares. And in order to turn sideway, we actually need two different block. I'll show you what I mean. Let's go to square one, and you can see group one is actually this green square. And what we need is another group, let's duplicate this group one. G D. We're going to have a group two, move it to the bottom. And then for the group two, for the grading fill, let's go inside. Let's change the color to totally black, pure black. Change everything to black. If I hide group one, you can see there's a black layer over there. So that's behind my square one. And we need a black layer that's behind all these squares so that we can create a depth when we turn them sideways. So let's go to square two. Command D duplicate group two, and then let's go to gradient fill. I don't need the color animation. I just need to turn the gradient fill into pure black. That's going to go behind my square two. And then the score two square three, same thing. Just go duplicate and then go inside. Gradient fill, make sure we can delete the keyframes and then change the color into a black color. If I hight group one, you can see there's a black color over there. That should be fine. And then what we need to do is we need to animate the path property of these layers. To animate the path property, first of all, I want to make sure I select the square 123 and then search for path. I want to find a place where I want to start turning maybe around here before the controller ends the animation, I'm going to set a key frame on all the path property of the three layers. That's good. And then let's go forward, maybe 15 frames. Because the turning needs some time. And now, we need our reference layer. Let's move my reference layer inside the thing, and then let me just make it bigger, go to transparency, make it ale lighter. Another thing is, maybe I can drag some outlines. So if I hit command R, I can drag some guidelines to align with the actual thickness or position of my layer so that I know where I should align these blocks or boxes. So let's say if we align these over here like this. Okay, I can turn off my reference layer. And then let me select the F three, go to path again. So we need to adjust the path animation to align with these guidelines. So for this green one, I'm just going to go select both and then move it down here like this. And then for this one, it's actually behind the green one. If I hide the green one, you can see it over here, so I'm going to move this dark one over here. And then if I turn on both, This is the animation you can see. Is turning. Okay, that's exactly what I want. Let's do the same thing for the blue path. I'm going to put it over here. That's nice. And then let's hide the group one. Let's go to group two. Just going to make this one taller and change the black over here. And then let's turn back the group one. If I see the animation, you can see it's actually turning like this. That looks pretty cool. And then the last one, the green. I'm going to change the layer like this to align with my guide, and then let's hide the first one, push the black one down. And this is my green one. And then the last one is actually square four. I still need to add a keyframe on the path property of square four. And for this one, I'm just going to go adjust this one like this. This one doesn't have a black layer because the background is already black. So we'll just treat it as a last layer that we're going to have. Okay. So that's a turning animation. And then all we need to do is to add some easing to the curves. Select two keyframes. R click Keyframe assistant. Easy Ease, go to the graph editor. I wanted to see if we can do an extreme easing to the left. However, just leave a little bit of room, maybe like 20% influence on the left handle, and then 100% on the right handle. If I copy the easing and then paste it down to all these keyframes, Let's see the animation now. Yeah, I think that looks pretty cool. So it's turning like this. 16. Main & Secondary Elements: Alright, we're done with the three D camera turning. Next, we're going to change the position of this ball and make sure this ball is also going with the camera in three D position. Right now, you can see it's kind of overlapping with my first step here, first box here. So to do that, first, let's hide all these guide layer because we don't need those anymore. And then let's just go to the ball layer. This is going to be my ball, and I'm going to duplicate it command D. Hit you on the keyboard to show the key frame. I want to see where this ball should go away. I want this new ball to come in from here. So let's just delete all the position property, and then let's move this ball down. Maybe just cut it here and then move it all the way down to the bottom outside of the frame. Hit P on the keyboard at a position key frame. So from here, let me go forward maybe around six frames, one, two, three, four, five, six, and I want this ball to go straight up to overlap around here to cover this middle circle. And so when it's covered the middle circle, I can actually turn this layer off. This original ball is going to disappear once this new ball is covering on top of it. And then let me go forward another 12 frames. I'm going to animate this ball over here. So this ball is going to shoot from the bottom of the screen all the way to somewhere up here. And then it's going to hang here, and then we're going to drop this ball down to hit on top of this first box. So go for another 12 frames. Drop this ball down to hit on here. And that's going to be our new ball animation. Let's go take a look at the graph editor, go to Easy East. Fit the graph to view. I want the thing to come in with a little bit of energy. So it's going to ease in when it hits the middle part. It's going to gain a lot of momentum like this. And then the momentum should continue. And I want the ball to hang while it's at the top points or the highest point. So this is where the ball is going to be the highest, where the curve should be flat. It's losing almost all the energy. We're going to drag both handle left and right to make this curve flat, so it's losing a lot of speed at the top. And then we're going to keep this curve bouncing. Like this, it's going to bounce off this box and then go up again. But we're going to animate the next half of the keyframes a bit later. Right now, I only want to stop here. Let's see what the animation look like. So if I preview from here, this is the transition I want. I want this new ball to pick up this middle ball in the center. And then almost like a drag. So we're using this ball to drag the camera or like this whole scene up, so the scene is turning. That looks pretty good to me. And let's go back to my illustrator file. I want to add the circle in. If you look at the illustrator, we also have this pretty big clock thing that's going on. And I want this clock to maybe pop up once the circle reached the top highest point. So let me push this one into after effects. We have this circle here. Just call this one circle. And then let's S on the keyboard, make a smaller. Let's reposition the circle. Let me go to a line to, make sure it's in the center of my composition vertically. And then once the ball comes here, I want to animate the size of the circle to make it pop up. So I'm going to change the scale to zero, go 410 frames, and make it bigger like this. And I also want to animate the stroke width. So let's go inside the circle. Content group grading stroke is going to have a stroke width. So in terms of the stroke width, the end could be this ten point. At the beginning, I want it to be thicker, maybe like 40. So we have almost like a burst thing happening. If sorry, I change the wrong thing. If we do 40 point stroke width at the beginning, we're going to have a thicker Trcal once coming in, I want it to be really thick, like 150 points or something because it's too small. It's really hard to see if I make it 40. And then let's go click. You frame assistance. I'm going to do a burst. So at the beginning, there should be like a quick movement, so it's bursting out, and then it should be slowly easing into position. I think it's too quick. Maybe I need to still make the keyframes further apart. And if I move this circle forward a little bit to align better with the circle, one is coming to the highest point. So I want this circle to go here, and then the thing is bursting out. And also, I don't want it to be front of my box, so I need to push this circle burst. Down so that it's behind the square, that looks good. You on the keyboard. Now that I'm thinking the end stroke width is too thin, I'm going to change to be thicker a little bit, maybe like 30%. I think that works. So at the beginning, let's do 300. Yeah, I think that works better. 