After Effects CC: Beginner to Advanced Motion Graphics Design & Animation

1. Welcome to Motion Design: Hi there. Welcome to motion graphic design in After Effects. My name is Laura. I am a professional motion designer and I created this course for the beginner and intermediate in motion design and after effects. Even if you are an advanced user, you can always benefit from this course because I will show you the well-kept secret techniques that read professional use to impress you and to create some amazing videos. Let me show you a bit about the techniques that you will learn in this class. And remember, we have a project where you will learn the techniques and also you will apply them to create a final awesome video. We will have three scenes to animate. Though the class is loaded with motion design techniques. I will give you lots of tips here. You will learn how to create perpetual motion to give life and some energy to your animations. How to create different continuous destruction. How to create civil revealed techniques. How to design, develop, and improve emotion. How to create a continuous animation from a single graphic. How to create a professional transitions. We will go through also the best motion design for titles. How are we gonna go about all this? We will start by organizing the graphics in Illustrator. The first scene, you would create an anti animation for selected the graphics. Move on to create a continuous or perpetual motion for some elements. And we will create our main animation. And the first scene it is the randomly flying birds. Lastly, for Cn-1, we add important effects to create the mood. For the second, third scenes, it will be the same workflow, but you will learn more advanced reveals, more advanced perpetual motion and how to design and develop a motion. Then we will assemble the three scenes in a single composition and create a professional and awesome transition. I also covered a powerful and useful method on how to delete an animation. After completing this project and the many other projects you will complete using what you learned in this class, I encourage you to create your video and share it in the project page. Let's dive in and let's create some amazing motion design. 2. Setting up the graphics: Hi there. Welcome to animate our first scene. The first thing we want to do is to bring in our graphics. But before you bring in any graphic to After Effects, please make sure that in Illustrator, everything is set properly. Let's go to Illustrator. Illustrated here, I opened Halloween, seen dash one. I have all the layers I want to animate in After Effects. The rule is very simple. Layers in Illustrator will become layers in After Effects. And stories under the layers will become a complicated story later on in After Effects. My layers are fine. I have the crosses. You notice this cross 4321. I have the houses. Yes. One layer, another layer and another layer. I had the three, and I have the bat that I can replicate. Of course, I have the moon, I put it aside. And of course we have the lower ground or the theory that we are going to animate or so. Of course we have our background, that is the background over it. It seems that everything is okay in Illustrator and ready to be imported and animate it into After Effects. 3. Import your graphics: Back to after effects where we are going to import the illustrator graphics. The best way to import you can come to the project panel. Notice now you are in the composition panel. You go to the Project panel. You could double-click and it will open your Finder or whatever is there in Windows. And then you can import your files. But the one I like is to right-click. Notice I right-click and go to Import and I say File. Here, please go to the assets that you download in this section. Go to graphics, and then select one of them. And this is the right one. You want to use Halloween seen dash one and come to the settings over here, which is very important. You have the format. It knows it's an Illustrator file or a BS or PDF that all the same as format. You could import as footage. In this case, the whole design, the whole graphic in Illustrator will come as a single layer in After Effects. Sometimes it's very useful, but this is not our case. We will need our layers. So we click on footage. Please change to Composition, Retain Layer Sizes. Now you notice you have another option here that this composition only, if you import as a composition, the layer sizes will remain as the size of your composition in After Effects. And all the layers will be as big as the composition. That's not very practical for me. Some people like it. I don't. I prefer composition, retain layer sizes. It will retain the layer size of Illustrator. That's cool. Now, you could check create composition, but this illustrator PDF EPS sequence, please make sure it stays blank. Do not check it. It has a totally different tools that we will see maybe later on or in another course. Please keep this one. It is striated PDF, EPI sequence, unchecked, blank, and you click Open. Now After Effects has imported your Illustrator file, it has created a composition for you here in the same name as the file. And you have a folder here that has all the layers from Illustrator. You can read here the layer name, for example, across dash three. Also the filename, which Illustrator file it is sitting. All of them are sitting in the same file and they have the same layer names as Illustrator. Let's open the composition by double-clicking on it. And here you are. We have our nice layers that are all listed in our timeline. We can now start messing them up and start animating them. And we'll do that just in the next video. 4. Animating with an overshoot: Hi there. You ready to animate. You are going to use lots of tricks, lots of tips to animate in this course. I'm gonna make everything exciting good for you. So you learn the maximum power of animating in After Effects and becoming a true motion graphic designer. I would start by animating the cross here. And I would like to use the scaling up and down for the cross. If you come to the layer, if you drill it down, of course, you have the transform. And inside the transform, that is the scaling heal and there is a chain link, meaning if you change one, the other one will change for the two values. This is our presenter and this is vertical here. I click on one of them and starts getting it down and up. Notice getting up and down towards the anchor point, down towards the anchor point, and up away from the anchor point. Now what happens if you change the position of the anchor point? Let's try to change the position of the anchor points. You come to the pan behind tool here. Or actually it is now the anchor point tool that we are going to use selected and then click on the anchor point and can you move it anywhere you want? I'm going to put adjust down over here. Something like this will do it. Now if I scale down its gaze towards the anchor point, if I scale it up, it scares away from the anchor point. Notice how it's scaling up and moving away. Also pretty cool, right? Let's create an animation based on that. I will come after 1 second, which is not good, but I need to show you put the scale at 100%. I create a keyframe here for the scale 101%, 100%. Come to the beginning here and set the scale. I will change one value is enough, clicking it and press 0. And here you are. Now I have a very dull animation. And it makes you sleep, right? But you always start like this. Let's make it more proof. Let's create a bounce or an overshoot if you like. I will come before. Hike the scale to, for example, 150. At this point, the scale is 150% and it is much bigger than the final scale. Now if you run your animation, it's gonna be still done. But you'll notice how it's happening. Now, lots of people use three keyframes here. I don't, I don't recommend it. I recommend to you the professional way is to work with the graph editor. Let's go to the graph editor here and let's select the scale. But notice we did not select the keyframes. If I click again our select the keyframes. Now what does this graph here? First of all, some tidying up. You come to the second icon here and make sure you are always in auto select graph type at this for beginners, in this option, it will always select the best graph that is used with the selected property. We have selected scale. And the best graph to use here is the value graph. If you select the speed graph, things are not going to look or right for you, but still you can work. The best way is to go for now, auto select the graph type and we are in the value graph. What does it mean? This is the value here. This graph is the value of the scale. We know that the scale is growing and it is linear growth. And you'll notice over here, for example, the scale is 50% on the graph. And it's 50% in values here. And you continuous. It is just the graph of the scale growing linear. What can we do here? First of all, we select both keyframes and you can right-click on one of them and go to keyframe assistant and select Easy Ease. And here you have F9 shortcut. Or simply since you'll hear no, you can jump over here and say, make them Easy Ease. Easy Ease, meaning it has, is the out. Notice it starts small and then start growing faster. And then when it comes to the end, it starts slowing down a bit slow. The increase in the scale has been moderated if you like to slow out and slow in, which is called Easy Ease, you ease out and the is it in, is in a keyframe. Out of a keyframe. Notice are coming out of the keyframe, is out coming into the keyframe you is it. But then you have this nice handles here you can start playing with. I'll take this handle and start moving it around. And notice here I'm playing with the graph and this really awesome. Let's make a bump just over here. Notice my scale now. It's going to grow and grow and grow. Here is going to come to 117% and then start going down. Awesome. Less adjust it a bit. Let's make it even bigger. And I'm going to go to 150%. So I'm trying to match the bar here, 150. You have a nice overshoot and it comes back. And if you play the animation, something like this Nabeel at all, of course, you can start playing with this bar and make it more drastic. Palm, something like this. Some audio will be nice. Now I'm going to keep it the same way it was something like this we'll do. You'll notice that the animation is slow. I'm going to select this key frame just over here and bring it in. I'm gonna make it 20 frames. Only. Take this one back to 50% because we are Halloween. Make things fun. Nice. Now that's a dynamic animation. Let's get out of here. And we have our two keyframes. Let's play from here. Very nice, very good. Now I need to replicate this animation to the other three classes. Of course, you are not going to believe that I'm gonna do the same job for the other three. I'm going to select these two key frames here, come to edit and copy them. Of course, I can use Command or Control C. Then select the other three layers and make sure that my play head is where I want to paste the first keyframe. This is the first keyframe here. I'm gonna paste them just at the beginning here. I press Control or Command V to paste. And of course you can do it from the menu. Adjust over here, that is the best. You'll notice that everything has disappeared. That's because if you press U, you can see the keyframes had three of them coming very wrong. Why is that? I've forgotten about the anchor point. The problem is the anchor point, you cannot adjust three layers at the same time. You have to use one at a time. One at a time. I'll put it here or even here. Then this guy are going to put it here. Let's see the animation now. Not bad at all. They are all coming at the same time. But the animation basically is quite good. Let's close all the layers. You can do that by deselecting everything, pressing F2 or clicking somewhere like here. And then pressing L, everything is closed. I'll go back to the selection tool. The shortcut is V. I'm sure you know that when I say the first layer, I wanted to come starting attempt flames. Then this guy is gonna come over here and this guy will start here. And let's start here. Here, and this one here. What am I doing? I'm sequencing the layers. I put the keyframes, all the keyframes are at the beginning of the layer. That's what I do and that's what I recommend for you to do. And not start moving the keyframes inside you, you know, you can select them. Saying, okay, this one starts here. I advise you, don't do that. It's very confusing later on. To sequence them, you click somewhere inside here on the layer and start moving. Then if you play the animation, it's always nice to give a gap is silence here. People can get used to the image that you have. Then you play here you are papa, papa, nice. Maybe I want this one to go backwards. Notice 123 are too late. Let's bring it here. These are tests. This is also your test. This is pretty cool. Now let's make this animation cooler. How do you do that by adding the motion blur? Notice now in After Effects, if you add motion blur, it will add also the motion blur for the whole composition. I'm going to add it on each and every layer. And if you notice now it's much smoother and it's nice you can notice the motion blurred here. The motion blur will depend on the speed. If it is too slow, you're not gonna see it. If it is too fast, you're gonna see it even more. That's a cool one. Why not? You make this one faster? This one's lower. This one faster than this one is slower. Just randomly like this. And see exactly what's happening. Pump, wow. I like it very much. We have animated the crosses and now it's time to animate the building here. Let's do that in the next video. 5. A mild overshoot animation: Now that we animated our crosses and quite awesome, we are going to animate our houses here in the same way. First of all, I will use the anchor point tool to put the anchor point down there. And this one down here. This guy is the last guy. Just put it over here. I'm trying to center them. Like if they're coming from the same root, something like this would do. Of course, I could copy the animation just from here. By the way, if I have the two keyframes, I'm going to select it, press control C to copy it. Select the three houses, make sure the time indicator is at the beginning of the layer and paste and look at my animation pretty cool down already had guys, Let's move these guys and we want them to come maybe after. So this is the last one. I think this will be cool. Less bounce the middle 1 first. And then this guy will come in and this guy will come in. Let's see. If you've done something good, not bad at all. Unless not forget the motion blur. This is another bounce. Maybe you don't like it because we can see the bottom here. Maybe we'll come to this three and open the key frames. Come to the last keyframe here. And we need to go to the graph. By the way, let's select the scale for this one. And over here we need to reduce it a bit. Not too much, just like this. Let's see. Yes. We take it down just here. We'll do the same for this scale. Copying. Sometimes we will give you problems work. And then I'm gonna take it down to here. This guy, same, same, I think this guy is okay. I cannot see the bottom here. Let's see. Just to verify, I can go higher with this guy. Just like this. Let's see if it's working fine now. 1234, Cool, very nice. We put the motion blur. Now we need to animate the three. There is no way we're going to animate the scale. It will look occurred. I'm going to use a different system that we'll explore in the next video. 6. How to create steps reveal: Hi there. I hope you're having fun with this course. Motion graphics is about Jewel having fun. If you're having fun by creating what you like, then you will become an excellent motion graphic designer. If you're getting bored, then you're not doing something that pleases you are happy from then things are not going to be beautiful or nice design in motion. Please make sure you're having fun doodling things that they really doesn't matter. But it matters that you are having fun and this is the purpose of the course. Now let's have fun with the three. We cleared our crosses and our buildings are jumping. Pretty cool. Let's select the tree. But of course, these three, we cannot do the scale up. You could gonna look ugly and weird. By the way. I'm gonna use a new technique. It's called revealing with masks. It's very easy by the way. Now, I will select the layer and I wanted to create a mask so I can use it to reveal. So I will come to the shape layer. This is how we create a mask. You select your layer and then you draw something with the shapes here, any shape you can use. Now I will choose the rectangle tool, but I don't need to come over and draw the mask. I can simply double-click on it and a mask is created for me. In the timeline, you'll notice you have three. That's the layer. And then there are masks here. And you have mask one that you can rename by pressing Enter. Now, this is the color of the mask and you'll notice it's really bluish, something I don't like it. I want to show you. So I'm going to click on the EEG squared here. This is changing the color of the layer or the mask here and make it yellow so you can see it perfectly. How do I animate the mask is very easy. You will use the mask path. There are four properties here you can animate, but usually it's always the mask path. At the initial state. We want to hide everything. Then after some time, we want to reveal everything. So we need the mask to reveal the tree. Of course is gonna grow. Put a keyframe here, and start playing with the points. Notice I have four points here that I want to play with. That very few. Let's add more points. To do this, you will come to the pen tool. You add a point. Notice the plus here. I will add a point. I will add another point here, another point here. I think this is enough. Now I will select again the mask path and I want to move the frames. Let's go back to selection tool not to confuse you. Notice when I select the mask path, all the points are selected. If I click now to move is going to move all together. That's not what you want. What you want is to move 1 at a time, so you need to select that point. To select the point, the easiest way to go about is not to click on it, but to shift, click on it. When you shift the Gleick, you actually this selected. If you click again, you select it, but also you deselected all the other points. You can now move this point. Notice whatever is not in the mask is invisible. Simple. Now let us come after five frames. I can write five-year, come to after five frames and reveal a bit. I'm going to take them up just a bit here. There shouldn't have an overlap like this, it would be ugly. Let's reveal them just like this. I like that, that is cool. I will come after five frame, so I will write plus five. It will jump and now reveal them again. So I'm creating a stop-motion somehow, not really stopped. And then I will go another five. Let's go back to this key frame and right, plus five. Now I'm going five, you can go six, you can go ten. You can go the way you would like. I'm going to move them here and here and here. So I rebuild more here and another five, maybe that's enough. I will return the points to the original or if I don't know, then I make sure everything is visible. So I think everything is visible like this. Let's take this one up and move this one. Very cool. Now do we have an animation? Let's see, the breastplate. And the three is coming up very nicely. Of course, this kind of reveal. You can play lots of games with it and create many points and some stop. Notice here is stopping a bid than the other frames are moving. Now why do all of this not two keyframes? Notice if I remove these keyframes from here, going to move into a shape. And that's it. I showed you the complicated method because you can really create a lot with that. Now there is the mask feathering here, which is very important. Notice the mask and I'm going to feather it, meaning give it some shading if you like, up and down, which make it much nicer. Around the line. I feathered the mask 30 or 50, even if I like. Now the reveal is smooth. Pretty good. Let's give it to 1 second. I'm going to select all the keyframes. I want to stretch them to 1 second. I don't want to move them. The way to stretch them is to press on the Option or Alt key, click on the rightmost one and drag it. Notice how they are stretching proportionally. Now I have a 1 second animation for this guy. Not bad at all. Very good. Please guys, do better than I did. I'm explaining. You can really sit back and really do some nice animations. Now, I want to easy ease them so I'm going to use the shortcut. Remember the shortcut key frame assistant, easy ease is F9. To easy ease them. You can come over to the graph and select the mask path keyframes, select all the keyframes. Let's stop the animation here and do something like this, just to play. Just adjusted the way you would like. So I'm gonna go with this. Notice the animation now. It's getting a bit, I don't like it. Let's stop. Again. I think this is cool. That's enough. Here you are. We animated the three and we have used a mask reveal. This is a technique you'll really need to know if you are into motion graphics. Thank you for listening guys. I hope this was fun. I hope you are mainly made a lot with the mask reveal. I will see you in the next video with some other awesome animation. 