Transcripts
1. Intro Video: Let's go straight to it.
After effect is used by the top of the topaz, Mr. B. All of that is done
with after effect. It allows them to add extra
spice to their videos. But it's a nightmare to
navigate for a beginner. You scale up a clip
and it goes everywhere because the anchor point
is not set properly. What even is an anchor point. A are all of those icons, and there's so many tools. I'll show you out
to navigate all of those features in nine
easy to test lesson. And I will also share all of the assets and the
projects that I will use in this course
so that you can follow along step
by step with me. We'll start by talking about
what even is a composition. Gradually learn
more stuff by going through keyframes, text, shapes, transitions, robscoping,
color grading, and we'll end up with
expert settings. We'll also recreate
two viral animations from man and Alidal so that you can actually understand
how to practically recreate high quality
professional looking work. I'll wait for you in the inside
2. Class project: Let's go ahead and quickly
talk about the class project. In this class project,
you're going to create a new composition
in after effects, and you're going
to create a short, which is going to be a video
around 60 seconds long, and it's going to be in a
nine by 16 aspect ratio, as you can see, I'll teach you how to
create this later in the course regarding
the clip choice, you will be able to see that in the description of
the class project, there are going to be
two work documents. In the first one, you
will find my asset pack, which has some general assets that I'll give to you
with this course. In the second asset spa, you're going to find all of the assets that are
used in this course, all of the timelines of the
project that we have used, all of the clips
that we have used, and you're going to find one clip that you can use
for this class project, which is from Tomlan. It's a short clip that
you can use if you want. So you already have a sample as well if you want to use that. So you're going to create a composition as
I'll show you later. And you're going to
drag your footage. In this case, I'll use the sample clip that
I'll provide you. And then you will edit
the short as you like. Something that suggest you to use is to try different stuff, for example, use the text,
as I'll show you later, use some shapes, maybe even
go as far as rotoscoping, Tom Moland and duding something in the background,
the stock footage. You have complete creative
freedom over this short. And once you've created it, you're going to export
it as I'll show you in the last lesson by
using the render queue, and you're going to
upload the short that you have created
just by dragging it in or by right
clicking and clicking on file upload and choosing
it from your device. And once you've done that, you will have it
uploaded right here. You're going to click
exactly here on more action, share you'll click
on share once again, and then you'll click on
anyone with the link, and then you will
copy the link and paste it in the class
project description. And there you should divide your class project
in three sections, title where you just give
a title to your short. Your Google Drive link, which is this thing that you're
going to copy right here, and then a small
description of what you've learned in the course and you've implemented in the short. And I will give you personally
feedback on your work. So I'm looking forward to seeing your class projects in the
class project gallery. And now I wish you
a good learning.
3. Introduction and showcase of the basics: Welcome to Aftereffects. This is what you're
going to see once you log into after effects
for your first time. Now, to start, let's
go over and click on new project and we will
find this interface. Meanwhile, you might find it
a bit overwhelming at first. Don't worry, by the
end of this course, you will have figured
out all of the basics. The first thing
that I want to do before even going in depth
in what we're going to do in this course
and this lesson is optimizing after
effects because after effects is a heavy program and it takes a lot of computing
power for it to work. It uses a lot of RAM and CPU. Therefore, what we're
going to do right now is go on edit preferences, and we're going to go first
in media and this cache. Here, you're going to take enable this cache if
you haven't already and then you're going to select the maximum size that you
can assert this cash. Now, this number can
go up to infinity. Usually, normal
computers have up to 1,000 gigabytes of
maximum storage, and then you're going
to go on choose folder and you're going
to create a new folder, which I have called
after effects cache. In this folder, all of the
cache are going to be stored. If you find yourself lagging in after effects, I'm right here, go on empty this cache, and you're going
to see that after effect is going to clean. Right now, I had 375 gigabytes. Just clear it, it's
going to take a bit and there you're going to
run ways moother afterwards. I usually do this
once every two, three days because it
makes everything smoother. Then I'll go memory
and performance. Here You have your
installed rum, and how much RM is reserved for everything but after effects and all of the other
Adobe products. As you can see here, I have the RM available
for after effects, premier pro, photoshop, all
of this stuff, it's 25. I can reduce it or increase
it by reducing this number, which is reserved for
the other applications. If you have 16 or even
worse 8 gigabytes of RAM, you want to pull this to the lowest possible that you can. Since I have 32, I can leave this to five or six so that also my other
applications can run smoothly. However, I repeat it once again. If you have below 16 gigabytes and you can see your
number right here, you should reduce
this to the minimum, so that after effects can use as much of your M as possible. Now you click Okay, so that
all the changes apply. We are right now
in after effects. The first thing that you should do is go ahead and click
on new composition, and you're going to be grided
with a lot of settings. Now, the main thing
that you should look for is if you want a
nine by 16 aspect ratio, which is a portrayed vertical TikToTub short
Instagram reals format, or if you want 16 by nine, which means long
form YouTube content or maybe you want a one
by one aspect ratio, which is Instagram
square aspect ratio. Do that, you can go right
here in the preset column, and as you can see right here. This one, for example, is HD, 16 by nine. Then you can also
find social media HD, which is nine by 16 and there are a lot of custom
presets that you can have. For example, there is
social media square was saying, one by one. Then you can also choose the
frame rate that you want. You can raise this up
by 60 if you want. I honestly depends on
what you're doing. I usually leave it on 30, and for the aspect ratio, we are going to go
on a normal HD, 1920 by ten 80, 16 by nine horizontal format. Now we have this, we
have our frame rate. Now here we can choose
the resolution. This doesn't matter. We
can change it later. Then we have another
important part, which is the duration. Let's go with 10
seconds for now. Just remember, all of these settings can
be modified later, there is no need
to worry about it. Name this after effect scores, and for the background,
I'll keep it black. I'll go and click Okay, and now we have our composition. Let's start by talking about
the panels that we can see. The first one is
the project panel. Here you can find all of your footage and
your composition. As you can see, there
is this yellow tag to distinguish it from other
footage that you will import. If you want, you can go
ahead and right click composition settings and modify all of the stuff
that you had before. If you want to, for example, change the aspect ratio boom. Now you can. I'll go ahead
and click Control Z. The changes are undone. Now let's go ahead and
import some footage. There are two ways
to go about this. The first one is right here, left click twice, and then
double click on your footage, as you can see you
will let your footage, which has a different
color as you can see, because that's footage
that you have imported. Now that you have your
footage in the project panel, you can import into
your timeline. You can either import
it right here, which is going to import it, for example, if I
import it right here, it's going to import the two
second mark. As you can see. Meanwhile, if I want to
import it at the start, I can simply drag it onto the left side and it's going
to import from the start. As you can see, it has shown up right here in
the project panel. Let's not go over all of these
functions because they are a lot and I will teach you
slowly as I go over them. So let's now go over
our player panel. As you can see, it's
really zoomed out, and we can't really
focus well on the rectangle where
our video is playing. So to focus properly, what we can do is go right
here and go on feet so that we can see now everything in the player panel,
which is perfect. Now that we can see everything
in the player panel, let's go ahead and
start playing with our first timeline features. So if I click on
this dropdown menu, I'm going to find two effects. This one is about audio. If I want to make the
audio lower or louder, and I can also check the
wave form of the audio. So as you can see here,
there is a pause, there is another pose,
another pose, et cetera. I'll close the audio because I don't want to touch on it yet, and I'll go on the
transform button. As you can see here, I have
a bunch of properties. These properties are almost the same for every
editing software. As you can see, there is the scale function,
there is the position, the rotation, the opacity, as you can see, and
then the anchor point. I'll explain the anchor point later as I go over
basic animations. For now, let's just
reposition our clip. So that we can see the
face of our subject. It's like this, and
then I'll scale it a bit down to
something like this. Now we have Com Gregor in
the middle of the screen. Now, I'll go ahead and
close these properties, and let's quickly look at
this side of the interface, which is the last side
that we are missing. Here we have a bunch of tools. We have the info tool,
we have the effects, we have the audio,
we have characters, all of this stuff. These effects might be a
bit different for you, there might be some
that I don't have and you might not have
some that I do have. To enable or disable them, all that you need to do is
you go right here on window, and let's say you
want the paint tool, you're going to click it and it's going to appear right here. If you want to drag it, you can simply drag it here, and then close the panel. That's how easy it
is to drag effects. I'll show it once again. Let's say you want
the tracker tool, you create it and it's
going to appear right here. If you want, you can move
it here on the side, and you can move it backwards, you can move it upwards. You can drag it to the top, you can organize this as much as you want, however you prefer. Just remember that if
during this course, I use a panel that you do
not have effect and preset, which you are going
to use really often. It's go right here on window and you search for
effect and preset. Regarding the interface, there are another couple of
things to talk about. The first one is that you
can drag panels as much as you'd like like
this to expand them, reduce them, whatever you like. Then if you're playing a
clip and you see that it's low and it's framing
and it's lagging, keep in mind that you can reduce the resolution by clicking
right here on quarter. As you can see, it's going
to be more pixelated and it's going to be quicker
to render your frame. Sometimes it happens
when you have multiple layers
that after effects, on full resolution is a bit slow at playing what
you've created. Just remember that and make
sure to go on Alf or third, whatever works for
you and your PC so that it's going to be a bit more pixelated when you play it, but when you export it, it's going to be
completely fine. Now, let's go over how to
save a file in after effects. This is not how
you export a file. We are going to export
a file and I'll show you how in the last
lesson, Right now, I want to show you how to
save a file because right now you might have 30
minutes to start a project, but you might not be
able to finish it, so you want to
save your project. To do that, you go on save, and then you can
save it for example, on your desktop and you
can name it after effect. Once you save, you're going
to find it in your desktop. As you can see, I right now have it in my desktop right here. If I close this, I
can now open it, and as you can see, I'm going to find myself back where it was. If you want to share a
file with someone else, you can, but you have to go
through a different workflow. You go right here, you
click on dependencies, you click on collect files. As you can see, you're
going to find the settings, you just leave
everything as it is. You only want to tick
this if you haven't because it's going to reveal
the project once it's done, you collect and now you can
choose where to save it. I'll name it after
effects folder, saving it in my desktop. I will save. As you
can see right now, I have two things in my desktop. I have the project file that
I have right here open, and this one, which is another
after effects project. These ones are two
different projects, which means if you
modify this project, Let's say you add a
clip or a transition, you are not going to find
it here and vice versa. However, collecting files,
as I showed right now, by clicking on dependencies
and collect files is the only way to share your
files with someone else. Because when you do
this, after effects, you're going to collect
all the footage that was used in your project, as you can see in
the footage folder, and then you're going to have the timeline and this report, which is just a bunch of code that after effects uses to
put everything together. These can be shared online. In fact, I'm going to share some of the timelines that we
will create in this course, and you can find them in
the assets of this course. I also suggest you
to go there and take my list of shortcuts that
I will use in this course. Are ten to 15, and they are the
most important ones that you should absolutely know, and they're going to learn
them with me while I use them, and there is a detailed
description for each of them. To use a simple example, let's say I use P and they open the position
as you can see, Maybe you forget about this. The next time I use P, and you don't remember what
does that shortcut do. You can check on the Google
Doc and you're going to see that P
controls a position, and that's what I'm doing with P. I don't want
to overwhelm you, but shortcuts are going
to be extremely useful, especially if you have to open
every time, your effects, transform position,
close, close, open another layer and do the
same thing over and over. That's why I will teach you shortcuts to become
faster and better. Now that we're going
over everything. I'll see you in the next
lesson where we're going to talk about basic
keyframe animations. I'll teach you how
to use keyframes, how to move stuff, all that basic stuff.