17. Syncing Complex Action: T. Et's keep going with our animation. Let's go to the controller layer and turn on the scale property. I want to shrink everything down while the camera is turning. So basically, once we have this camera start turning, let's hit a keyframe on the scale property, go forward ten frames. And then we can scale everything down a little bit so that we can show a three boxes over here. And then the last one is going to be extending outside of my click, go to keyframe velocity. Let's go type in the value, 66 66. Okay. And then let's see what the animation looks like. Yeah. This way, we can get a full view of our boxes of our three D in here. And then what we need to do is, let's bring in the other elements from Illustrator. Let's go transfer this ring into after effects and then align it with my main circle like this. Call this one outer circle and bring it down to be closer to my circle burst. I also want it to be parentid to the circle burst. And then I can move this layer or cut this layer here. That's good. And then go to can later on add these two little elements. And these little lines here, we're going to do it inside after effect. So we don't need to add anything else right now. Let's go back to continue on with our animation. Okay, so next thing, we need to animate this ball hitting the boxes and then bounce up. It's going to slide within this circle, goes around the circle and then goes to the top, drop to the bottom again, and then bounce up again. So this is going to be our animation. Let's go to hit you on the keyboard for the ball. And next thing, what we need to do now is I want to add another null object. Call this one scale controller. Then let's go back to the composition. Make sure we have this null object at the bottom of the layer, and then I want to parent this original controller to my scale controller. So if I go hit S on the keyboard, link the scale property, I can actually modify the scale of these four boxes together like this. And this way we can animate almost squash and stretch once the ball touches the boxes. So that's what we want to do. Let's go forward maybe ten frames, and we're going to drop this ball down to hit on the boxes. However, we're going to drop it down even further because I want to squash the boxes down as well. Once we drop this ball further down, let's go to scale property and hit P on the keyboard as well. Let's animate the position property here. Think that might work better instead of using the scale. Let's move it down like this. Okay. And then it's going to push it down. It's also going to drag my circle births down as well. So I need to go to circle burst layer, it P on the position property and drag this one to align with my main object here. So this is the motion that we have. Let's go to the curves editor for the position of the ball layer. We need a free fall curve here. So for the free fall curve, it's going to keep picking up speed until the end. So it's going to be an extreme curve on the right like this. Keep falling free fall. And let me copy the influence for the two keyframe and paste it onto the scale controller, as well as my circle burst. And now the three is going to have the same animation. It's going to drop down like this. That's good. And then let's go forward ten frames or maybe eight frames. We're going to bounce this ball up like this. And then once we bounce this ball up, we're going to move the circle first up as well so that my ball is still within the circle, is going to slide down the circle following this outline. And let's go to the scale controller as well. Once everything goes up. I want to add a scale property here. Let me move up like this. That's good. And then for the ball to slide down the circle. Let's go forward three key frames, one, two, three. Move the position of the ball here, and then go forward another three frames. Move the position to the bottom here. Go forward another three frames. Move it to here. Another three frames, move it to the top, and then let's do another eight frames, drop to the bottom again, and then let's do another five frames to bounce up in the center. So this is going to be my general motion path. However, I need to make it curved path. So let's go to pin tool, go to convert vertex tool, it on this vertex to make it a curve, just to make sure my curve is following this outline of the circle, like this. It's going to happen pretty fast so we can do it roughly. And if I want to move the position of the circle, I can just hit V on the keyboard and move these positions as well to better position them so that it's going sliding through this inner circle here. That's good. And the next thing we need to do is to adjust the curves. So let's analyze this one. Right now, we have this ball bouncing, so we have a bounce curve here, and once it hit, it's going to have a bounce curve on the right hand side as well. So the right hand side curve should look similar to the left to form a bounce curve almost symmetrical. So the energy is consistent. And then we're going to bounce it up to here. So basically, once it reached the top point, it's going to lose a lot of energy. And then once the ball goes down, it's going to slide and picking up energy. This point here, this is where the ball should have the most energy. So in order to make this point the fastest, we need to move this little dots all the way to the top. And in order to do that, if I move only one point here, the left and right handle is going to be broken. So I need to select two points here and then make sure I click on this, convert to Auto Basie. In this case, I can move both left and right handle altogether, and then just going to move all the way to the top. Like this. That's good. And then I'm going to also convert these points to auto Basie as well. Let's go back to the timeline. I also need to make sure the left and right keyframe of this keyframe right here is going to be converted right click into a rove across time roving keyframe. So basically, it means that it's going to be linked to the before and after keyframe, and then it's going to even out our value. If we go back to the curves editor, the speed graph, you can see, our curve become much smooer now. It's basically automatically reposition itself to form a smooth curve. Now we have a great curve that we can use for our motion path. And over here at the highest point, it's going to lose a lot of speed that's good, and then we're going to do a free fall curve picking up energy, so it's going faster. And then once it bounce back, it's going to be an extreme curve to the right. We're going to cut here at the end to the next scene. This is where our animation is going to be. Let's see what it looks like. And we need to over here, we need to copy these two keyframes, the easing and then paste it onto the circle burst so that my circle is following this ball here. Let's take a look. Yeah, that looks good. And then I can just add in the ecole effect to my ball two. It's an echo effect. Let's do 0.002, and then let's do 15 copy. And now let's see what it looks like. Yeah, I think that looks good. And right now you can see the problem is that our ball is going in front of the boxes. So we need to cut this ball layer. Once it bounce off, we're going to cut it from here, and then make sure the ball three is going underneath the square four so that it's going behind all these squares instead of in the front. And then we're going to keep animating this scale controller. We can copy these two keyframes, the easing onto the scale of the scale controller, and then we're going to just have the scale controller move down like this. So it's going to stay like this at the end. Something like that. Let's adjust the curve here. We're going to just do a easing curve in the middle like this. So the boxes are moving out of the way. And then at the final end, I need the box to move up again to do a match cut at the end. So it's going to be an extreme easing curve to the right, like this, like this, all the way to the right. And that's going to be a match cut at the end. Okay, that works. And then the last thing is that this circle thing that we need to take care of, need to animate the circle burst. I can make this burst a bit smaller like this. And then I think once it hit the first box, this is where I'm going to introduce my outer burst. I'm going to just go 0-107. So beginning is going to be zero. And then I also want to do a stroke width animation. Final stroke width is going to be like this. Strike maybe two points, and then the beginning would be strike 100 points. And then let's go re click, ease to adjust the key frame. Make sure it's easing in, like this. And then we can also cut it maybe right here and move it out. So we get a animation like this. Okay. I need my struck with to be pretty thick at the beginning. So let's do this. Almost like a bounce, and then it's triggering this the reaction of my outer circle. So that's our animation for here, the outer circle. I'm just going to align this position of the circle with the ball here, and then I'm going to move this circle up as well. To introduce this match cut at the end. So we're going to do an extreme easing curve to the right. Okay, that's good. So we got a match cut curve at the end of the circle burst, the scale controller, as well as the ball two. So let's see the animation. The only issue is that the scale controller over here, I think is scaling down too much. I can move it up a little bit. And then I also want to do a couple of more reaction when the ball hits the first box. So basically, I want these boxes to shrink into a similar size, similar width. Let's go to square one and four and then search for path property. Let's add a key frame on the path property once the circle hits the box. And then let me zoom in, and I'm going to change the width of these boxes to match with the first box. Okay. And then let's do square three. Then let's do square four. I see the animation here. I want this final hit can be a bit higher. Okay, I think that works. That's it with this video. We're going to finish up the scene in the next video. 