7. From solid graphics to continuous animation: Hi there. We animated our three, but unfortunately we left it here. We don't want that. Bring it over here. Let's see, the animation is going at the right time just here. Retry again. Now by the door. Now it's time to take care of this part. Of course I have one but which is not nice. It is still just sitting there. Of course, animating it with the scale and stories. Yeah, it's okay, we can animate with the scale, but the best is to start making it fly. How are we gonna do that? First of all, I'm going to put the bat in its own composition, which is called decomposing, to precompose to create an animation out of this graphic only, you select the layer right-click and you have the option just over here. Precompose. It's exactly like creating a composition, but it doesn't for you. I'm going to call it, but that's it. Click Okay. Then come over, double-click to open it. I don't see anything. I'm going to right-click composition settings and change the color to something like this. Now I can see the bat. I remind you that this color I adjusted here, the composition setting color is not a background color. This is just a color sitting there for you to see. Later on, after Effects will not render it, will not put it in the video unless it is in the main composition. But for now, which will not appear in the main composition. Now I have a bad, That's a nice spot, but the composition is a bit too small. I'm going to right-click composition settings and come over here and make it 250 for example. Let's see. And it's good. Now I need to animate the wings of this, but I don't have the wings. I have a single entity. What am I gonna do? I will create wings using, of course, masks. Now I need of course to wings, one left, one right, and the body. So actually I need three layers. I will press Control or Command D to duplicate for three layers. The top one will be the left wing, the middle one will be the body, and the bottom one will be the right-wing. Let's take the top one. Come over, take the pen tool, the layer selected. If I draw, I will draw a mask. Let's draw a mask. You can also click to make it not very straight. I'm going to come over here and do something like this. Over here and here, and here and close it. I don't need this one. I will select it and delete it. And let's bring this one here. Now if you notice, if I solo the layer just clicking here, I have a wink. Not a perfect wing, but I think it will work pretty fine. This is my wing. I'm trying to remove this thing here. That is the left-wing. Let's go to the last layer. That is the right-wing. Select the Pen tool and also draw a mask. I'm going to start from here because it's the most critical. If it doesn't work, it really doesn't matter because later on I can adjust it. I'm going to undo this because here I want a Bezier curve. Yes, butter here and here and here and here. Now this is too far. If I solo the last layer, I have another wing. Now I have two wings and the body. Now notice the body is everything. Now, I drew to mask does very fine. Now I need the mask for the buddy. Let's go ahead and select the body. Let's come over to here. And here. I'm trying to imagine how I drew the other masks. Doesn't have to work at one other percent from the beginning. That's the body. Let's put everything on. Now. We have three layers and each one of them contains a part of the butt. But then the first layer, if I open the rotation by pressing R, I can rotate it according to the anchor point, which is not in the right place. I'll put it in the right place. So we want to rotate it just from here. Let's do the same for this guy. We put the anchor point just in the right place here. Now, if I put the rotation here, notice what in very fine here. If I wanted to take it up here, I think the buddy that is showing is not by the tool. Nice masks should congratulate me guys. And I put the rotation now and test this guy. I think we're doing very well. Cool. Now we need to animate. Let's click on the rotation one-by-one, by the way. Let's take it up. I'm going to put it. Up here, starts up. Then after five frames, we're going to take it down as much as possible. Yes, Is flipping his wings. Then after another five frames? I think so we got to take it up to the same position. I'm going to select this keyframe, Control C and delete this one that was created. And Control V, Control or Command V. Now, I have one single movement. Now if you don't like what's happening here, let, for example, here, it's very easy. Come to the middle guy. With the selection tool. I will shift click here, select this point and just move it over here. Let's see, now, it's working fine. Now you have two ways to animate this. You can select these keyframes and replicate them for the whole composition time. That will be so bad. I've seen like people who call themselves expert doing that. That is not right and don't do that, please. Try to be more ingenious. How are we going to do that? Well, we are going to use an expression. This expression is like your daily bread and butter, but there is no button, only bread. And it's very important expression to add the expression simply you In Option or Alt and click on the stopwatch. You have space here to create an expression or to write an expression. And this expression is for the rotation, the expression we are going to use, I'm sure you already guessed it is loop and out. What does it do? Simply when it comes to the last key frame is going to jump to the first keyframe and play again. Please, three keyframes. Out from here it will play the first keyframe. Notice, now we have a flying guy pretty fast. We don't like pretty fast. The Option key and stretch them to 20 frames. This makes sure they are correct on the frames. Let's play now. And it's going to play for the time of the composition. So it's gonna loop out these keyframes for infinity. Even if we are born our, that's very fun. Unfortunately, we cannot copy paste these keyframes because the rotation is different. What we are going to do is to select this guy now, keyframe the rotation and take him up. You could start by down if you like, but I'm gonna start by up. They are at the same level almost. And then in the middle here is gonna be the maximum down. Even more down. That's fine here. Then over here, we are going to copy and paste this keyframe. Copy paste the key frame. We have the guy flying but he's right wing stops because we need this expression. I would copy it from here. And option click and paste it here. I cannot based just on the layer. I have copied only the text in this expression. Here you are, you have a flying, but that's awesome. Let's go back here and see, oh, our bad is flying. I don't think it's flying very fast. Let's go back to the butt. Let's take these guys here and make it a bit faster. Let's go back to the hallucinogen. This bud is frantic. I like it very much. Now we have our animated, but we want to replicate it all over the composition here. But first we need to add the title. We don't want these bots to be behind the title or something like this. We'll do that later on in the next video. After we have written the title. I'll see you then. 8. How to Style and animate titles: Before we proceed with a bat and disperses all around, create more, we are going to work on the title. Now this doesn't, I'm going to put it in this composition that is a scene one, but our also use it in s2 and S3. First I will add the title. I'll click inside, right, Happy Halloween. Immediately, I will precompose. I will create a composition from this layer and call it tighter. In fact, title one, if you'd like to add it to the tight. Now, if I double-click inside, you'll notice that this pre-comp is very big. It's just taking the whole size of our main comp. And actually we don't need that and it's very unpractical to work with this big pre-comp. Our best chances is to crop or resize the precomposition. The best way to do it is to use what we call the region of interest. You select the region of interest and you draw the region of interest. The pickup or the composition is going to be cropped according to your region of interest. So you can set it like this and come and adjusted the way you would like. I think this is fine. Of course you can do any adjustments. After setting the region of interest, you will come to composition and cup the cup to the region of interest. Now, this is our composition. I went to add drop shadows, so I will have to change the background color here to something dark age. Three. It doesn't matter because it will not appear. We'll select the layer now, right-click and go to layer styles and we drop a shadow. I could have used an effect, but that's okay, That's beautiful. I will come back to layer and styles and use Bevel and Emboss. Very nice. Come to the bevel emboss. Lot of beveling here. I'm gonna set it to two. I like to, it's much nicer. Of course, there are other properties you can play with them. But I think this will do very well with us. So notice now how the pre-comp is small composition. Now, sitting over here. Now we need to animate it and we are going to animate it from inside here. Now to animate characters, you can use the layer transforms here. Bring it from outside and so on. But there is much better. Always try this much better. If you notice there is the Animate here. If you click on the arrow, it will ask you what exactly you want to animate and you have all these kinds of choices. I would like to animate the scale. I want to scale it up. It has added folio and animated that has the scale. Now you could say at the beginning I want the scale to be 0. Notice how it's coming down to 0. I'm gonna put it at 0. Then come to the range selector here. And I can animate the start or the end. Notice how the start is going to animate from the start. It's really working. Just opening up, just like this, very beautiful. I can add more properties if I come to this ad. As you can see, this animates will add the animator, but the ad here we'll add another property. For example, the blurred if you want to, I'm going to blur it. Then let's see what's happening here. It's working. Notice how it's blurring before it's coming up. It's very beautiful. Just like this. We can play around with. This is very easy. You just add an animator and you add the properties and you change the properties here. Then using the start or the end you take from wherever it was. To start from the properties that you have here to 0. Started to 0. There will be a special lecture on section about this. I will explain it too much more, but actually it's pretty easy to use. Let's go back and animate these things. I will click on the Start, put it at 0, come after 1 second, we will see, Let's make it 100%. Let's play the animation about Happy Halloween, somebody at all. I can, of course, easy, ease these guys. I'm going to press F9 after selecting the keyframes. Come to the editor here. And of course, the graph editor is opening on value. This one you can bounce. Let's do something like this. Just for the sake of doing something. How about I would say let's do something like this. Yes, it's slow down in the middle. But let's go back. I'm not very impressed with this, but nevertheless is a Greek word. Now you have the title and it's opening up. Now where we want the title to start. After everything. We want the title to start just from here. I'm going to put at three seconds and give it 1 second and then five seconds. And we have our composition. Now we need to take care of our robot is time and we want to replicate it, will do that in the next video. 9. Replicate the right way: Now that we have our bad just over here, we can start duplicating this bud and spreading it around. Of course, we don't want it to be high in the Happy Halloween. Let's do that. I will select the bat and then duplicated several times. Let's make it of them. Now we have eight of them here. And of course, from here now I will select the bot is the first one and just drop it here. Another one, just drop it here. Another one, drop it here. I want them concentrated. I don't want them all over the graphic here. I don't want them symmetric. You can really work on this one and spend a lot of time doing this. We have our eight bytes here, but surely we're not going to keep them in this composition is the main comp. Want to create a pre-comp and to animate them and just being in the pre-comp. Our right-click and say precompose. We call them orbits. All of them together. We click, Okay. Let's double-click to open it. Now of course I can't see anything because the composition settings ZL is black background, so I will change it to anything so I can see the bots. Let's make it a bit lighter. I will do that, that's okay. Now for the bats here, the first animation is to bring them in. We are going to use the scale, select them all, press S for scale. And after maybe 1 second keyframe, the scale at 100% come to the beginning and put the scale at 0. Now I had this simple animation that appealing. Actually, I don't want it very fast. I wanted like they're coming from far over here. We're gonna make it bigger to 12115. I think we'll be fine. 115. But does not find these bats are not even moving. I need to wiggle them so they can move around without having to put a 100 keyframe. For this, I'm going to add an expression. I will select this layer, the top one, but a speed for the position because this well, I want to wiggle and press Option and the stopwatch that will give me here for the expression. I never write the English word wiggle. You have the wiggle over here. This is an expression. The wiggle, wiggle it around depending on the parameters. The first parameter US is how many times per second? I'm gonna say once per second. And how much you want to wiggle. I will write 250 pixels. Meaning every second move this guy 250 pixel in some orientation. Now you notice how the guy is moving around. It's linear moving is that jumping is really moving. It's moving all the time. Not bad at all, is not coming out. Now I want to replicate this expression to all the other layers. I will come to the position or right-click and say Copy Expression Only. But be careful guys, if I select like this, what is opened here is the scale base. This is gonna paste on the scale. I have to be very careful about that. I put position first of all, then select the layers again with the position. Then Control or Command V. You'll notice it's based on the position. Now you have to be careful as a motion designer and give it some time to watch for the duration of the composition that nothing is coming out. Now, I'll let you in on a secret here. If you come to the bot and come to the graph and select the position, then I will come to this graph here shows post expression graph. You'll notice this is after the expression. Notice how this guy is moving. There is nothing you can change here, but it gives you an idea of how it's moving. Notice it's going back. Now if I move it, I'm not really changing that position. I'm changing the whole motion path, which is okay. I make sure nothing is coming out. No, not there is a guy coming out. And actually what happened is it's created once and then it's all set up for the rest of the life of this expression. Go back to Halloween scene. Let's see what's happening. And then the text will come in. To lead the text is too late. Now, I don't want these bats to appear as soon as possible. Let's open it like this. Where did the bud I think the bats, I want them to come over a given time so they appear. We saw the three, we saw this glosses the title and then the buds. The title after the buds. We have done it. It's very nice animation by the way. Though they're coming behind the Happy Halloween, they are really moving. Now, this is very fine. But after doing the entry animation, maybe we will want to have everything moving around in a mysterious way. And we'll work on this in the next couple of videos. 10. Distortion for perpetual animation: We completed our animation. We have only an entry animation and after that it becomes boring except the bats. How about starting to move things around to animate things around to give it more life. Let's start with the three. For example, I'm going to put the bats off because they're going all over the place. I want to see the three alone. I will select the three, it has a mask. I will add an effect to make the three move all the duration of the composition or its layer. If I come to effects and preset, the effect I can add is called mesh. This is a mesh warp. I will click and drag and put it on the tree itself. The mesh warp is very easy to use. First of all, let us come to the end point of the layer. Because that's for me really doesn't matter. And we are going to keyframe the distort mesh. I'm going to go over here. It creates the first keyframe here. Then I'm going to create another key frame and the animation will come till the end, just over here. There is nothing over here. I'm going to remove this keyframe. So the animation will really start just from here for the three. In fact, it's a distortion. How did you play with this guy? Let's go till the end here. Let's start distorting. Click in the middle on the intersection and you move. This is a distortion noticed has four handlers here. You can have another distortion like this, another distortion. And all these distortions are memorized within the single keyframe. I'm going to play around. You can do like this. You can move the whole mesh if you want. Gonna be scary three, Let's take this one down as being this visit. Let's turn them a bit over here. In fact, we should distort everything. We are doing well, I'm going very random. And actually just to show you, make sure you clicking on the intersection, do not click on the mesh. You can move the whole mesh. That's not what you want. Though. Sometimes it's very practical, it's very good to do that, depending of course, on the animation that you want. See how far did I go? Not bad. Let's distort year. So this one is going to become thicker. I'm going to click out. This is the final distortion, if you like. This is the first distortion. Let's Play. You'll notice how the three start distorting. Amazing. Motion graphic is not about moving keyframes around Louis, I put key frames. We have done something excellent. Of course, you can come and bring this key frame nearer and add more keyframe later. Notice the distortion here. And there. Add another key frame here, another keyframe here. The way you would like. I prefer always to have two key frames only. Not exaggerate the distortion. Make it smooth, make it something good. Notice this guy is going, we are in Halloween, so the three is branching out. Maybe you can add a bit more. Yes, I want to add one here. Another distortion here. Wanted to spread. That's what I'm thinking. You guys can sit back and really think about it and do it the right way, the way you would like stretching out. I don't have a point here but can make it bigger. It like this. Let's deselect and play it. The three is going really well, doing a nice Halloween. Now if you put the bat on, you have something to watch after the title. Now we have the distortion. We have the animation of the three. The title is appearing while the three is going up. Now we want to play with the crosses. And I will show you something amazing in the next video. 