I'll see you there.
4. Keyframes, recreating an animation from Ali Abdaal: Go over the animation that we're going to recreate
with keyframes. The first thing that we
will do is track the clip. You can find this in the
assets bag of this course. I'll go ahead and
remove the audio and click right here on fit so that we can
see the whole screen. As you can see in
this clip, there is a abdal talking and at a certain 0.6 squares
come in, image crops. And this rounded rectangle square and then it
goes back to normal, and I actually need to
make the composition a bit longer because I
am cutting the clip. I'll go at around 15 seconds. Let's go even a
bit more actually. Let's do 20, which
should be enough. As you can see this
is where it ends. We're going to recreate
this animation, but we're not going to
create squares from scratch. I've actually taken his squares, went ahead and cut them. As you can see, it's literally
in the same place of his, and I've just cut
them with photoshop. So that we can use
them in our animation. We will not do it right here where he has
already done this, but I will do it right here, so we'll cut from here and we'll use this part right
here to create the animation. We'll do this without
audio because there is music in the background and I don't know if
it's copyrighted, but it doesn't matter anyway. We're interested in the video. We're going to drag
this to the start. Make it snap to the start. You just need to old shift, and you can make it snap to basically everything
as you can see. To cut the clip, which is
what I've done a second ago, the short cut that I've used is control shift and
D. As you can see, you can cut it as many
times as you want, and it's going to
create a new layer. Let's go ahead and
bring it to the start. Let's bring the second
part forward so that we can actually see the effect. We have the cropping
that happens and then there are
the squares that come in and they come in different orders and
their animation is mold. What I'll do is first, I've imported a
background right here. If we look at this, it's
pretty similar to what he has. As you can see, it might actually be the
same image as well. I'll drag this all the way
here so that it's beyond our screen that once we reduce our scale and
all of the properties, we are going to have
this in the background. So before going actually
over how to do this. I want to quickly touch on
these four icons that I've been using while explaining
you what we're going to do. The first one is as an I
because when you toggle it, you can see it or not see. As you can see, it's
pretty self explanatory. And then you have the audio, which allows you to toggle or toggle the audio of the clip, and then there is solo
which allows you to only have this clip showing
in the entire timeline. You can solo multiple layers, and then you have the log and the log basically doesn't
allow you to as you can see, do any modifications.
I cannot strike this. As you can see, there
is this black thing that happens when
you log players. To start this animation, the first thing that
we want to do is cod and create this
cropping effect. As you can see, Ali's
environment becomes smaller and this allows all of the
other icons to pop in. To do this, what you're going to do is go on effect and preset. And once again, if you don't
see it, go right here, effects and presets and we're going to search
for the crop tool. The crop tool is
going to allow us to crop our footage and recreate
a similar effect to Ali. As you can see, there is
the crop top crop bottom, cropped left and crop right. Although these
effects do not work, as you can see they are red. What they will do now is remove these crop edges,
and after effects, is going to say that
you have eight errors in your project. Don't worry. All that you need to
do is by holding old, click on the stopwatches
of all of the red icons, and as you can see all of the problems are
going to disappear. Now I can simply
drag these back. As you can see, we'll
have my image back. Right now, we have a
crop effect that works, and now I can as you can see, crop certain parts of the image. I'll repeat this really quickly. All that I needed to do was old and click on the stopwatch. You click on all of
the stopwatches and now you have this
effect that works. Now that we have our crop
effect ready to work. Let's bring our original Ali's
video right here on top, and let's see when
the effect starts. It starts around here. I'll put a keyframe on the first stopwatch of
each crop right here, and then I'll check
where they end and the effect ends exactly
here, the cropping effect. So I will go into the
effects panel. I will click On each cropping effect. So as you can see OF
crop keyframes at the start and at the end of my animation, which is perfect. Once again, to create
keyframes on after effects, you just need to
click the stopwatch. What we're going to do now
is go at the last keyframe, and then I'm going to put down the opacity of the clip that
we are using for reference. As you can see here is
where the edges are, and we'll go on the clip
that I'm actually using now, and then we will reduce the top so that it
stops around here. Let's look at this, I will drag this and it's really
hard to be precise. What I will do is
we hold control so that I can have more
control over my effect, and I will stop here. Then I will go onto the
bottom and around the same. We'll crop around here. Then I will do it
from the left so that it stops right there
and on the right. As you can see, we will
now have our square. Let's put the opacity
back to normal. Let's disable this view, and let's look if the
effect is actually working. We have all talking and
then everything crops. However, we have a problem on the bottom because
as you can see, it's already cropped, and that's because the starting
frame must be zero. Now we have the movement. Let's look at it one more time. Perfect. We have our
movement. It's not smooth. We will change all of the animations and make
them smoother later. Now we have to get
our icons popping in. To do that, I will
go ahead and go in the project section where
I have all of my footage. You cannot find it because maybe the effect
control is too big. What you can do is go right here on the double dash
and click on project. Now we'll drag all of my icons. I will go forward right here and you cannot
see the icons. The reason for that is because they are
below the background, which is the three dot PNG. I'll drag them over and as you can see now,
we can see them. Now, what I want to
do is start to have movement from my icons as soon as the cropping
effects start to happen. What I will do is I will
enable the Ali ab Dal video, and they will check
when they start moving. So we have the first icons
that pop up right here. So we'll go on the top
left and top right. I will highlight them
both by holding control. Then I will go on the
transform features and click a keyframe
on position. It will place the keyframe
on both, as you can see. Then we'll go forward and
they stop moving right here. So I will eat another
key frame right here and it automatically places on
the layer below as well. Now, I will do the same thing when it comes to
the center icons. We'll move one frame forward by holding control and
clicking the right ROK. They both appear right here, we'll select center
right and center left, which are the ones, at P for position and
click the stopwatch. Then I will go
forward some frames with my Ok until
they're fully placed, which is here, and I will
place another keyframe, and they will do the
same right here. So we'll highlight them both, P for position, go backwards. The appear right here. I'll click on position, and then I will go forward, and they stop right here. We'll click another
keyframe on position. So we'll go right here and move the left icon to the
left until around here, and I will do the same
with the right one. I will move it around here. Then I'll go on the center
one and I will do the same So I'll make sure that
they pop up a little bit, but not too much, and I will move this one once
again. There we go. A quick thing. You can also use the on screen commands to move. However, you risk changing the y and the animation
that you'll get is something like this where the icon goes also down
and you do not want that. You want it to be straight
as the ones above. What they will do is click on five 40 and move this
in a little bit. Then I will go right here, and we should be good now. Let's look at this
animation once again. So we have the
cropping effect and the icons popping in,
which is amazing. Before animating them,
what we can actually do is something that
also Ali has done. It's really smooth and
almost unnoticeable, but it makes a lot
of difference. As you can see right
here, for example, if I look at this
arrow, as you can see, there is a bit of a
drop shadow which allows his face come to stand
out from the background. Meanwhile, we do not have
it and it feels too. What I will do is go on a x and preset and search
for drop shadow. I will find it right
here and I will add this to my webcom
as you can see. Then I will go ahead and reduce the distance to zero,
increase the softness. As you can see, I'm creating
this shadow, which is black. Now, I don't want
it to be that big. I'll go with 50 maybe. As you can see it already looks better than without
the drop shadow. I will leave it on. Then I will copy this shadow by
clicking Control C, and I will paste it on all of my icons right here so that they will stand out as
well from the background. As you can see, this
is what we have now. Okay. Not bad. However,
as you can see, there are the icons that are waiting right there and
it's clearly noticeable. To avoid the icons waiting, what I will do is go on the
first key frame of each icon, and I will put the
position so that they are out of the
frame completely. I will do it for this one as well and for all of these
other ones as well. I will move this out and I
will do the same right here. Then I will also do the same on the other two key frames so that the icons aren't noticeable before they start
coming into the frame. Now this is what we
have. As you can see, the icons are going
to pop up perfectly. So now we have our
animation, as you can see. What we want to do is go ahead and make
everything smoother. To do that, I will go ahead
and by holding control, I will highlight all of
the squares that I have. I will click P position, and I will go ahead
and highlight all of the keyframes
that I have right here. Then what I will do is
right click on that. Click Keyframe
Assistant and click Zs. If you want, you
can also do that by clicking F nine
on your keyboard, and it's going to be way faster. And this is going to allow
your squares to basically move slower at the start and then faster and then slow
down at the end. But what I want to do is go
ahead and further customize this keyframe animation by highlighting two the keyframes and going on to
the graph editor. You want to do is right click on the graph editor and
click on speed graph, and you're going to see
something similar to this. Ignore the red and green lines. What we're interested
in is the white one. What you're going to do is
click on the start or the end, whatever you prefer, and
you're going to pull this in, and then you're going to
do the same by clicking on this endle and pulling this
in that as you can see, it goes slow here, and then it goes fast and
then it goes low again. This is the speed at
which the animation goes. Here it moves at 400
pixels per second. Meanwhile, here it moves at
3,000 pixels per second, and here it moves once again
at 400 pixels per second. This is how it looks
like in the end. It's this one right
here and as you can see it goes fast and slows down. We're going to go ahead
and copy this graph. Basically all of them. I go on the top left here. I remove the speed graph. Light the key frames, go back in the speed graph. Zoom in, I will drag this end all closer and this end closer. I check that the top speed is around the same
as it was before, and then I check how it looks and as you can
see it goes fast. As you can see, this is what
we're trying to aim for. It goes fast at the start
and slows down later. I'll show it once
again fast and slow. Now that we are
achieving this look, I will remove the graph editor once again, go on
the center right, highlight graph, I will zoom in, and then I will do
the same thing again. I will make sure
that the top speed once again is around the same for each animation
that I'm doing, and I'll do the same here. I have this layer, graph editor, this like so, and then
move this like so. Top speed is still around three k. We go onto the bottom right. I like the keyframes, like this, graph
editor, zoom in. We zooming drag this, drag this. I think I drag it too much. No, never mind. Should be good. Then I will do the same
on left, highlight both, bring this in this and
this, we should have this. Let's look at this
from the start. As you can see, it's
fast fast fast. The icons are moving at
the pace that we want. However, the crop tool is not moving at the
pace that we want. We'll highlight all of this and click on P so that
they close the position, as you can see, and now open the As now open the crop effect. Do that. I'll click here, and then to open all of
the keyframes that I have, I'm going to click
on my keyboard. And now, as you can see, I have my key frames of the
crop effect happening. So what I will do, once again, light them all and either click F nine or right click
Keyframe Assistant Zs. And then you go on the graph. As you can see, you have all
of these cropping effects. To avoid this, you want to go back and only
highlight two of them, and then go back into the editor so that you can do
them one at a time. What you want to do is strike this closer and
drag this like this so that most of the effect pens at the start of the
effect and then it slows down. This is for the top,
and then I will do it for the bottom as well. We'll go right here and drag everything close to
the start like so. Then I will do the same
with the crop left, we'll highlight all of this, go the keyframe animation, drag this closer to
the start as well. Then last but not least
the crop right effect, light the keyframes and go
at the start like this. This is our crop
effect looks like now, as you can see it happens a lot at the start and
then it slows down. So that it allows our icons
to come in, as you can see. Let's go ahead and
replay it in full speed. I will make sure to click on fit right here
so that we can see the whole screen.