18. Finishing Up Scene 4: All right, welcome back. Let's finish the scene in this video. This is probably the hardest scene in the whole project. So thanks for bearing with me. We're going to finish the scene in this video. Let's go back to Illustrator and get some elements inside after effects. We have these little elements that goes around this clock thing. Let me select all these. I can group these and then push them inside after effects. It's generating a bunch of layers. L et's precompose all these layers. Call these one clock pins. And then let's go inside this composition. The composition itself is not large enough, so we're going to need to make the width bigger to show all these little pins. Let's move this layer composition right above our circle birth layer. That's good. And then we can make this composition smaller. Move it so it's positioned correctly within our clock. I think that works. And then now we just need to find a place where we can rotate this one. And we also need to parent this layer with our circle burst so it's traveling with it. I think we're going to start rotating the. Let's go hit R on the keyboard, start rotating. Until the end, maybe just give it a one rotation. That might be too much. Okay, that might be too much. Let me just go ahead and maybe hide all these as in the bottom half, and then we're only keeping everything that's in the top half. So at the end, I want everything to be at zero degrees so we can see these pins at at the top and I say a keyframe here. And then go back to the beginning, I want it to be maybe somewhere around here. Let me make it a bit bigger 110. Then let me go to keyframe assistant. Easy Ease. Let's change it to an extreme easing, so it's like easing in to position like this. What if we just have one pin? Because I feel like it's still too much. Let me delete everything. Just have one. At the beginning. We're going to keep it at zero at the beginning. Move it down a little bit. So we got this one pin here. It's going to appear with my outer circle. It's going to cut in like this. And then it's going to start rotating. Add a keyframe here. And then once the ball hit the circle again, I'm going to add another key frame. It's going to get one fo rotation. Let's go to the graph editor. Right click Keyframe Assistant, e e. Let me change the graph. Maybe something like this. So it's rotating kind of with my main circle here. Okay, I think that looks good. And then let me go inside my clock pin. Let me turn on a couple more like this. We only keep three of them. What if we turn on a couple more at the bottom? So let's see. Okay, I think that looks fine. So I just need to make it a bit smaller and then reposition it. So it's right in the center of my circle. And then, let me just add in an opacity change from 0%. G 410 frames to 100%. Maybe something like that. Just see how many of these pins you want to turn on, and that's it for this parts. The next thing we need to do is we need to add all these little dashed lines inside my clock. So I'm going to duplicate this outer circle layer. U on the keyboard. I don't need all these keyframes. M is smaller, so it's inside this circle burst layer, and then I need to go inside to my stroke and then add a dashed line. Let's zoom in for the dash line. Let me click on this plus sign again and need a gap. The stroke width, we need to make it bigger. Maybe like let's do 100 points, make the dash thinner and then make the gap bigger. So that looks similar to what we have now. Let's go to S for the size and make it attached to this circle burst like this, and then we can move it down behind the circle burst. Let's also make the with a little bit smaller. Change it to 50 Yeah, I think that works. And the next thing we need to do is we need to animate with trim path, adding a trim path, and then if I togo the end value, it's going to animate from here, so I need to offset it so it's in the top. I want to offset it to start from the top, that's good. Then I'm going to add a keyframe on the start and end. So if I have the end at zero at the beginning, So this is going to be the beginning when my ball is just about to lie down the circle. And then the end would be the ball on the top, and this is where the end is going to be 100%. And then we're going to just go reli, keyframe assistant, easy ease. Try to match up with my ball animation. As if this ball is leading all these lines like that. And then I'm just going to change this stroke with bigger again a little bit bigger. Does that work? I can also tone down with the opacity. I do like 50% instead of 100%. Yeah, I think that works. And that's our clock animation. Maybe I don't want it to be attached to my circle burst, so I'm going to just go to size, make it smaller, like this. Okay, that might look better. A. And then let's tone down the opacity again to like 35%. Okay, that looks better. And that's our full animation in this scene here. And the last thing we want to do is I want to add another layer of movement with an null objects. And this one, we could call this one master control. And we can parent anything that doesn't have a null object on it with this master control layer. So select everything that doesn't have any parents. Ball three circle. First, I'm going to parent all these with my master control. I'm going to pull up the position and scale. So I wanted to start from right here, when it about to drop down and turning the camera, I'm going to hit a scale for a keyframe. And then once everything hits like this, I'm going to make everything bigger, like this. And then before it cuts out at the end, I'm going to shrink everything down maybe to 115, and then this one to 100%. So if we go re click, Keyframe assistant, esas. We're going to adjust the curve. First one is going to be easing to the right like this. And then the middle one, This, and then the last one is going to be extreme easing to the right before the final frame of the match cuts. Maybe this point is too big. I'm going to do 125, and over here, I don't know. Let's keep it 115. Let me see what it looks like now with a little bit of position scale change. I'm going to push it up. And then this one, I'm going to keep it to 15. That's too big it's already outside, so I'm going to change it to 100%. Let's try to move the position because I kind of want the circle to be in the center. Right now, the circle is moving too much to the top. So I kind of want to move everything down. Something like this. Let's try this position change if it works. I'm just going to change the curve like this to the center, and then the last one would be extreme rights to be a match cut. I think it looks better because I just want this circle thing to be in the center for the most part. And let's take a look at our animation so far. That's it for the scene. This is a very long scene, and you can take a break if you want, but in the next video, we're going to keep going with the animation. 19. Establish Main Action: All right. In this video, let's keep animating the next scene, which is going to be the Scene five. Let me go back to my illustrator file. This is going to be our scene five. Let's add these elements into after effects. Let me move this ball. And then I'm going to move the two circle. Let me move these elements here. And then I need this line here. I also need this line here. You can see it's overlapping with my previous scene, so I need to move this one forward a little bit, so it's not overlapping. I'm going to cut this scene here and then move to the next scene here. For the new scene lets select all the layers, change it to different label color. Let's change it to green. And you can see this line is not continuous, so we need to use a pin tool to drag this point all the way up, so we have this line. That's going across the circle extending to the fool. Length of the scene here. And now we're just only missing the grid, but we're going to do the grid inside after effects. So it should be fine for now. These are all the elements we need for the scene. I need to find this ball layer, call it ball, and then move it all the way up. I can change to make this deep globe layer on the top here. We're not using it right now, so I can hide it. First, I want to animate the position property of this ball here. H P on the keyboard at a position property at zero, or at the beginning, I want it to be shooting up, so it will be staying down at first, and then we're going to do maybe let's trike three frames, one, two, three, move it up pretty quickly, and then it's going to take another eight frames to settle into the center position here. Then after it settles, we're going to have this line in the left corner, left bottom corner shooting up to going across this ball here. And then once it settle a little bit, we're going to have another line just shooting this ball down. So we're going to have maybe another four frames, one, two, three, four, just to have this ball move slightly down a little bit, another eight frames. To be pushed by this line pushing down, and then we're going to do another couple of frames, recoil back. So this is going to be the line animation. Let's do a easy ease and go do the graph editor. We can adjust the curve a little bit. We're going to do extreme left easing because this is the beginning of the match cuts, and then we're going to shoot this part here to the left. And for the middle, we're going to do a easing in the center and the last position, we're going to do extreme easing to the right because it's a match cut going outside. Let's see if that works. Let's move this curve here. I need this point to have the fastest speed here. So it's going to be pushed down by this line. So we're moving this middle position up, and then we can drag this handle back. So over here, this point has a higher speed. It's being pushed by this line. A. And then it's going to go up at the end. So I think roughly the animation works. I just need to time it with my line animation. Let's find the line here. So this is going to be my line one. And then all we need is to add a trim path effect. And then we can animate the end position. Let's do zero at the beginning. And then let's do maybe 12 frames become 100%. Let's go ahead and ease the key frame. Let's go to the graph editor. I want to change the graph. Let's do a influence at the beginning, could be 40%, and then let's do a bigger easing at the end, maybe, like, 95%. Or, let's do 100%. Over here, let's do 3,100%. Let's see how that works. I need to pair in this line with the circle. So let's go to line one and then pair it to the ball layer. When the ball comes in, I want this line to shoot out to go across this circle here. I think that works. And then I also need to pair in this other line. Let's call this one line two. Let me parent this line to the circle as well. And let's add in the trim path defect as well. Just copy the trim path, paste it in, hit you on the keyboard. We're going to have the keyframe already. I think overall it actually works already. So I want this other line to come in while the circle is being pushed down. When the line cross a circle like this, the circle is being pushed to the bottom, and then it's going to recoil back. That works. I think the only adjustment we need is we need to make this line more visible here. Right now it's really hard to see. So let me change this to a different darker blue color. That's easier to see, and then we can extend this line, so it's still going outside of the frame. While being pushed down. Yeah. Let's go add