After Effects CC For Beginners: How To Use Adobe After Effects CC - Intro to Intermediate!

1. 00 AE Promo Video: Welcome to our adobe after effects CC four Beginner's course. My Name's Will and I have been involved in video production since 2006. Currently, I run an established Toronto based video production company, an online education brain that's trained over 200,000 people, as well as a filmmaking YouTube channel called Alien. Well, During my Freelance days before starting my businesses, I was fortunate enough to work on many projects as the visual effects supervisor and lead visual effects artists on multiple feature films and commercials, as well as an editor and motion graphics artists on several 100 corporate event and Web commercial videos. This after effects for beginners training course, will instruct you from the very beginning of opening aftereffects to the many different panel windows. How to create an enemy text on screen, how to work with key frames to do basic animation to bring your videos toe life, how to create presets, export videos, how to optimize your specific after effects settings for your system and much more. There's a lot of helpful step by step instruction in this course that teaches a ton of information, so I encourage you to take notes. Replay parts as many times as needed. Ask questions to me in the questions and answers section of the course and practice using after effects every day. It can be a very intimidating program to use, but just like anything with proper guidance and a willingness to learn, you can pick it up in no time. Also, if you don't have adobe aftereffects, you can actually install a trial from Adobe and use it completely free during the trial period. Thanks for checking this aftereffects for beginners course, and I hope to see you in there. 2. 01 Introduction: thanks for enrolling in this aftereffects for beginners course Over the next, several dozen lessons will explore the ins and outs of after effects from the program's layout to how to export a finished motion graphic. This after effects for beginners training course will instruct you from the very beginning of opening aftereffects to the many different panel windows. How to create an enemy text on screen. How to work with key frames to do basic animation to bring your videos to life. How to create presets. Export videos had optimize your specific aftereffects settings for your system and much more. In this course. There's a lot of helpful step by step instruction, and I will teach you a ton of information, so I encourage you to take notes Replay parts as many times as needed. Ask questions in the questions and answer section and practice. Using after effects every day after effects isn't very intimidating program by nature, but just like anything else, as I mentioned, with proper guidance and a willingness to learn, you can pick it up in no time, And if you don't have after effects, remember that you can install it as a trial version for a certain period of time and use it completely free. Thanks again for enrolling in this course and let's get started. 3. 1 Creating a new Composition: Hey, guys, how's it going? Thanks for joining me in this after effects training course. My name is William Barlett, and let's get started. First thing we're gonna do is we're in after effects CC 2015. Right now, if you have an older version, it'll look pretty much the same. I think they added some color in the new one, but generally everything will be about the same, so you should be able to follow along. First thing going to do is go up to composition. New composition In this panel box, we have a few different options. So composition name. This is what your composition will be called. So right now we'll call it composition test. We have a preset. I created this one. So let's we conserve from scratch here. If you know you're out putting to 1920 by 10 80 then you can go to HD TV 10 80 24 then just changed a few things. So 1920 by 10 80. That's correct. You can verify this by the aspect ratio being 69 which is widescreen. You're pixel aspect. Ratio is square, meaning it's as tall as it is wide for each pixel. That's what we want. Frame rate 24 Now. Typically, your DSLR will record at 23.976 So let's change that resolution. Full start time code. We'll keep that at zero. For now. The next thing we have is the duration. So right now it's set to 10 seconds. Basically, what this means is your composition will be 10 seconds long from start to finish. The 1st 1 here is frames, seconds, minutes, and so on. Right now, it's 10 seconds. We'll leave it at that. 4. 2 Importing Files posted: All right, so in after effects, you have a few different ways to import files, the 1st 1 being we can go to file import and import of file or multiple files. If we're in the project panel window, we can right click, Go to import and we'll get the same options. Another way is by simply double clicking inside the project panel window. A window will pop up and you can navigate to the files that you want to import. Right now, I have a series of images that I've collected into a folder called Public Domain Stock Images. We can click on this one, for example, if we just want one file we did open for this case, I will import a few different files, So I'll hold command and click on the ones I want to bring in, or we can simply, if they're in a row, weaken, click the top one. Hold shift, just like as if you're on your desktop working with multiple files. Once those air selected, we go to open. And as you can see in the project panel window, all of the files have been imported and they're still selected, just like on your desktop. You can create folders and create an organized folder structure, so let's click on it. Press enter and name it images. Inside the folder images, we will place all our imported files. So it's quick. Hold command, select all our files and then place them inside images. The last one here images. 5. 3 Creating a layer: Now let's go into the composition panel. The very bottom. Now it's highlighted in blue. First thing you'll notice is there is nothing here. So we've created composition. But we have nothing in the composition. We have no layers or anything. Okay, let's get started. So let's go to layer. New and solid. This is similar to your composition panel. You name it right now it's at two Purple solid one. Because the colors default with the purple. It is 1920 by 10 e 10 80 which is the size of our composition. We can confirm that by clicking. Make comp size units pixels, pixel aspect, ratio square. That's exactly what we want. For our purposes. We can just make it pure white. Okay, now looks like nothing has changed. But now we actually have something white. This will be rendered out 6. 4 Understanding layers in the project panel: Now, let's explain a few things at the bottom here. So this is one layer. We can click that and we can scrub through the timeline you'll see on the side here that are counter is going up right now. We're at one second in 22 frames. If we go over to here, read five seconds in 21 frames. This is our timeline from the end, all the way at the beginning, that's what will be exported. Okay, so this is our our name, which is up here. This is the file that was created it. Everything that you create gets stored in the project panel so solid by default, get put into a a solids folder, and then it was placed down here. So we have a few different options here. We can lock the panel, which means we can't do anything with it. So that's great. If you're animating a whole bunch of things and you don't want to move this layer by accident, weaken solo this layer. Which means if we had multiple layers and we only wanted to see this layer, we click on solo, and then that would be the only layer showed that shows up. Okay, The next thing is, we have some animation boxes over here, so the 1st 1 is a three d box. If you click this, it'll enable this layer as a three D layer. And then in the tab here, you'll have a whole bunch of other options for rotating and spinning in three D. The next important thing for you guys to know is motion blur. If you click on that, that means you're enabling motion blur in this layer. But in order for this to be turned on, you actually need to turn on The master, which is right here, enables motion blur for all theirs. So with that on, you turn it on for that layer, and then this white solid one layer will now have motion blur, and that will be seen. If we do some animation for now, we'll turn it off. The next thing is working around in your timeline. So the workspace here is the blue. From the right to the left, that is again what will be exported below it is the layer in the red here. So if we go here, that means that at the beginning, there would be nothing. And then all the Senate will turn on. Same with the end, for example, and nothing. So I'm just going to undo that command said Okay, now we're back to where we were. We have a white solid that fills up the entire composition from 0 to 10 seconds. 7. 