And that's perfect. So as you can see
this is what happens. And for a final touch to make
the icons more realistic. What we want to do,
go ahead and click on Mhm blur so that
as you can see, it's a bit blurry
while it's moving, which creates a really
realistic effect. Let's go ahead and toggle mom blur for all of these icons, and let's look at
it from the start. This once again makes
everything look way more smoother and
way more realistic. I'll end this lesson
by showing you before Ad has made and
what we have made, and I'll let you judge
which one is better. Regardless, it's
really, really similar. I'll see you in the next lesson where we will talk about text.
5. Complete Text explanation, recreation of viral styles in detail: All right. We are in a
new composition now. We have created the
Abdaltyle animation. Now what we want to do is
expand on after effects text. Right here, we have
a composition. It's around 20 seconds long. We are not going to
create an entire video. However, I'm going to
import a bunch of videos, as you can see, f five. I have downloaded
them from Instagram, and I will now bring them in. I will mute them all,
and we will now start to recreate some subtitles and we'll start from
the easiest one. Most difficult one. Let's go ahead and recreate
this one first. This one is a short from
Alex mozi as you can see, there is a text layer.
Talking about text. I just want to clarify that
to zoom in and zoom out both on your timeline and
in your player panel. You just need to hold out
and use your scroll wheel, just a quick thing that I've
been doing the whole time, and I don't think
I've specified. What we need to do is
recreate this text. What we are going to
do is get a text layer and create it in
type one of mine. Now, as you can see the text has disappeared, the fix this, I will go ahead and
highlight everything, make everything smaller,
everything larger. Now I'll make everything
the same size. One 30 looks pretty good. The font is different.
It's not Montserra It's a more close font, it might be pata actually. If I go on Alphatca
I think we got a decent result by reducing how far or close
the characters are. I'll leave it like this
and then I'll make everything caps and
I will trag it, something like this.
Doesn't need to be perfect. You can customize your
own font as you want. Now, as you can see in
the properties panel, you're going to find all of this stuff that
I was modifying. The font bold size, how much the lines are spaced. In this case, it doesn't matter because there is only one line, and then there is how much
the characters are distant, how much the text is stretched
and all of that stuff, and then you can also decide
how much you want to offset it and how much you want to put everything
close together. In order to center this text, what you want to do is go
ahead and click right here, and then to make sure that is in the exact center of the screen, you're going to close
the properties panel, going to the align panel, which again, if you cannot find, you go right here a window and you search for
it, it's a line. And then you click right here. Just make sure that here it says composition and align
horizontally and vertically, and this is the exact
center of the screen. Now, what we're going to do is quick composition
and then move this a bit down so that we can have it at the same height
that or moseyed. The reason for that is because subtitles should stay
a bit lower than the middle point
of the screen in reals and they should be right
below the chin, usually. What we're going to do
now is customize the text further so that we can get
something similar to rmozi. If we analyze rmsis text, first thing we notice is
that the text is yellow. Let's go on properties, color, and choose the yellow
that rms is using, which is this one. And then what we want
to do is add a shadow, as you can see, there is
this black shadow behind. To add the shadow, we
simply go on e and we search for drop shadow
as we've done before. Can shadow, and then
we reduce the distance to zero so that
it's right on text, and then we increase the smoothness to
something like this. Let's move this below
to see if this works. There is a bit of distance here. I will recreate it in my text, maybe five, which
is the default one. Let's look at it now. It looks better, but I think
it's even more distant. Go with ten, move it down and Yes, I think this
is the distance that we are looking for ten, and then we're going
to go with the globe. We look for the glow and
we apply it on our text, and for the color, we can do two things, either
leave original color, which is going to basically
make your glow yellow, which is the color of the text or you can click AMB colors and then choose
some colors here to have the internal glow
and the external glow. They will do is I will leave
it on original colors. We'll increase the
radius so that we get something like or
Msytyle Actually, I think the yellow from
the text was a bit darker. It has more of an orange vibe. I'll do something like this, maybe even a bit more
let's see this looks. I think it's better now. Now we have this. It's
still a bit bright. What I will do is go
even a bit more below. I'll do that again. I'm almost getting
to orange here. This one looks way
more like his. The shadow is a bit too much. What I will do is actually
reduce this to seven. I think this is
better now and make it a bit more soft around 18. Now we have a really
similar text. The only thing that is
different is the font. I don't really know
which one is using. Now that we have created this, both of them, and now it's
time for this nothing. For this nothing,
I'll go ahead and go onto the text again, create another text,
call it nothing. The font is the same
that was used before. It's going to be a bit
different. It's fine. I'll go on a line and make
it centered horizontally. I'll go on properties and
reduce the size maybe to 20 and there is a white feel, and then we have a
glow which is red. I'll go here, g drag on top and I actually
want to change this to AMB colors and then change the AMB colors
to red. These looks already more similar
to the moss one. I'll actually drag
this bit below. What I want is this to
be increased again. I think we're getting somewhere. Now I want to make this darker. I will copy the color right
here by in control C, then we'll go right
here and paste it. I think we can make
it even more dark. I'll click on the right
text, make it darker. I think this works pretty well. I'll copy this and put
it right here as well. Now we have the same glow. The only different thing is
the font, which is perfect. Now let's go over
the next title, which is still
from the same guy, but the guy that edited
it is a different guy. As you can see, there is this really
cool effect on the text. I want to show you
how to do that because it's extremely cool. In the video, he actually
moves it as you can see, and I'll show you
how to do that. I'll show it once again, as you can see, the
light beam is moving. To recreate this text, I'll go text text and
I'll type secret, eight of size and zero of distance, we'll recreate the same
text, as you can see. The effect is using is
called light sweep. If I drag it on top,
as you can see, we have this effect. I can change the angle
of this to this angle, it's not quite this one. I'll change the angle
to something like this, as you can see the direction
looks like it's this one, and then I'll move it with
this angle right here. As you can see right now, it's in the end to move this trough the
video, what I want to do, is dragged at the start and
then I'll put a keyframe. I'll go forward and
then I will put it at the end so that as you can see final scrub trough, it's moving. As you can see the effect
looks like this now, the light is weeping
through the text. To add a final
touch to this text, we are going to use a glow as we have done
on the previous text. You just add a glow
like this. Now, We can play with
the light sweep, we reduced the width, we reduce the intensity, reduce the width again, and as you can see this
is what we have now. This light sweep right here, which is really similar to what the other editor has used, as you can see,
although he has used a completely white light
sweep instead of an aqua one. Now we have this effect
from a motivational page. As you can see,
there is the red, and there is a bit of
white on the bottom, and you can find
it right here as well with this pink and white. If you go down, you can see
there is Aqua and white. And green and white
and all of this stuff. Let's recreate the red one, but this concept applies
to all of these colors. Let's go ahead and
create a new text layer. Let's put it below, and
let's type negative thing. Now, I'll make it
smaller. Let's see. It's around 30, I'll
make it bigger, 60 maybe, I'll make
it in two lines, I'll align it to the center, and it's actually a bit less
than 60, it might be 55. I think it's exactly 55. It's alvetica which is perfect, but it might be black, and so it's a bit smaller. It's not actually alvetica
but the font is really, really similar, so
I'll use this one. As you can see, there
is this bit on the G, which tells me that this is
not alvica but it's fine. We can still use this font. Concept is still the same. I'll go ahead and
make this white, first things first, and then I'll go ahead and add a glow. I'll go right here on
the effects, glow, drag it on, and we are already looking
at some good starts. I'll make the glow a
bit more expanded, and I think we're
looking good now. To create this
effect, I'll go on Gradient ramp, as you can
see, it's right here. I'll drag it on, and then I
will go right here and I'll click on red and white,
which is perfect. As you can see, I can modify my ramp by modifying
some of the controls. What I'll do is go right
here and click on start of the ramp on the end,
I will click it here. As you can see, we
have this effect. Now the way it is used here is way smoother
and to do that, you want to move the end
of the ramp a bit lower. If you move it to the right, you're going to
have this effect, as you can see left right. Instead, if you move it lower, you're going to have this
prevalently red effect. I'll move this lower and
move this a bit higher. As you can see, we are now
looking at something similar, but I think it's even smoother. I'll do something like this, and then I'll move
this a bit upwards, and I think that now we have it, it's actually a bit smoother. I'll move this upwards, even more, and now
we have this effect. The only thing that
we are missing is the glow to be of the same
red as the gradient tramp. To do that, the first
thing that I'll do is zoom in in this text and
mask out a section. I will go more in depth in
masking in the next lessons. However, I'll quickly
explain how this works. You click the pen tool, and then you drag a mask, on your layer, and this is the part that
is going to show you. The other part that is outside of the mask is not
going to show. That's how simple
masking is, if you want, you can go on the masks
right here mask and click on invert and it's going to show only what's
outside of the mask. The reason we're going to
use this is because I'm now going to copy and
paste this text, and here I will invert the mask so that I now have the text
which is basically separated. I have negative and I have thing just by using
a simple mask. And I will go on the
thing, which is this one, and then we will remove
the gradient tramp because I want it to
be completely white. Now, I want to make sure
that the glow is red, so we'll track it below
the gradient tramp. Then I'll click on AMB colors. I will click on top, and then I will
increase the intensity, and as you can see, we are
starting to have this glow. I'll improve the radius, reduce the intensity
because it's too much to something like this, and I will actually
make it a bit lighter, copy this and paste it here, and I will actually raduce the intensity and a bit more
and as you can see now, we have the glow, which is basically the same. And this is perfect. Now
we have the text that we have created in the text that we have taken
as a reference, which are basically the
same to change the color, for example, to green. All that you need to do
is just go right here, and then you paste
it on color B. There used intensity
of something like 0.5. Once again, as you can
see, we have the glow and the gradient trap,
which is perfect. The last effect
that I want to show you is in none of these videos, but it's actually an
effect that I know about, and I just want to
share it with you. I'll go on text it
and say sample, I'll make it a bit bigger, and the effect is called bevel. I'll search for bevel and I will drag it on
and as you can see, creates this light slash shadow. I don't know to say it properly, but as you can see, creates
this three D effect. Let's make this bigger
and this bigger as well. Let's as you can see
with the white here. If I remove it, you
can see it looks two D. Meanwhile with
this effect looks almost three D. That's a
really cool add on after the gradient tramp and the glow and the drop shadows and
all of that cool stuff. The last thing before ending
this lesson is that all of these effects can
be used on objects, the ones I have
already shown you. Glo drop shadows, all of them work pretty
well in your objects, and we're going to use some in the next lesson where I'm
going to talk about shapes, and I'll show you how
to do some cool stuff. I'll see you there, and I
wish you a good learning.