11. Perpetual motion with a bender: Hi there. Since we have a perpetual movement on the three here, you notice keep on moving though omitted linear going up. You can of course, change that to your liking. We wanted to create more perpetual movement on the house. And the crosses here, we have severity choices. Let's start with the cross here. Obviously here, you can wiggle the rotation. If you do that, for example, Option click and we enter wiggle, like in English. Once per second for five degrees only. That's enough. In fact, you can add the figure and so on. You'll notice that it's moving left and right. It's pretty cool. I will not do that here because I want to show you more. Actually, it's a nice animation here. I will come to effects and presets. And inside the distort, you will notice that you have many distorted effect. They are the CC bend it and the SCC bender CC Bend It has its own bricks. I would say. I prefer to use CC bender within this course here because it's easier to use. If I click and drag and drop it on the cross. What do you have in the CC Bend? It is very easy to use. You have the amount that you want to bend. There are several styles that you can try out and you can adjust the distance. But most importantly, you have the top and the base. This is the top and this is the base. Here I'm using the side bend. And according to the top and the base, you can bend it on the right. That will be the positive values. On the left, that will be the negative values. I'm going to keep it like this. I'm play a bit with the base. I'm gonna take the base down. Notice what's happening. More. You have the base more you have bending if you like. Then over here, if you take the top down, notice how the bending is going on. Actually you trying to bend everything and the base here is fixed. Let's put the base just like this. This guy just like this. For this animation, of course, you can play the way you would like. We can be extremely creative here. You can adjust the distance. That's one things would change a bit. It just as dancing to a distance. Now there is something very important that I want to show you here. I use this hill and the layer is not continuously rasterized. You remember? It gives you a very sharp layer because it's a vector file. If I continuously rasterized, you will tell me what happened here. Things changed a bit where the top and the base will change their position. Their position has changed because it is not the same, I will say layer if it changed position because now it's rasterized and the layer is a bit bigger. It can think about it like this. We can go back and decide how you want to work with them if you want to. Not just now the bending is really huge for the value I had. Actually is good to continuously rasterize. I'm going to keep that. Then work on the top and base so I can have a nice Bending the way I would like. Here, I'm at minus 11. Let's create an animation. You keyframe the amount. Let's press U to see the keyframe here. And maybe you can take it to, I don't know, this is very delicate now. Minus 15 will do nice. I will go ten frames forward. That will be shifted Aphasia down. I'm gonna write 15. Then shift page down. Of course I intend to loop out. So I'm gonna put it at minus 15. That is very cool if you notice it's going left and right. Very good. Now we can add the expression loop out, which has become a household for us. Loop out. Let's look at the animation. And it's very speedy. It's not bad. We did a good job here. But let's do it again. Let's remove the loop out. And let's remove these two keyframes. Because with loopOut is going left and right, left and right. I can add Give them. But it is not an emotion, is just some rhythmic motion that people will look at it and that's not nice. Let's go back to the first keyframe. We have a value of minus 15. I will go shift page down. Then. I'm going to take the value here to a positive. That's gonna be 20. Maybe. I don't want to exaggerate. I'm going to put it at 17. Shift page down. Take it down. We were minus 15. I'm gonna make it minus nine. Shift page down. I don't know how much we were in the positive we were at 16 shift page down. Shift based down twice. Where at 16 gonna take it up, maybe at ten. And shift page down. Let's take it down to something that we like. I'm trying to create a random motion here. I will go back. Our first keyframe is negative, so this one should be positive. Gonna go to 20 and then shift page down. I went very random and I hope I'm doing the right thing. Minus 15. I'm making sure that the last keyframe is equal to the first keyframe. Now I could loop out. The animation is a bit different and is very speedy by the way. No problem. Let's organize this. First of all, we entered the expression. Now I loop it out. Then I will take all the key frames here, press the Option key and make it bigger. Then do something like this. The loop out here is not going to work on the old keyframes. The animation duration will be out before the loop out completes the first loop. It doesn't look now that it is a rhythmic movement. Now, you can do better Even. I will remove the bloop out, take all the key frames, and this is my favorite method. So I'm gonna click on the last one and just do it just like this. I have a perpetual movement that is smooth. And that is not like going left and right is going left and right, but the values are different. And it's quite smooth. By the way, this is the perpetual movement for the cross. Now we need to copy this through the others. I will come to the SCC bender here and control seed. I would come to cross through here and simply paste it. But now if you open the key frames, what I can do here is select the whole keyframes, all of them. I just push them out. You'll notice I'm taking them out of the composition. The animation will start just from here. And maybe take this guy if I want to just put it here. I have the same movement, the same animation, but quite different problems. I did some mistakes here. First of all, I'm going to rasterize it. Then come to the top and put the top here. And then come to the bottom or the base. I'm gonna put the base here. That looks good. And then let's start. You'll notice how it's jumping on the other side, which is cool, It's not bad, is a nice animation which is completely distorted. We can do the same for cross three anchors for I will come to the SCC Bender. In fact, I'm gonna select the first one, rasterize them, then copy it from here. That's the first one. Come to these two. And make sure I'm at the beginning and paste. I will see the key frames very cool. Like the other one. I can choose, whatever I like. This guy is really jumping out very far, but it's somehow could. Now they're looking like the same movement. The best way to do it is play with the keyframes here. I will select this guy and just move it here. And this guy move it away. Maybe I'll do the same. I take this guy out just a bit. And then over here is not gonna be noticed here because they are jumping in and nobody is going to sit back and say, okay, what's happening here? You have them, they look like four of them are moving. The habit perpetual movement, but then not identical. I don't know what we have done here. Let's select the SCC Bender and we don't know where the top and the bottom. I'm going to put the top here and the base. I'm gonna just add it over here. I think we are cool. The same for this guy. Adjust the top and the base. I'm gonna put the top here. And the base year. Now, I liked my top and base just like this. You might decide, let's do like this or something like this. Maybe just like this is try this. I'm still having a problem with this guy in the middle is jumping back too far here. Let's check it out. We select this and let's reduce it a bit and take it a bit here. Let's see what's going to happen is going barely far now. He's even going further. Let's take it up and see it a bit better. Funny cross. Now the perpetual movement is excellent. This is how you will work with the SCC bender. Now we will do the houses here with the SCC bender, but it's gonna be a kind of different animation here. Now guys, I did this while talking to you, but of course you can tweak it. You can make it much better and much more beautiful. 12. Houses can bend too: Now we have a perpetuity movement on the three and the crosses here. That's very nice. The way I work and I would recommend it to you is after I get the big animation, meaning I have the movement here, I will go ahead and tweak it. Take it easy, slow down, and start deciding exactly how I want this animation. I will go to the second 1, third 1, and the fourth one to make sure that everything is balanced, everything is the way I would like. I would consider that you should do that. If we put keyframes, we did it for the course and showed you how to do it. But yet there is the tweaking and that is your TAs and your abilities. Slowly, slowly you will be able to create animations very fast and very good. Let's go and work with the houses. Now. If I click over here, I will select all buds. I'm going to lock it to select the house. Lost my bounding box. I can't see it. I'll try to put it on from here to here it is. In fact, if sometimes you lose, you can't see your bounding box and you notice you select the layer, just make sure you click over here or use the shortcut Shift Command each. Let's see what you are going to do here. I'm going to come back to effects and presets and drop a bender on it. Now first of all, I'm going to summarize everything here. In fact, let's the rasterize all the graphic and not the precomps. Of course, first of all, I will set the top. I'm gonna put the top over here. And the bottom, I'm just gonna put it over here and see how the bending will walk. I like it very much. I don't want to bend a lot. Few decisions here to make. We have three houses next to each other. How are we going to bend them? Shall we bend them? The left one to the left, the right, the right one to the right and then come back and this guy will bend just a bit. I think this will be cool. Let's start. I will give frame the amount on the left guy here. Just over here. Got to start, just overheat to see. Then the value here, I'm gonna take it reset to the left. I'm going to go not even. I'm going to put minus five. Yes. Actually, I wanted to bend a bit more. Is do something like this. We'll do the splitting this guy here. Yes, minus five is cool. I have again at the end here. Let's delete this one. Let's come back here. Let's see minus five. Then I wanted to come back after some time. I'm gonna take 20 frames and just put it as five. Then I'm going to take another 20 frames and put it at minus five. Let's see what's happening here. They come out and yes, I'm going to loop it out just for simplicity. Of course I can replicate the key frames and stories, but I would like to loop it out. Loop out. Let's split the animation is very speedy. I'm going to select them all, press Option key and just move them and then take them to the beginning. Start with a bend. Now we looked at info. Am I running in real time? I'm not going to be done. It's red. Now I'm in. Now I can look at my animation, which I like very much. Let's take now the other house. We could copy the CBC Bender from here. I will copy it, come over here, come to the beginning, and just paste it, open the keyframes. It's going to go the same movement. That's fine if it goes the same movement. But I wanted less movement at minus five here, I'm gonna make it minus three. In the middle is gonna be, for example, I leave it to five. And here minus three. Let's play. Our animation will display not bad at all. I like we have the last one. We're going to copy the CC, Bend it from this guy. Remember I have to invert or start on the right here. I will come over and base the key frames. But you come over to the last one, it should be visible. And instead of having minus five, we are going to have plus five. Plus five will do. The middle one will be maybe minus five. And the first one is gonna be of course of five. Let's B and C. That's looking good. Maybe if you don't want them to touch, you can change the middle one or the first one. It's five, I'm going to put seven. And the last one of course should be seven. Let's see. Now, gonna go further and come back. Is going to stay in touch. If you play our animation now, you notice, it's quite cool. Now this guy is touching. Maybe it's okay. I want to increase this. I want this here to be seven. Just here, seven. Then in the middle we have what minus five. That's good. And over here we're gonna have another seven to have a good loop out. Let's play. Let's select this house here. This is the left one. And what is the top and bottom? I'm going to put the base. This one, Let's put it here. And this guy also, what do we have? We are going to adjust them again. I like that. Let's Play. Not bad at all. Very nice animation. It looks a bit rhythmic, but it's sick cool. Actually here we animated everything. Every element has a perpetual animation, even the bath and song. 13. Ground breaking waves: We have done quite some progress though. It took time. But now we have our anterior animation and perpetual movement except for the ground over here. I will lock. But again, the lower ground here is not really moving. How can we make it move? Surely not up and down, surely not to scale and so on. I'm going to use a nice effect is called the wave. I already looked it up. It's wave. We are going to use the Wave Warp. Do not use the wave would, Wave Warp will be nice. We'll put it on the ground. Now, this is a very nice effect that I use a lot. By the way. You have different kinds of waves. You have the sine squared. Do you see the waves? These are the waves here up and down. You had circles if you'd like to. You have a noisy ones. Not very good in this case. Then you have uncircumcised, and that's a good one, is an inverse of the circle. And you have others that you can play with. What you are interested in here is sine. But of course, this is our sign. You'll notice it's comes from the lower up to the lower that's assigned. The high tier. We need to reduce it. Now we can play with it. Can make it 16. Don't look nice, or you can make it three. That looks better now, waves here, I prefer to give it even two. It looks even more subtle and nicer. Now the way we'd, let me put back this to 60. This is the wave width from here to here, from lower to lower. So we want to increase this one to 60. Your notice we have bigger waves. Now. We can decide AT, notice how the waves are growing. I think 60 is a good value here. And we go back to two. We have it very light. Now. Notice few things that are not very correct. For example, you have this bottom edge here that is showing, maybe it would show on the size later on. Now the direction, the direction is the direction of the movement of the wave. Now it is 90 degrees on this side. You can cancel it. In fact, I'm gonna leave it at 90 degrees because it's going up and down. It looks smooth. You can play with it. I like it 0 sometimes, not always. And it's okay. Now it's going left and right. I prefer the 90 degrees in our case here is looking cool. You have the wave speed. Now, reducing the wave speed in our case is cool because we don't want this gland starts moving like going crazy. Just a smooth movement, 12 left and one to the right. Maybe 0.75 will do it. Now the pinning. You notice that I can see here that there is waves on the other side of the layer, the bottom side. I'm going to In meaning, do not apply the wave effect on the bottom. The bottom now does not have D-Wave yet. I can still see few things. Our best bet here is just to make the layer a bit bigger outside the composition. And our problem is solved. If you play now, make sure in the info it's gray. We're looking at real-time which you are not now. Wait for it to render. Now we're looking at it. The ground seems very nice. Going up and down. That's a very nice trick you have learned here. You can apply it almost everywhere, even to shape layers. Having wave the ground, the only thing that is remaining is to be able to put some layers on top. So we give the scene some life, some obscurity. Something that looked like Halloween. Now, the graphics is Halloween, but the background and so on is to clean, to clear. We'll do that in the next video. 