5 Creating and Editing Text Layers: let's create some text. So let's go to layer new text by default. It'll create an empty text layer without clicking anything you can start typing, so let's go test layer. Okay, we will click up here the very top selection tool, which is your main tool in after effects. For now, we will drag it over, click and drag. We'll put it in the center. Okay, so you'll notice. We now have two layers. The text layer is on top. If we were to put it below, it would hide because the white solid is covering it. So just like photo shop in other similar programs, Aftereffects works with layers that are stacked above each other, so the top layer is the one that's on top. This is exactly like a bunch of pieces of paper where you have the very bottom piece of paper down here in the very top. So if you're above it looking down, the white solid on top is the one you see. So if we want to text layer to be on top and that's the one we want to see, we do that and because it's only this big, we see the white layer behind. For example, if we went to the white solid here and turned off the eyeball, we would see nothing but our taxslayer. So let's turn that back on. So in our text layer, if we go to character on the side here, and by the way, if you don't have any specific panels, you can find that by going up to window and then turning on which everyone's you need. So, for example, if you don't have the text panel, which is called the character, you can click window, go to character and turn it on. So if you'll notice this layer is now selected, that means that it is edible so we can click over here in the character panel, where we change fonts and we can press the upper down arrow to cycle through different fonts. Now, this is a great tip for you to be able to quickly test out which fonts you'd like to have in your aftereffects project. So let's go to just something basic for now. Let's go to Ariel. Okay, then we can go to let's say, bold. This is very similar to other programs you have, you know, italicize different size fund and hoping the other stuff. You can't strokes to the outside. You can raise the text. You can lengthen the text whole bunch of stuff. So it's commands. Ed. Let's click and drag and bring this to the center roughly. Okay, so let's say we needed to have this place right in the center. A good way to do this is by clicking this part here and going to proportional grid, and then you'll be able to use the squares on that. Surround the layer itself and center it by using this line and line it up with a red two squares and using this line lining up with the red squares So that is centered so we can turn that off. Okay, with a layer selected, we can go over here to the character panel, click on the color and make it a color such as that. Now you'll notice that there's a black outline that is because there was a two pixel stroke over the Phil. Phil means it is filled with a color, so we can either exaggerate that by going to six or 10. But for now, we'll just keep it at zero 8. 6 Transforming a text layer: over here in the test, a layer panel of the textile layer. We can click on the arrow and you'll get a few different options. Text in transform. So inside transform. You have the anchor point, which is the pivot point of the layer, and that is defined by this little piece here. Basically, what that means is, if you click on Anchor Point, it'll move around. Based on where this is, for example, rotation. It will rotate around that anchor point, so I press commands that there to get back to where we started. So for now, we'd like to center the anchor point to the middle so that the text rotates on its center, not on the side. So right now we have the anchor point locked to the bottom left corner of this text layer. And if we need this text layer to rotate, for example, click and drag here, we can see that it's rotating around that pivot point. All of the control happened around the anchor point or the pivot point, so commands add to undo, so what we can do is go up here, click this tool, click and drag in place it roughly in the center. So now when we go to the rotation, it will rotate around itself. Let's go back to our regular selection tool. Now that we've centered that we can go to scale and we can shrink the text or make the text larger, we can move the position of it, which is the same as clicking up here and dragging and moving it where we want. And then you'll notice here that now the anchor point is not set to zero and zero anymore. It said to 393.6 and minus 36. Do you have it centered with the opacity? It's at 200%. That means you cannot see through it. If we set this to 50% impressed, enter, you would now see through a little bit. So now we're actually seeing a little bit of the white through the text, and that's why I got a little bit later. Let's go back up to 100% click enter. Okay, guys, so that's your basic idea of what you can do inside the transform of a text layer. In our next lesson, we will explore key framing and actually animating the text layer 9. 7 Understanding Key Frame Animations: Hey guys, has a going welcome back in this lesson. We will be discussing how to actually animate and move the text layer around so that at the beginning it starts here and at the end it's there. So in order for us to do that, we need to set certain points and tell after effects that we wanted to start here and end here in overtime, animate over to here. So let's get started. Let's put our cursor right at the beginning by clicking and dragging, putting it all the way to the beginning. Or we can press home on the keyboard. Same thing. Works with end to go all the way to the descend. So home. Okay, let's go to our text layer. Click on the two Little arrows were inside the transform properties now will go into position and we will click on the stopwatch Now What that did is it created a key frame at the very beginning of our composition. This key frame is specific to wear. Our text layer exists in the composition. OK, so now let's press end on our keyboard, which brought us to the end of our composition, and we can click on our text layer, making sure it's selected and drag it to every wanted to end. Now it could be appear. Could be here. Could be wherever you want, so we're gonna set it up to right here. Okay, so not to go to the start of our composition by president home on our keyboard, you'll notice that the text layer is now back at the beginning. So if we were a click and drag, you'll see that slowly starts animating between the two until it gets all the way to the end. So that is the very basics of key frame animation inside aftereffects. 10. 8 Animating a Text Layer: Hey, guys. And welcome back to this aftereffects training course. In the last lesson, we discussed animating a text layer from the top right to the bottom left using two key frames. In this lesson, we will be digging a little deeper into key frame animation. Okay, Okay. We can see that we have a key from at the beginning in a key for him at the end. We can scrub through this roughly in the middle, and the text is in the middle roughly. But there is no key from there because it's just animating between the two. If we wanted this to, for example, started a top right and do more of a curve to get to the bottom the way we do that is but clicking the text and then bringing it up like that and you can see just by creating three key frames, we can create a much more interesting curvy flow. So let's see what that does. So to that it goes up and then it's heads back down. Okay, so we can click on this one, or we can click on this one, and it'll change which key frame we're working on. So for now, we will click on this one, and you can see that we can actually click on this long line here, which will change the curvature of the animation on the one side. And we could do the same thing on the other side. And we can kind of find tuned how we want to animate this. I'm gonna undo that to keep it how it was. Okay, so the next thing we're gonna do is add some rotation to this. So let's bring our timeline cursor to the beginning again. To the start of our composition, we will click on rotation. We will add a key frame. It hasn't done anything yet because a rotation is still set to zero. We've just created a key frame at zero rotation. Okay, so let's go to our center here. And a good way to know that you're on this key frame is by looking over here. It'll be blue when you're off of it. It doesn't light up when you go over it. It does light up. Okay, so we click on the bottom layer here. Okay, So now we will go to rotation while it selected and click and drag and turn it upside down 280 degrees. Then at the very end, by pressing end on your keyboard, we will continue rotating until we had 360 degrees, which means we've completed a full circle. So if we go back to home and scrub through it, you'll notice that it'll do one entire full rotation along our animation key frame points. Now, this could be done to pretty much everything in after effects. Almost everything has the ability to add key frames to it. So, for example, scale weaken, turn the scale on. We can set it 225. We could go to the beginning, place it back to 100. We go to our end by pressing end on the keyboard, sending it back to 100 pressing enter, and then if we go through it now, it scales a little bit, then goes back down. So to exaggerate that we'll go here, we'll make sure we're on the key frame. If we're here and we do it, it will create a second key frame, which we do not want because that will create bad animation. It could be choppy or just It just won't look good. So what we can do is we can click on the key frame and click delete on her keyboard. Or we can just simply command said to undo. Let's put our cursor on top of the key friends we have in the center. Make sure there lit up. That means we're above them and to exaggerate, it will click and drag unmake it pretty big. We'll go home in the keyboard and then click and drag and you can see gets a much larger. And then it goes smaller again, so very smooth animation all the way from the beginning to the end. 11. 9 Settings for smooth playback: The next thing is playing back. Aftereffects requires a lot of processing power to playback animation inside after effects . So typically, you'd have to render the aftereffects project in order for it to playback smoothly. We can see underneath here that while we were scrubbing, it was rendering certain frames, but it didn't get all of them. This is how I like to set it up. If you're in an older version of after effects, you won't need to change this because the default is number pad zero. The only thing only two changes current time. If you'd like to set it up, how I do, Okay, so let's press home. We'll go back to the beginning. Well, press number pad zero, and it'll slowly render as we see the green bar going across. When it gets the analyst, it'll start over again, and this is playing now in real time goods fully rendered. There is the animation, almost like a screen saver, showing our text layer, animate, grow, rotate across the screen and end up in a different position. 