6. How to use shapes, animate them, and make them look professional: Will now show you
how to use shapes. I've gone back to 16 by
nine aspect ratio and I've imported the 10
seconds of footage from a YouTube video where
they show how to make pizza, and we're going to improve the whole editing
that they have done. As you can see, the
way they describe the ingredients is by showing
them on the top left, as you can see,
there is not even shadow on the text and they're
not really noticeable. They're not easy to spot. They might get confused with background to
highlight them more, what we're going to do is create a shape and put all of
the ingredients in there. So how do we go about this? Well, the way you
can do it is you go here in the
rectangle tool and you can hold the left click and you're going to get a bunch
of tools that you can use. We're going to go with the
rounded rectangle tool. Just keep in mind that
even if you use this one, you will be able to
round the corners later. I'll use this rounded
rectangle and I'll put it like this because the cup is going to stand still for the whole
duration of the videos. As you can see it has created
a shape layer right here. And this is where our
rectangle is contained. Keep in mind, if I were now
to create another rectangle, it would be placed
in this shape layer. Usually, you want
each shape layer to have one shape only. That's going to allow you to animate your eclipse way better. I'll go ahead and
click Control Z, and if I were to create in other shape, I can
just click off and now create another shape and it's going to create
another shape layer. I could also go right
here, right click, click on new and there is
the shape layer right here. I click it and then I can create whatever shape I
want in this shape layer. Now, going back to this
rectangle right here, I don't like ours corners are not rounded
enough. What I will do is go right here
in the rectangle, click on rectangle path and increase the
roundness of the corners. I will go with 38 and
let's see how this looks. I think it's pretty good. Now that I have my rectangle, I want to customize it. I will go into it and I will
go right here on top on the field and choose
an aqua color and then go onto the stroke and
make it a bit darker. Then we'll also increase
the stroke to around two. Actually, let's
make it a bit more. Even more, I'd say
let's go with a ten. I think it's looking good. Field, actually, I'll try and
use a linear gradient with 2 grays so that I think
it's going to look cool. Let's try something like this. I think it's blending
really well, and I really like how
this shape is looking. Now we have our thing. Let's go ahead and
click on effects. Let's search for a drop shadow, and let's add it on top. Let's reduce the distance,
increase the softness, increase the opacity to
100 and increase this 30, maybe even more 50 Yeah, I really like this. Now
this is what it looks like. I will also go at the end
right here of the clip here. I will go one frame
forward so that the clip below ends and that
we'll cut the shape layer, that they end at the same
time, as you can see, you can go one
frame forward once again by clicking
Control and arrowk. Now we have the square which is showing
for the whole time, and now we need to add some
text inside the square to show which ingredients are being put because we are
currently covering them. What I will do is actually
go on the original clip, S on my keyboard
and scale it up and move it below until something like this and then
move it a bit to the side. The reason for this
is because I want to make the rectangle
actually a bit bigger. I will link the size here and make it a bit
bigger like so, and then click on P, which stands for position once again, and I will go below a bit,
which is perfect now. Now we have our rectangle and we can put all
of our ingredients. Let's start with the first one, warm water two and f cups. I'll go on the text. I
will add it like so, and then type warm water. I actually need to make this bigger and I want to
make everything smaller. Warm water to and lf cups. Now that we have this, I will go ahead and add it right here. Then I will customize this text. I will go ahead and
reduce this and this to the size of the square so that I
can better control The alignment of the
text, as you can see. What I will do is now
customize the text. I'll add a bit of a drop shadow. I'll make it way softer and
I'll eliminate the distance. So as you can see
it stands out more. Let's see if a white shadow, it doesn't look that good.
I'll go back to black. After adding the drop shadow, what I want to do is make this a bit bigger and I want
to make it white. This is how it's looking. Let's try and add a bevel effect and let's see how this works. I'll add it on top of my text. I think it looks
better actually. I could increase this, but it doesn't look as
subtle as it was before, so I'll due it to
0.5 once again, and I think it's good. Now what I want to
do is position it a bit to the right so that I have a bit more
space right here. Then I'll copy and paste it and I will use it
for the second text, which is sugar, one teaspoon. I'll re enable the square, and I'll type sugar
one teaspoon. I will paste this. Then I will check what's
the last thing that is needed to make a
pizza, try yeast. I'll copy paste, try
yeast two teaspoon. Then I'll re enable this
and move this lower Actually, I want to move it
lower just by using this and now I will add
this space at this. It's now looking pretty good. I want to space this
stuff a bit better. I'll move this a bit below, I'll do the same here. Then I can actually make
everything 45. I'll do that. Then what I'll do is I will put the amount of stuff needed
in the end of the square. To do that, I will do a simple mask as I
have done before. You take the pen tool while having highlighted
one of the text, and you do a simple mask
like this, just like so. Then you copy and paste your text and you
invert the mask. Then now as you can see a text which is divided
into two parts. Now I'll just eat P on this one and move it to the right
until I'm satisfied with it. I'll do the same
with this sugar one. I'll create a simple
mask like so. It doesn't need to be precise
ol I'll copy and paste. I will click on mask invert, and then I will
decomposition and move the one that is
masked out on the right. Then I just control C control
V. I have two of them. I invert this one, and I'll use this one
to move to the right. As you can see, we
now have this stuff. I actually want to move the sugar and the
teaspoon a bit higher. To do that, I'll
go on the sugar. I'll click on the other
sugar by holding control. Then I'll click
on P for position and I'll move everything
a bit higher. Now this looks really balanced
and really professional. The only thing that I want
to do is actually click on all of the left
parts of the text, which are the ones,
and then click on P. And move them up to
the right once again, I think now it's perfect. I could also go ahead and
make the quantities yellow. Let's see if that looks better. If I click Okay, I have two and lf cops,
actually like this more. Go ahead and highlight this and I actually want
to use the same yellow. I'll go right here, copy the code of the
color, control C, and then go in the text below, right here and control
V. Then I'll do the same for this text right here by
going right here, Control V. Now we have our text with
the quantities highlighted. The only thing that
we are missing is if only this one play as you
can see there is warm water, and then there is sugar, and then there is dried hesed. What we need to do is make
them appear in order. First, let's remove the solo so that we can see everything. Let's click the T shortcut
so that we can bring up the opacity and click on a
stopwatch, click on zero, and then let's go one, two, three, four, five, six, seven, eight, nine, ten frames forward and bring the opacity. 100 and then let's
copy these keyframes. Let's go to the start and let's paste these keyframes
on the other layer. So that as you can see,
they're both going to fade in. I'll show this slowly, as you can see they're
fading in slowly. Now, I will click solo once again because
I want to see when the second part comes
up, it's around here. I'll go on sugar and we paste them here as well.
I will go ahead and Paste the opacity
frames right here and right here by clicking Control
V. Now that I enable it, we should have a fade
in at the start, a fade in right here
and a fade in here with the dried as she is
dropping it, which is perfect. Let's move everything
to the right just to see how these animations
look in comparison. As you can see, we
have warm water, and then we have sugar one
teaspoon and tried heat. As you can see, this one looks way more professional
and way more clean. Now I'll bring back my shape right here and I will show
you something that you can do to animate the outline of your shape and make it
even more interesting. The first thing that you will
do is go ahead and copy and paste your shape and
remove the feel. I will click on feel and no. Then I will go right here
on shape layer and I will click on stroke and
click, as you can see. Then I will go onto the stroke layer and I will
remove the drop shadow. What I have now is a shape which has separated
the stroke and feel, we rename these two stroke, and this one to feel so that I can remember which one is pitch. Now I will use an
effect on the stroke, which is called vegas. I'll go right here,
put it on the stroke. As you can see, there
is this outline. I will reduce the
segments so that we have this united line. Then I will actually
reduce the width a bit. To around 15. I will probably decrease
it even more later. But for now, let's
stick to this. I will reduce the
length to maybe 0.5, maybe something even less, 0.35. I like this, we will
reduce this to ten. Then as you can see, if
I go on rotation now, I can move the vegas effect. What I will do now
is go right here on color and choose maybe
a color like this one, but a bit darker, something like this, or
maybe a bit lighter. I think this does the job. Now I will put this to nine
because I think it's better. Now I will go ahead and put
my player head at the start, click a keyframe rotation. Let's say I wanted
to start from here. I will leave the
keyframe and then I will go forward at the
end of my animation, and I will move
the rotation more. Something like this, maybe.
Let's see how this looks. We have the thing that is
moving, as you can see. If I look at it from far away,
this is how it looks like. As you can see the
outline is moving, creating some animation
around the square. Now, we can still
customize this a bit more. I can also now go ahead
on effects and low, which is going to make
the whole thing better. I will make the intensity around 0.3 and I will make the
radius at around ten. Actually, straight with
a lower intensity. I think something
like this could work. After all of the modifications, this is how everything looks. As you can see, there is
outline going around and there are the things
appearing in the square. This is a really
cool animation and a really cool way to use shapes. Last thing I'll do is
go ahead and highlight all the text and
cut it right here, and this is the final result
that we got, as you can see. So I'll see you in
the next lesson, we're going to recreate
some small animations using null objects. We're going to learn how
this parent and link work, and we're also going to explore the other shapes because there
is not only the rectangle, there are also the ellipse
and the polygon tool, which are really, really useful.