14. Setting the mood with Effects: Now we want to put an effect for the whole comp to do that is advised to use adjustment layers. Meaning it's a layer where you put the effect and affect everything below. It has its advantages because it will blend according to the effect. You don't need to blend it. Notice here we have the mode. I open it up. From here, you have the mode. You can blend it with the layer that are beneath, less ADH. Now our layer, I can add an adjustment layer. What's an adjustment layer? An adjustment layer is a solid layer as you notice here it says solid layer called adjustment layer. And only difference between it and any solid layer is this switch here. This is put on as a switch for the adjustment. If I put it off, I have simply a white layer here, like it says here. It's just a solid layer. I put it on, it becomes an adjustment layer. Now the solid layer will affect all the layers under it. Meaning any effect I put over here, it will affect all the rest. If that effect can be applied to all the rest, some effects, you put them on the Adjustment Layer and they will not affect anything because they're supposed to be on their own layer, which is the adjustment layer or any solid layer. Let's start. There is something nice. It is not wave, there is noise. In fact, we can come to noise. I showed you. It is noise and green. Over here you have turbulent noise. I like this effect a lot. This is somehow when you place it, it's a very real effect. There are quite some settings that you need to work on. The first setting is the factor of type. Basic. You have turbulent smooth. Notice how it's changing. You have the turbulent chart. And you have so many of them, including the strings. That's good, bombs. The small bumps. That interesting. In our case, I think the Cloud, it will be the most obvious because we need clouds. Then you have similar types over here. The lowest type, you can have it as a block, which we don't want to hear, but it's very useful. You have it as linear and you have it also the software near that we want here is quite cool. Notice the black here. Now we could invert it. So the black becomes white and the white becomes black. I'm going to keep it like this. You have the contrast. You can work on the contrast the way you would like. Now, that also other things like the brightness. You can brighten it and song, that's very nice. How do I work on this effect? Dilbert noise? You most probably tried to understand it. The easiest way to work when you are compositing here is to work with the opacity. First thing is 50% opacity, at least I can see what's behind. Then I have the blending mode here, which is everything almost. If I change the blending mode is going to blend with whatever is under. I will try the ad and surely is not what I want. I will try the multiply. It's interesting, is really dark now, not bad at all. Let's see, I have screen and you can play with the rest. Will be interesting year. For example, you can play with the saturation before I get out. I'm going to put it at multiply and that's cool for me. Notice now if I play, nothing is happening. This effect is just stable. We did not animate the effect. How do you animate this effect? Where it's very easy? You come to evolution. Gonna have an evolution during the time of the composition. Simply keyframe, the evolution keyframe. At the beginning. You come at the end of the composition and give it a value. Depending how fast you want the evolution. I'm going to put it at 5. First of all, we test. And of course I want to open my info so I know that I'm not running slow. I'm in real-time here. Not anymore. Obviously, I cannot see the effects I needed to render. And then go back to the beginning and seed playing. I'm using a pretty powerful computer is an iMac and it has 64 gigabyte of RAM and SSD. And yet I have to wait. If you losing less specifications, then you might want to be patient here not to lose the effect at all. But actually you should try to use it. I'm going to stop it and bring it over here and play. And you'll notice the effect is quite cool. Split the speedy, but it's cool. I like it very much. Everything is boiling. You'll notice that the House and the moon and so on did not get affected. The effect is not inside the graphic, is on top as a top layer. Now, also happy Halloween. I wanted to be affected. Want to chart on top. Much nicer like this. Now we added this effect and we have it moving, and we added some noise. Let's add more noise. Now. I will come to effects and presets, and there is noise. Literally noise. I'm going to add noise. Now. Here. Grab the noise and go up. And believe me, noise is gonna take back your processing speed a lot. But let's put it at 10%. You'll notice the noise. This noise, this is with noise. I love this effect. Let's take the noise and put it on top. And there is no change here for the noise. I leave it down here. I have some noise at 10%. Use color of the noise. Clip result value is three. It doesn't matter, but the 10% is the most important. Now you'll notice clearly that the noise is really moving, is really getting, shaking. The dots are appearing and disappearing. And this is very beautiful. This is used a lot in movies. Not this simple one that are better ones. But this simple one will give us the job here. I think we have done enough for this video here. We have something very beautiful. If you notice this is before, I'm gonna stop it. This is before and this is after our effects. We have quite some effects. In the next video, I want to add some rain or some snore. And let's see how it's gonna go. 15. Adding and tweaking Snow : Now we have our most beautiful background here. I love the greens or like the noise. That's looking quite good. Of course I invite you to use your creativity and come up something even more beautiful. Now we need to add some snow. To add snow, this is an effect that you add on the layer. And the best layer that you can use here is a solid layer. I will not combine it with the adjustment layer. I will create a new solid layer. And look at the color here. It's very important for the snort. It inhibits this color. I'm gonna call the layer snow. And make sure it's the comp side because I wanted everywhere, I would click okay, Let's go to effects and presets and look for snow. We take the SCC snore and we drop it on the layer itself. We can see anything. The first thing you want to do is not to composite. You can actually change the color of the layer. So I will come to layer solid settings. If I change the color of the layer, for example, to read, the snow is becoming red. If I change it to green, you will have green snot and that is awesome. Mere cancel. I will cancel also. And really I don't want it so white. I would go back to layer solid settings and I will take a dark, make it a bit gray, something like this. We don't want it to come in your face. Something like this is enough. Here you have so many properties that you can adjust, you can play with them. I'm gonna make it eight for the small size, so it's a bit big. Maybe it's too big. Let's make it six. In fact five, I will go for five and that's enough. Then here you are, you have your snow. And it's quite beautiful. Of course, you can add some wind, you can change the opacity here. It is 50%. You can take it 100% and see the effect. Notice now they're brighter, that appealing in your face. I don't like it. 50 will be better. Once something subtle, not like Look, I put snow here. Something very subtle. Something that's blending with the environment and so on. You have here the scene depth and that's an important one. I'll put it to 200. Show you. Now this is not the snow is influences like you zoomed in with the same number of flakes, but you notice it's becoming much bigger. You can set that 6 thousand and it goes backward depending on what you want in your animation. I will simply reset it by right-clicking and go to Reset. And that's the way I'm very happy from this. I think it's quite good. This speed is very high. This is B 250, I'm gonna make it 150. Test it, maybe I'm wrong. The speed of 150, be careful, I'm not in real-time here. I'm looking at nothing. Will go back and go for real-time. I think I will go even less than 150, but that's okay. Let it render. And we see are all animation, all our work here and how grid I have done while I was talking to you. I hope you like it. Now that has rendered on 100%. I'm running in real time at 30 frames per second and scan see what's wrong and what's right. Now as a motion designer, it is never over. There is always something I would like to tweak, something to make it better. Well, the first thing I look at is the House's ear are moving too fast. Might reduce the speed yet and let them bend left and right a bit less. The crosses. I will do the same here. The bat maybe also I will reduce the speed and make them less wiggling. This kind of work, of course I will do it off camera is gonna be boring for you to see me adjusting these things because we created them together. This kind of work of refining and tweaking your animation is always there. In the next video, I will show you my final work and how I tweaked it. 16. Final tweaks: Hi there. While off-camera, I adjusted some keyframes for the crosses here. I reduce the speed on the houses here. It looks a bit better, much better. In fact, actually, that's all I've done. I like it. There is always some tweaking to do. Let's organize a bit here. I will create a new folder and call it the pre-comps. This is where I want all the pre-comps that is titled. I'll click on title and put it inside. That will be all bats. Put it over here, and that will be bad. But how do you mean screen? I'm going to put it on top later on we will work on it. If you come to the truth, this is pre-comps only for scene one. What I will do inside this folder, I would write a scene one. We have another folder here. I will select the one I want inside the scene when I put it here, of course, you're gonna have scene to scene three and then we organize the rest. But at least now it's neater. And we can see our animation running here. That is a very beautiful, quite amazing by the way. Thank you guys. And it's your turn now to create this scene and make it much nicer. 17. Jumping into scene 2: In this scene, we are going to go from a still graphic. You can see here where we have the Hopkins. We have the owl. You have some threes. We have the moon to some awesome animation, as you can see. First of all, we're going to work on the background. As you notice here, it has a very fancy animation. I will show you the effects to use. Then we're gonna work on the three years. Notice that animation perpetual motion here is very nice. And the other 32, and this guy is closing and opening his eyes very slowly. And of course we are working on this greasy pumpkins we started with four now we have hundreds of them somehow. Their movement, how to create this kind of motion for the pumpkin, and how to replicate the motion. And really how to build a motion like in motion design. Where to start and where to end and how to tweak. I hope you really enjoyed this section. I hope you liked the animation. Will start in the next video. 18. Importing & tweaking the graphics: White gum to s2. Now we are starting to animate s2. We completed Cn-1 and we want to animate into, of course later on we will link them through a beautiful transition. We need to import the graphic, so I'll right-click import file. And I will select s2 now. And of course I wanted to make it Composition Retain Layer Sizes. You can check create composition, but make sure that illustrator, PDF, EPI sequence is unchecked. This squared here remains blank. I know click Open. Let's double-click to open the s2. From this scene, I will not animate the crosses. Just delete them. I don't want them animated. I'll just animate the pumpkin. I think I'm ready now to start animating. I will do that in the next video. 19. Cosmic turbulence with waves : Now it's time to animate our Halloween seen two, I want to close all the other composition. The best way to do it is to come over to composition. Over here. You click on it and you say, close other views. We have it all no confusion. Now, contrary to public belief, I will start by animating the background because it's gonna be something very beautiful. To animate the background. I will solo it. Solo. Meaning I will see only the background. But I didn't put anything off. Only this one is soloed. See only the background. To animate the background, I will add an adjustment layer with an effect that will somehow animate the background. I will create first the adjustment layer. And I'm going to call it background animation. In fact, they're gonna be two of them. Of course, I don't want the adjustment layer to affect all the layers. Click and drag it down to affect only the background. The adjustment layer will affect everything under it and it's only the bugging out. Notice it's said to be an adjustment layer. The effect I want to add is called Ward wave, would click and drag it on the adjustment layer. Now you have something very funny happening here. Actually you have submitted views. But first of all, let's see what this effect is all about. This is a very complex effect to create some waves, water waves. I don't know. Lots of studies, actually, lots of waves in many ways. It has a lot of controls. I will say it's a bit taxing on your system if you don't have a lot of memory. Nevertheless, this is how it looks when it is a wireframe. But when you change from wireframe to height map, now it is the real effect here. You will adjust it if you want to play with all the properties here as a wireframe so it doesn't tax on your computer, then you will view it as a high map. I have a pretty powerful Mac and I think it's working verifying with me. We have the waves and its adjustment layer, but it's not affecting the background yet. Now you'll notice that this effect is sitting on the layer itself and did not blend with the other layers. That's because this kind of effect, you need to change the mode here. If you need to set a certain mode, if you cannot see your modes like I have done, come to the second icon here and you can expand or collapse the modes, you can see it. I'm going to select the first mode here, which is darkened. And you can see the effect of the dark in here you are. Not bad, is nice. And if you want to cycle through the effects, because you don't know which effect is going to be very good for the kind of background do you have? There is something very important I need to point out here. Notice that the background came from Illustrator with some gradient here. We have a radial gradient from illustrated that were inherited in After Effects. If you don't have any gradient, you have a flat surface. Of course it would work in reduced some magic. But then the gradient will help a lot here. Then if you have nothing from Illustrator against simply create a solid layer, apply some gradient will see how, and then you can apply this effect. We go back to the dark in here. And if I wanted to cycle through the modes here, I can use shift and equal sign on the main keyboard. That's the plus sign, but we can call it the equal sign. I press one. This is the multiplier, if you notice over here, and this is the color burn. So I'm gonna run it for you a bit. The effect of the Color Burn, I will try to go to another one. This is the classic color and so on, Linear Burn and so on. You can play around with all kinds of blending modes here you can try this screen which will be quite bright, I think. Yes. My choice here for this animation. I will stop the animation. My choice here will be the multiply, because when I multiply, I'm taking care of the corners. Not gray or something like this, which is important. And I have the very nice effect. This effect is very beautiful. If you see it with the moon, is very nice. But that could be nice back and make it better. Let's try to make it better. I will add another adjustment layer. And on this adjustment layer, I will have another effect which is deliberateness, will add first the new adjustment layer. And we're going to put adjust on top. I'm going to call it turbulence. Just to be clear. Then I will come over here and I will look for turbulence. Here. I have not turbulence noise but turbulent displace. It's going to displace everything. Unless click and drag and drop it on the turbulence up saying Displaced everything. And I like the word if Iran, I don't have now some circles, I have a cosmic something cloud, whatever you like, and it's beautiful. Now I can adjust this one to make it even better. For example, you can play with the amount you are distorting even more. By the way, you can change the turbulence here. I like cross displacement because it gives you a funny thing. And you have the Bulge. The budget is very nice. But there's reduced this figure to something normal. First I'm going to reset it so I right-click on it, presses set, that is the bars. I'm gonna make it a bit bigger. In fact smaller, so I have more details. I can increase the size if you like, until I start having some holes, maybe I can decrease the size and I have something terrible. I'm going to reset it. It is set at 100, is not bad. I think I'm gonna make it a bit bigger. The amount here maybe I'll add 8585 and the size also 85. That will be cooled. Instead of bulge, I'm going to use cross displacement. That's my choice. But you guys can really explore your imagination. Unlike adding the complexity all the time, it's gonna be very taxing on my PC, but it will work. Your notice how the complexity has done some few things here. Of course, we need to animate it. Like the turbulent noise you animate here, the evolution keyframe, the evolution, come at the end here and set it at five. I think these parameters here will work very well. I have by default pin all. I preserve the corners everywhere. Now, I have this effect, which is very beautiful. For me, is very beautiful if you decide it's not beautiful. Bureau came. But what makes it very beautiful is when you put the moon on, notice everything is around the moon is coming out is looked like cosmic stories. But yet you can change it. Let's put this to 100. Let's reduce a bit the complexity to 1.2. I think the amount is cool. I will go down to 60. Normal because I tend to increase everything. You have now a very beautiful background behind the moon. Now I'm not saying it's perfect. I am seeing that you have a very beautiful background behind the moon, but it's up to you to make it even very beautiful. I think this is awesome already. Now, if you remove the solo, we see it with the whole thing. Looking like a marvellous. Of course, we needed to render at 100%. I look at it when it has rendered, it's working nothing red but in gray, which means we are working on real-time. I think we can restart from here it is read time already. And here it is. If you have a computer that you don't have the specs that write specs. For example, 64 gigabyte of RAM, SSD I'm having here and I have an I9. Maybe you would want to be patient a bit. And notice really I have to be patient is still in red here, but you can see that is working very fine. This is the effect that you want to play with. And to reduce the time. Maybe we'll put it off later on, continue our work. Then we'll put it on when everything is ready. I will see you in the next video with something awesome about the 3s. 20. Perpetual displacement and turbulence : Now it's time for us to apply certain effects on the three so we can give them a perpetual movement. Since we are into the Distort and Displace, let's apply the same effect on the tree. I will start with the three on the left. You'll notice there is already a difference. What I will do, I will key frame the evolution and come after five seconds and put it to five. So notice it's gonna move a lot. We are going to play a bit with the properties here. Let's take it and put it over here and decide that the amount here we are going to reduce it to 20, for example. The size of this reduces to 40. And instead of having turbulent as Jews, the bulge, it will bulge things around. For the complexity here we can put it at three. It's very complex, is what's happening. It is quite cool. Let's go to a brighter area. Actually, I'm going to put the turbulence and the other guy off. So we can see very well, but we're doing here. Now we have something really cool and it's not moving so much, meaning it's not distorting or coming out of the way, these guys coming up. And this looks quite good. It's been all by default. Let's apply the same effect to the three on the right. I will copy this guy, but notice I copied keyframes. I bring the play head on this side, Control V to paste it in. If I press U, I have the key frames the way I need them. Now if you'll notice they're almost moving the same way. Now what you can do here is change the start of the evolutionary. Just change it a bit. They start at different time. Actually you practically move the bit in front. And now they don't look alike. They look a bit different for the keen eye. But actually we have a very nice perpetual movement and it's quite cool. Notice the difference with this turbulence, if I put it on determinants that you're having with the 3's. Very different turbulence with exactly the same effect. Everything is emotion and thus motion graphics and visual effects, if you like. We've done for the trees and I think we're having very good results. I will put them off the turbulence, the two layers, so it doesn't take long to render. And in the next video we are going to work on this small guy. I think he didn't fall out of the branch. The branch. That's okay. We're going to work on his eyes. I will see you then. 21. Convert, Identify and animate graphics: We animated our background, the moon and I just put them off so we have less time to render and see them in real time. Now we want to work on this little owl here. The only thing I want is the out to blink. I'm gonna make it a bit bigger. The owl gonna put it here. And you'll notice I cannot work with his eyes. I cannot make him blink here. I could by replicating the layer and using some masks. But I'm going to show you something that is awesome that you can always use. First of all, I'll make it small again. Just over here. I would zoom in. That's it. And I will take the out and says I can't work on it because it is only in an image if you like. It's a vector graphic gas, but it's just one piece. I will convert it to shape layers. To do that, That's very easy. You right-click. Go to Create and say create shapes from vector layers. This is a vector layer