the echo effect to the ball layer. And then let's 2.002, and then echo let's do 15 copies. I think we need to tie these two scenes. I'm going to move every backward by one frame. H. The issue might be the starting position of my ball in the 15. So we need to move this circle up more, so it's starting from here instead of all the way from the bottom. Everything is moving up here, that's good, and then we have the circle come up like this. So let me move everything backward for one more frame, and then we can cut one frame. So when it comes in, ball is already moving instead of starting to move. And there's some overlap, so I need to cut my previous layers. Look, all these layers from my scene four, I need to cut one more frame from that previous scene here. Yeah, I think it's connecting better now. And for the ball, we need to change the echo operator to maximum. So we're still showing the original color of my circle in the fifth scene. That's good. And then now we just need to animate the grad animation in the background. Let's go back to my first scene here. Let's go copy my grad animation layer, which is the first ever layer in this project. Copy that. And then let's paste it onto here, move it all the way back. Change the label color to green, and then hit you on the keyboard to show the keyframe. We don't need this many keyframes. I'm just going to delete the middle two key frame. And then let me drag these key frame like this. I'm going to only have two keyframes for each side. Let me also align with my animation on the ball better. I'm going to just for the width, I'm going to finish the width animating from here, and then I'm going to start the height animation, and then it's going to stop it's over here. Let's take a look what it looks like. I think that works. Let's go to the graph editor. It's already got the pretty extreme easing curve. I can drag it a little bit further to give it more slowing down at the end. Yeah, I think that works pretty well. That's our action of the scene. Basically, we have the two lines animating with the circle in the center, and then we have the background grid animation. And in the next video, we're going to work on the secondary animation. 20. Reaction & Secondary Animation: So this first scene is a very short scene. We don't want to spend so much time on it. Let's quickly finish the secondary animation in the scene, so we can finish this scene up. Right now, we already have the main action, which is the ball, the lines, and the backgrounds. And let's do a animation on these circles here. We've got the circle one here. Circle two. Let me move these two all the way up. And then for the circle one, let's go inside the scale property. Let's just do a scale change. It could be starting from zero, and then when it hits the circle, when the line hits a circle it is going to cause a burst over here and then it's going to become 100%. From zero at the beginning to 100%. And maybe it can overshoot to 120 after three more frames, is going to go back to 100%. So now we have 021 20, two 100%. That's a easy ease. Going to change the graph like this. A general easing. Maybe 122 big. Is st 110. Let's see this circle animation on its own. Let's move this keyframe here. We need to make this gentle. And then we can cut the layer while it's still small. So when it first come in is big already. Let's try that. Let's see how it works with my animation here. Yeah, I think that works. And then let me copy the three key frames pace down to Circle two. For Circle two, we're going to cut the layer over here as well. And then let me position the circle two while the second line hit my circle. We're going to have the Circle two burst out. Something like that. However, I still think the animation is too fast, Let me just try to ease out these key frames. Give it more time. Yeah, I think that looks better. And also, we need to parent the two circles with the middle ball here. Just right before it moves. So I'm going to parent these two circles to my middle ball here. And that's the animation. Let's tone down the transparency of the grid. I think it's a bit too heavy. Maybe change it to 50% of transparency. Just make the background a little bit faded. Yeah, I think that looks nice. And then we can animate these two little elements here. Let's just do position animation. We're going to have layer ten parent to layer nine and then layer nine parent to layer eight. And then for layer eight, we're going to do a position change. At the beginning, I want it to be just on the left hand side outside of the frame. And then it's going to come in with these grid lines here when the grid settles in position. I kind of wanted to move it to this position here. And then we can actually copy the easing of my grid. Let me go back to my grid and then show the key frame. Let's copy the easing. Paste it onto my layer eights. It's going to come in with my grid. And also, I want to do a couple of rotation animation as well on these three different layers. Let me zoom in. Further rotation property. Let's do a 90 degree rotation on the first and the last layer. And then in the middle, I want to do a negative 90 rotation. So they actually rotate differently. And for the easing, let's also copy the easing from my position property, paste it onto all the rotation property. Let's take a look. Let's change all the rotation to 180 in instead of 90, and then this is what it looks like. It's subtle, but you can see there's a rotation when it's coming in. I think that's good enough. That's good for now, and let's do the same thing for the three layers. I'm going to parent the seven to six, and then parent the six to five. Let's do only a position property change. At the beginning, it's going to be at the top and then it's going to drop down all the way down here. And then in terms of rotation, I'm just going to copy the rotation of these key frames and then paste it onto d three layers. Like this. And now we have a different set of secondary animation over here. However, these elements is going to come in with the other side of grid, so I'm going to time it with the other side of grid here to align with these two key frames. Let me move the layer position to here. So it's not in the same column as my layers over here. I think that works. It's a short animation, so we can just cut it quickly. There you go. This is our scene five animation. If we play everything. We're going to cut this layer right here, so let's play everything from the starts. Even right now, you can see it's connecting with the first frame, almost like a seamless loop. However, the position of the ball is a bit different, but you get the idea. We're going to keep animating in the next video. 21. Animation with Simple Physics: T. All right. In this video, let's keep going with our animation. Let me go back to our storyboard. This is going to be the next scene that we're animating. Let me first bring these elements inside after effects. We can do this middle bar here first. Let's try to do that. And then we can drop this ball in. That's good. And then we can select the grid. It's going to make a bunch of layers, but let's select all the grid layers and then precompose. Call this one grid top. That's good. And then we can do a grid bottom here. That's good. And then we're going to cut this layer or move everything forward. So it's not overlapping with my previous scene. I'm going to cut all the layers of the previous scene. And then in this new scene, I'm going to change the label color to maybe a peach color. So it's different from the previous scene here. That's good. And this is going to be all the elements we need for this scene. I'm going to rename this one to Circle. Rename this one to the bar. So for this grid right now it is exactly the same size as my composition. I'm going to go to scale, change it to 125, make it a little bit bigger. That's good for now. And then I'm going to move bottom one up a little bit. I I I I hide these two, I'm going to just try to attach these grid together to the center of my composition, so the two lines are kind of aligning together like that. That's good. And then let's go ahead with the animation. First, we can animate this middle bar here. Let's do a scale change, Unlink the property. Let's add a key frame, M zero at the beginning. And then go forward eight frames. Let's try to do maybe 150 as an overshoot and then go forward five frames, one, two, three, 45. Change it back to 100%. So we have an animation now. Let's go to easy es a key frame. Let's change it to an extreme easing to the left because this scene is coming from the previous scene and we're going to do a match cut. So the energy is already there coming from the last scene we have. And then for the second part, we're just going to do another extreme easing to the other side. And this is going to be our curve. Let's try the animation. That looks good. Let's move the circle and the bar on top of the grid layer. That looks good. And then let's do a scale and position change of the circle. For the scale, let's just do a zero to 100% scale. That's good. And then we can copy the easing on these two keyframes, put it on the circle. And then for the position, let's just go direct click separate dimension. We're going to only do the y position. At the beginning, I want the circle to be really down, maybe like around here. And then it's going to come up here, and then it's going to drop down again to the center of my screen, and this is going to be the animation. It's going to go up and then come down. Let me copy the easing on these key frames. Paste it in. Let's take a look at the animation. That looks pretty cool. So we have this ball coming up from the previous scene, and this is going to become this new circle in my scene six and then shooting up, dropping down. That's good. And then next thing, we're going to animate the grid line here. For the grid line, I kind of want the grid line just to move with the yellow bar that we have when the yellow bar increases the size. We're going to have the yellow bar to push the grid line outside. So if we want to do that, let me just do a position animation for