12. 10 Creating a solid layer: Hey, guys, welcome to the next lesson. Let's get right to it. To go toe layer new, solid. We will create a red solid layer. We will name it Red Square. It will be the same. Size is the composition to verify that again, we can click on May comp size. We want square pixels and units, his pixels. That's all fine. We'll click on OK now because this layer is at the very top. That's all we see. So what we can do is we can move it to the middle if we want our textile layer to show up above. Okay, so we have this created and fills the screen. Now let's say we wanted to create just a little box or a line, for example, that sits underneath. Well, that's easy to do. What we can do is we can actually go back into the layer solid settings, and we can actually change the height to 200 pixels and the width to, let's say, 400. That's what it will look like. Okay, So or we could do with 800 and height 50. Or we could do height 10 to make a thin line, so Let's go with that. With its selected, we can go here, click on it and drag it to where we want it. So now it's sitting underneath, and we have just created a separate layer from our text layer and a separate layer from our background white layer that could be animated individually. Now it'll have the same properties as our text layer go to transform. We can create a key frame. Go to here and we can pull it all the way to their and we can hit a rotate and rotated by that and go back to the beginning and reset the first key frame to zero. And then, without selecting the layer, you won't see the animation path so you can follow a lot better. It's far from professional, but it's interesting nonetheless. 13. 11 Working With Masks: Welcome back to our aftereffects training course. By the end of this course, you'll understand the basics of after fix. You'll be able to start from scratch, create something animated and export it. Okay, And this one, we will be working with masks. So what we'll do is we'll click on a red square, will go into layer sold settings. We will make it the comp size. We will go Tok. And the reason we're not seeing it is because we have the position set to a far area. So what we can do is turn off the key frames. We can click, reset. And then now it's back to its original position without any key frames. Okay, the next thing we're going to do is with our red Square layer selected, we will go up to our pen tool and we will click until we've almost completed it. And then, by clicking on the very 1st 1 we made, we will complete our shape or are mask layer. We can go now back to our original selection tool, and by clicking on any one of these little squares here, we can change the shape of it easily. Okay, so for now, we can just make a rough shape here. Okay, so let's go. Red Square will open it up. Will go into our masks now because we now have a mask that is on Lee showing this much of our entire red layer that we created. So inside the mask one. These are masked properties, so we can feather the edge. Which means if we click and drag here, you can see we can get some pretty cool shapes like that that feather out into the white, and I will keep it. Zero. We can change the mass capacity from 100 just like our layer down to zero, just like our mask layer. Or we can change the actual size of it by going into our mask expansion and reducing it or making it larger. The problem, though, is when we make it larger, it increases or scales the size of each corner. And that's why they're beginning to be round. The larger you go. So if we did want to scale the entire mask itself without having the rounded edges, there is a way to do that. You click on mask one and then you press command T. So what you can do is click on the edge here, hold shift, and then you can actually scale it, and it will be even as you scale. If you don't hold shift, it'll it'll follow the mouse. So it's hold shift and it's making a little larger. Okay, so that's done well under select everything by going down here and then go back into our mask. And now we're back to where we started, only the shapes a little larger. 14. 12 Animating Masks: All right, welcome back to this aftereffects training course. And in this lesson, we will be discussing animating masks. Okay, so inside our red square here we have a mask created with several different points. We will create a key frame by clicking the stop watch. You can verify that by seeing the little blue diamond here. If we go all the way to, let's say, six seconds and three frames, we can click over here and create a key frame at exactly the same shape as this key frame. Even though there are two key frames, nothing happens because this key frame has the exact same properties as this key frame. So let's put our time on cursor on that key frame. We can see this by here, and what we'll do is we will click away, then click one of the spots and dragon. So now what happens is over time. That one spot gross, too. Over here. If we wanted a 2nd 1 we put the timeline cursor over that key frame. Make sure, then we drag that over there. So now, over time, both those grow, the next thing we're gonna do is set out of time my cursor to the very beginning and we can click and drag this one closer so we can see that the animation happens much faster now because it's happening over only one second and four frames compared to several seconds. So now let's go to two seconds and we will now take this point. Move it there. We will take this point. Place it roughly backward was take this point roughly where it was. It will take that point and put it there for now. Between those frames, it grows and then there's that. 15. 13 Creating a Solid With Bezier Points: Okay, The next thing going to do is click on the mask and press delete. So we're back to her originally started with just our red square layer. Okay, lets like their pen tool. And this time, instead of clicking, we will click and drag for each single point. We will end our mask by clicking here, and you'll notice that this time there are round edges instead of points. This is because we clicked in drag and created these busy a points. 16. 14 Parenting Layers: Welcome back, guys. Okay. In this lesson, we will discuss how to parent one layer to another. What that means is one layer will control another. Okay, let's get started. So down here in the composition window, we can see we are working inside it now because it is highlighted in blue. If we click on the Red Square, we can see that we're working with this layer. We can go down to the transform layers and we can see other properties here. Over here, we have a section called parent. If we click on the pick whip of the top layer, which is the text layer and parented to our red square layer, what that means is the text layer will follow the red square layer. For example, if we click on position here and click and drag left to right, do you see how the text layer is following the other layer? Or if we rotate, the text layer is following just Or if we click on the rotation, it rotates together. That is because this layer is linked to the red square layer. This could be a very powerful feature, because when you're working with several different layers, you could link them all up together to one main layer and have that as the controlling layer that affects all of them. In other words, you won't have to go through the dozen other layers and switch all the properties inside those layers to get to animate how you'd like it to be. 17. 15 Optiming AE preferences : Welcome back to this aftereffects training course. In this lesson, we will discuss how to optimize after effects. Okay, let's get started. Let's go up to Aftereffects CC. Let's go to preferences. Click on general. Now, this is our preferences panel. This is very similar to what you'd see in other programs. It has specific options that you can change to customize it to how you want to use the program. So the first thing we're gonna do is go into previews, and we're going to set it at about 1/4 1 8th depending on your computer. I am using a 2.8 gigahertz, eight core Mac Pro with 26 gigs of RAM and a one gig graphics card. So for me, these settings work. So I said it at 1/8 and my GPU information is set to 700 megabytes now. Typically, would you want to do is set your texture memory to about 70% of what your graphics card memory total is. So mine is one gigabyte. So I said it to 700 megabytes, that 70% of my one gigabyte graphics card 18. 16 Media and Disk Cache: Okay, now let's go over to media and disk cache. Now we want to make sure that that is enabled. We should set it to a hard drive that has, at least ah, hundreds of 200 gigabytes free on it, and I normally set this to about 100. You can set tomb or if you have a larger hard drive, but 100 seems to work fine. Over the years, working as a visual effects supervisor, I've noticed a lot of people do not empty the dis cash or they don't clean the database of cash on their system. The result of this convey hundreds and hundreds of gigabytes taking up space in your hard drive. These air temporary files and after effects will create new temporary files when you open it up again. So if you are constantly careening aftereffects files, I would recommend that every month or two you go into the preferences and empty of the disk cache. For me, it's 2.1 gigs, so I will wipe that and clean database 19. 17 Setting up Auto Save: The next thing we're going to do is go into the auto save panel. We'll make sure it's checked and turned on. We'll make sure it's a to save every five minutes and that it stays up to 40 versions. I highly recommend you set it up like this because this is a huge time saver, because in after effects you tend to click a lot every minute, so you might even want to set it to quicker than five minutes in more than 40. But at least keep this as the minimum. What that means is you'll be able to go back to previous save points up to 200 minutes. 