is done in Illustrator, and I'm not gonna do that. Notice this vector layer from Illustrator has many composite, if you like. You have the owl behind, maybe it's a path. You have the feature of the nodes. When it is converted to a shape or group of shapes in After Effects, you can twirl down. You can go inside content. You'll notice how many groups there are here, just to be able to compose the graphics. Most probably these groups were already in Illustrator and after effects just read them and made them groups. Nevertheless, we can care less about that. What we get is about finding the eyes. I've got two group one and put it off. That's the foot. Group two is gonna be the other foot. That's how they were organized. Group three, that's the AI Insight you notice grouped for the i inside. We can use that to make it blink. If you want to. Actually light up and light down his eyes. And then group three, That's it, That's our eye here. Let's select it and let's rename it. I left. How did I rename it? I just select the layer, press Enter and type. I think group six here will be the other I yes, I got it. It's my choice now. I don't want him to blink, like I said before, the eyes go white and nuts white. I want him to close his eyes and open them. I have the two groups of shapes here. And if I turn down, I will notice there is a path, there is a group that has emerged path. It's okay. What we need is the transform for the I left. This transformation is only for this. I. Notice you have the position, you can move it up and down. You have the scale. You can scale it up and down the way you would like. You can skew it. You can skew it if you're not skewing is like this. If you want to. But now we simply, we are instead in this scale. The reason I'm showing you this is I took a new distributor from Adobe Illustrator and converted it to a shape layer. In After Effects. The shape layer I had contents. I identified the contents I want to animate. And now I'm animating. It sounds complicated, but actually it's very easy. Just take a big overview of it. In the scale here. I can scale them all down, which is not my purpose. What I want is to scale only one axis. Now they are closed. If you notice here, we have a very big layer and stories and songs. You don't care about all this. Just focus on what you want to do. I will zoom in and I want them to go down. It's close at 0%. The I is off or closed. I'm coming here. I will keyframe the scale. Now after 20 flames, no need to make them very speed. I'm going to put it at 0. Jump after, I don't know, ten frames of 15 frames and put it at 100 and try to see exactly what I have done. It's opening very fast. I'm coming over here. I'm going to copy this frame and paste it here. Actually these two keyframes now that identical at 0% in-between, they stay 0%. So that is a dead time here that we assimilate clause stay close and then open. I think it's cool. Maybe we arrange it a bit more by moving this keyframe away. They had the same time too close, they close, open, they open. Then I'm going to add a keyframe is sometime later, which is exactly 100%. It stays open. Now you guessed it. I'm going to add the loop out, which has become our household. Let's see. Closes, open, stays open, and it drops out again from the first keyframe. And we have blinking eyes. Very good. Let's copy the scale here and go to our other I. I, right? Let's come to the Transform of IRI. Let's be precise. Come to the scale and paste again the keyframes here. But that identical, they're gonna close at the same time. That's pretty cool. Now I want them the first time to closed at the same time. But then I wanted to start one closest one open and stories like this. All I have to do is to take the last keyframe and just push it forward. Notice now how is the animation closes open? Now, one clauses and one open. I'm going to move it a bit better. Let's see. Close, open, close and the other one closes, and so on. Each will repeat. You notice that so many things are moving, but you can care less. It easier, it will become easy. This is our animation. And it closes his eyes, open them, close one, open one. And maybe you can make the nose wiggle if you'd like to. Make is nose wiggle or not really wiggle all the time. But you can move the nodes left and right. You can identify the nose here in the group. Where is it? I think it's this one up. It is. This is the nose. I lost it. Nevertheless, you can identify the nose and decide exactly If you want the nose to go after right, and play with it exactly like we have done here. Guys. So we're animated Howard, Awesome. It was just to show you that things can become very complicated. But if you make them easy, if you look at it specifically, find out, oh, it's pretty easy though I have 50 groups. I don't even know what's a group. While a group it contains ships, then you identify what you want and you work on it. You can have an awesome animation. Thank you for listening guys. I will see you in the next video, some crazy animation with this pump pins. 22. How to create complex motion - Easy methods: Hi there. Welcome back. Now it's time to create some crazy animation with the bumpkins here. We have civil law of them and some are identical, some have different eyes. Studies like this. Let us see what kind of animation I would like to create. I will lock all the other layers are no mistake. I'm already have the bumpkins here. We'd like to open the scale by pressing S. To open the position also, I'll press P at the beginning here of the animation. I would give him the position and the scale and reduce this guy just small like this. I wanted to start maybe from here or somewhere here. After 20 frames. What I would like to do is this guy coming up just over here. I'm pressing Shift and scaling up not too much, just to be visible. After another 20 frames, maybe I will take him down to the ground. But then I want to scale him up a bit more, something like this will do. Then at the end here, That's the end of the animation. I'll click on it and take him out of the composition. But in the same time I'm going to scale him quite big. Of course, to preserve the resolution, I will put the continuously rasterized on and take him out of the composition because scaled up. So it's okay if I play the animation now, I have the basic animation I want. It's not timed. We didn't work with the graph editor yet, but I have my basic animation. This is exactly what I want. The first step is to create your animation the way you will want it with simple linear keyframes. Now select position here and the first thing I will do is to easy ease them. I can press F9 shortcut for easy ease. Now it's time to go to the graph. So you'll notice the first step is to create the motion with linear keyframes. Then come to the graph them if you want, and then start working in the graph. I would like that this guy, when he starts from here, it goes up very fast. This, I need this key frame and play with the handles just like this. This is the first leg, for example, something like this. If you look at it, yes, this guy is jumping from infinity and coming over here. This is the first leg of the motion. Then over here, I wanted to settle a bit because there is scaled also, you'll notice is also scaling up will look like it's coming towards me. Then very rapidly I wanted to come over here. And then very rapidly also. So it's just English here to make it quite speedy when he comes out. Let's see. I play. I wanted to be even longer. Do pose here. I'm going to try to stretch them even more. Didn't work. I'm going to go for this guy. Yes, something like this will work. It comes in stands and it comes out. That's very nice. Now I could play with these keyframes. Keyframes in the middle have an incoming velocity. That is the velocity when you come into the keyframe. And outgoing velocity when you come out of the keyframe, you can click on the keyframe itself and drag up. Notice I'm playing with the incoming velocity of this keyframe here. I'm gonna leave it here. The outcoming velocity, I can make it even stronger just like this. And if you play now, yes, that's exactly the motion I want. I wanted slow down even mode here. But I think this is the limit it can go to because of this guy here. I'm going to take the first keyframe, just make it linear, and take it up just like this. And you'll notice now I have more of a slowdown not going to happen. Yes. Maybe too much. I went too far. I'm gonna take it down a bit. Bring it over here. I still have a very long slow down over here. If I play, it goes up, stays, and comes out. Awesome animation, right guys. Note how we started working. As a motion designer. You should always have a system of how you work. I first of all created with linear keyframes. So I set the animation I want. Then I easy, ease. Then I went to the graph and started. Now, many designers are people teaching you after the fact retaliate, watch the graph is not beautiful. You can coalesce, as long as the animation is working visually the way you would like. Then forget about the beauty of the graph itself. Even its symmetry really doesn't matter. That's what exactly I want to take this one up. If I'm on two, then this one even up more. Not messed up. I love fiddling with disease and it didn't make a difference in fact. But making this frame linear has held because it doesn't need to take care of the left-handed. So I could stretch it a bit more and have more of a pause over here. In fact, the pose which stretches from here. Something else when it's coming here, I'm not very happy from the scale. I would like to increase the skills. I'm going to increase the scale just like this. This is my test. Maybe you will want to do something else. That is very nice for me. Something like this. I think it's pretty cool. Now is staying too much up here. No problem. Come back. Of course, select the speed graph for position. I'm gonna take this guy just like this, reduce a bit from here. Maybe like this, this, take this one down. Let's take this one just like this. It comes up, reduced a bit of time and comes down, I like it very much. Now what will be quite interesting here is to create more of the scale animation. If I take this one just here and reduce it, then when it comes just after, this is the silence area for position, I can increase it. Notice the effect. I think we have been affected here. I will go just like this. And we play like this. Didn't work very nice because this 99 and this is 91. Let's make it 105. Even more. Let's go up like this. Fine. Let's see now. Yes, that looks much better than not as the growth here has helped a lot. The animation, it looks much natural. Motion design and motion graphics are not something that you will want to say. This is the way it has to be done. Just set your motion first, go to the graph, play around and add more keyframes. Remove more keyframes and it will look perfect according to what you want. Surely don't come back and say like, here's some times that the graph should be in a certain way where sometimes, yes, but most of the time, no. It should be in the same way you want your animation. Something I have to add is over here. If I deselect, for example, that plus F2, you will notice that this guy is appearing here. I surely no one that I'm going to open the opacity by pressing Shift T for opacity. Keyframe the opacity at 100%. Notice I am at the same frame as the start of position and scale. I'm gonna come to frames not more. I'm gonna count 12, maybe three. I don't like three. Will do. I will take the opacity at 100%. It's like redundant. Determine why are you putting the keyframes here? Because I know what the element to appear as that movie. Actually it will appear while moving and it will look very natural. The last thing we want to do is to put the motion blur. Wait for it to render at 100% and it is there. And we have created a new awesome animation just through learning while we're creating and finding out what is the best in terms of keyframes and in terms of speed in the graph. Thank you very much for listening. And in the next video, we are going to replicate this animation all over the place. 23. How to replicate animations on different layers: Hi there. Welcome again. Now I have one pumpkin jumping like crazy. I need to do the other bumpkins. Maybe this motion is a bit too slow. Something is not right for you. You can still adjusted before you start duplicating. Now we're reducing the time here. It goes up and comes down and it goes away. I like the timing here, like how the keyframes are done. I'm using three properties here. I would like to take this motion and replicated, for example, this guy. First of all, I'm gonna put him right straight because it's not straight. I'm meticulous. Then how do I copy this motion? First of all, let's technically time indicator about at the beginning. That's very important. Sometimes I do forget it, even always pay attention, where are you pasting? And of course I'm gonna select the three properties. I selected all the key frames here, I'm going to copy. Now let us come to this guy and at the beginning of the layer, I will paste. So actually you will notice that it's like my guy has disappeared, actually is not liquid. It is, hey, just in front of the other guy. Just here. But then how do I move in? Well, that's very easy. First of all, you need to be attentive. Saw you put your play head on a key-frame? Not necessarily on the first keyframe, on any key-frame. Really not any good flame, any position keyframe. I'm gonna move it up to here. I think this is good. I can see now. Then while it is on a keyframe here, it's very easy. You hold the anchor point per shift if you want, or you can just put it anywhere you would like. I'm gonna put it just over here. Let's try it. So I moved all the key frames at the same time. Of course they're coming together, that's no problem because we will change that. This is okay, the distance is fine here. Let's take this guy and just adjusted like this thing. So it is this bumped him for. I will select the three properties here. Control C, come to the beginning. Maybe wondering why I'm saying come to the beginning. Let's come here and show you. I'm gonna take pumpkin fall and Control V. If I pursue to see the keyframes, you will notice the keyframes have been pasted starting from the play head. This is something you don't want to do because later on you will start wondering where this keyframe starts and you have to see them. If this happens and you don't want to redo your job, just trim the layer. Notice Gamma at the beginning of the layer here. At the point, you click when it is double arrows like this and you drag it, pressing Shift, it will snap to the play head. Now, I'm very cool. There is another one coming here it is. I need to move. It will sit on a keyframe. I will select now all the key frames. Actually I need only position because I'm moving. Simply click on one of them and just move it. This booted over here. I don't know. I'm not very sure. I think that's okay. Let's work on this guy. I still have the copy here, but I'll copy them again. This is a pumpkin Five. I will come at the beginning and paste. See the key frames. That's very cool. I will select all the keyframes just like this. Select them, come over, where is he? Is over here, I will select the anchor point if I want and just move him. Of course there will be somebody behind him, but one way we copied from and I would lift him up just to hear. In fact, this guy also would like to do the same. Select all the keyframes, put the play head on one of the key frames, going to move it a bit away. Just like this. Let's look at our animation now. It doesn't matter if they're coming together. I think it's cool. Yes. Less replicate for this guy. Now, this is our last guy. I think this will be witch, pumpkin, pumpkin one. I'm going to come to the beginning of the layer, select all the keyframes. Yes, it is repetitive, but you have to do it. What can you do? And I think now I have to figure out what it is. Let's come here. Press U to see it's keyframes that are selected. And it is this guy here. Let's move. I don't know. Here. Isn't gonna come through the three. I don't care. I think it's good. By the way, we don't have to just move it. You can move it also up and down a bit. And let's look at our animation now. I will let it render. Not rendering. You see it's 14th, 13th to read. And I need to see it very clearly when it is gray, it is in real time. Now it's in real time. I can stop the animation, then go back to the beginning and play in realtime here, That's my animation. Cool, Very nice. Now you notice I already sequenced a couple of layers, but we are going to redo the job. Just an example for you. And we are going to sequence them in the next video and create very many of them. 24. Creating duplicates more and more: Let's now sequence the layers in a nice way of deselect everything, press L and everything will be closed. This is what I wanted to do. This guy comes first, guy comes second. This guy after this guy March after maybe this guy just in-between. If you look at it, I'm gonna put the motion blur off, so it renders much faster. 