7. Null objects, Pre-comps, Animation from Iman Gadzhi recreation : In this lesson, we're going to actually create an animation. So we're going to basically revise what you have
done until now. So let's go ahead and go on new composition
and create a comp, which is 1920 by
ten 80, 30 f PS. Let's go ahead and
call it man Animation. Duration is going
to be 9 seconds, and I'll go ahead
and click Create. And the animation
that we're going to recreate is this
one from man Gazi. I'll go ahead and click on fit. I'll meet the project, and
let's go ahead and watch it. There is this line that
creates this circle, the text, text, and
the check boxes. So that's what we're
going to recreate. First, let's go ahead and reduce our work areas because
we're going to work here. We're not going to
do this transition. This was part of an animation that he has done
before in the video. We're just going to focus
on this line moving, and then on the circle creating and the check
boxes and the text, which is everything that
we have done until now. So let's go ahead and start by creating the background
to create the background, let's go ahead and
create new solid, and we'll use this color right
here and I'll click, Okay. Once we have created this solid, I'll go ahead and duplicate it. And this time, I'll
go right here on the effects and look for a
grade and drag it down top. And as you can see, we
recreate this kind of grid. What I will do is make
the lines closer. So I'll go ahead and look for the lines right here
and make them closer, something like this,
actually a bit more. That's kind of what
we are looking at right here in
man's animation. So I'll reenable our background, and then I will go
ahead and go on the drop do menu and on the pasity click around 30%
to make it less visible. As you can see, it's
what man has done. Actually, man has made
it even less visible, so I'll go on a
pacity click on 20. Perfect. Now we have
our background. I'll go ahead and rename this to create rename this
to background, color, and rename
this to animation, just to say organized. Then I'll go at the
end of my work area, and I'll click Control
Shift D to cut this layer, and I'll do the same here so that all of the layers end here. So now we need to create
this line right here. To create the line,
we're going to go ahead and create a new
and shape layer. And here, we're going to draw
a line with our pen tool. As you can see, it's going
to create this line. However, we want to round it. So let's go ahead
and do all of this. Let's use man's animation
as a reference. As you can see, this is
the line that he has. So what I will do is I will first reduce the stroke of
the line that I will create, and then I will zoom in a bit, and I will click my first point right here when
man's line starts. Then I will go right here. And while holding
the point down, I haven't stopped clicking yet. By still holding the left click, I will drag this so that
it creates a curve line. Perfect. Then I'll click
another point right here, and I'm still holding and
I'll modify this like so. Something like this, and then I'll click another
point right here, and I will drag it just like so so that I create
something similar. And then I will zoom out, move and zoom in so that I can create something
similar also here. So something like this. That's perfect, and then we'll finish it up with
a line like this. Now, as you can see, we have a similar line to
the one from MA. I will track this down so
that you can compare them. As you can see, they're
really, really similar. So we'll go ahead and track
it back where it was. I will enable my
background layers to see how this looks,
looks pretty good. And now we need to
create another form, which is this circle. To create that
circle, once again, right click new shape layer, and then I will
click right here, and by holding down my left
click on the shape tool, I can create an ellipse. So I will go ahead and create an ellipse and to make
sure that it's a circle, I will hold shift, which, as you can see, instantly
changes it in a circle, and I'll make it big
something like this, and then I'll click V to get
back to my selection tool, and I will drag it where my
line ends, which is perfect. And then I will go ahead
and rename this circle, and I will rename this to
line to stay organized. I will then go back into
my line and actually go on the shape and change the
stroke color to immans color. So I'll click on stroke, click this Paquip and choose
his color, which is perfect. Then I will put it
back where it was, and I will go on
effect and search for a glow I will track the
glow on top of my line, and I will increase the radius and decrease the intensity to
something like zero point. One and we should get something
similar to man's glow. Actually, we can make
it even a bit more. So let's go with 0.5, maybe something less 0.25. And I think this is good now. It's really subtle,
like man's animation. If we put it on solo, as you can see, it's very
subtle, that's perfect. Now what we need to do is we'll need to create the check
boxes and the text. So let's go ahead and create
the check boxes first. To create the check boxes, we need first to
create the box and then to create the
actual check the tick. So let's start by creating a
new shape layer shape layer, and let's call it rectangle. And by holding left click, I will select a rounded
rectangle tool, and I will create a square
by holding shift once again. As you can see, if I
do not hold shift, I am creating a
normal rectangle. Instead, if I shift,
it's a perfect square. So I have my perfect square now, and then I will go on the rectangle here
into the contents, search for stroke,
and then search for rectangle path and look for the roundness and move it
up to something like 30. Actually, that's too
much. Let's try 15. And I think we're
getting somewhere. I'll make it a bit less like
12. Okay. I really like 12. That's perfect. I
will now reduce the thickness of the
stroke to around five, maybe even something
more like seven. Yep. And then I will
glow just like so. I will increase the radius and reduce the intensity.
And this is perfect. Now that we have our check box, we need to create our tick or check, however
you want to call it. So to do that, we need to
create a shape once again. So go right here once again, right click new shape layer, and I will rename this to check so that we
know what this is, and I will click
on the Pen tool, I will zoom in to make
sure that I'm precise. Then I will drag a
point right here. And then while holding shift, I'll drag another point so that I know that my
line is straight, and then I'll drag another
point on something like this, actually a control z and
make it a bit higher. Something like this. Yeah. I did not hold shift for this one, because if I hold shift, it's going to move just like
so on a 45 degrees angle, and I want it to
be a bit higher, so I'll do something like this. This looks good. All right. I made it go on
top of the box on purpose because we will need for animating purposes later. For now, I'll just
select it, go on stroke, use the color picker
and drop it right here, and I will make it a bit
darker, and then I'll click, Okay, close the properties, open here and drag
small glow here. I will reduce the
intensity to like 0.2, and I will increase
the radius a bit, actually 0.4, maybe.
Yeah, I like this more. All right. I really
like how this is going. Now we have our
check line, circle. Now if I disable all
of the sole layers, as you can see, we have
our circle line check. We have to modify one
last thing in the check. As you can see here, it has rounded corners,
and ours doesn't. To fix it, I'll go right here,
contents, shape, stroke, and right here, I will
click on round cap, which is going to
create round edges. And also on the line join, I will go right here
and click once again, round join so that as you
can see, it's rounded. And now we have the perfect
rounded stuff like EMA Now, let's quickly reach
up what we have. We have our line, circle, and the check boxes. The only thing we are missing is the text and to
animate everything. So let's go ahead
and create the text. As you can see, we have a
text which says culmination, so I'll type culmination. The font is Mcera It's
probably extra bold. I only have Moncra bold, so I think we'll
stick with this, and I will put it around here. I will reduce the font size
to around 80 so that it matches with our text right
here. That's perfect. And then I will remove the solar layer so that
I can see also the rest. And it also says
the highest point. So I'll copy paste
it, and this time, I'll type the highest point, and this is the same font,
however, it's regular. And now we'll reduce the
font size to around 30, and actually, it's a bit bigger. Let's go with 35. I
will move it on top. And yes, I think 35 is
the right font size. So now that we have everything, let's unsol all of the layers. Let's strike the text
above our background. And as you can see, we have Text, text, check the
line and the circle. So let's start animating. First, let's look at the
animation of the line. As you can see, it goes
from the start to the end. So it starts around here. So I'll sol this so that I
can see my actual animation. I'll go on the dropdown menu, and I will add trim pads. I'll go right here, reduce
the end to around here. And then I will
click a keyframe. I will go forward, and I
will actually check when does the animation end
from man, it ends exactly Here, as you can see, so I'll unslow my layer now, and as you can see, this is the line that we are animating, and I will increase this until the end so that now
as you can see, our line is moving like
soap, which is perfect. Then let's animate the circle. The circle is as you can
see moving like that. So I will go at the start of
the animation of the circle, which is exactly here. I will go on the
circle, ellipse. I will add trim pass, I'll click it, and
then I will disable the animation from man so that I can see what
I'm actually doing. I will put the end to zero. I will click, and then I will go forward until here where
the line animation ends, and I will increase it to 100. So that now, as you can see, the animation is moving like so, However, there are a couple
of things to fix now. The first one being, if I
look at man's animation, as you can see the circle is
rounded while it's animated. Meanwhile, ours is not. So to fix it, we go on stroke linecp and we
look for roundcp. And as you can see, we have
fixed the first problem. The second problem is
that as you can see, man's animation is way
smoother than ours. If you look right here
at the circle animation, it goes really fast at the
start and slow at the end, and we want to create
something similar. As you can see, there's a lot of range at the start and
then it slows down. And the same goes for the line. As you can see, it starts fast and then slows down
towards the end. In order to change
this animation, we are going to use what's
called the graph editor. So as of right now, we have used linear keyframes,
normal key frames. What we're going to use now
is more advanced keyframes. So I will highlight them both
and right click on them, keyframe assistant and click Zs. This will allow the movement to, as you can see, start slow, then it goes really fast in the middle and then slows
down towards the end, as you can see from the circle. I'll replay it once again. By scrubbing through,
as you can see, there's a lot of motion at the start and then it slows
down towards the end. We have linear keyframes. Our motion in the circle is
always the same at any point. So if I zoom in, you're going
to see that each frame, it does the same
amount of motion. It's linear keyframe, and
it's always the same amount. Meanwhile, in man's one, if I zoom in, you're going
to see that man's animation, the amount of movement
that it has per frame at the start is a lot, and towards the end, it
becomes less less and less. And to achieve this,
this is our animation, by the way, I will highlight
both of our keyframes. Right click, keyframe
assisted and easy. As you can see now, it goes
kind of slow at the start, then it speeds up right
here in the middle. It does a lot of motion, and then it slows
down towards the end. However, to make this even
closer to man's animation, I will highlight both of the keyframes and go
in the graph editor. Right here, you can
find these values, which will allow you to further edit your
speed of movement. I'll quickly explain
all these works. This is the top speed. Right here, if I scrub
through, as you can see, the motion of the circle
is going to be a lot, as you can see right now. Meanwhile, right here
where the graph is lower, the speed is going to be less. In fact, in this amount of time, it's only going to
do this much space. As you can see, it's
going pretty slow. Meanwhile, if I replay
right here, once again, as you can see, the range
of motion is a lot. And we can leverage this
by dragging these end les like so so that here
the speed is even faster, and the range of
motion is even more, and towards the end, it
slows down smoothly. So I will drag this like so so that at the start the
animation is faster, and then it slows down. As you just so. I'll
replay it once again. It goes fast and
then slows down. If you cannot edit this graph, as I've just shown you, you have to right click and
click on Edit speed graph. If you can't, it
means that you're probably on the value
graph, which means that gives you this kind of stuff. Do not mess with this. Just
go on the speed graph, which is way easier to use. And now we are going to
close the graph editor, go in the line animation. Highlight both of the keyframes, right click, keyframe assistant, ***, and once again, go in the graph editor
and do the same thing. I will make sure that most of the movement happens at
the start of my animation. So that later down the line, it's ways lower and smoother. So if I give it a look
now, as you can see, we have going fast, and then everything slows
down towards the end. I'll close the graph editor, and as you can see now, we have successfully
animated two of our first motion graphics, the line and the circle. Now we need to animate the
check the box, and the text. Let's start for the text
because it's a bit easier. So if we look at
man's animation, there are two text animations. Let's go ahead and zoom in. As you can see, we have
this one where the text slowly fades in and the
letters get closer. And then there is the one below where it simply fades normally. So I will check when does the highest point
animation start, which is exactly here. I will go on my
highest point form, opacity, and I will eat
a keyframe on zero. Then I will check when
man's animation ends, which is exactly
here, and I will create a keyframe
on 100 opacity. So now if I look at my
animation, as you can see, now this text is going to fade in like so, which is perfect. Exactly what we wanted. Now let's go and animate
our culmination text layer. As you can see here,
the text moves closer. So as you can see, all of the letters move
close to each other, they start far and
they finish close. To do that, I will
select my tax layer. As you can see here
there's a property that allows us to change
what's called tracking. However, we cannot use this property as it does
not have any key frames. To create that effect, you need to go on the
drop down menu, click on Animate, and tracking. Once you're on tracking,
you're going to go at the start of where you
want the animation, which in this case
is right here, where the opacity starts to come in and they
will click a keyframe. And then we'll go forward. And add another key frame. Then I will go backwards, enable the opacity
quickly just to check how much I want
the tracking to be. So let's say
something like this. I will re disable the opacity, and let's look at our
animation now. That's perfect. So if we now go back to the
start of our animations, we're going to find
the line moving, the circle, the text,
and the other text. And now, the last thing
that we are missing are the check box and
the camera movement. So for the check
box, as you can see, we have an animation, which is a Zoom in. And then after the zoom in, the t starts to appear. So let's go ahead and
disable the solar layer. Let's go ahead and animate
our boxes, actually. So to do that, I cannot just add some key frames
because as you can see, if I add some scaling keyframes, this weird movement pens. Why is that? That
happens because let's take the rectangle
as an example. If I go into the
rectangle, as you can see, there is this small
finger right here, which is called anchor point. The anchor point is
not on the rectangle, but it's on the
whole shape layer. So if you remember before, we have created a
new shape layer. And whenever you
create a shape layer, The anchor point is in the
middle of the shape layer, exactly at zero, zero. And what happened
is once you have created our rectangle
right here, the anchor point got placed
exactly at zero, zero. However, we have later changed
the position of our layer, and our anchor point
has moved a bit. The problem is that
the anchor point must be in the center
of the square. The reason is each property
which is modified right here is modified in relation
to the anchor point. So to keep it simple, I will drag the
anchor point closer, and I will show you an
example with the rotation. So if I now use the
rotation on this square, it's going to rotate like
this around the anchor point, as you can see right now, it's rotating around
the anchor point, and it's not rotating on itself as it should be.