20. 18 Setting up Memory Usage: the next area we want to check out is memory. I have 26 gigs of RAM installed in this system, and I've set it up, so there's five gigabytes preserved for other applications. What that means is I have 21 gigabytes being used for all of the adobe applications. Five gigabytes will be used for things like going on the Internet, for example. All right, so that is how you optimize your aftereffects to make sure your auto saving properly to make sure you're using your installed RAM and graphics card properly, and also to make sure you're not using up too much space through system cache files. 21. 19 Creating 1080p preset Composition: very guys. Welcome to this aftereffects training course. This lesson will be focused on creating compositions. Okay, so let's go up to our composition window inside aftereffects. Let's go to a new composition and let's create a few presets. So right now we will delete the custom one. Okay, So what we can do is go to one of the adobe presets will click on HD TV 10 80 24 and we will make sure it says 1920 by 10. 80 which it does. We will make sure that it has square pixels. That means that each pixel is as high as it is wide. Okay, The next thing is the frame rate. We want to make sure it says 23.976 or 29.97 or whatever your footage was shot at. So for me, I normally shoot at 23.976 So we'll go with that. The duration is 10 seconds. We can change that later if we wish. So let's create a preset by clicking. Here we will name the preset 1920 times. 10 80 23.976 Okay, so now when we click on the preset, it will be at the bottom here. That's if we're shooting in high definition at 23 98 22. 20 Creating 4k Preset Composition: Now let's make a four K presets that will go to 38 40. And because we've checked this box, it will stay at 69 which is wide screen, which is what we want, which is equivalent to 1920 by 10 80. So 38 40 by 2160 is a four K resolution at 16 9 ratio that is also known as uhd, or ultra HD pixel. Aspect ratio is square pixels. And again, 23.976 is what we want. Duration. 10 seconds. That's fine. So we will say this 38 40 times. 21 60 at 23 point 976 Okay, so if we go here, we can see both of those now. 23. 21 Creating 720p Preset Composition: if you ever working with 7 20 p footage, it's very several of the same thing. It's a 69 ratio. So with 12 80 by 7 20 square pixels, everything's the same. 23. It's fine. We'll go into the preset here. We'll call it 12 80 times 7 20 and we'll call it 23.976 again. OK, now we have three presets. 24. 22 Creating SD Preset Composition: And if we were working in standard definition, we would uncheck this because typically, standard definition is not widescreen. So we would change the width to 6 40 the height to 4 80 We would get a ratio of 4 to 3 square pixels, will stay the same frame recon B 23 976 or 29 97 And we will save that. We will call it 6 40 by four. Haiti at 23.976 and press. OK, Okay. So those of your typical resolutions and how to create them. 25. 23 Exporting Projects: All right, guys, welcome back to this After effects training course In this lesson, we will be discussing how to export your project. So first off, we need something to export. So let's go to layer. Solid will create a blue layer. And for now it's 10 seconds. That's all we need to do in order for it to export. So what we can do is click that we go to composition. We can go to add to render queue in the bottom. Here it has switched over to a render queue panel. This is where we export everything in aftereffects. Here is the camp one that we exported that has the blue frame. 26. 24 Creating a 1080p export preset: in the output module. We will click on the arrow here and you'll see a bunch of presets that are already set up these ones I created. So what we'll do is I'll show you how to actually create thes. Let's go to make template. This panel will come up OK, so this is where we give it a name. We'll call it 10 80 p. We'll go into edit format. Quick time is fine. Video put channels RGB. That is all fine format options. We'll change our video Kodak to age 264 because it's a pretty decent compression compared to Apple Pro Rez. But you may need uproar as if you are exporting in. Need something That's lossless For now, we will use a 264 We will limit our data rate 30,000 kila bits per second. Now, if you're working with a resolution of four K, then you could go with you know 35,000. For example, if you're working with center definition humanely, need this to be 8000 for example. So we're working with 1920 by 10 80 so we will keep it at 30,000. We'll click OK to be safe. We will always resize it to 1920 by 10. 80 Custom and resize quality high. We do not want it to crop, so we'll keep that unchecked. And we do not need audio. So we'll turn it off. We'll go to okay, and then Okay. Now if we click the arrow, we will see our new preset created. 27. 25 Creating an alpha export preset: Okay, So the next thing is, if you need, for example, a lower thirds title where the background needs to be transparent because you're going to be putting it over footage inside another editing program, you're gonna want an Alfa Channel. The way we do that is we click on open module, we go to make template. We call it 10 80 p Alfa, so that we know that this preset is the Alfa Channel preset. We click on edit and we cannot use h 264 because it does not support Alfa channels. So instead, what we'll do is we'll choose the animation or we can go to programs. But I typically use animation. We'll go to okay, then we will go to channels and we will choose RGB plus Alfa. The RGB means the red greens and blues of your image. Basically your lower thirds title, for example, and the plus Alfa means it'll export an Alfa channel, meaning a transparent background. If you're aftereffects. Project does include a transparent background, but you choose this after fix will not export a transparent background. Instead, it will render out a black background, and it's basically useless. So make sure that if you need a transparent background, you change it to animation or another Kotick that supports RGB plus Alfa. The next thing is, we want to make sure that resize is selected. So that are preset is always 10 80. We want no crop in the audio is off. So we go to okay, we call it 10. 80 p health. Uh, and we click OK. 28. 26 Using Drop Shadow on Text: Okay, so let's get started. Let's go to composition. New composition. Who will select? Appreciate that we want to work with. I want to work with 10. 80 p. So we will click. OK, we will make a new layer will make it the comp size. We will press, enter and call it background. We will then create a new layer text who will tape text effect. Then we will go to our selection tool. We will drag it to the middle And over here we have our effects and presets panel. If you do not have this panel, you goto window and check it on. So up here is a search bar. If you know what you're looking for, you can type it in there. If not, you can go through the list and find stuff for me. I know I want a drop shadow, so I'll type in drop And if we go down the list, we confined Drop shadow right here. So what we'll do is we'll click it, drag and do you see the difference of this? It will be applied to the text. This will be applied to our background layer. So what we want is on the text or weaken. Drop it on the actual layer down here if we want. Over here, we have our effect controls panel. This is where we make changes to our effects in aftereffects. So right now we have one effect on this text layer called Drop Shadow, and it has several different settings inside that can be changed. We can change the color. For example, if we want it read, you can see there's a slight red drop shadow. Now we can make it 100% so it's not transferred at all. It's more of a border. We can change the direction of it so it sits off the top, laughed or goes to the bottom right. We can change the distance from zero all the way up to wherever we want to go, and we can change the softness or spread of the text. So for me, I normally that leave that it zero up with this about three and I leave it at black so it looks more of just gives a little bit of pop to the text 29. 27 3D Text Effects: aftereffects is very powerful and comes with many, many different effects and presets. For example, if we go into the animation presets, go to text three D text. You can see that there are literally hundreds. So if we click on three D, flip applied to our text layer so we can see that over time each letter pops up in three D . Let's command Zed to undo that. Another example would be slide. We can take slide drop, apply it, and then over time, it'll drop in from the top. 30. 28 Fast Blur Text Effect: inside aftereffects. There are a lot of great effects you can choose from. For example, inside blur and sharpen, weaken, click and drag the fast bowler onto our text. Then we can go into our effect controls panel, and we'll see that under the drop shadow, we now have fast blur and under the blurriness layer, we can click and drag to add blur to our layer. Now, once again, this can also be key framed. So, for example, have set it to zero click on the stopwatch, and then we'll go over to four seconds and put it to 50. So if we go into our text effect layer, drop down the air of going to effects, we now see that fast Blur has a key frame there and a key frame right here. So it here, it starts at zero, and as it goes, it grows all the way up to 50 and that gives us a blurring effect over time. 31. 29 Creating Lower Third Titles: Hey, guys, welcome back to another after effects lesson in this lesson, we will be discussing how to create a lower thirds title to get started off. Let's go to composition. New composition. Let's select 1920 by 10. 