1234. I don't like it. Let's go back here. And you'll notice I have these two together or most, that is this one. So let's bring this one here and this one like this. Let's see the result. And how are they coming? I have a problem with this one. I wanted to come and I have the problem with this one. You might like it. 1234. And then this one comes at last, I like, Shall we leave it at the corner here? Or maybe you want to center it a bit more. Actually, let's do that. Let's bring it towards us a bit. Select the position keyframes, click on the anchor point or anywhere, and just put it over here. So I'm gonna take it up. Let's see if I did a good job or a bad one. Yes, I like it is behind the other guy. I'm gonna do the same. And I did not select the keyframes. Notice what happened. I'm going to put it back on the keyframe and just put it over to him. I'm not gonna spend a lot of time on it because it's random. Now, this is very nice. How do we create more of this? Well, one way to do it is to replicate the layers, duplicate them and move them around. But let's not do that in the main composition. That will be too much. What I'm gonna do is select all the bumpkins, right-click and create a precomposition where I will call it begins. All, make sure that I will not make the mistake. Here. I have the bumpkins coming. That's very cool. So the first thing I wanted to do is select them all and Control D. I'll take the new ones, click on one of them while they're selected and drop them down. So I know these are the new ones. This is the old ones. I will put motion blur everywhere, but then our remove it from here. Now I'm gonna take this and put it here. So I clicked on one of them, if you notice, is click on one of them. Don't click here. The area will be trimming the layer. Click here and do like this, and then just be somehow very random. First one comes last, the last one comes first. Move around. Even this guy can come here. How are you doing? This guy is coming last. I really cannot conceive everything. I have to see it. Like it very much. We have here. How many cup then bumpkins, that's good work for a duplicate. Let's go back here and see our animation. It's pretty cool. Pretty cool. Now my motion is very nice. I want more pumpkin, I'm greedy. How would you do that? Obviously, you're going to duplicate this comp, but now you're really gonna come on top of his other. Then you can of course, delay it a bit. Let's say Where is the last one? Is diminutive in more and see the result. More are coming. That's pretty cool. I need to move it a bit more. Let's stop the animation. Let's call for me. Now. I'm gonna duplicate it again. So I have three of them and something is going to come here. That's very cool. But now they are coming on top of each other. I'm going to select the top precomp, click on it and just move it a bit. I can move it up and down the way I want. Of course not here. Something like this. I press Shift to know where I am and then take it down a bit. That's too much I think. Just here and take it down. I will go just over here. Then the last one, the third one here, or even the second one, I can just move it the other direction. Replication, it looks very nice. I move them just like this. Now let's play. Do we lack the job? Obviously, it's nice, but it will take some beautiful, It's being, and actually it's very nice. I like it very much the way they are all coming. Now. They're all coming at the same speed. Remember it's a single comp. That's very nice. By the way, guys. I replicated the layer instead of coming over here and replicated the composition. What you could have done is to duplicate this comp from here. Now you have to open it and changed a few things here. I don't know some changes here to make it even more random. Totally different. And then you come back to the main scene and you put bumpkins too. And from here now you notice the sequence is different. But my example, what I wanted to tell you is that you can duplicate from here, change inside this pre-comp, and then you can drop it in the timeline, you have a totally different animation. Now, I'm gonna delete this one because I don't want to do that. It complicates things for the course. Now that all coming at the same speed, right guys? I don't want that. I want to change the speed, I want the faster. Of course, I will not come back to the pre-computed and change the keyframes. That will be crazy and I will be like this. What I will do is to speed up the whole composition. How do you do that? Well, obviously you come to the speed over here. This is the last icon here. Expand or collapse the in-out duration and stretch pants. I'm interested only in this stretch. And I can stretch this composition to become faster. Look at the time here it's 88 seconds. Click and drag here, it became six seconds. So actually, I increase the speed by twenty-five percent. The percent here is decreased. And your noticed this composition, I've become faster. Some of them are faster. I can do the same here. I can, for example, delay then making sure that the last precomp here, if I solo it, I still have the pumpkin coming in and just from here, they stop here. That's cool. I'm trying to find out if I make it longer, the layer is longer is delayed. It's not like the animation is over here and nothing is seen. Then I can keep this one at 100%. Let's go back to the main. So I will un-solo. Notice guys, you did a replication and you did it fantastically. Look at the last ones, they're tired. Of course, I will tweak it even more because I think this one should be a bit more here. This one is in the middle. This one is worth. Okay, I'm not seeing it here. Of course I have to be on it. I will move. You just hear something like this around. You can decide what you want. The tweaking here will take you a couple of hours to get an animation that is perfect. You want to do is put everything in motion blur, motion blur, all. But we have, it doesn't really matter. Then let's play. Of course, the motion blur is going to take time to render a lot of motion blur that you were working on. And if your computer is not top-notch, be patient. Let it render, grab some coffee, come back with some coffee or some milk coffee, something like this. Here you are. You want to see it on full playback. Even with good computer like mine is taking long. Don't worry about it. Now is unreal. Time is not going in real time all the time. It will take few renders and maybe my cache is full, but nevertheless, I have something I can look at. If this is not happening with you, rendered the video, create an MP4 and watch on the MP4. Sometimes there is some work that you have to do, the 3D taxing. Gold guys, I will see you in the next video with something more awesome, which I forgot what it will be, but I will remember in the next video. Thank you. 25. Adding the title scene 2 : I remembered what you have to do. This, remove the speed from here and even the modes. We don't want them anymore. What do we have to do is to add the title. Gonna come to pick up here where I put my pre-comps. Seen one. Remember we had Title one. I will duplicate this one, but now let's organize it. I will come over here, create a new folder and call it s2. I will take the title t2 and drop it inside. Part cleans all belong to s2. I think that's all we have here. I will take the attitude and drop it inside and it's happy Halloween. They changed the name. Remember we did a precomp here. We're going to call it tricks. Or three. Or three. How do we do that? Maybe I will just put an enter here. I don't like it. Let's do like this and this one put an enter here. I don't know What's happening. Well, we need to move it up, press Enter on the numeric keyboard here or Control Enter or Command Enter to exit. Take the selection tool and put it just like this. I think this school, but this all, I wanted to be smaller. I'm going to make it smaller just like this. And actually we need to play with this guy, so trick or treat. Then we go for the selection tool and just try to center it. Let's see how the animation is doing. We come with trick or treat. Not bad at all. The first one is speedy and the rest is coming as it should be. Let's go back to the s2 and this is trick or treat and it's not nice. I'm going to do is to come back. What I will do here simply, I'm going to stretch it. Let's come back to Halloween tool. That's all you like that. I don't like that. The trick or treat, I don't like it on two lines are preferred. One light bulb, I'm gonna let it go. I am sure you will find much better solution than what I'm doing, because you will have all your time to create something awesome. Somehow it's cool. This is our animation and we have completed our scene. And you'll notice our composition is very long. We need maybe to trim it to somewhere as seven seconds or something like this. But we need some space to create a transition from the first scene to the second seat. Something I'm like looking at it and he's wrong, is this guy should not come immediately from here. Not here. Here. I'm going to go to five seconds. I don't know that anything on 5 second says there is more coming. Trick and three, I'm gonna go just over here. What is seconds is okay, let's play it. Then the jump more and more. After rendering, I think it will be faster. I don't like it. I'm gonna come back and take this guy back to overhear. I'm waiting too long for this title. It's okay because we can make the tie that gum while they are still jumping. I think it's cool now the title Guns and are still some guys coming in and out and so on. Now, maybe if we put the title under the bumpkins, it will be nicer. I'm trying. It's not like I doctrine. Try my best. The title will come now. Yes. And they're jumping over the title. It's your choice, your tastes, and the way you would like to do it, it's fine for now. Maybe I will tweak it even more. Thank you guys. That is s2. I had to do more adjustments. And I hope you will replicate and do much better than I have done here. Actually, we did not animate or perpetually animate the ground here. Of course, you can use the same effect here and put it on the ground, which I will do off-camera later on. I will see you in the next video. 26. Jumping into scene 3: Hi there. Welcome to sin, three animation. And of course, the first thing that you want to do is to bring in our graphics. Our right-click go to import file. Here we want scene three. And of course import as composition retain layer sizes. Make sure that it is striated. Pdf EPR sequence is unchecked. This little box here, it will remain white and blue, white. With leak open. Let's open our scene. Then we have other composition open. I want to close all the other computers. You'll notice here there is some aberration. Something is wrong. When you get something like this in After Effects, you are sure there is a mode that hasn't been imported with the file. For graphic design reasons, it hasn't been imported. That's all. There is no mistake anywhere, but they import did not work very fun. Isn't really depends on how it was done in AI. But in case you face something like this, you need to change the mode here. Remember the modes you can get them to appear just by clicking on the second icon here. Here, the most visible since you have block is to use these guys here. Add until a lighter color. If you try, add is going to be fine. It's too bright in the middle. You could try Lighten school. And you could try Color Dodge or screen, even amusing Shift plus now to select the others. This is Color Dodge, color dodgy classic. And this is a lighter. And this is Linear Dodge. And here it's lighter. This is overlay. Now we are a new group. I think the best one will be the screen here. I find this nice because they're so I can see the blue and it's quite byte. This is done. Let's lock the mood and the background. 27. Creating a reveal with effects: The first thing we want to do is to animate these guys here, the crosses. How are we going to animate them while we can use the scale and pop them up. Let's cool. But we've done that already. Let's do another effect. This effect, it comes into distort. This is distort and it's called the corner pin. Whereas corner pin here it is. I will click and drag and drop it on this cross here. How does it work? It has four pins on the four corners. Notice the four corners, you have four pins and they are upper left, upper right, lower left, and lower right. If you click on one of the pins, you can drag it down. There is a complete distortion here. I find this quite an animation. If you start from here and start taking them up one by one. Make a staccato means one after the other. You have a nice animation here. Let's do that. Let's start from the bottom here. One is here, and the other one is here. So we see almost nothing. Then we are going to keyframe the four of them, just like this at the beginning, open the keyframes. And let's say after 15 frames you take the upper-left and you move it up. Then you move this guy up. I'm going random, just like this. Then after another few frames wherever you like, we're gonna do it like this. Now I'm doing it very slowly. Just to show you. Then another few frames, whatever it is, we're gonna take it up here. And then later on, let's move this guy a bit. And the last one, we are going to put it here. Notice how the animation is going to be. If you play it, notice it's going to go something like this. Of course all this is depending on how I've done the animation. And it's quite cool. For example, these two, we might not like them very much. So let's take this one up. Notice if you go down, it's not gonna be beautiful. If ever you go down, we take it lower than the previous position. It's not going to be nice. Let's see, This is cool. And then we can play here with the thiamine, let's say like this. We started like this and slowly you make them a bit speedier. The timing in-between key-frames, it increases a bit more. I'm going to put these guys here like this. You notice that there's an increasing speed. And that is very nice. Depends on what you want to do. I'm going to do something more because I'm fiddling and I loved playing with these things. Very nice. So we have a very nice animation here and we don't need even the opacity to animate in the beginning. Having done this, we are going to select this corner, been control C. Come to this guy over here, go to the beginning here, and this guy will be cross four. You've just down here. And we are going to paste the corner pin so they have the exact animation. No problem, we will change that. I'm going to do the same for this guy just from this guy from here. Actually as a motion graphic designer, I already have what I need as a basic, very basic animation. That's pretty cool. Let's come over here and take this guy down. Maybe this guy and this guy up. Like that. Let us see if they're all working fine. Now how do you change? If you select one of them, for example, this guy over here, I'm gonna select him. And notice the corner beans here. Come over. I plus you have the pins here. And maybe at the second one, I will select the effect. I can change this, I can change this. Now we don't want to make it faster. Want to make another distortion. Something like this. Come over here. Let's do something like this. You cannot randomize this by the way. Of course, I created two new keyframe here. I will go back and let's do this and this guy bit here. Then we come to the last one. You change. The last one is already done. But let's see. Very nice. And you can do the same for the others. You can come over and find the layer first of all, Shu For the keyframes. And let us say from here, so glad working on this guy, we select the corner pins so we can see the pins. And maybe we take it faster. The previous one here. We also take them a bit faster, but below the next ones. It looks like you have a new animation each time. That's okay, let's play with this one. We select the corner. And this is a tear. You to open the keyframes. There is always some work. Nothing is automatic at 100%. I'm gonna go back here and select again the corner pin. And let us do this. We wanted a bit slow. Scoop backwards. Yes, That's okay. Let's bring it. Just hear something like this. And we go to the end and they fit together. Quite not identical. Somehow. This guy is going up and down, but it looks good. Now this kind of animation, this kind of distortion is very nice. Of course, refining it not as speedy as I've done. We'll give you some awesome results. Something else that you can do here is to add a mask. So I'm going to take as an example, I will show you, double-click on the mask here. Then of course I can come over and mask path. I will keyframe at the beginning here. Just take the mask here. My purpose is really about not 3D animating the mask, but about feathering the mask. This is the feathering here. I'm gonna make it big. You're not sure what's happening here. You're going to have some kind of shadow. I'm gonna pull the mask up so I can show whatever it's supposed to be seen. Not too much. I want this kind of feathering. I can even play with these guys and then come over here, let's show the maximum, something like this. And then at the end here we want to return the mask the way it was gonna be this key frame and paste it. Then I will take these guys, maybe. The last keyframe here is gonna be like resetting the mask. I'm going to select the mask and put it outside. If I play the animation now, it has the shallow shading, if you like. Quite nice. Notice how it's happening. If you like. I showed you, I'm going to remove it and you can play with it the way you would like. Now let's click out, deselect everything plus L. And we have our crosses here. We want to seek one's them in a random way. Maybe a very educated way the way you would like. And you have four animations that are awesome. First of all, let's come over here and look at our info and then make sure we are in real-time. You can see this is our animation. It is not something that you want to do every time, but it's something that is different than the normal animations. And you can work on it Very nice. Now, if you want things to be very complicated, if I may say you can use the busy work. I just drop it here to show you if there is a course I have that works with the Bezier war. It's like a lot of deformation, a lot of distortion. The way you would like, of course, is a lot of work if you want to. So many things to change here. But you can work with all of these tangents and points of view like to. Now it's up to you. It's actually exactly the same concept with more points. Thank you very much. This was distorting the graveyard and getting them to resurrect from under the ground. I see you in the next video. 28. perpetual motion for the ghosts: Before moving on to the ghosts, there's something important I need to show here that I forgot about. This is the cross is selected but you notice I did not put the continuously rasterized on it. If I put it on, then it's disappearing somewhere less. Let's select the corner. And you'll notice now the pins are no more according to the size of the layer. They are actually in the size of the composition. You need to do the whole job. Again, you're not sure what's happening. For the course here is not important because we are not really scaling them up. They will still very sharp. But in case you want to have the continuously rasterized, make sure you continuously rasterized before you start moving them around. Let's take care of the ghost. So now I'm going to continuously rasterized the course. You don't need it, but that's okay. This is a very nice goals, but actually it's not that goes is very stable. It doesn't move, supposed to move around. And the best effect to do that is, of course, the one we have already used, which is the displacement. We have turbulent displays. We can use absorbed on the Ghost. Now notice the difference. Not rasterized. Rasterized can play with it. When it's the rasterize is a bit, I will say there is no difference. In fact, I can do the animation the way I would like. 100 is fine here. Let's look at complexity though I wanted more complex now, not really. One will do well. Actually, I don't even want complexity. I want the evolution here. So I click and create a keyframe, come to the end and give it an evolution of three, for example. Let's see how it's going to behave. Very nice, actually too much. Okay, Let us go back here because it goes the way I imagine it. It doesn't move so much. I don't know why it's three. I'll put it to one. Unless see if it's going to work with us. I think this is much better one, you really don't want this kind of displacement that is exaggerated or something like this. This will look quite fine. Now, I will select this turbulent displays and then select the other goes and simply come to Effect Controls and Control V. You'll notice that they are now having all the turbulent displaced. Here. There is no need to change anything. There is nothing to change here because the ghosts have different shapes. They're having the same kind of turbulent displays, but since they have different shapes, then they don't look the same. It's quite good. We got this course to move around. That's very fine. In the next video, we are going to animate them coming up and down and make more of them. 29. Not the final Ghost animation: Now I would like to animate the GOCE mission is pretty simple. I'm gonna come over and open the position and keyframe them all. Just here. I'm going to zoom out to see everything here you are. Then take them and put them under here. As simple as this. Then come after three seconds. Dig them up, put them up here as simple as that. Then you have now, then coming up just simply, just like this is very easy animation, nothing special. But I would like to add some thumb think special here. We're gonna come somewhere in the middle, select this guy and move him a bit. Notice I will get the handles. I'm going to twist the hand is a bit, make sure they are not bumping each other. I will go like this and this guy move them a bit nondescript frames that are being created. But I want these keyframes. I'm going to move this guy here and make sure it is not going on a straight line. I can do exaggerated things, something like this. If you like an overlay, I'm going to move him up or down and do something like this. Now make sure that not on top of each other because I don't want them on top of each other. Now what happened here? I went very systematic guys. This guy selecting from here. And let's move in this way. Yes, this guy this week. So all I'm doing is playing with the handles just to make sure that I have a motion path that is a bit different. So have them and they're coming up very nicely. Okay. They're bumping each other. It really doesn't matter. I think it's cool animation. Let's go back to the reasonable view F2 to deselect. Let's see, do we have anything that is nice? Now this guy is bumpy too much in the other guy, but they'll cool. They're cool. I would say they're pretty cool. So of course now greedy like I am, I want more ghosts. Before doing that, I'm going to select all the goals. Of course, right-click and you know the trick, pre-compose. I'm gonna call it ghosts. Or I have a pre-composition and I don't see anything except the scary phases. That's because the composition settings, we need to change the background for something we can see. And I think this is good. Now we can see them coming up very nicely. The first thing I would like to do is to duplicate them. Okay, I'm still having a problem with this guy. It's keyframe. At this point, Let's move it. You don't notice, you really don't care about how many key frames you have here. It is for this guy and if he hasn't motion passwords, thank you. Frames really, really can care less and let's come back here. And it keeps on bumping into the others. Whatsapp was him. Okay, so I'm gonna go, wow, look at the key frame where it is. Let's move him seriously. Okay, Let's take him down and let's take this keyframe down. Now I have similar keyframes here, but three I can care less if you want to walk it with three keyframes, That's very fun. I think this is good. The way I'm gonna do it is to select all of them. Before I select all of them, let me sequence them. Otherwise, I will have to seek with too many in a certain way that might not be pleasant. Let's see. 12 they come in, okay. This guy here, and let's push this guy here. This guy is here. Let's push him backwards. And this guy is pushing forward, not so backwards. And this is okay. Let's play. I'm trying to be reasonable that there are coming up. Okay. I like it very much one after the other, but it's still very cool. So I will select all of them now. Control or Command D to duplicate them. Click and put them on the bottom. Select all of them. And I can do something just like this. I don't want there is a stop motion or something disappears completely. I want them to continue coming up and it seemed are very random. I'm happy with this animation and I think it's enough. Let's come back here. And we have a very ugly animation where the guys are just coming from up to down. They don't even disappear. And we need to do for it to render. What I would like to do is these guys are appearing from the bottom here and it's really very harsh. You're not too just like this. And they're disappearing here very harsh. How about if we create a certain effect that will make them appear and disappear in a fashionable way. We'll do that in the next video. 