the grid. The P on the keyboard. And then let's just add a keyframe here. At the beginning, it's going to be like this. And then around this second here, I'm going to move this one down. Here to align my top of the grid with my yellow bar, and then I'm going to move the top as well, to align it here. And then after the yellow bar comes in, I'm going to just move everything back to its original position like this. Just copy the first key frame. And then we can just do the same easing, copy the easing, paste it onto these key frames. Let's take a look. Now you can see the scale bar is pushing my grid outside when it scales up. That's the reaction of the animation. Basically. We have the action, which is the main animation, my circle and the middle yellow bar here, and then the reaction would be the grid that's being pushed by the yellow bar when it's scaling up. That's good. Then let's try to add a null object. Call this one grid scale. And then we're going to pair the top and bottom grid to the scale. That's good. H as on the keyboard. We're going to do a scale change for the grid as well. So let's say at the beginning, if the scale is around 85, we're going to have a smaller grid. And then when it when everything is popping up, I want the grid to increase in size as well. So let's try, like 110%. And then it's going to go back to 100%. So that's another extra layer of animation. Let's try to copy the easing again. So we're using the same easing information for all these keyframes. Paste it in, and let's take a look. You can see there's a scale change of the grid. And the problem is this grid here is showing one line for the bottom, so I need to move the position in a little bit to go behind my yellow bar again. This top as well, just hide it behind the yellow bar. And you can see it's more dramatic because we add a scale change of the grid when the animation is happening. That looks good. And then let's keep going. After this move, I'm going to do another null object. Let's call this one rotation. Put it on the top. And for the rotation, let's parent everything to this rotation null here. Everything that doesn't have a parent. So we're going to do only the three layers because the other two has parent already. And then we're going to do a rotation change after everything settles in place, on the keyboard. Sco 48 frames. And then let's change the rotation back to do a anticipation. This is going to be an anticipation. And then after the anticipation, right now you can see the edge of my yellow layer, yellow bar, so I need to make it longer, so it's bleeding off my screen here. And then sc four maybe 12 frames. L et me change the rotation the other way. So we're going to do a 490 degree rotation. Everything is going to be straight up and down. That's good. So that's my rotation animation. Let's go easing the key frame, right click. Easy Ease. And then we're going to adjust the curve a little bit. Let's do a maybe like 5% at the beginning, and then let's do maybe like 94 95%. Over here, and then that's going to be a anticipation, moving to the opposite direction and then rotate the other way. And for this one, let's do a percent or 5% influence and the other way, we're going to do like full 100% influence. So it's going to be like this. We're going to reach the top speed at this point over here. So that's my rotation animation controlled by this null. And I also want the circle to interact with this rotation, right. So for the circle or for the ball, I actually want this ball to move to the left. So let me hit a keyframe on the position, and then it's going to move down because there's some overshoots, and then my space is slanted, so this ball is going to slide down first. And then when it rotates, it's going to move all the way down. Over here. Something like that. However, you can see if I toggle my timeline indicator, I kind of want my bow to still stay really high when the rotation is reaching this point here. So I need to move this keyframe all the way over here. And then let's adjust my curve, keyframe assistant, easy ease. Just want to make sure my curve is making sense. So we're going to do a easing like this. Let's try a similar easing to my rotation curve like this. And then it's going to hang around this point here. And then we're going to do a falling curve, which is going to be picking up speed all the way. It's going to be 0% of influence at the last key frame, and then we're going to do over here, probably, like, 90% of influence. Or let's do 80. Let's try 80% influence here. Let's take a look what it looks like. Yeah, I think that makes sense. So we have this ball to slide to the left, and then when the rotation happens, the ball is still going to the left. And then once everything has rotated 90 degree, the ball is going to do a free fall animation here. And now the only thing I want to do is when the rotation happens, we want to also add a bit of scale change for the grid. So let's try to do this grid scale layer again. Let's add a key frame over here, nothing is going to change around this point. And then let me just unlink the property here. That's going to change to 150 from 100% to 150. And then let's do a curve. Ease it to the left like this. I feel like it's not that obvious, so let's try 170. So the grid is going to become really big. 200. I like 200, I think. And for the circle here, let's add a echo effect. So change the time to 0.002, and then copy is going to be 15 copy. Let's try maximum. Let's see the animation here. Okay, there's some problem over here, so I need to do a keyframe to interfere with this property here. Basically, let me change the number of echos here. We're going to only have 15 copies over here, and then there's one frame before. We're going to change it to zero copy. That's good. And then over here at a key frame before this frame, we're going to do 15 copy. So we still have this animation at this lighting here, and then we're going to delete the animation when it's rotating. And then when it's falling, we're going to have this smear effect back again. That's good. Next thing, let's add a little bit of stylization for the circle. Let's go to ayer styles. Let's add a drop shadow for the drop shadow. Let's change the opacity to maybe 10%. Then we can make the descent bigger, like maybe 20 for distance. And then we can make the size bigger, try 30. Yeah, you can see there's a slight drop shadow that works. And then we can add a inner glow. As well. Let's make the globe color into a white color, and then we're going to do change a little bit of the settings. So just adding a little bit of inner glow and the drop shadow to make the circle more obvious in the scene. All right, this is going to be our animation. That's it for this scene, we're going to work on the next scene in the next video. 22. Simple Geometric Animation: Welcome back to this video. Let's keep animating the next scene. First of all, I want to change the color of the previous scene into the same label color. Let's change everything to peach, and then we're going to cut the layers over here. So the next frame, we're going to introduce the next scene, which is this one. Let me bring in all these elements into after effects. The circle here, and then we're going to have this middle circle, and then we're going to have this middle ball here. Move everything forward. We can keep it in the blue color. That's good. Call this one ring one, Ring two, middle circle. And then this one is the main ball here. That's good. First of all, let's focus on this ball animation. I want this ball to drop in from the top. So we're going to move this ball all the way to the top, hit a keyframe on the position. Go for five frames, one, two, three, four, five, and then this ball is going to just go all the way down to hit the bottom of the circle here. Let's go for another five frames. It's going to bounce up a little bit. And then maybe another five frames, one, two, three, four. Or let's do four frames is going to fall down again to the edge of this circle. And then we're going to do the similar animation that we did before with this ball just going inside the circle, sliding inside the circle. Let's go forward. Maybe 12 frames. So we're going to have this ball go all the way to the top, and then let's go for another 12 frames. It's going to go down around here. And then let's do another five frames, one, two, three, four, five. We're going to have this ball to go in the center again. And then remember how we need to change these anchor points, go to the convert vertex tool, drag these curves so that we can form a circle. Just need to modify the motion path. So it's basically going inside this big circle here, following this motion path. I need to adjust this one handle on one side, so I need to hold down command and then click on one handle, so I can adjust just one handle on one hand to break the handle over here, so this curve is coming in from the side here. That's good. And then let's try to go inside the graph editor. Let's add some easing to this animation. It's going to drop in as a falling curve. So we're going to have a free fall going really fast at the end, and then we're going to do a bounce curve. So it's going to be almost symmetrical to my falling curve, and this is going to be a bounce curve. And from here, it's going to fall again. Let's do a falling curve again, like this. And then over here is going to carry all that energy. Going upward, and then at the top point, it's going to be the slowest. So since it's the slowest, we're going to just do a flat curve around here. This is going to be pretty flat because it's slowest point, and then we're going to do another following following the sliding down the circle over here, and then we're going to do another bounce again here. Almost symmetrical. So the bounce curve is symmetrical on both end, and this is going to be our curves for this animation. Let's take a look. I think I don't want the speed to completely lose around the top point. So I still want a little bit of speed at the top. So to do that, I might need to move this handle up a little bit so that it doesn't lose all the energy