80 hour preset that we created in an earlier lesson will go to okay by default. Aftereffects resets the working space to none. So I prefer to work in. Yes, RGB. So let's set that up. All right. Okay, so right now we have no layers, and our goal is to create a lower thirds title somewhere around here. So the first thing we're gonna do is create a solid. We'll make it the color you want. That's fine. Well, you cop size. Okay, so now we have a blue solid created. This will be the background, color and shape of our lower thirds title. We can either draw it using the pen tool, like in a previous lesson, or we can use a preset for this example. We will use the preset, so we'll click on click and hold, and we can choose the rounded rectangle. What we'll do is we'll click in drag and will make something that looks like that. We will go back to our selection tool. Now we will click here and drag it to the edge. This is the background now of our lower thirds. So what we can do is give it a little bit of depth by adding a drop shadow. Well, taping drop here. Up in the effects in presets. Search bar. We will take the drop shadow and drop it on this layer. We will increased capacity to 100. Increase the distance to 12 and the softness to roughly 10. Now, if we click on nothing down here just to clear the selection, we will see what it's doing. Okay, so it looks okay. Next, we will create a new text layer. This will be the name that appears on your lower third. So we will tape in the name. We will roughly bring it down. We went back to the selection tool and then we clicked it and we brought it here. We will go into our character. We will click and drag toe lower it. We will click and drag it So it goes there. We can change the florid color, something that fits better for now. We'll just make it black. Next, we will create another text layer. And this will be the subtitle in our lower thirds. So we'll call it E training. We will click and drag here. We will lower this and maybe we'll line it up on this side. Okay, First off, I'm thinking that this could be changed a bit. So it will do is well, we're set to 41 present soon. Right now will go to 33 so it shrinks a little bit so we can see the edge of this stuff here. What we'll do is we'll actually click on one point. So it sets it up in this selection state than outside where there's no nothing to select. We click and drag, and we're only gonna select those points so that the bottom four selected with the top four or not. Then we will click and hold. Then hold shift and we will drag up so that it all moves at the same time. We will shrink it. Then we will click away, then click again on one of these. So we're in this selection state again. Then we will click here, hold select the mall so that these four selected in these four are not selected. Then we will click and hold and again hold shift and then drag left. Then we will click on nothing down here and we have reduce the size of our background. Now it looks like the top part could come down a bit. So instead of adjusting the background again, what we can do is just select both these text layers and move them up a bit. So it will do is we'll click 80 training, hold, shift and click on this text layer and then using the up and down arrows, you can actually adjust by a pixel every single time. So let's go to pixels. Okay, that looks good. And then what we'll do is on the back here will press, enter and call it lower thirds background. After that, what we'll do is we will parent both the top layers to the background there, and then we will lock the top two layers so that if we tried to grab this or this layer, we wouldn't be able to. So the only thing we can head now is this. But the great thing about this is if we select that and move the other layers followed. So it's like they're one layer because we've parented them. So I'm going to command. Is that that? So it goes back to the original spot. I'm going to move them off screen of it, and that looks good to me. So now we're going to start some animating. We will then go into transform. We'll click on the stopwatch for position. We'll go over to four or five seconds, and we would then click up here and hold on hold shift so that it. When we drag it, it follows the same line and we'll go just a bit. Then we will go to five seconds, and once again we'll click and hold, hold, shift in, drag it completely off screen. Then we will go to the very first frame and do the exact same. Click and hold, hold, shift, drag it off screen. So now we have the first key frame starts off screen. The 2nd 1 goes to the first position we made. Then it's low league moves right to the third key frame and then the fourth key frame. It animates backwards, off screen again, sometimes in after effects. The animation does not work exactly how you want it to, even if you have only four key frames, and it seems to be animating where there aren't key frames. The reason behind this is the key frame interpolation, and the way to fix this is you highlight all of them. You right, click on one, go to key frame interpellation and where it says auto busy A. Switch it to linear. No, What will happen is it will go like this, and then it will slowly, slowly move rate and then will disappear Yet. So that's exactly how we wanted to animate in the first year or two of aftereffects. I used to actually delete the layer and start over if this would happen because I did not know why it was happening. I thought it was a glitch. I'm hoping that in the future after effects fixes this. But for now the solution is key Frame interpellation and make sure nothing says auto. So that's it for this lesson. I'll see you in the next 32. 30 Creating smooth transitions with easy ease keyframes: Hey, guys, welcome back to this aftereffects training course. This lesson will be on easing in and easing out to make smoother key frame animations. Okay, so we have an animation that goes to the right and then goes back to the left. So in order to smooth this out a little bit, what we can do is actually select this key frame, right click, go to keep from assistant and Eazy E's in. And then we can select this one. Go to keep from assisting and go too easy. Easy out that makes a specific type of key frame that will smooth the movement of the transition from the fast movement to the slow movement over here. And this looks like this. So once again, just just a slight change. It just slowly transitions into this movement. Okay, so let's say we want this title to show up for the entire 10 seconds. Let's grab those key frames. Let's press the end key. So we go to the end, we'll click and drag that all the way to the end, will make sure that lines up there, and we know it's lined up because this is blue again. So Now we have a very slow transition, and what we'll do is we'll actually hit zero. And while it renders out well, watch this and then as it gets to the end, we'll start over. We'll see the transition, so it's just a little smoother using the easies. 33. 31 Exporting an alpha channel: All right. Okay. So this would be a perfect example of where we would export this project using an Alpha channel. So what we can do is go to call position. Had to render queue. Okay, so we go to Oprah module, make sure it's on 10. 80 p Alfa. Then we would go to comp one. This is where you name it and select the area where it saves. We would go to work, project aftereffects, training course and finals. We'd call it lower thirds title we'd had saved and we would hit render. 34. 32 Creating a Motion Graphic Title: Okay. Welcome back. In this lesson, we will be making a motion graphic title. Okay, let's get started in composition 10. 80 p. 10 seconds. Okay. Okay. We will create a snu solid. It'll be late. Blue may come size. Okay, we'll click it. We will press, enter and we'll call this background. Enter who will then create new text and we will call this motion graphic. You will increase the size of this to around 100. We were then center this by going to proportional grid and once again lining up the red squares with that line and these red squares. With that line, we will center the anchor point. Go back to the selection tool. We will turn off the proportional grid. So next thing we can start doing is animating. Okay, So what I want to do is I want to going to transform scale, make a key frame. And then at the very beginning, we're going to place it to zero. So what this does so far is it scales up all the way to their then what I wanted to do is up until nine seconds. I wanted to slowly grow, so just be about to there and then it. From that point on, I want to take off and zoom right past the camera. So what that's gonna do is we're gonna go away. It's gonna keep going. And if you want, actually, you can hold shift, and it will speed up to grow much faster all the way to that. So it just turns to black. So what we're gonna do is we're going to select all the key frames and make sure that there is no auto busy a selected, which there is not. So we're good. We will make this one easy. Easy in. We will make this one Eazy e's out. So right now it goes like that. That's little low grow. I think those so, The way that looks slow, slow grow for a few seconds and then it zooms out quickly. Now, the way the Texas center, right now, it doesn't look the best for when it zooms out. So if you wanted to fix that, another cool way is you could go make a position frame there, and then at the end you could just move it to the right and the way that looks is like that . It moves all. It's just a slow, slow zoom in and then it goes like that. So what we could do is you could even go a little further. Now, if we click here and scroll out, we can see where it is now. So if we wanted, we could even make it go a little further, which would help with the animation. Okay, so make go to fit. Okay. The next thing we can do is at a fast blur to our text. Turn on the key frame, said it to 25 then move our time on cursor to one second in change our fast blur. 20 Then we can go to the end and then open up the text effects Fast bowler. And then right here we can make another key frame. That's exactly the same as the last. And then we will go to the very end. And then we will set either down here or up here back to 25. So the idea is it starts out of focus and comes in. And then it leaves out of focus. Just a bit. That what? Because it goes so quick. Out of screen. It might make sense to do it right there. So let's move that off. So the animation happens quicker for the fast player. Okay, So if we want to exaggerate that, we can make this up to 100 for example, So it goes. Okay. Okay. So Okay, so we can actually delete that. And here's another way to do that. So another thing we can do is used the after effects built in motion blur. So it's turned on the master motion blur button and then on the motion graphic text layer. Let's turn on motion blur. And then we'll see here at the very end by pressing zero here. It had some slight, slight motion blur based on the key frame animation on that layer. I like using the fast blur as opposed to the built in motion blur inside after vex. Because with a fast bowler, you actually get a little more control, and you're able to blur it as much as you'd like. All right, that's it for this lesson. And I'll see you guys in the next one 35. 