30. Completing the ghost animation with smooth reveals : Hi there, we have our ghost animation. It's very nice. But these guys are appearing because they're coming into the comp and disappearing because they're coming out of the comp. This is very cool, but not so cool. Yeah, actually, I don't like this disappearing because they're coming out. Sometimes very useful in motion graphics sometimes is not. In this case it is not, it's not beautiful that cut just like this. We need to create some kind of opacity games. When they are coming out, they're not very visible, then become visible, then they're not very visible, and then they come out without showing this cut. How do you achieve this? Well, actually achieved this using Track Matte. First of all, parent and link. I don't need it, so I'm gonna hide this. And to get your Track Matte, which is the second column next to mode, you can just use the second icon here you highlighted, you can see your track matte. We are going to use Track Matte, but what's it Track Matte. What usually a track matte is a ship. It can be actually anything. The most common is a shape layer that you will use as a mat. We take a shape layer and we draw a shape layer. But be careful nothing is selected here because I want to have a shape layer. For now. I will go to the fill here and make the field completely solid color. Now I have a shape layer that I will turn into a mat. How do I turn it into a mat? I will come to the layer that is directly beneath. And that is because layer here. Then I will select here in the track matte. I have four options. I'm going to go for the first one. Now what's happening? I'm gonna put everything else of except the background. Okay? What's happening? You'll notice now the content of this, there are only appearing when it is inside the math because we set Alpha Matte. If you play through, you will notice that outside nothing appears. The Shape Layer one acts as a matte for the ghost. Ghost is the truck, if you liked. Will Alpha Matte, you will only see what's inside the truck, as you can see here. As simple as this, outside, nothing inside everything. You have another option which is the Alpha inverted. Nothing gets inverted except what you see. Now you can see only what's outside the math. The ghost has been Alpha inverted on the Shape Layer, the math. And you can see only outside the math very useful from time to time to work with this kind of effects. Now is the Lamaze. I will select luma matte here. You will notice, first of all, everything is appealing when it is inside the mat. That's cool. But the luma matte will work on the luminosity of the shape layer. Let's put it on. We notice we have a plain pure white layer, which has the maximum luminosity for the pixel colors if you want. But the white, pure white has maximum luminosity. So everything appears when you have maximum luminosity. Take this shape layer and start playing with the colors. I will come to the field here and I will set it to linear gradient. Now we have on one side, the luminosity is 100%. On the other side, luminosity is 0%. In-between. Here we have some kind of grading. Within the luminosity goes from 100%, goes down, down, down, down until 0%. We're not going to work with this kind of linear gradient. We are going to double-click. And you'll notice you have here the two circles that you can use to adjust your gradient. Very easy child play. I'm gonna do something like this and put it off again. You'll notice now in the white area of our mat, everything is appearing very sharp. But in the black area, everything is not appearing at all. 100% pure black. When the luminosity is at 100%, the opacity of the target itself will be 100%. When the luminosity, like in the black is 0%, then of course the opacity will be 0%. But what is his thrusting is this small area here. Notice how I'm changing. In fact the colors here. You notice here we have a certain luminosity. This is because we have a gray area. Now I'm using black and white and usually I always use a black and white. You can use any two colors and tests. You'll notice in this area where luminosity is not 100% is non-zero percent is kind of a gradient of luminosity, goes from 100% degrade and comes out. You will have the same kind of opacity for your layer. Let's do something like this to show you. I go down as simple as this. Just like this. Now, when I come back, the human notice that on the y just over here, we can see 100%. And then the opacity of the truck will go down because we have a gray area. And when you get to the black here, each will appear 100%. That is Luma, Matt Bloom, I invert, it will not work. The opposite is still, will show 100% of what's outside. There is no colors here or anything for the math itself. But inside each will be depending on the luminosity of the mat itself. You need to run some tests and you will see it's pretty easy by the way. Now I'm going to go forward luma matte here. Let's delete this layer and create a layer as big as the comp itself. Now notice since I already had the luma matte here, it just replicated. Then I'm going to do like this 100% and edit the colors. I want white in-between. That is the 100% Luminosity. I'm gonna take another color over here where I'm gonna make it very black and try to adjust these. In fact, you will adjust them from here. That's up like this, something like this, something like this. Black, it will not appear. And the shading here, we'll give it a kind of opacity if you like. Let's put it off. And you'll notice now it is amazing what's happening in the middle here is appearing almost at 100% and the ghosts are coming out. But I'm still seeing them on the path. Let's select the layer, make it visible and double-click here to edit the gradient. I'm gonna take this one up, this one down. Here, you have a lot of sharpness. So I'm going to edit the color white and not make it so white. Gonna take it down just a bit. And let's see the result here. You will notice that there will not appear because the composition has started or limited. They are disappearing and appearing according to the luma matte. So this is how you work with the luma matte and we have a very beautiful effects. Remember that detract match. We'll work on the layer just above. How about if I wanted to add another composition? Here are the number of goals. While it's not possible to use that shape layer, we need a new shape layer and of course we are going to replicate the ghost. The best way to go about it in our case here is to simply precompose this one. I will say Matt dash ghosts. I have here the pre-comp, and then I can duplicate it. For example, move it a bit. Now it's working perfectly. I have two of them, and of course I have too many of them. But of course I can come to the speed just over here and make the first one a bit speedier, something like this faster. And here you are. And then the karma, they're gonna go on top of each other. That's very good. Now you'll notice the effect here. That's very interesting. You have two precomps here that have their own maps in their individual composition. But yet, there is a mixing here because we did not make it pure white. So we still have a kind of opacity. It affecting over here and it's pretty cool by the way. Let's take this guy and move, or just over here. I'm gonna move it here. Something like this if you want to do that. So now you have a very beautiful animation a bit random, seems like random effect and the goals are all coming out. But we need only one for our projects, so I will delete it. I hope you've got the system is very easy. Please do some trial, play around and see how we can create something awesome. Just getting these ghosts coming out. Thank you. I will see you in the next video with some more about the maths. 31. Back and Forth motion - Essentials: We have our animation here that is very beautiful. Until now are ghosts are working very fine, scary. Now I want to play with the little reach here. If I click on it, I'm going to select this layer, so I'm going to lock it. Actually, I'm going to put it off and put everything as of Except I mean, that's enough infant the clouds we can leave them on. I'm gonna lock it so I don't select this. I have nothing running yet. I have this little reach that I want to animate to the right, to the left, and then to the right, maybe make the title appear. It's gonna be a bit speedy. Let us start. Of course, this is a position and emission, so I press P to animate. I'm gonna keyframe it here. I'm going to take it from outside. That's okay. Because it's coming from outside, from nowhere from very far. And after, for example, 1 second, in fact, 15 frames or 20 frames only because I have to take care of the time for the whole composition is going to come just over here, something like this. After another 20 frames. Okay, So I will come back to this keyframe and write a plus 20. Because I can't calculate. Then I'm gonna take it backwards. Of course we play with the motion path later on. But this animation is really ridiculous because the girl is coming back. He's going backward. That's not what you want. Then we wanted after 20 frames again, we wanted to go forward. Okay, so I'm gonna select it and take it forward just here. That's the animation we want. And we don't want it to be ridiculously going backward. We need to adjust that a couple of ways you can do that. The first one, which is the best, to select your layer, you right-click, you go to Transform and Transform. You have auto orient. Select auto orient. And asked me auto orient or not, I will say auto orient along the path. Now with the auto orient, you noticed that she's going forward, backward, and you'll notice here she is upside down. We need to fix that. Usually I use oriented path because we're going to play more games with the path. That's okay. We want this lady to flip and to be straight up. We don't want that. We read down those. Sometimes you will want that. How are we going to do that? The best way is to play with the scale. I bring in the scale. Now you have to be very careful. We need to flip the scale. So if I change the scale here to minus 100% and bring it in here, that's very good, but actually it's very bad when it starts. Notice what kind of key frame we put here. I'm going to keyframe the scale, but I'm going to change this keyframe to a hold keyframe. A hold keyframe means change the value as soon as we reach the keyframe. That's pretty practical. In the beginning, it should be 100%. I'm gonna make it a hold keyframe too. So we're going to start with this scale. And when it reaches this key frame is gonna flip twice because of the orientation of the past before we have 100% and just after the keyframe is gonna be minus 100%. So a hold keyframe will immediately changed the values and not interpolating, meaning linear interpolation like we have done before. It goes from this value towards this value, no, when you come to this keyframe, the value is immediately changed. 12. Now she is upside down again. Okay, so over here, we're going to add a key frame. And we're going to change it to 100% because she's going forward. Here you are path, path, path. And that's pretty cool by the way. Let's do this guy just here. I think we are very speedy, so I'm gonna take it all. We have two seconds year. I'm going to press the Option key and stretch them to two or three seconds. I hope you will have enough time. Here you are coming like this and up and down. And very nice. Let's take now the motion path. This is the motion path here. And we have this handles that you can play with. This is where orient will play a nice roll. Let's do like this, something like this will be nice. And here she is, comes, it goes up, downturns. But of course, this flip here could be very good. In fact, it's well done now. She's flipping. That's okay. Now that we have the motion here for the literal, which notice how she's flipping is very nice. You can take it left and right the way you would like. In the next video, we are going to make it appear only inside the moon and outside it just fade away. 32. Motion centering and reveal: Now we have our which she comes in, she comes out turn and sorry. But we really want the witch to appear only within the moon, a bit further away, maybe. How are we going to do that? Well, we are going to use track mattes and we are going to use luma matte and try to adjust the luminosity and the colors so we can have a very good effect. Let us draw, first of all, circle, I will take the ellipse. Draw a circle that is as big as the moon are a bit bigger. I'm going to click on top here and then come down and then press Shift, grab my circle. So I move on the right. Then I will press the space bar and move the circle just in the middle here. Of course I'm going to click on it. It's gonna be a mat and put it on top of the which we want to apply a luma matte from the which new shape layer, rename it. I press Enter to rename it and the mat, which, which math, wherever you like. And apply under which now apply a luma matte. This is very nice and let's take the witch here. And of course we can't see her because we need to adjust the color. I will select the Shape Layer, double-click on the fill. And of course I don't want a radial gradient, it will make problems. Select a linear gradient. We have black, white in the middle on under percent and 100%, no opacity. But of course we need to change that. So I'm gonna bring it up to here. This one up to here. Let's test. Of course, I'm very interested in the border not to see a line and actually I don't see a line. You'll notice that guys, there is no circle or song. That's very cool and it disappears. Now if I wanted to begin to address SAM, make it a bit bigger. And I think it's inside the circle at 100%. We don't want a line on the which here they're relying. You notice there is no lie near the luma matte is working perfectly because we adjusted the color. That's the animation that I want. It comes in, comes out, comes in again. We have done the which we have a very nice luma matte. I think I managed pretty fast. And we need to move on now and start adding the title. 33. Another Title Scene 3: Now we have our Which coming in, coming out, coming in. Now that as this add the title now, I come to pre-comps and I have seen one and seem to I will create a new folder inside the pre-comps. And this is gonna be seen three, right? Then I will duplicate title too, in fact, title one whatever. So Control D to duplicate it. I'm gonna take title three and put it in S3. Now the mid goes, we'll put it in Scene three. That's the only pre-compute heavier. This takes title three and drop it inside the composition. We can drop it anywhere and let it play. We don't want Happy Halloween. Let's make it only spooky. I never write spool key. Let's put it over here. In the middle. We have the animation. Let's go back to the Halloween scene. And we want the, which let us see the key frames for the witch hear you. So she's coming in. Maybe this is when she comes in. She brings in the title reserve, just like this. So she's coming in, she brings the title, she comes back. The title is too small, so I will just increase the size. Just like this. You play. She comes in the spooky and she finishes. And actually we don't want the last come in. Let her go with two only. Brings the title. That's cool. Then after she brings the title, maybe we start the goals. This is the ghost here. So let's say she brings the title 12 and goes to start at round here. I will take the ghosts and move it, lock it, just move it just over here. Let's see if I've done a good job. Here. You are in, out and the ghost will start. That's very nice. And then that's it. Of course you can sequence the way you would like. Okay, I'm not very happy from that, but it's okay because maybe I will put the buyer knows something like this, but that's cool. If you don't like spooky only then you can add whatever you like. The animation is done here. We have the title and the ghost or a building. Let's put on the crosses. Let's play it. But we have a single problem that you haven't done and became a bit idle, is this guys. The crosses are not moving at all. In the next video, we'll give them some displacement and see exactly if they look very good. 34. Perceptual distortion: We have our animation. Now we need to give a perpetual movement to these graves here. Just one caveat guys that is important. This layer here, which is supposed to be the cross two, has given me a problem when I added a lot of effects. So if you face the same study, please delete that layer and replace it with any other cross and just move it around. It would work very fine. Let's start adding the displacement. We come over to effects. I already selected it. I'm gonna click and put it on the first cross. That will be cross one. I will come in the beginning keyframe, the evolution go at the end here I'm going to put the evolution at 180 only. It's like half an evolution. If I play here you are. Now, I will select the turbulent displaced from mere Control or Command C, copy it. Come to the other three, cross, makes sure I'm at the beginning here. And paste and here you are. I think it's done. No mistake, no system error because of this number to be careful on it. Now let's add some turbulence on the clouds here I will select the layer, unlock it, select the layer. I think I still have, yes, the turbulent displays. And let's see if we keyframe from here. Actually key frame, then I send them somewhere, which is not good. I'm gonna remove them. And keyframe again from one till maybe another one only because we don't want a lot of displacement. Here you are. They are moving but they are displaced TO much. I'm going to reduce a bit the amount. Let's make it 4040 will do well. Let's see, replay and then moving. Very nice. And you have your full animation. So it worked very fine. Now you notice our animation here finishes just over here. Maybe, maybe, maybe I don't know, I'm not very sure. I can duplicate this guy here, Control D and bring it over here, provided that it finishes at its second, it doesn't. I'm going to play with its speed and increase the speed from here. What are you? Okay, Just like this, I increase the thing too much. Let's put 80%, which is already 81. Here you are. If I play now, it starts. So we're going to have another row coming up but a bit faster. I think it's cool. Now by the tall, they will come out and of course the animation will end at eight seconds. That's all we want, having none. So you will notice that you will need to put the motion blur everywhere. So I will come to motion blur. We just put it everywhere. And in the mat goes here, I have to go inside. Inside all goes and put the motion blur everywhere. Come out here. And let's remove the dime. Come over here, are of course going to take or it's time to render now with the motion blur is not gonna be easy. It's gonna be tasking on your computer. And we have motion blur on these guys is very cool. Thank you guys for listening and do the tweaking that you want. And this was our complete scene, three. 