So how do we fix that? Well, there are two ways. The first one is to go and drag the anchor point so that
it's centered right here, as you can see, it's kind
of centered in this way, and then I'll drag
it upwards so that it's kind of in the middle,
something like this. Or if you go in the Google document that is
linked with this chord, you're going to find
the link to a plug in, which is going to give you
this anchor point modifier. As you can see,
you can put it to the left to the
right to the center, which is what we actually want. And to explain you how
this works further, if I put it to the right, now the rotation is
going to work like this. And if I put it to
the bottom right, the rotation is
going to look like this around that anchor point. So I will eat control Z now and go back until
we are back here. And what I will do is I
will click this thing, which will track the anchor point right in the
middle of the square. And also, I will close this and do the
same for the check. Because otherwise,
if I don't do that, once again, the scale is going to be
completely messed up. So now I will click this, and then I will highlight
them both by holding control. I will click S for scale. As you can see,
they're both scaling up and down at the same time. I will go it here and
type 1960 by 540, and I'll do the same here, which is going to
drag both the box and the tick to the center of the screen so that they
can be perfectly centered, and I'll actually go on
the check, click on scale, and reduce it to something like one oh five so that
it fits better. Actually, even something less, maybe 100 right, perfect. Now, as you can see, it's going to scale perfectly
inside the box. So what I will do now is I will go right here at a random point. I will highlight both of them by holding control, click on scale, click the keyframe and
go forward and click another keyframe so that they are applied
for both of them. And I will go to the first
keyframe and I will drag it on zero so that as you can
see, this is what happens. Both of them scale at the
same time, as you can see. Now, what I also
want to happen is something that man
has done right here. I'll zoom in so that
you can see this. As you can see, I'll go frame by frame now,
but as you can see, the tick slowly appears
with trim pads, and then it slowly
comes back a bit. So as you can see,
it goes forward, forward, and then it
goes backwards a bit. And that's what we're going
to recreate exactly here. So I'll go and I will
add the trim pass. Once I've created the trim pads, I will go at the start of the first animation,
the scale one. I will eat a keyframe on
end and put it on zero. Then we'll go towards the end, and we'll ide it on 90
so that as you can see, it's going to slowly appear. But that's not enough. I
want to do what man did. So I'll go three frames backwards and I will
add this to 100. So as you can see, it's going to create and then come back. Now, what I want to happen
is to space everything more. So I will highlight
the final keyframes. I will all shift and
dilate this keyframe as well and then move
everything by a bit, and let's see how
this looks like now. We have this and
then it comes back. What I will do now is I will
highlight these keyframes, then I will shift and
highlight these ones as well. I will go on keyframe
assistant and ***. This will allow for
a smoother movement, as you can see, and I will actually space this
out a bit more. And now, as you can see, we
have our animation done. And what we're
going to do now is go ahead and reduce this, and then I'm going to
highlight the rectangle. And while holding control, I highlight the check. I will right click them and
I will click precompose, and I will call this
box with check. And this will basically create this precomposition of
the box, as you can see. And what I will do now is I will simply place it somewhere around here so that it's
also aligned with the grid. Now, as you can
see, the animation is going to happen like
this, which is perfect. So now what I can do is highlight this layer
by clicking it, copy it and paste it, and then just go on
P four position. And move it a bit to the right, let's say until here so
that it fits with the grid. And then we'll copy and paste, and then we'll highlight copy paste and click P for
position and then move this once again and then copy paste and Per
position and move this once again and do
the same over and over until I have as many of
these layers as I want. I will do one more, and now we have one,
two, three, four, five, six, So I'll copy paste and do the last one
so that we have seven. So now, this is what our
animation looks like. As you can see, we have our boxes appearing
all at the same time. If you want to make them happen
at different time frames, all that I need to do is I go
at the start and I choose, let's say I want to
space them by 20 frames. What I will do is we'll
click Control Shift. And the right arrow key
to go forward ten frames, and I'll click that twice, and I will drive the second
pre comp exactly here. Then I will do the same
one and two, so 20 frames. I will love this
here, one in two, 20 frames, one in two, 20 frames, and I will move One this time one and two. I will drag here, and then
I will drag the last one. And as you can see, this
is what we have right now. We have the line, the circle, the boxes, and the
text animation. To finish this animation, we just need to touch onto the last key element that we can find in the new section once
we right click right here. Then we go a new we can
find the ll object. The null object is
extremely useful. I will hide it for now. And as you can see right
here in man's animation, there is a smooth zoom in, as you can see on the
whole composition. You can see this by checking
the grid right here. As you can see it slowly
moves in right now, and everything follows the zoom. And to create this effect, we need to use what's
called a null object. Here's how you use it.
Let's go ahead and disable the slow layer for
man so that we can actually see our animation. Right now, there is no
animation whatsoever. However, if you want to
implement an animation, what we need to do
is highlight all of the layers that we
do want to animate. So all of this, and we will use this piquip icon to
link them to the null. Now, once I go on
the null properties, and I modify something,
as you can see, it's going to move the
whole composition. And we're going to
use this feature by going at the start, putting a keyframe on scale,
then going at the end, and adding another key
frame at around one 20. And this is going to allow
us to this smooth zoom in. As you can see right now, there is this zoom that you
can see from the sides, and we are having everything animated at the same
time, which is perfect. It's what is used by man, and this concept of a le
is extremely important. It allows you to move everything in a matter of a
couple of clicks. You just link everything to the le and then you move the le. And usually to remember
that this is the thing that is animating
the whole scene. I usually rename it to
animator and then change icon to orange so that I can remember that this is
animating the whole scene. And as you can see, we're
going to have this zoomin. Also, since the scene is
not completely centered, I could also go ahead and move this upbeat to the left like so. So that right now
when a plate is, as you can see,
everything is centered. As you can see, there is a small problem
in the background because the background is not completely covering the screen to fix that. We can just go on the grid
and increase the scale toy. One oh five, and they will do the same
with the background. I will click S for
scale one oh five, and then P four position, and I'll just move
it up to the right. As you can see, we now
have this animation, which is completely
centered, culmination, highest point, all the
takes and motion graphics. And that's perfectly
what Mangas had done. And this was a perfect way to teach you how
to use animations, pre coms, some text animations, and just overall repeating what we've said before with lines, circle, trim pads, grades, backgrounds, and
all of this stuff. This is a really
simple animation. Which uses really
simple techniques, but it's highly effective and looks really professional,
as you can see. I will see you now
in the next lesson where we'll talk
about transition. You will also be able to find this animation in the
project files as usual.
8. The basics behind transitions, and 5 examples: Let's go ahead and
create a new comp. I'll call it transitions, keep the Spectrca 16 by nine
30 f PS and click Okay. I will track some footage. For the first transition. I will just use some stock
footage as you can see, and I want to blend
these scenes. I got them in Excels. It's a free stock
footage website. What they will do
is I will start by creating a blour transition. One of my favorite to create it, you need
to go right here, right click on and go
on adjustment layer. Adjustment layers
is the way that we're going to create
most of our transitions. How do adjustment layers work? Well, as you can see
when you enable them, this icon is going to be clicked and you want
it to be ticked, and if it's ticked, basically, whatever effect you
apply on this layer, it's going to be applied
on layers below. If right now, I search for fast box blur and I drag
it on top of my clip. As you can see, we
have my effect control right here If I increase it, both of my clips that are below my adjustment layers will
be affected by my bluer. Instead, if I go ahead
and drag a clip on top, for example, this clip is
not going to be affected. That's how simple
adjustment layers are. We will use the
adjustment layers to color grade later
in another lesson. Flet's focus on this transition. I'll go at the moment where
the clip ends right here, as you can see, there
is the clip change if I go one frame
backwards and forward. I will go on my adjustment
layer on effect fast box blur. And I will put a keyframe and let's put this
bluer at around 50, and then I'll go three
frames backwards, and I'll put it on zero,
and then I'll go one, two, three forward where I was and
then one, two, three, four, five, and six forward, and I'll put this on zero. Then you can see, if
I now go full screen, you're going to see
this transition. Okay. Which is perfect. It's pretty subtle.