33 Making The Motion Graphic look great: all right. So there are a few other ways we can some effects to this to make it look a little better. One way is creating a vignette around the outside of our frame to draw the attention into the middle. So to do that, we create a new solid layer. We make it black good. Okay, then we go to of the Ellipse Tool and we double click it now inside the mask here it's already highlighted. We click on either subtract or we go to inverted. From there, we open up the tab and then we start moving around these parameters. Okay, so that's OK. And then we will go to maybe a little less do something like that. Okay, let's rename this vignette and let's talk about often on so we can see what it does Just as a little bit of depth. The next thing we can do is at a hot spot in the middle. Let's do solid. Let's make it wait. It's good, okay? And we'll do the exact same thing. Double click. But this time we don't need to inverted will just open it up and we can go all the way out do something like that. But this time mask expansion will make it much smaller. And then we can start rolling that back until we get something we like. So that's OK for now and then. What we'll do is look, police that we'll click in Dragon. Place it below, and the vignette will be behind as well. Let's tweak some colors a little bit. Let's go to sold settings on the background layer and let's make it on a nicer color. Okay, let's make the weight solids lately off. Wait slightly into the blues a little bit. Okay, Another thing we can do is go up here and tape in flair. Generate lens flare and we will place it on our title. Now what this does when placed over a text effect, is it creates a lens flare that only shows up inside the letters and you can actually animate it from one side all the way through it. So this is a great way to have some light and change of color moving through your text. So the first thing we want to do is go to about there, place the flare center somewhere around here, somewhere along the bottom. Then, as we animate across the top, part of the flare will pass through it. So we just have to try to find the sweet spot. So let's go up there and that looks, kid. Okay, so we'll start there. Okay, we will turn on the flare brightness and the flare center. Then we will go to the very end, and then we will move the flare all the way across and all the way to the top. So through the taxi goes like that all the way through it. So let's go to the middle here. It will change the brightness to about that. Okay, so the next thing we'll do is we'll go to the beginning and we will watch it, okay? And that brings us to the end of this lesson. We created a very basic motion graphic title that is pretty much the starting point to all motion graphic titles where you have some animation it with a text file. You have some Grady int colors in the background, and you have some sort of color change throughout the text. All right. And in the next lesson, we will see how to address the issue with the banding here that it's going on in the background 36. 34 Fixing Banding in your Motion Graphic: Okay, guys, let's get right into it. So banding occurs when you have low bit depth, or when you just have colors that just don't blend properly. So, for example, here we're seeing, ah, whole bunch of banding lines as the color changes to the white. All right, so there's a few ways we can address these issues, and the 1st 1 is the bit depth. So in here we can simply up the bid depth to 16 or 32 and that should help with abandon a little bit. However, it sometimes introduces other problems, such as certain effects only work with eight bit. So instead of doing that, let's set it back and we'll fix it another way. Let's go to layer new an adjustment layer. An adjustment layer typically sits above another layer where you add in effect to it, and that effect effects the other layers below it. So let's go over here and type in grain. Let's add green to the adjustment layer. We will change the viewing load to final output. Then we will play around with the intensity until we're happy with it. So right now it's a little too much, so we go down 2.3. Maybe because movies are created using cameras, cameras tend tohave grain in them already. And so our eyes air naturally accustomed to seeing green. So I would recommend adding green to every aftereffects project you work on. Um, don't overdo it, but you know, 0.1 point two on the intensity or, you know, 20.1 point two on the size. Well, just give it a little bit Mawr raw riel feeling to the ah, you know, motion graphic that you created. 37. 35 Working with Pre Compositions: Welcome back to another lesson here. Okay, let's get right into it. This one will be on pre composing. Pre composing is when you have a composition inside another composition or a sequence inside of sequence, much like Premiere Pro, where you have a nested sequence inside your regular sequence timeline. Okay, so let's say we wanted to do some overall effects and graphics work to this entire piece. We could add some stuff to the adjustment layer to effect Alta layers below. But there there's another way that's a little more effective that has a little more control , and that is pre composing. So what we do is select all the layers. We can either go down here and press command A or we can click one, hold shift and click the top. Then we can go to layer. We go to pre compose. Okay, so what we have here is a panel with a few different options up at the top. We can name our pre camp I normally keep pre come in the word so that we can tell that this one will be inside our other composition. So let's call it motion graphic pre Kump for this. We want to move all attributes into the new composition. Repress. Okay, so we can see down here that we have a composition inside our comp one composition. Okay, so now that's name, Camp one. So we'll go up here, press enter and will type in main. So now we know this is our main composition, and if we double click down here, it'll open up our pre composition. So now we have two compositions and this one sits in this one and again. Double click. It will open it up so you can add it. The original composition. 38. 36 Using Effects on a Pre Composition: Okay, so let's go to the main now on this layer. This is where we can start adding effects such as color correction, for example. We can go appear to the effects typing curves, drag it down. And just like a Finnish videophile, this right here includes all of the layers in one layer, so everything will be affected. So let's go to our effective controls panel. Now that we've added the curves effect to this layer, let's make some adjustments. So in the low ends here we can kind of dark in it a little bit and the highs. We can push it up a bit to give it some contrast. Okay, to cycle that that's the difference, so that affects everything. Okay, so that's in effect, weaken due. To add more contrast, let's remove that. Let's say we wanted to remove some of the color we could go to tent, drag it down for now what? You will keep it at 100. We will turn on the stopwatch, which adds a key frame. When go to one second and 12 frames, we will change our amount to tint 20 We will click on this layer and press you, which will bring up all of the key frames on that layer. Right now we have to. Okay, At eight seconds and 12 frames, we will create another key frame that is the same as this one at zero. Then we will hit end on our keyboard to go to the end of our composition, and we will go up to our tent and put that back to 100%. Okay, so let's go to the beginning of our composition now, because there's a pre comp. And because writing effects on a composition that includes many layers inside that have their own effects, this can make your system a little sluggish. So in order to make it go a little quicker, we could go to a resolution here and said to have third or quarter for for now, we'll set the third and we scrub through. We should be able to see it a little more responsive then if it was set to full, but you can see it isn't working, Okay, so if we said to let's say 1/4 then it makes it a little easier to reference what we're doing. But there's a little bit of quality loss, as you can see compared to full. Okay, so it's headed to 1/4. Okay, so we have our composition starting out in black and white here as a text comes in and changes the color. We then have our sun flare going through our text as their text grows of it. And then as the text zooms out, it goes back to black and way. So it's a pretty straightforward effect using tint to give a cool little intranet tro. 39. 