at the top point here. Let's try that. Okay. Not working, let me pull it back towards zero. Still not working. I just need to drop this curve really down to almost zero, but not exactly at zero. Make it really flat like this. I think that works. Okay, that's working. Now, if I copied the echo effects on the first circle in the previous scene, we can put on this ball here. Let's take a look. Yeah, I think that works. Now that we have this ball animation, let me go ahead and add a null object. And then we're going to parent everything to this null. Change the color of the label to blue. Let's only do a scale change for the null. At first, I wanted to be maybe make it really big 120. And then once the circle drops, like this. It's going to trigger a scale change, make it a little bit smaller, maybe 75%. And then after the circle hit the top point over here, we're going to do another scale up again, like 115, and at the end, we're just going to do another 75, at the very end, everything is going to zoom in to the center, so we're going to do it like a really small 35. And that's going to be my keyframe for the null object. Let's go easy key frame. And then let's adjust the curve a little bit. Just adjust everything to the center. It's going to zoom out and then zoom in. Just everything to the center. And the last one is going to be extreme easing. I guess, we're going to do a match cut at the end. Okay, so since we're doing continuously zooming out, this part here, I think we're going to Let's try to add the extreme easing to the second last point, second last keyframe, and then we're going to leave this keyframe like this. Let's try that. I think it might work. We're going to see how it works with the next scene, but right now I'm going to leave it like this. And then we're going to cut at the end. So that's the null object controlling the scale property. That's looking good. And then we're going to just do a simple animation on the. I think what I want is, first of all, I need to change the position of the anchor point to the bottom. And then make ring two to the top. For the scale at beginning, I wanted to be pretty big, maybe like 400%. And then we're going to follow the same momentum as my null object. We're going to do like 150, when everything is shrink down, and then we're going to do another 400 over here, and then go back to 150 again. Something like that, and then we were just going to copy the easing of my null object pasted onto these keyframes. Let's say, look. Yeah, I think that works. And the last thing we need to do is to animate this glowing gradient inside my circle, so it's moving with my ball to give it more momentum. So let's do that. First of all, let's locate where the middle circle is, and then let's go inside to the gradient fill. We need to animate the start and end point of the gradient. At the first point over here, we're going to have the yellow at the very top like this. And then when the ball hits the bottom, we're going to have this yellow to come down, and the green would be just going up a little bit to fill all the space on the top. Like this. That's good. And then keep going over here, nothing changes. Let me add two keyframes. And then over here, yellow is going to move with this ball here. Green will stay as it is for now, and then once the ball is moving to the top, yellow need to follow it, and the green need to be in the bottom. However, I still need to track this ball here. So basically, around this point, I'm going to just move the yellow to the head of the ball, move the green over here. And then at this point, like this. And then over here is going to be like this. Okay. That's good. And then go forward. At this point here, the ball is hitting around this base here. I'm going to move the grain to the other side. However, I still need to track this ball. So once the ball moves here, I'm going to just do track with my gradient starting point with the head of the ball here, and then make sure my green is filling the entire space. Like this. And then it's going to be like this. And at the very last second, everything will just go into the center. So the green is going to be like this. And then at the very end, I want it to be like full yellow, like this. So let's take a look at the animation once we have all the keyframes tracking the position of my circle with the grating color. Yeah, I think that looks pretty cool. There you have it. That's the end of the scene here. That's the full animation we have. And the next video, we're going to animate the next scene. 23. Natural Eye Animation: We'll come back to this video. Let's keep going with our animation. We only have two more scenes left, so we're almost there. Bear with me. First, let's cut the layers from our previous scene to match with the last key frame, and then we're going to transition to the next scene from there. Let me go back to Illustrator. This is the scene that we're animating in this video. So let's bring these layers into after effects. We're going to do it from the bottom up. Let's do this gradient color here. This is going to be the gradient background layer. And then we can bring the gradient. Let me group all these layers together, call it grid, and then we can bring this shape here, call this one shape two. Let's do this one. This is going to be Shape one, and then we can bring the i shape here inside after effects. This is going to be the eye layer. We have the iris, and then we have a pupil. And the last one is a little reflection that's on the pupil. We call this one reflection. That's all the layers we need. Okay, that's good. And then, let me select all these layers in this scene and then change the label color to a different color. Maybe a yellow. Move everything forward. That's good. And if we go back to the previous scene, let's take a look at the animation. Everything is coming into the center, and we have this little circle that's coming into the center to hit this big circle, and then everything is shrinking down and become yellow. So in terms of the transition, I want this yellow circle to become the pupil of my eye in the next scene. So what I need to do is to match up the motion from the previous scene. In that case, we need the pupil to shrink in size. So let's go to scale property. Let's hit a key frame, go forward, eight frames, maybe. And then make sure after eight frames, it's going to become 100%. And then before we can change the scale to 150. It's going to be pretty big. And let me re click, keyframe assistant, easy ease. Since it's a match cut, so we're going to have an extreme easing curve like this to the left. And this is going to be my animation. It's hard to see right now. Let me move all these layer one frame forward. Now we have the pupil animation. Let me also do the iris and the i first. I think for the i, we're going to just use the same animation as the pupil. So the ei is going to shrink in size as well. We can just copy these two keyframes and then paste it on the i. Make sure to move and align these two keyframes together. And then for the iris, I'm going to do an opposite animation. Instead of going from a bigger size, I wanted to come up from zero. And for the easing, we're going to do the same easing, just copy the easing, and then paste that onto the scale property of the iris. And then we have this reflection. Let me copy the scale property from the iris onto the reflection. That's good. And then let me also pair in the reflection to the pupil. My reflection is always going with the pupil. I think the reflection might be a bit too big. So let me make the size a little smaller like this. That's good. Let's take a look at the animation now. I think it's pretty smooth. And the next thing we need to do is after everything lands, I want this eye to look to the right and then look to the left and then come back to the center. So first, let me zoom in for the pupil. In order for it to look to the right, let me go forward ten frames, H P on the keyboard for the position property. That's add a keyframe on the position. So it's going to stay in this position after ten frames. We're going to have the pupil to go to the right, and then another ten frames or maybe 12 frames, go to the left, and then let's do another 15 frames coming back to the center. Let me go to keyframe assistant Easy Ease, and then we're going to do some easing on this e animation. I want this one to be pretty smooth. So let's do a 100% influence on the left and then try 25% influence on the right. Let's see what the animation looks like with this curve here. This one can come down a little bit. Yeah, I think it might work. So let me also animate the iris and see how they look together. Let's go to the position property of the iris. Hit the stopwatch here at a que frame. And then for here, I'm going to just move the iris to the right as well to align with my pupil like this. And then the final position would be the iris coming back to the center. Let me copy the easing from the pupil and then paste down to the ris. Let's take a look. A Yeah, I think that works. Another thing is that I don't want the pupil and ris to be going outside of my eye. So I need a set matt effect. Let's put a set mat effect and make sure we select the i layer as the mat so that no matter how big this eye shape layer is, if I just make it smaller, you can see my pupil and ris is still inside my eye layer. So that's the set mat effect. And as my pupil is moving, I want this i to be moving as well. So we're going to do a bit of skill changes for the e. Let me unlink the X and y scale on the i. And then once the pupil comes over here, I actually want the eye to maybe squint a little bit to be smaller like this. It's looking over there, and then one is coming to the other side. I want it to come back a little bigger. And then maybe what we can do is we can do a little blink here, just do 0% on the y scale, and then go forward, another three frame is going to come back to this original position. So we're going to have like this here. And you can see my reflection is left outside. So I need a set mat on the reflection as well. Make sure it's also using the eye as a mask. Okay. So my eye is closing over here, and then it's coming back to the center everything, and my eye can be a little smaller here. So I want the blink to happen a little bit later. Once everything about to come back in place. So I'm going to move the three key frames forward for a couple of frames. Like that. I think that works. And at the beginning, when everything comes in, I want my eye to have a little bit rotation. So let's go to R rotation at a keyframe and then make sure to align with my original scale property keyframes. So this one, I want this rotation to be 180 or like Let's try 180 degree. Let me copy the easing. Paste it onto the rotation. So 180 is too much. Let's do 90 degrees. I'm going to also drag it outside a bit more. So you can see there's a very subtle rotation change when it first comes in. Okay, I think that works. Yeah, that works. So that's the eye animation. 