35. Professional Transitions: Are you ready to create some awesome transition? While in this video we are going to create this transition. And it's a bit unusual transition, but it's very professional. And I will advise you to start creating these kinds of transitions. The Sabbath works. Now the purpose here we have three scenes, 123. I want to put them in the main composition and then run them together with a transition between the scene 12 and the same transition between seen 23. So let's do that. First of all, we create our being comp. Give it a nice name. For example, Halloween. Let's do that. Let's call it low wind. It is custom because I have 1920 by 108030 frames per second. The one that is a preset, it is 3425 or 29. I prefer to work for 30 because most of the work would go the Internet and 30 is very practical. I'm not sending it to the VA or something like this. I'll click. Okay. I'm going to take the three comps here and just drop them inside the main composition. Of course I will come one above the other. I would like to sequence them. In this case, I will select them one-by-one. So I will select the first one, press Command or Control, select the others, and then right-click. And to sequence them without any trouble, you will come to keyframe assistant. And only one that is available is sequence layers. Now it's asking me if I want to overlap them. I don't want to overlap them at all. I'm going to click Okay, here you are. You have them sequenced perfectly one after the other. If you come over here at the junction, if this one, I press I for the endpoint and zoom in, you will notice they are perfect. There is not any overlap, not even a single frame. I will select this layer and press all to go to it's out point, it means the last point. Then I press N to bring the work area and to this outpoint, then our right-click and say trim comp to work area. I have the exact time needed. I'm going to reduce the resolution, the playback resolution to third, okay, just to be able to make it render faster. If I play here, you'll notice there is just a cut between one and the other one. There is nothing interesting here. We want to create a transition. Now usually what people do, normal people not do is to put some keyframes on the layer above and some keyframes on the layer below and overlap them and you have a kind of transition. But here we are going to make a very professional transition. To create this transition, we are going to use an adjustment layer and have the animation, whatever effects we want on the adjustment layer. Let's add a new adjustment layer. You'll notice this adjustment layer comes all over the place, but actually that's not all I want. I want to trim it. I wanted, for example, for more than 1 second. Okay, so I will come to 1 second and that will be 13 and add another 20 frames. Okay, so I'm gonna write a plus 20. This is the duration of the transition that I want. So I'm going to cut the layer now, option squared bucket and then bring it in just over here. Now, I'm going to zoom in. This being an adjustment layer if I come on animate from here is not gonna work. So what I will do is to have a transform. I will take the transform effect and drop it on the adjustment layer. The Transform effect will allow you to scale, to position, to rotate wherever you like. Now if I rotate within the transform layer, I will be rotating all the layers underneath because this is an adjustment layer. Let's start a simple animation because there are few things I need to show you. I will keyframe, the scale, keyframe rotation. Press U to see them in the timeline. Then just over here, I'm going to get the scale to be 200 and the rotation to be minus 90. Of course I can go 90. Now I have a very simple animation. You'll notice pretty ugly because we can see these guys here the borders. Again, that's not really what you want. We need to adjust that. To adjust that you have a special effect is called motion type. So I'm gonna take the motion tile, put it here. And actually we take the transform and put it under the motion tile. The motion tile simply will dial my composition. You're not gonna see it outside the comp, but it's gonna cover here. The first setting we want to do is mirrored edge. And then you have here the output width and the output height. You meaning you're gonna take the ties. These are the tires at 100% and you are going to put them, for example, at 200 by 200. You'll notice it has covered the edge. This is the whole secret. You're covering the edge just like this. Now when I rotate, I don't see the edge at all. That's fine. So I rotate it just like this. And then at the end here, I will keyframe the scale and rotation. Put back the scale at 100. And now the rotation, I'm not doing it to 0 because it goes backwards. I'm gonna put it at minus one here and 0 here. Actually that rotation will continue. Notice it's continuing. Now you're wondering what's happening here when it continues this as an adjustment layer. So the layers are under it will take effect here you are. That's very beautiful, but you need to have the motion blur on it. Okay, I'll put Marshall blurrier and motion blur on all of them. It doesn't matter. I'm going to play now, you'll notice it's cool as not really fantastic in terms of speed. I will now is the keyframes. Let's come to the scale and go to the graph here. I would like the scale to go up pretty fast, I would say and then go down, not pretty fast. Go down and set up just like this. Notice the difference now is pretty cool. Now I want the rotation to do the same almost. I'm gonna select this guy from the rotation and come over here. So it comes in a pretty fast. And then here I want it a bit slow. I'm gonna do something like this. You notice, just like this. This is quite cool. Maybe it's too slow. So I'm going to take both of them and turn them over here. Actually, the key frames should be just at the endpoint or the outpoint. I'm gonna go to the outpoint. I select the layer, press O to go to the outpoint, select these two keyframes and just slam them on the output. Here you are. I like using an effect called the bulge. I think we used it or something or in other courses, I can't remember. I'm gonna take this effect and put it under everything. Now let's come over to the keyframes. We have two keyframes only or two sets of keyframes. We are going to set the bulge. This is the initial state. And notice here I'm gonna make it big. So this is how much I'm going to let us say 10000100. Vertical bulge is gonna be one hundred, ten hundred, one hundred. If I increase the bars, notice what's happening. How do you want to animate now you have the choice. I'm going to keyframe the budget. 0. Come to this key frame. Just here. I will increase the Bulge. Notice what's gonna happen. Something like this. In fact, let's decrease the Bulge. Let's make it minus one. Then at the end here, we're going to return it to 0. Now let's take the badge. Keyframes. We select the keyframes, we ease, ease them with F9. Go to the graph here, and we need to adjust the amino pretty nicely. So we're gonna do a fast bulge in the beginning. And here we are going to do is slow bulge. It's set as very slowly, something like this. Let us see. Let it render. Only this portion needs to render. And let's play it again. I'm going to bring the play head here. I will put B for the work area beginning and end for workers. And let's do this. Let's Play. Notice the animation. Very cool. What do you think, guys? It's very easy to work with, so I need to select everything and show you fit. Now I'm gonna go back to my full resolution here. None that has rented at 100% you are in time, you can see really the transition is very beautiful. If few things are bothering you. Like for example, here we can see the lines and so on. This is really from the artwork, but if you would like to fix it, how about if you add another effect? I will add the blur effects. I have here. Some fast blur like the Gaussian blur like Fast Box Blur, any one of them. I will take the first box and drop it also under the adjustment layer. I will come over to the endpoint. This is my Fast Blur. I will keyframe it. I need to see the key frames and then bring it to the endpoint or the outpoint of the other layer and maybe increase it. We increase the way you would like, then come at the end here to 0. Okay, this cannot be continuous. And then I will select all the keyframe easy, ease them. Go to the Graph Editor and fix it very nicely. So I wanted to be, I want it to be fast and it's not gonna work is too small ear and is going to settle. Just like this. It's set as very nicely here. This one also, I'm going to bring it in so it sets as nicely. And now I can learn it. Now that it has rendered as 100%. Here you are, this is your transition and it's pretty beautiful. Nice, beautiful, really nice. So we want to skip the transitions that come from left or right and create these kinds of transitions that are very beautiful. Now, I use the Rotate, I use the Sum Scaling gear. Though minded, you can use, for example, the opacity, the skew. I'm not really, but to something like this, you have your transition. This layer is going to be called a trend position. So you press Enter, you write the name the way you would like. I've created the transition here and this is my cut. I will go to the out point here. And you'll notice where the cut is. I will put a marker. I will select the layer and press star. So this is the cut. In fact, I can double-click on it and ride cut here. And click Okay, so there is a cut here. Now I know where the cut is. I can simply duplicate this layer and take it to the cut. So I will select this guy, go to the out point and just selected the adjustment layer. If I press Shift, it will snap. Supposed to snap. I have the same transition just over here. We want to play it. Let's play all. We still have a single problem here. Notice that the animation is starting before, etc. Sometimes it's fantastic, sometimes is not. I'm not going to take the risk delivered here. So in the next video, I will show you how to change the starting point of a pre-comp without even touching the pre-comp itself or the content of it. I will see you in the next video and we will do some array timing. 36. Animation re-timing: Hi there and welcome to time remapping this layer. Timely barb is a method, is not an effect and it can be extremely useful if used wisely. Let's look what's happening here. We notice that the animation has already started and we are still under the adjustment layer. Sometimes this fantastic, sometimes it's not. But we would like the animation not to start when there is a transition. How do we do that? Let's go back to third. That will be okay. We can first of all, double-click on the composition here and decide to select all the layers which are locked. For example, select all the layers and just move them a bit. But that will not be convenient at all because it's going to be black over here. So you need to decide which layer are gonna come first. And really, it could be quite some mess. Let me undo this. That's one solution, but I will show you the right solution. Now if you come to this composition Halloween s2, you will notice that after six seconds or something like this, six seconds, yes. There is nothing to work with. Six seconds and ten frames. So actually these two seconds here at the end are not very useful. Now first of all, let's go back to Halloween and close the other comps. We decided that if we go backwards two seconds, it's gonna be okay. You notice the animation stops over here. Now all I have to do is to make sure that the animation starts after the adjustment layer. I'm gonna do that. Well, we are going to use, like I said, a time remap. So you right-click on your layer, you go to time and you have enable time remapping. Now when you enable time remapping, you will get two keyframes. One that is the value is 0. The second one, the value is eight seconds. Actually, this is the real time of the composition from 0 to eight seconds. But now you can take these keyframes, for example, a move them around. I'm gonna move them just outside here. What's happening? Our composition will start playing from time 0 according to the time remap. But within our timeline is gonna be at this time over here. So actually what we did, we returned our composition as simple as this. We moved the beginning of the animation. Notice we don't have anything blank. We don't have black or something like this. The layers are still there, but the animation timing is going to change. Here. You already will notice that it's gonna change over here. Now let's play a bit if you can. You will notice we moved out of here and then we came back. And then because the animation now with a timely map, which is at 00, the keyframe, it will start just here. Now you might ask you what will happen at the end. Let's see where our animation ends. And we are okay with just over here, so there is no change. Now, notice something very important. I will be undoing a bit. I did not move this keyframe alone. If I move this key frame alone, I will be changing the duration of the composition here because this keyframe is stable. So it will start at 0 here. And it takes its time on this timeline to complete the animation at eight seconds. But now the time on this timeline has been reduced. Hence, every time the playtime for these composition. In our case, this is not useful. So we're going to take both keyframes, move both of them to the out point over here. I'm gonna put all and select them again and just shift and put it over here. Of course I can take them a bit inside if harm onto that will be cool, even you can time them the way you want. So the purpose of us using the retirement now, each dish, the startup of the animation in terms of animation, in terms of keyframes. Now we can do the same over here. We can right-click and go to time, and we do enable time remapping. We select both keyframes and I'm going to move them just over. Nothing to do with this keyframe. I will just press or to the go-to outpoint and I'll select them again. I don't want to change the duration of the composition or the speed. In fact, I'm going to just snap it over here, maybe we take it back a bit more. Select both of them. The guy is coming up. Here will be nice. Lesser play it and see where you are and the animation starts. If you don't like it now you have all the powers to change. Okay, let us start a bit before, and let's play it again. You know that little adjustment are really very important when doing a project. And it seems pretty cool. Let's see this one. And here you are. And it starts, you see this dead-time is not very nice. First of all, I'm gonna make sure I am in full speed here. This one is not working very fine. We want to take both keyframes here and just being there, I'm just over here and see what we have at the end. I think it's okay. Notice the speed is okay, they're coming together. There is no dead time. Let's play it from here. Third, Cool. I will go even further. I don't know, It's up to you guys. I'm gonna bring it over here. Just adjusted few frames here. And the animation startup is different. Now, here you are. This is how you use time remapping. And we are cool. We have done our animation and you can see it's working very nicely. These guys come in, where is the title? Yes, we are still okay. And we come out and the girl comes. This is a fantastic animation. Now what do we need to do is to return to full, Of course. And I'll put that auto. And of course we want to make a video out of it, which we'll do in the next video. 37. Create a Video: Hi there, It's time now to create your video. You will render a video using Adobe Media Encoder and make sure that Adobe Media Encoder is installed on your system. And Adobe Media Encoder and after effects are at the same versions, hopefully is the latest versions that you are using for both application, Adobe Media Encoder and After Effects. How do you make a video here it's very easy. First of all, make sure that the composition you want to render is the one that is active in your timeline. You notice this one is active. If I open another one here, this is the active one here, I will close the other one for no confusion. Then you come to composition and you go to Add to Adobe Media Encoder. Now Adobe Media Encoder should pop-up, should pop up. And you will have the composition that you have sent for rendering. What do you see it as 264 is not by default. You could have anything here depending on what you have. Render just before. I will come to the arrow here, click on it and decide on the codec. H.264 is the best. This is an MP4, quite compact. You can go for other things if you'd like to. But we will restrict to H.264, that is an MP4. Now if you click on the arrow next to match source, then you have a loss of study here. You can render accordingly. You can say, Okay, I need as an Adobe Stock for k. But remember your composition is 1920 by 1080. So obviously the forecast, your video will be a bit pixelated or something like this. You can go for Facebook, you can go for Twitter, stories wherever you like. There are plenty of choices here. So actually we are going for this one, but we're not gonna use this. I prefer they use Match Source High bitrate. Then you have here the output file. You just click on this link and it tells you, Hey, what do you want to put your video as simple as this you can notice is MP4s. What I would like to put it in my IMG assets. On the final videos I created this folder, especially I want to click save. It opens the folder save again, this is where I want to save it. And simply I'm going to click on this green arrow. Now notice as fast is going to render, it has rendered the video. Now click on the video. I can just see the video itself and play. It looks very sharp and it looks very beautiful. Now let us see the second one. The transition is very nice. These guys are coming in and trick or treat. Here you are. You have the last one spooky, and that's it. It will stop and you will have spooky over here. Guys. This is how to create a video. Thank you very much for listening, and I'll see you in the next video.