37 Using Masks to reveal your motion graphic: Okay, So in this lesson, we will discuss how to use a mask to hide and reveal a text layer. So let's go into motion graphics pre camp. Let's go to the middle so we can see our motion graphic text. We will select our motion graphic text and while this layer is selected, we will go up to our pen tool and we can draw a rough box around it and then complete it by clicking the original point. Okay, let's go back to our selection tool. Right now we have an outline around her text, but it's not doing anything just yet. So with our text layer selected, let's hit em em on her keyboard that will open up the mask properties. Then click the stopwatch for mask path that will create a key frame right here. We will go back about a second or so. Then we will click one of the points here and hold press shift and then drag it away. So now basically, what that's showing is over here. We have the mask, but the text still exists here, but the mask is hiding it. So technically, if we turn the mask off to none. The text still exists there. But what we're doing is we've taken the mask and we've moved it away. So you cannot see the text anymore. Okay, So basically, because we've created two key frames here, When we moved it over, it created another key frame. So if we go across this, it will start revealing. So Okay, so it looks okay, But what we want is for it to happen the other way. So what we can do is we can highlight that, Kiefer. Impressive delete to remove it. So now we have no animation. Okay, We go back a second. And now, because the mask isn't selected, meaning the points aren't little squares, we have to select all of them. So right now we selected one. The other ones are just a frame of a little square, if you can see that. So if by selecting one weaken, select all of them like that now it's ready to go like we were before. So click and hold. Let's try this one. Hold shift and drag it out this way. So now what that does is reveals it left to right. So it's a little easier to read just to give you an idea of the different parameters you can do If we set this to subtract this. What happened? You see the text starting at the beginning, and then the mask actually ends up hiding it so you can get really creative here with all these different ideas to come up with your own unique motion graphic. 40. 38 Working with Shape Layers posted: to create shape layers inside adobe aftereffects. We first need to have a composition open. So let's create a 10 80 p composition based off a priest that we made it in an earlier tutorial. Let's go to Okay, now that we've created are composition. If we go up to the tools panel at the top, we have a few different options. The square right here, if you click and hold, will give you a few different presets of shapes. So for this one, we could go to the rectangle tool now inside our composition panel, weaken, click and hold and draw whatever size of a shape we'd like using these rectangle precepts so that is created. You'll see notice down here that it's called Shape Layer one, and it fills the entire composition. Now we can go back to our regular selection tool. We can go down into our shape layer. We can open it up and you'll see there are a whole bunch of different options. So typically, the easiest way to start working with ease and understand them is by clicking on add and choosing a different option down here, for example, we can twist and you'll see what it does. Just by default, we can open up the window down here and increase how much it twists by as well as where it twists. And we get some really cool results very fast just by changing a few properties. Okay, lets commends that and undo those. Another option is, for example, pucker and bloat. So if we go into here, we can actually set it to a whole bunch of different numbers here and get as well some really cool results. So just like most things in after effects, you can animate thes as well. So let's go to command said Undo that at the start of our composition here we will click on the stopwatch to create a key frame, and then we will bring our timeline cursor to the very end, and we will click and drag on the 10 parameter and turn it into that shape. So over time, as we scroll back to the start of our composition, you can see that it starts out with a rounded rectangle and turns into this cool shape 41. 39 Introduction to 3d layers and cameras posted: Okay, so now we have all of the images that we imported into after effects organized nicely into a folder. First thing we want to do is bring in a new image into our composition once a composition has been created. So I've created a 10 80 p composition, which is right here. So we double click it. It brings us into this blank composition. I will bring in an image that I like or piece of footage. Now we have a white background, but I would like this to be scaled two full screen. So I will hit s on the keyboard. I will scale this a little past the full screen mark. We can go to layer new camera. We will keep the preset to 35. We will click. OK, Everything else is fine for now. Now, until this layer turns into a three d layer, the camera will not be able to control it. So on this layer, let's turn into a three d layer and now the camera will be able to control the layer. We could go down into the drop menu here, inside transform and on the position layer. We can see that the right side starts moving to the back, or if we go the other way, the left side starts moving to the back. Let's undo that, command said, or we can go to orientation and click this, for example, and moved to left or to the right. Now it's important to understand that this is the actual camera of virtual camera moving around and not the image. For example, if we go to the Z rotation and click and drag, the image appears to start rotating. It's important to understand that the image is actually not rotating. It's the camera that's rotating, much like if you held a camera hand held and started rotating the camera. The image produced would be spinning. Okay, lets commands ed and undo that back to the original. And from here we can create a simple animation. So on the position we will click on the stopwatch, which creates a key frame on the left side. Here we will click and drag until the edge of the screen, which we can see right here. If we go a little further. The white is introduced, so we want to hide the white, and if we click and drag in. Place our timeline cursor at the end of the composition and then click and drag the other direction until the white is shown and then go back a bit. Then over time, the image will appear to be turning in three D space. Okay, so the next thing we can do is had a fake camera movement to the image. So we have an image file brought into a composition. We can go down into the transform section and under the position property and under the position property we can on a Mac option, click or on a PC Ulta, click the stopwatch here, which opens up the section where you can type or copy and paste and expression. So for now, we can delete what is there. We can type in W i G l E bracket one comma 20 close bracket. Now, this is a very standard expression, and basically what it does is it moves the image around randomly a certain amount of pixels over a certain amount of time. And it looks like this we can exaggerated by changing these numbers here so we can go, for example, five for the second number and 20 for the first number, and it's almost like an earthquake. So this is cool for adding an earthquake type effect to for Did you have our photos for our purposes? We're looking for a simple camera shake as if we're holding it. The camera hand held. So one and 20 works for us. We can even go a step further and adding a bit of rotation, as if the camera is swaying a bit from left to right. Um, as your shoulders move when you're standing in holding the camera to do that under the rotation property, we option clicked the stopwatch. We remove the text by clicking backspace. We type in W I G L E bracket one comma to close bracket. Now this will had a slight bit of rotation randomly to the clip over time, so that mixed in with the position expression will produce a nice handheld feel Teoh, a single shot that otherwise had no movement. If you feel that that is too much, then you can always reduce it by going to 0.5 for the first value and one for the 2nd 1 for example, or, if you prefer even a little less. You could do 0.5 for the 2nd 1 and go back to the original position and change the second to 10. Let's press here and check that out, so that's a little more subtle. And that is how you can add an expression to the position and rotation properties to give a random camera shake field to your footage or photos. Just remember, you need to scale it a little larger as the camera moves around. Otherwise, you might reveal the edges beyond your picture or footage. 42. 40 Exporting SD files posted: If you'd like to create a standard definition export, then what you do is have your composition set up with your images that you'd like to export . You go to composition, add to render queue under the output module, we go to make template. We call this S DE. For standard definition export, we can click on edit. We go over to format options, video Kodak and change that to H 0.264 And because this is standard definition, we do not need it to be very high. So if this were HD would set it around 25 to 30,000. If this was four K would be even higher than that. But because this is standard definition, we don't need it set too high. So 8000 will be fine for our purposes. Click. OK, now, this is a four K composition that we've created, So in order to make it standard definition, we need to change a few things. So we've already changed a bit rate to 8000 killer bits per second. So the next thing we need to do is constrained the resolution to standard definition. So down here with the 69 check box selected for the aspect ratio. We can change the lower number two for 80. And because of the aspect ratio being 69 of 4 80 composition will have the width of pixels being 8 53 which means it is standard definition widescreen. Okay, so we don't need crop and we can turn off the audio. Let's click on. OK, go to okay. And we can see that our standard definition export preset has been selected. The next thing to do is go to output. Click it, navigate to where you'd like the export to go navigate to where you'd like your export to go. Given a name for this one, we'll call it S t export, Click on save and go to render 43. 