As you can see, it can be really useful. Now, when it comes
to our transitions, we will almost only use keyframes because that's
the best way to do it. Let's now go over another
type of transition, which is not a blow,
but it's a flash. You can use this
where you want to simulate a picture being taken, a screenshot, all
of that cool stuff. To do that, let's go ahead and remove the adjustment layer. This time, I'll do this with
a solid and they will choose the color to white
because that's the color of which our
flash is going to be. I will put our solid right
here. I will go in the middle. I will go on white, and click T so that they can
bring the opacity control, and I will put a key frame on 100 and then I will go
one frame backwards, and I will put the
opacity on zero, as you can see it
appears from nowhere, and then I will go one, two, three, four, and
five frames forward, and I will track it to zero. As you can see this is what
happens, there is this flash. However, this might
not look good for you as maybe you're trying to have a darker vibe to your edit and
having a full frame, which is completely white might hurt the eyes
of the viewer. To avoid that, you can go
right here on the bland mode, and instead of normal, go
ahead and click on overlay. As you can see, this
is what we have now. We're going to have this
flash, which is noticeable, but it's not going to
be completely white, it's just going to have
this flash, as you can see. You should always
stop this off with a sound effect of
a camera shutter. You can find them on YouTube. Other transition
that is commonly used is if I go on
key frames this time, we don't even need any
adjustment layers, I can just do some
opacity keyframes and reduce it to zero and then go
ahead and bring this 0-100. This is a common transition that define and as you can see, just creates this black fade. However, there is
a better way to doing this that I
really like more. That is instead of using
the normal keyframes, using an effect called gradient If I go ahead and drag this gradient wipe
in after effects, and I drag it right
here and right here, I can go ahead and
go on gradient wipe, and then I can go forward
until right here, and then drag this, as you can see this
is what happens. It's going to
disappear like this. I'll put it to 100%, and then I'll make it softer. Making it softer means that
basically is what happens. The light disappears slowly, I'll make it a bit longer. Then I'll go on the second clip. I'll go on gradient wipe. I will bring this to
100 keyframe on both. And I'll go forward to
bring this to zero, and then I'll go around
in the middle and check how much I
want softness to be. I'll do around 50, and
this is how it looks. Now, as you can see,
there is the gradient. As you can see the gradient
makes it disappear like this, which I like even more,
and that's perfect. You can use the
fundamentals of using the effects and presets to
do basically any transition. You could also go
ahead and create a new adjustment layer
and drag on the CC lens. This is another transition
that sometimes use. You go right here right
before the clip ends. You go on the Lens, and you put it
back to normal, 500. You click here, you
click on effect CC lens, and then you click
a keyframe on size. You go forward and right
here where the clip ends, you decrease this a bit to
around two 50, let's say, and then you go forward, and you recrease this to 500. As you can see this effect that you have. It's
really subtle. If you want it to be
even more visible, you can bring this
down to let's say one 50 and now this is the effect that
we're going to have. It's way more visible. You can drag this even
to 100 if you want. Although I don't suggest to make this two noticeable like this. I usually prefer more
subtle transitions. That's how you do transitions. One last thing that
I want to talk about is how to create a
color grade transition. Let's just say that I want to do a comparison between this image, which is the original and
this one because I want to show how good I am a color
grading, for example. I'll show you how to do all of this stuff later. Don't worry. Right now, I just want to
show you that cool transition that white transition that people do to show the
before and after. The way to do it is by right
clicking new shape layer, and then you're going
to throw a line. Make sure to all the shift so
that the line is straight, and then you can choose
something like a black color. Then you can go right here and you click on P for position, and you drag the line around here at the start of
your clip on the left, and then you go on the
clip that is on top. In this case, it's the one
with the orange flowers, as you can see, This is
the clip that is on top. I will go ahead and click on
the pen tool and I will drag a line right here where
the line I've created is. Then I'll finish
this by creating a mask like so, as you can see, and now I'll go
on mask and click on invert so that I can have the orange flowers
on the right side of this mask and the yellow
flowers on the left side. What I will do is
now I will simply go right here on mask and create key frames on everything
and create a keyframe on position of this line
exactly here as well. Then I will go when I want my color grading transition to. Let's there, and I will
place keyframes everywhere. What I will do is I will drag the line over,
something like this. Then we'll click on
the mask and I will actually drag this over as well. Now we'll check out these looks as you can see the mask
is going too fast. That's because what
I want to do is I want to have this
part tray here. I check if now they're going at the same speed, as
you can see they are. As you can see, they are
going at the same speed. You can zoom in to check. They're going at the same speed because they've started and they will end in the same spot and
they go at the same speed. Then actually, the
square was too small. I will go back to my mask here and I'll click
on the mask path. Then I will go right
here and add that point to my mask and then I
will track it over. And then we'll add another point right here and drag it over. As you can see we know
this transition where this black line changes the color grading,
which is pretty cool. You could actually go ahead
and make this reverse. I'll actually copy my mask
and then paste it here, and then remove it right here. I will track this layer below. As you can see what's going to happen is the exact opposite and the orange flowers
are going to be discovered right now
instead of the yellow ones. Just up to preference,
know what you want to do. Before leaving, I'll show one last transition that It's
pretty cool and I like it. I'll remove everything. I
will change my comp settings to HD social media portrait
aspect ratio on by 16. I'll drag in this Zoom
transition that I want to have between this clip
and this clip right here. Now for this transition, I wanted to be a
Zoom transition. Wa trod Zoom transitions isn't to create an
adjustment layer because adjustment layers do not work with transform properties. If I increase the scale, as you can see the scale of this clip is not
going to be affected. However, it does
with new objects, which is what we have seen
in the last last soon. If I go ahead and link both of the clips
to the new object, and now I go right here right
before everything happens, and I drag the scale in, and then I click a keyframe
and then I go forward the next clip and drag the scale out,
something like this. And then I go back
into this clip and increase the scale,
something like this. Although I do not
place any keyframes. I just want to make sure that
it fits the whole screen. This is what's going to happen. As you can see, we have
a Zoom out transition. I'll space the keyframes
and replay this. As you can see,
there is the Zoom out. I really like this. I will make sure
that the Zoom out is even stronger,
something like this. Then I will highlight them both, click on F nine so
that keyframes. You can also once
again go right here on keyframe assistant and s. Then let's check the
transition once again. It's really smooth, as you
can see, I really like it. Highlight them both and going in the graph editor though because I want to increase the
speed in the middle. As you can see right now,
the speed is -1,000%/second. I think this is good. Let's
go ahead and lay this down. I think this is
really really smooth. I'll play this in
full screen as you can see, and I really like this. To make it even
better, we can go right here and add
the motion blur. And as you can see this
is what's going to be like now with the motion
blur in the middle, which makes it even better. I'll replay this once again, and as you can see, this is
the final thing that we have. We're done with this last
song with transitions. I'll see in the next last
song where we'll talk about rotoscoping and to add
stuff behind a person, which means squares,
text, all of that stuff.
9. Rotoscoping and Masking explained in detail: Let's talk about
Trotoscoping and masking. This is one of the last
videos released by Alexrmoz there is
this green screen which is using in
the background. And as you can see
throughout the whole video, the green screen
changes as you can see. And it becomes this
pink and purple thing, and then it becomes green
with this vignette and noise, and then it becomes purple. So I'll show you how to
do all of this stuff by using rotoscoping
and chroma keying. So let's start from here. As you can see, we
have the green screen. And if you want, we could go ahead and go on a fx and preset, search for a key, and we're
going to find the color key. We can drag it on top,
click the green screen. However, as you can see,
it's not going to work properly because the green
screen is not uniform. It's not really easy to select. Instead of the color key, we could add the key light, which works a bit
better as you can see, and you could
basically play with these settings until you
get a background removal. However, I don't really
like to do this, as it's not easy when
the green screen is not uniform with the same
color, same lightning. So what I will do is I will go right here on
this little thing, which is the Roto Brush tool. I'll click it, and then I will click on my character once. And as you can see it's going to open this rotor brush here. And before going forward, as you can see,
there is a mistake. The footage has a
different frame per second than my composition. So I'll go back in the project and I'll go on my
composition settings and put the frame rate to
60 because that's what apparently the clip that
I imported is using. As you can see now the
error disappeared. If you can no longer see
your rotoscoping tool, that means that you're probably
here in the composition, just going to layer rotoscoping, and then drug amll
circle right here, and as you can see
you're going to have this pink thing right here. What you will do now
is go ahead and start dragging lines so
that you create, as you can see a mask
around your character. The Roto Brush tool is
going to do it on its own. The fact that there is already a green screen makes
this way easier for the roto brush tool to recognize where does
the person end. So I'll go ahead and do this, and I will also actually add the whiteboard in this because we are going to put
text and change the background behind
the whiteboard as well. So I'll go ahead and do this, and then I'll click
right here on the leg. And now, as you can see, all of these parties selected. However, I want
this green screen in the middle to
be dis selected. So it will go here in the
middle and holding Alt. As you can see the Rota brush
is going to become red. And I will drag it here. And then I will keep
going here on the leg. I will zoom in and
try and modify the leg here so that it
is a bit better, perfect. And I'll do the same
right here with this leg. Remove it here. All
right, looks good, and then I'll do the same
here once again. And I will this, and that's perfect. Now, I'll also add this. And now as you can
see this pink mask around the legs of
the whiteboard, Ax and the white board,
the actual white board. So now I'm going to eat play, as you can see the player
red is going forward, and as you can see the mask
is applying to the frames. Whenever you see some mistake, so let's say around here, there is some
mistake around here, as you can see, you get
your rotor brush tool and you increase it slightly
here, you reduce this, radius, and creases perfect. Now you keep going forward, and as you can see
this mask is going to keep propagating in
time, as you can see. After a bit, as you can see the perspective changes and it keeps changing the
background properly. As you can see, there is
a small mistake here. I'll take my rota brush
tool and remove it, and then I'll go
back and play this. I also want to make sure
that the mask is closer to Alex. I'll go ahead
and play this once again so that we have
our rotor brush going. And as you can
see, it's creating a mask right around
our character. Here, we have a bit of mistakes. I'll go ahead and remove
this and then remove this, remove this, and then
I will add this, remove this, and
then add the leg. I will make sure
that it's like so. I will unite them, and then I will do the
same here on the leg, remove this, add this,
and that's perfect. And now I'll go ahead and keep playing once again so that
the mask can keep going. And now we have probably
gotten to the end of our clip. And now let's go ahead and
keep going again and again. I've completed my
rotor brush now, and as you can see, there
is some green on the edges. So to fix that, I will
go in the rotoscoping, t contaminate edges, click on, and then we'll
increase the radius by a bit so that there is
some blur on the edges. And if you want to know
what you're actually doing, you can click on VMP, and this is the part that
is going to be blurred, the white one. So I'll
leave it like this. And then I'll go right here on new and create a new solid. And if I drag it behind, as you can see now, we
have a new background. And if you look at
the backgrounds that were used right here,
as you can see, there is a green with a
vignette and some noise, and then there is a purple with some vignette
and some noise. I want to change my
white solid, actually. So great here, search for tint, and I will drag the tint
on top of my layer, And then we'll choose
whatever color I want. So let's say I want
this purple right here. I will copy the color, and I will paste it right
here on the black as well, so that now as you can
see, I have this purple. And to create the
vignette effect, I'll go effects and presets, and I will search for vignette. I will drag it on top, and as you can see, we
now have our vignette. I can increase the amount
to whatever I want. And then I can
choose the noise to add some noise to my background, as you can see, I will add
it to something like this, and I will remove color noise. Now we have created this
really similar effect to Alex. And one more thing
that we can use rotoscoping for is, for example, we have right here at the start, we have 20 million in profit, and it's behind x's head. And to do that, you
can just select a random frame where you have your background and
your rotoscope layer, and you can go on text
and you create a text. Let's say $10 million
dollars in extra profit. Then I will highlight all of
this and put this to zero. And now, as you can see, I can go ahead and drag it right here. And then I can drag it
below my rotoscope layer, and then you can see it is going to create
this kind of stuff. And you can use the
effect like this or you can also just remove
the text and make, for example, a shape. I'll make the field gray
and remove the stroke. And I can drag it right here, drag it below my
rotoscope layer. And if I click on
P for position, I can place a keyframe
and then go forward and place a keyframe right here and make it appear
like so, for example. And as you can see
this is what happens. The shape gets out like so, from the background,
as you can see, and it appears right
there, which is perfect. And that's why you use
rotoscoping to remove backgrounds and make sure that stuff appears from
behind someone. You can also use this if people do not
have a green screen. That's why this technique
is so powerful. In fact, I could also go
ahead and Roto Brush Alex in this exact position and then
put anything behind him. As you can see the
Roto Brush is going to recognize him from
the background. And as you can see,
final scrap true, I'm going to see that he has been removed
from the background. I just need to go back
to my co position. And as you can see
it is completely removed from the background. And I have my purple
background that I can change to whatever color
I want, which is perfect. And that's it for this
part on rotor brushing. I just want to quickly
touch on masks. We have already used
masks in glass lesson where we're doing color
grading transition. But basically, how
does a mask work? Well, a mask is used with
the pantol and I can mask out a certain
area of my image. And as you can see this is the only image that
is going to show. I can also zoom in and drive
precise masks if I want, and then I can just
close it as I'd like. And you can also invert
masks by clicking here so that everything that is masked is the only thing
that is not going to show, which is really,
really powerful. And one way of using it this
is by going right here, clicking on new, solid, I'll choose the color as black. I'll enter, and now
I can create a mask. Like so, I have we shift all the way through so that I
create straight lines. And now I'll go
right here on masks, and there is this
property called feather. And basically, by
increasing the feather, I can create this kind of black fade on the
bottom of my screen, which is really, really useful, and I do this in a
lot of my videos, especially shorts because
it adds this kind of fade. And of course, you could
do this with any color, but in my opinion,
black looks the best. And then one last thing, if you go right here
and you delete this, you can also while
holding the layer, you can click on
the rectangle tool, and you will create a
mask on this layer. So if you want an
actual rectangle mask, you can go right here
and do it like so, and then you can go on masks
and feather it properly. And you can also change
the opacity of the mask. The most important part of
the mask is the mask path, which allows you to
keyframe the mask. So I'll click a key frame a mask path and then I
click another one here, and I'll just strike it
above by doing this, and then I just click
a mask path here, and I'll just strike it above, and it's going to be
creating a keyframe. Actually, I'll create
a white layer. So that you can see it better. So great here, white. Okay, okay, I'll track
the black above. And as you can see, now
the black is moving above. So that's pretty cool. And you can use this to also create a ventte effect manually. So you delete the mask
by clicking back space. Then you choose the ellipse tool by holding the shape tool. And then you just
double click on the ellipse tool and it's
going to create this mask, and then you can just invert it and you can go on feather. Now you're going to have
this vignette effect, as you can see, which
is pretty cool. I usually use the
vignette effect, but this is another
way to do it. So I'll see in the next
lesson where we'll talk about color grading in after
effects. I'll see there.