24. Background Elements: After we have this middle center main action, let's do some other secondary animation around the scene as well. So first, let's do this shape one. H it as for the scale, link the property here. And for the shape one, I need to change the anchor point to the bottom over here, and we can just animate the scale property, it a keyframe here. It's going to become 100% over here at the beginning, it's going to be zero for the Y scale. So let me copy the easing from the scale property of the y, and then paste in the easing as well. Once the I come in, I want the shape to shoot up like this. I think that should work. Let me copy these two key frames command C, and then for shape two, I'm going to change the anchor point to the bottom again, link the scale property, paste in the key frames. And in this case, I'm going to instead of animating the y scale, I need to animate the x scale. So at the beginning, it will be zero on the x, and then 100% like this. It's going to go horizontally. We can also move this keyframe further. Yeah, I think that's fine. We might need to adjust the gradient a little bit once we finish the animation. Or we can do it right now. Let's go ahead and take a look at this gradient here. This is a gradient that's coming from the illustrator file. So I just want to make sure we're capturing the gradients. From the illustrator file. We have this handle here that's the top, and then we need to drag this handles on the bottom all the way to the bottom of the shape here. Same thing with this one. Click on this grading editor, click on, and then you can see there's a handle over here. I'm going to put the top handle on one side of the rectangle shape and then the other handle on the other side here. Just drag it to the bottom like this. So there's a bit of variation between the two shapes. I think I like that better. That looks nice. That's good. And then we're going to animate the grid here. We're going to change the anchor point to the top. We're not the top. Let's put it over here. Just right behind the eye here, and then we can do a scale animation as well. 0-100%. For the grid, we actually needed to shrink in size. So instead of from zero, let's do from 300. Then coming back to 100%. So in terms of the easing, we can still copy the easing from all the other layers. It's going to be the same exact easing like this, extreme easing. Let's try this. We can actually move this keyframe further a little bit. There's a little more time to have the grid just settle in place while the e is still animating. Yeah, I like that. Let's do the gradient as well. Still the scale property. Make sure we have the anchor points to the top corner of this grading color. And then this one is going to get bigger. So let's change from 30% all the way to 100% like this. Let's copy the easing, paste it onto the scale property. And then we need to change the color. So click on the fill, click on. Zoom in. We need to modify the color here. So this is going to be the one side of the gradient, and then the other side would be just around here like this. So the whole gradient is kind of spreading out when it is coming in or popping in, like this. Okay. Let's see the animation for now. Yeah, I think that works. Once we have the deep globe effect, it's going to look much nicer. There's just going to be one more thing that I want to add, which is a null layer that controls the whole eye animation, just to add one more layer of complexity. Let's add a, change the label color to yellow, call this one I control. And then we compare the iris and ei onto my null objects. That's good. And then at the beginning, when everything is coming in, S on the scale property, I want this I to become a little bit smaller, maybe like 70%. And then when it's looking, I wanted to go back to maybe around 90%. So at the beginning, it will be 150 and then become 70, become a little bigger once looking. And then at the final animation, we're going to have this I just zooming out, becoming smaller to transition to the next scene. So we're going to have from 90% of scale to maybe 30% of scale at the end. So let's try that. Right click, keyframe assistant, es. So for the easing on coming in, it would be the match cut extreme easing, and then I'm going to do a curve like this. And the final would be another match cut going out, so it would be extreme easing to the right. Let's see what it looks like. I think it's popping too much, so I need to move this first key frame outside to give it more time, so when it's coming in, it's already pretty small. It's not that big. Yeah. I think that works. And now that my eye is becoming smaller at the end, I also want to add another not object to control my background. So this one would be the background control, and then change it to yellow again, put it right underneath all the eye layers. And then we'll compare the shape, the gradient, and the grid to the background control. Just to match up with my other null, the last two keyframes, it S on the keyboard. We're going to make everything bigger in this case, just like zooming in like this, and then we're going to copy the easing like this over here. So we can transition out to the next scene here. And you can see right now, I need to put my grid and the gradient on top of my shape here. So my grid is complete covering the edge of the shape layer on top. There you have it. That's all the animation we need for the scene. And in the next video, let's get started with the final scene animation, which is going to be a little bit complex, but you're going to learn a lot of things from that scene. So stick with us and I'll see you in the next video. 25. 3D Cube Animation: All right. In this video, let's work on the last scene. Let's take a look at the last scene from the storyboard. Essentially, we're going to animate this cube first and then we're going to animate the grid later on. Let's take a look at the cube. Let's create this cube inside after effects. First, let me cut these layers from the previous scene, all the yellow layers, and then just cut it at the last frame. Then, what we need to do is let's draw a rectangle. And inside the rectangle, I need to change the size to 300 pixels by 300 pixels. And then I can lock this size property again. Call this one front, and we have a front of the cube. Let's make sure we get this fill color right. I want this yellow on the left end edge, and then I want this green just to go diagonally. This is going to be one side of my cube. That's good. And now make sure the anchor point is in the center of the cube, and then I also make sure the cube is right in the center of the composition. Let me go turn around this three D layer here. Then we need to go to this view here, change it to two view so that we have two views in the pre view panel. And then for the right hand side, we're going to change this view to a top view. And you can see this top view, we have one thin layer of this front cube. And now we just need to duplicate this front cube, C D, go to position property. I'm going to enter in the Z axis a full width of my square. Over here, we're going to put in 300, so this is going to be pushed back 300 pixels. Form the back of the cube. So we call this one back. And now let's duplicate the front again, go to position. We're going to push 150, just half of the square size. It's going to sit in the center, and then we're going to go to rotation. We're going to turn the y rotation 90 degrees. Essentially, we're going to add 150 pixels to the x axis, and now you can see it is pushed to the right instead. So this one would be my right panel of the cube, and then let's duplicate that, P on the keyboard, and then we're going to minus the 300 pixels, so it's going to be pushed to the left to form my left side of the cube. And now you can see I have my front and back and left and right. And you can see that from the top view here. Now I just need a top and bottom. Let's go to duplicate the front again, from the position. I'm going to push this 150 pixels to the center. I need to rotate this one in the x rotation, change it to 90 degrees, and now we have this surface facing up. This is going to be my top. However, I still need to push this surface up because right now it's in the center in my front view. So I need to push this one up 150 pixels, so I'm going to minus 150 to push it up. And then this is going to be the top, duplicate again, P on the keyboard for the y position. Let's add 300 pixels. So it's going to be pushed to the bottom, and this is going to be my bottom layer. And now we have all the surface of my cube. To animate the cube, we need to create a null object, let's go create a null object. This one is called cube control. We need to make sure this null is right in the center of the cube. First of all, we need to make this null a three D layer. We need to push this up in the Z position. So it's going to be 150 in the Z position. So that my null is right in the center in the top view, and also in the front view. Select all these surfaces and parent it to the null. And now, if I go to hit R on the keyboard and rotate this cube from the null object, you can see, we have a cube now inside the preview panel. Next, we just need to animate this cube. Let