41Exporting 4K files posted: to create a four K preset or to render out your file in four K. The first thing you want to do is make sure your file and you're composition was created in four K. So for this example, we will go to composition settings. And this is currently said to 1920 about 80. So we can switch this to 38. 40 by 2160 we can click. OK, now we have a four K composition. We will click on our photo. We'll press s to bring up the scale, property and weaken Scale it up to four K. Now, this is a pretty large photo, so we won't lose any quality. If you're working with 10 80 footage, I would recommend exporting a teddy. Okay, so now that we have our four K composition and our image scaled up to four K, we can we can then go to composition, had to render queue. Now the file has been sent to our render queue section under the bottom tab. Here we go to make template, a window pops up and we can enter in our preset name here. So for this one, we will call it four k export, for example, being click on edit. Now we're going to format options. Another window pops up, go to video Kodak and go down to H 0.264 We can limit the data rate because this is a four K file. We would like to set this a little higher than we did it in our 10. 80 p presets, so we'll set it to 35 1000 Now, you can go higher than this if you'd like. But 35,000 seems to be a good bid rate for four K footage. Click on. OK, make sure RGB is selected. We can make sure that it is exporting at four K. So we will resize this and make sure it says 38 40 by 2160. Okay, so now that we've resized this to four k, we can go to the next section. We do not need to crop and we do not need audio. Let's turn that off and hit. OK, now we go to OK at the bottom Here, you will see that are four k export preset has been created. The next thing we do is in the output section we click it and we would navigate to our finals folder or wherever you'd like the export to go. You give it a name and then hit. Save for this one will call it four k export. We'll click, save, and then we will render. It will take a lot longer than your HD footage because it is four times the size and resolution, so just be patient with the export. 44. 42YT How To Add 3D Tracked Text To Footage In After Effects CC: in this video, I'm gonna show you how to use aftereffects had three D texture footage that's perfectly tracked. Also show you how to extrude that text and have lighting so that it composites much better with your footage and the end result will look like this. All right, so I'm in after effects now with my footage in the project. Let's go ahead and drag it down to the new composition button that would create a new composition with our footage. The cameras perspective changes slightly as the camera tilts down, and because his clip is really wide, it will be a great clip to add our three D text to, so to get started. Let's go to effects in presets and will type in three D camera and then, with a three D camera tracker, will drag it to our footage. It will automatically start analyzing in the background, as you can see here. Now, this clip is 222 frames, so it will take a little bit of time Teoh, analyze, And then once this is done, it's going to create a whole bunch of colored points in our footage, and that will be the tracking data, and now it's solving the camera. And as you can see, there's a whole bunch of these colorful points now on our footage. And if we scrub through footage, you'll see that kind of dance around a little bit. And if you're not seeing them, you have to select in your footage and then, in effect, controls, make sure that the effect is selected. If you haven't used a three D camera tracker it, then it could be a little bit intimidating. But it's actually pretty straightforward. The goal is to find three of these points, that lineup, so that this red circle that keeps bouncing around ends up in a spot that corresponds with the footage you're working with. So if we look at our footage here and see what we're working with, we have a bright sky and then have a dark forest and then below that. We have this lake and you'll notice that the majority of the colored points are in the lake , and that's because there's a lot more variants in the pixels down here in the lake, compared to just the pure black forest. So our goal is to try to find three of these points. Where are Red Circle? Aligns up with our footage, so it has the same perspective. Let's try to find a spot where the red circle lines up with the exact same flatness of our lake. So I would say that's pretty flat with our lake. This one is a little too forward. So I think we'll go with the one we found originally, which was right here. So we'll click there, and then that will highlight the three points that were selected. Now it's important that the tracking points you select appear during the entire footage. So since the camera moves forward until it's down and shows more the lake, this will be in the shop the whole time. So this will work fine with the three point selected. As you see here, we can right click on one of them, and then you'll get a whole bunch of options here because we want to add text to this will choose, create text and camera, and then it's created text for us. So let's go ahead and double click our text layer. Well, type in the word that we want, and then we'll go back to our main selection tool, and you'll see down here that the text is three D. So that means that we can move it around in three space using the three points here. Each one of these is and access. So you have the X, the Y and the Z or Zed, depending on where you're from. Each one of these moves it around in three D space based on the position because we have the selection tool. If we wanted to rotate our text in three D space, then we'd have to use the rotation tool. And then in the same way, we can go to any one of the three axes here and moving around in three D space based on the rotation. Okay, so it's used the X axis and try to align the perspective so it matches are seen. And then we're going to the scale here, and we'll just bring that down to Boat 155 or so and next. We'll go back to our selection tool, and we'll go to the Z axis and drag our text. Ford and then on the Y axis will lift it up and we'll keep adjusting this until we get it to everyone. Okay, I think that's a good spot for a text. So it's closed the text layer. And because we tracked the footage using three D camera tracker and once we tracked it, we had it creator text layer. It has automatically been tracked to our footage throughout the whole thing. It will be perfectly tracked, so that's looking really good. Except our text isn't three D. So in order to do that, let's go into our text layer again. And then we'll go down to the geometry options and will increase the extrusion depth by, let's say, 40 and now which letter has been extended into three D space? It is tough to tell, though, because the way three D programs work and how three D text works in after effects is you need to add a light source in order for the shadows to show up properly. To do that, let's go up to layer new, and then we'll choose. Light for the light type will keep it a parallel. We'll make it similar to the sun, so kind of a light, orangey yellow, and then we'll set the intensity to about 1 50 well hit, OK, and then that turned our text completely black. And that's because the light we created in three D space isn't shining any light on our text because it's not in the right spot. So just like we did with the text layer to move it around, we can use each access of the light to reposition where the light is shining. So let's go to the Z axis and we'll bring it back a bit. And then that brightened up. Our texting created the shadows on the extruded parts. Which looks really good, however, are text is too bright, so we'll go back to our easy access and keep moving it until we see some changes in the text. Shading and other lighting's not so harsh on our texts, and it blends in a little better with our footage and using the three D camera tracker to track your footage and then add three D text into it is really just that simple. So let's go ahead and preview this and you'll see that it's tracked really well into our footage. The perspective is changing in the camera, and so is our text and the coolest thing about this is if we went back to our subscribe layer and then parent the light layer to our subscribed text layer, using the parent and link options over here and then adjusting our light slightly so that it matches how we had before now that it's parented. And now if we move the text layer anywhere we want in three D space, our light will follow it because it's parented. So if we wanted to move it all the way up here and then render, you can see our camera will move past our text. And because it's still using the three D camera tracker points, it's still gonna do a pretty good job of tracking. So we'll undo that because I prefer it like this in the middle, and we are done our effect. 45. 43 Conclusion: That's it, guys, You've come a long way from your original idea of someday wanting to learn after effects. You now know your way around adobes effects editing software. Thank you for taking the time to enroll in our course. It was a lot of fun to produce, and I'm glad we could help you expand your skill set. Please leave any feedback you have in the common section. And if you haven't already, please give this course a rating and a review. It's now time to put your knowledge to the test and until next time, keep your creativity set the full.