10. The basics to color grading in After Effects: In order to color
grade our clip, I've gone back and reimported the clip that we had
before from pixels, and I'll show you how to do it. The first thing that
we're going to do is create a new adjustment
layer so that all the clips below the adjustment
layer are going to be affected by our changes. I will go right here in the
color correction section in the effects and
presets and drag some of these effects on top of my clip on top of
my adjustment layer. The first thing they'll
do is I'll go and drag a brightness and contrast, and I will use this to
increase the contrast a bit so that the
blacks as you can see, right now, they feel
a bit faded and right now they feel more
sharp and crisp. Then we'll look for a
UN saturation effect. I will go on saturation
and as you can see, I can increase it
or decrease it. What I will do is I will
actually increase it slightly, not too much, and then I
can increase the lightness. However, I do not
want to change this. I actually want to increase the brightness a bit
of the whole clip, and now we are really
getting somewhere. I'll now go ahead and search
for the vibrant effect. I will drag it on top of my clip and I will
increase this value to around 70 so that the whole clip is
going to be more vibrant. Then I will look for sharpen, I will drag it on top and let's see if it
fits with our clip. I do not want to
use this too much. Otherwise, as you
can see it's going to create this grain. I'll just leave it at around 80, actually maybe something less. Something like 50
should do the job. As you can see this is
what it looks like. Without our adjustment layer and with our adjustment
layer as of right now. As you can see, the quality
and the vibrance of our clip dramatically increased and
our colors are way better. I could actually go ahead and reduce the contrast a bit to around 13 so that this is what it was before
and this is what it is now. Idally you do not want to
overdo your color correction. But as you can see, if I now highlight my
adjustment layer, go on the pen tool and I
create a mask like this. You can see the difference
between the left side and the right side where the
color grading is not applied. This one looks way more
vibrant and way more sharp, as you can see
compared to this one. Now I will go ahead
and drag another clip, and as you can see
our color grading already looks like it's pretty
good on this new image. Although what I want
to do is actually go ahead and use
also some curves. Now, we don't
necessarily need them. The color grading would
be already pretty good, but I just want to show
you how curse work. This is a bit more
advanced color grading. The way curse work is you can go ahead and drag some
points on your curves, like so, and then you can drag certain points to create certain
effects, as you can see. The best way to go about it is, as you can see, you can
drag the brightness up. Or you can bring it
down, as you can see, you should always go for some small changes when
it comes to curves. Maybe increasing
the brightness of bit or reducing it a bit. It's really useful if you
want to create, for example, a scene which is in the night, you might want to reduce
the brightness of bit. Meanwhile, if the
scene is in the day, you might want to
increase it a bit. Honestly, depends on what
you're trying to accomplish. You can also go right
here and instead of changing it for RGB, which means red green, and blue. It's the brightness, you
can change it only to the red so that as you can see the red is
going to increase, and you can once again do some smooth changes to
increase or decreases. Just remember that if you go
below The clip is going to have a greenish look because green is the opposite
color of red. If you go above it's of
course going to be red. You want to keep this in
mind and move it slightly, if you want to change this, in this case, I don't want to. Then you can go on green, and if you increase it's going to be green,
if you decrease, it's going to be
pink as you can see, and then there is blue, which is going to be blue on the top and yellow
on the bottom. Usually, this is used. If you want to create a
cold feeling to your image, you're going to
increase the blue. Meanwhile, if you want to
create a warm color vibe, you want to decrease it so that it's more yellow
as you can see. Another thing to keep in mind, if you want to color grade, is that right here in
the effects and presets, there is the tint effect
which we have already used. I can basically allow you to change the color of your image. You can change how much does
the tint affect your image. If you want to create a
duotone on your image, you can go right
here, for example, we want to create a red
duotone on our image, I can go on to white,
and then go on the red and put it to a dark red. Then if I remove
everything else here, as you can see, I
will get this image. This kind of duotone is
often used by magazi in his videos where he has animations which are
colored with the red color. They're usually images made by AI and then he adds a
color correction on top, which creates this
kind of red duotone. It's something to
keep in mind if you want to create a
duotone like this, you could also maybe you want
to make it aquas lash blue, you would create an aqua here and a darker
blue right here. Then you can see your
image is going to become only Aqua and loop which is going to create a
really cool effect. For example, I've
created this AI image in Cage P if I now remove the
mask from my adjustment layer, as you can see, I can create
this duton in my image. With an magaztyle I
can also increase the blue and reduce this so that they create
even more contrast. If I want to recreate
the actual red, I can go with
something like this and then something like this, is going to recreate the
Duotone that we want. That's it for this really simple color grading
lesson on after effects. All that you need to do
is use the effects and presets and drug everything on top of an adjustment layer. Although if you want to color grade everything
in the same way, you should use adjustment layer. I'll see in the next
lesson where we'll talk about how to
render your projects.
11. How to Render (Export), even without background: Let's talk about
export settings. Let's take, for example, the animation that
we've done before, the Makazi style animation, and we're going to now go
ahead and export this thing. So the first thing that
we want to do is go ahead and choose a
point and the outpoint. Let's say that I want
to start exactly here. So I will drag my work area
until all the way to left. And then I'll go forward
to the right until here, because that's where I
want to end my export. So I will drag my work
area around here, and I will make sure to all shift so that it
automatically snaps. What I will do now is I will play the video so
that I make sure that everything is good and it looks like it is,
which is perfect. So since we have this, we can now go ahead and
export to export, you go on the render queue. And you might not have
your render queue, If you do not, you go on window and you search for
render right here. So I actually closed it, so I'll reopen it, and then you can drag
your composition. In this case, mine
is called C one. Make sure that you're
not exporting box with a check because if you
export box with a check, this composition,
you're going to only export this
box with a check. So in order to avoid that, you drag the right composition. You can also see right here
that it's the right one, you drag it, and then you go right here on the output model. The best export
settings are this one. Each 0.264 with the
channel being RGB, you leave it on
millions of colors and color pre multiplied method. Then you go below crop, you leave it like that because your composition settings
are already good, and then you can choose
the audio output. I leave it on 60 b
because it's the default, and I just like to
give it on default. And then you can go
on stereo or mono. So what's the difference
between mono and stereo? Stereo is what you should
always use because when people are going to replay your audio with a normal
device like a phone, there's going to be
zero difference. But if people have head phones, there are two sides
from which the audio comes from the right
side and the left side, because head phones have
two different sides from which the
output comes from. Stereo allows you to have a better output for
your head phones. Meanwhile, Mono levels
up the audio and makes the same audio come out from
the left and the right side. And in some cases, it actually comes out only from
one of the sides. So always leave it on stereo
because it's going to give a better overall
experience to your audience. Once you have done this,
there is also the color tab. I usually do not
even touch this. I just click on k, and now
you have custom H 264, and you choose your output. So you choose a random file
that you want to export to and you name your file to
animation and you just save it. And once you've
done that, there is one last thing that you need
to do, which is to render. You click render and it's going to slowly render,
as you can see, and once it is slowly rendered, you're going to have your
video as an MP four file. But I want to quickly touch on something else because you might also want to export something
without the background, and you can do that
in after effects. So let's go back to our C, let's disable all of the layers and let's only
choose the checkbox. Let's also disable the animator. And let's say that I only want to export this t right
here with this animation because maybe I want to use it in multiple of my projects. To do that, you make
sure that you have your box as the only
thing selected. You go at the start of the animation by holding shift so that it
snaps right here. And then let's say that I
want to export until the end. You go on render que,
you drag once again, the comp that you
want to export. As you can see now
have your comp here, and we have to change
our output module right here because if I export
it as it is right now, there is going to
be a black back. So I'll grate here.
And instead of H 264, if I want to export
without the background, I need to export as quick time. And here I need to
click RGB plus Alpha. Now, I want to give
you a warning. This might not be enabled, and if it's not enabled, what you need to do is go on format options and
click on animation. If it's anything
else but animation, as you can see, GB plus
Alpha is going to be love. So you go right here, and
you click on animation, you click, and then you
go on GB plus Alpha. You click, and then it's
going to change to period move Instead of MP four,
it's completely fine. As you can see
now, it's going to export this quick time move. You're going to
export it like this. You can call it
checkbox template. You export it, you save, and then you render it. And then if I drag it
back in, as you can see, I'll drag it on
top of everything, and then I will enable
all of the layers, right now have my check
box animation right here. If I disable all of the layers, as you can see, there
is the checkbox, if I enable the
background and the grid, as you can see, I will have my animation
appearing right here. And that's because
I have successfully exported it without the
background, as you can see. And you can drag this on
any editing software, and it's going to be
without the background. So it could be
premier pro cap cut of insurance of anything. If you want to open it
from your file, though, you're going to have
an error probably because your codec is not
supported by your computer. But it's completely
fine. It's going to work flowlessly
in your projects. And this is how to
render your project.
12. Thank You: Since you got till the end, I'm sure you got value
out of this course. If you have any problems, anything you didn't quite
understand from the course, feel free to start
a class discussion, and also feel free to leave a review to tell me
what did you like and what you didn't
about this course so that I can always improve
in the next ones. The next course I'll
publish will probably be a motion graphic course on how to recreate
viral motion graphics, like the ones that you see on Instagram and all of that stuff. So if you want to get
notified for that course, you can follow me
on sclsure and I'll make sure to send you an e
mail as soon as it's released. And now, you can go
ahead and download my assets pack that I
have in the Google Drive. And you can also download
all of the project files, the timelines that I've
used in this course, so that you can follow along, look at them, look
at what I did, and further understand
how to recreate the animations and all of the stuff that we have
created in this course. So I wish you a good
day and a good editing.
Buzz, AI Video Editor