me move all the layers forward. And then if I want to animate the cube, I'm just going to delete the two views, make it one view again. This is going to be the active camera view, which is the front view. And first, I want to add a scale property to the cube. Let's go forward 12 frames, 50% to 100%. And while this cube is coming in, I also want to add some rotation, maybe do some x rotation and it rotation. So when it's coming up, I wanted to rotate this way, and then maybe rotate like this over here. That's good. And then let's go forward another ten frames. We're going to have this circle drop down again to 50% of scale, and then it's going to keep rotating. We're going to keep rotating a little bit. And then let's go forward in another 12 frames. It's going to go back to around maybe 75%, and then we're going to have this cube, keep rotating like this. So it's going to return to this flat cube again at the end. Now I just need to go select the rotation. And then as R click, Key from assistant, Easy Es, go to the graph editor. Remember, at the beginning, it's going to be a match cut. So I'm going to do an extreme curve to the left, introducing a lot of energy at the beginning. And then this cube is going to rotate like this. I'm going to do a smoother curve over here, give it a 80% of influence, and then I'm going to do another maybe 80% of influence over here. I also want to make sure this point, I don't want the speed to be zero, so I'm going to move this point up a little bit to introduce a little bit of speed. Let's see what that looks like. I also need to apply these easings onto my other keyframes over here. I'm going to use this ease copy here, copy the easing. And then let's preview this. So I need this one to bounce up again. So it's going to be 100% again. Rotate. It's going to bow down. Be really small, maybe 25%. I want this one to be a bounce curve. Almost like this cube is bouncing up again. So I'm going to change the curve to a bounce curve like this. Let's see if that's going to work. I'm going to copy the easing again and then apply it onto my other set of key frames. Almost like that. I think that might work. So the cube is going to come up and rotate like this, and it's going to drop down. It's going to come up and rotate again. All right, this is going to be our cube animation here. It's going to be bouncing up and down and also rotating like this. That's good. In the next video, we're going to work on the background grade animation. 26. Grid Animation with Repeater: Now, let's work on the background grid animation, since we already have the cube animation here. Let's hide the cube for now. And then I just want to focus on the background grid animation. We're going to have this black screen here. Let's first draw a line that's pretty long that's going across the whole scene here. And then let me delete the fill of the line, change the stroke to white color, and then make the line maybe three points. That's good. That's my line here. And then I need to go to add a repeater inside the content. Add a repeater. There's going to be repeater one. I'm going to do 15 copy for the repeater, and then go down to transform, change the position to be 100, and now I'm going to have this line repeating all the way to the bottom of my scene here. And the next thing I want to do is to add another repeater. Let's go add another repeater. Under content right below the repeater one. I'm going to add another repeater. For this one, I'm going to do actually four copies. And then inside the transform repeater two, I'm going to change the position of x to zero, and then let's change the rotation to 90 degrees. And now you can see we have a grid that's filled the whole space. Right now, I feel like these grid are too close to each other. So let's go back to the repeater one, change the position of the first repeater to 200 pixels. So that we have a much bigger boxes for the whole grid. So to animate this grid, we need to go inside to my original line here. And then we can go down to the shape one. Let's go down to the transform property of the shape one. Just locate the scale property. We can unlink the scale property. And at the very beginning, I can change this X scale to zero, and then let's go 420 frames, change it back to 100%. And we're going to have these lines draw on like this. Let's go click frame assistant, es Es, let's do a smooth easing curve, 100% influence on the right hand side, and then we're going to do just a 35% on the left. That's good. And then we can go inside the repeater one and then locate the scale property again, and link the scale property. Let's add a keyframe on the scale property and the repeater one, change it to zero to 100, and then we're going to do a same easing from here, just copy the easing, paste it onto these key frames. After we add the scale animation on the repeater, this is what it's going to look like. Pretty cool, yeah. And next thing, I just want to add a rotation property in the overall master transform property under the whole layer. So I'm going to go to this outside transform property at a rotation. It's going to be 90 degrees at the beginning and then rotate back to zero. Let's also add a easing to the rotation. I think it's too fast at the beginning. I'm just going to slow it down a little bit like this. That's good. If we change the it position sizes under repeater one, it's going to make our grid bigger and smaller. So now I'm just going to do some animation on the position property of the repeater. Let's change it to, let's say 300 pixels at the beginning. And then after 20 frames, we're going to change it back to 150, and then it's going to hold at 1:50 for maybe eight frames at another key frame at 1:50, and then it's going to go back to 200 at the end. So that's how I want to animate this part here. Let's go to the graph editor. Give it an easing curve like this, 100% influence on the right hand side, and then 40% in the front, or maybe give it, like 25% in the front. If we show all the cube layers, let's see how the grid is interacting with my cube here. So I just want to align when the grid is animating in different sizes to align with the actual animation of my cube dropping over here, my cube is dropping over here, but the grid is still not changing. So I'm going to try to align these two kube frames over here, and move this one back. Yeah, that works better. And the next thing what we need to do is go duplicate this line layer and call this one the blur. And for the blur layer, I actually need to make the line really thick. So let's go inside the content shape and then go under stroke. For the stroke width, you can actually see if we turn up the stroke width. This is what's happening. A the stroke is going to become thicker and thicker. And what I need to do is I need to animate the stroke over here, change it to 200 pixels, and then go forward to the end of the animation. Let's change it to three pixels. And the stroke is going to coming in like this. Is giving us a mask for the transition. And then for this mask transition, I'm going to put the blur layer underneath my line so we can still see the line. And the next thing we need to do is go back to Illustrator. Let's push this grading color into after effects. This one is going to be called my color mat for the blur layer. I'm going to drop this one above the blur layer, and then I'm going to use a set mat effect, go to search for set mats. And then change the mat to the number ten blur layer. And you can see the edges are actually very sharp. So we need to add another gaugan blur to blur out the edges. Let's change it to maybe 100. Not only on the color mats, I also need the gaugan blur on top of my blur layer. So I'm going to do that. And instead of 100, I'm going to change it to 350. After we add the color mats, we can turn off this blur layer now, only use this matt layer. And then for the mat layer, let's also change the blurriness to 350 to blur out this transition over here. I need to change this one to vertical. So we have a much cleaner transition now, and we have these grid lines as growing inside. Then at the back end, we're going to have this vertical gauge and blur that's happening when my stroke width is becoming smaller in size, to become this final grid, which is going to go back to the first scene that we have. So let's see what's happening here. Let's take a look at animation here. There you have it. That's our animation for the final scene. Let me preview everything we have so far. There you have it. That's our entire animation for the whole project. For the next video, we're going to do some slization and do some deep glow effect and finish up this project. 27. Congrats!: Congratulations on completing this class. First off, I want to acknowledge the hard work you put in. This course wasn't easy, but you conquered it, so give yourself a well deserved pat on the back. Now that you understand the ins and outs of how to create a professional animation, especially how to use graph editors like the Speed graph, you are equipped to create dynamic fast paced geometric animation. Remember, understanding the concept is just the beginning, the real growth comes from practice. I encourage you to apply what you learned from the class to your assignments. Only then will these skills truly become a part of you and propel you toward your goal of becoming an outstanding animator. Make sure to focus on the assignment and submit it for review. If you have any question along the way, don't hesitate to reach out. I'm here to help you. If you're finding value in this course, please consider leaving a review. Your feedback is really helping us to reach more students who wants to learn this kind of animation, just like you. Don't forget to subscribe to our Motion Circles YouTube channel and join our discord group to connect with your fellow students and enhance your skills together. If you're interested in a structured approach to learning motion design, check out our in depth courses at motion circles.com. Trusted by over 50,000 students worldwide. That's it for this video. I look forward to seeing you in the next one. Cheers.