After Effects Motion Graphics Mastery (For TikTok, Instagram & YouTube)

1. Class Trailer: Motion Graphics for Social Media: Do you want to create thumbstopping motion graphics like top creators on TikTop, YouTube and Instagram, even if you've opened after effects before and felt totally lost? You're not alone. After effect is powerful but overwhelming. With so many panels, graphs, timelines, and expressions, it's hard to know what actually matters when you're trying to make short and long form content that stands out. Most people give up too soon because they try to figure it out through scattered tutorials or generic YouTube videos, and they still don't get results. That's exactly why I built this course. To take you from complete begin confident motion designer step by step. You will learn the essential after effects tools for creators, how to animate text, logos and overlays from scratch, how to use the graph editor, motion blower, and masking like a pro, how to create real world motion graphics for social media content, how to design kinetic typography, minimalist animations, and scroll stopping transition. To turn your new skills into freelance opportunities and client work and so much more. You will also follow along with full projects from concept to polished output, designed specifically for short and long term video formats that dominate today's platforms. If you are wondering who I am, I'm glad and I've spent over ten years editing videos, managing two of the most successful channels in their niches, as well as on Instagram and Tik Tok. I fine tune professional workflows that drive millions of views, and I'm giving you the exact tools and systems I use every day. This course has everything I wish I had when I started with after effects. Don't wait to master the skills every creator needs. I'll see you inside. 2. Welcome! Start Here: Welcome to the Ultimate After Effects Master recourse for social media motion graphics. My name is Lad, and I'm honored to be instructor as we dive deep into the exciting world of motion design of today's most powerful platforms, Instagram, Tik Tok, and YouTube. This class is the second in my social media editing series. If you've already taken my previous class, Master short form video editing, this new class is the natural next step. In this class, we touched on using after effects to enhance edits. This one, we're going much deeper. We're going to fully master after effects and learn how to create motion graphics from scratch, to create polished professional content for Instagram, YouTube, and Tik Tok. Before we dive into the step by step tutorials and real world projects, I want to make sure you have everything you need to get the absolute most out of this program. This course was designed for beginners who never opened after effects, as well as social media editors and creators who already have experience and who want to take their skills to the next level to build a strong creative brand online, and anyone in between. If you are new to after effects, I recommend watching each video in order from start to finish. Each lesson builds on the previous one, giving you a step by step foundation that grows naturally and efficiently. If you already have experience editing videos or animations, feel free to skip ahead to the sections that are most relevant to you. However, I still encourage you to watch every video in even the basic tutorials include powerful tips and workflows that will help you to create smoother, more professional animations for social media. For every video, you can control both the volume and the playback speed to match your learning pace. If you ever get stuck or have questions, be sure to drop it in the QNS section below. But before you do that, make sure to check the QNS section first because there's a good chance that the question you want to ask has already been answered in detail. Finally, at some point, you'll be asked to live review of the course. I ask you to wait until you've really had a good chance to experience the material. Your honest feedback helps me improve the course and better serve you and future students. You've made the right decision by choosing this course. I'm excited to help you grow your motion design skills. Jump into the first video. 3. Navigating the After Effects Interface Like a Pro: Welcome. In this video, I'm going to introduce you to After Effects interface. First of all, when you open after effects, this is what you can see. You can see your most recent projects. As you can see, I like to label them just numbers. It's easier for me because I organize my after effects files in folders. You can give it full names. I just find that it's a bit easier for me to do it this way. Okay, so we're going to click on the new project in top left corner, and this is the after effects. You're going to learn more as you go deeper into the scores, but for now, remember, in the top left corner, you have your project and you have your effect Control panel. Here you have your composition or preview or playback, and at the bottom, you have your timeline. So if I was to create a project, I'm just going to click here, going to press your key and if I was to create something, in this part, we're going to see the real life render of whatever we are going to have here at the bottom. This whole ara is called the workspace. You can see at the top right corner, you have different workspaces, and you can customize each of the workspaces. So you can click on the part that's connecting the parts of the workspace, and you can just drag it to your liking. You can do the same with this one, and with all the other ones. As you can see, I have a horizontal and I have a vertical video. So it doesn't necessarily work. And in this case, I would go into the vertical. This is what the vertical space looks like. When you login, you're going to be in the default workspace. So you can customize it to your liking, and then you can just go ahead and click on it, right click and then save as new workspace. Give it a title, and then it's going to be placed at the top. You can also click on Edit workspaces, and if you don't like it, you can just go ahead and click on Delete it. The only thing I would recommend you do is when you are in the default workspace, you can drag and drop the composition to the right like this until you see the green part. Then you can put it something like this. The same you can do with the layer, put it to the right. For the effects, click and drag it there. Audio, you don't really need it at this moment, so you can close it. Align, drag it there as well. Preview, you can actually just close the spinel properties. You can drag it here as well. Then go ahead and right click Saves new workspace, and you'll be good to go. Now you'll be able to switch between the default and the horizontal one. You can also reset to saved layout, and it's going to reset to just absolutely default. And then you can customize it again and then save it, and then customize it again, save it. The reason we are customizing this is because in the future, it's going to allow us to work faster, more productive, and just overall easier. You will see at the top, we have a lot of different tools. You don't have to know all of the tools right away. Just as you learn, as you experiment, you'll get to know these tools. First of all, we have the selection tool, or we can press the shortcut V. So if I was here and I press just on my keyboard, you can see, I select the selection tool. Can have a hand for the hand tool, Z for the Zoom tool, G for the Pen tool, Q for the rectangle tool. These are the shortcuts. The way you can learn these shortcuts is you can just hover over the tool that you want to select, and you can see in the end it shows that a rectangle tool, and there's a Q. For text, there's Command T for pers tool, Command plus B. I'm on MacBook. If you are on Windows, it's absolutely the same. Just instead of the command, press on Control. If a person V, this is going to be our most often used tool, and it's just the tool that helps us move around. So we can select things. If we had a couple of these, we'd be able to move them around with the hand tool, as you can see, you cannot select it. You can just if I was here, I'd be able to move like this. So for now, remember, your project panel, you play back your composition and your timeline here. Now, let's get into the next video and learn how to import and organize media efficiently. 4. Importing & Organizing Assets for Social Media Content: Welcome. Let's learn how to import and organize media efficiently. In the downloadable resources section, you'll find the free files, and you can just drag and drop it into the project panel. As you can see, we have the type file here. We also have the size, the frame rate, if there are frame rates. So one is a picture, one is an audio and music, and then the other one is video. This is how you import these three types. In order to start working on anything after effect, you first have to create a composition. So we can create a composition either by clicking here, as we've learned in the previous video, or we can actually go ahead and track our file here. So in this case, this is the video. And if I rag it here, it's going to create a composition. So if you go to the horizontal workspace, you will see that we have the video. We can do it another way. We can go ahead and click here, and then we can customize the settings. So we have the width 1080 pixels, and by 1920, we have the frame rate 59 94, and here at the bottom, we set the duration. These are the settings from the previous projects that I've created myself. So after effects remembers it. You can click on A to create it, and then you can press on Command K, and it's going to open the composition settings. And here, you'll be able to customize the length. Once again on Windows, instead of command, we're just using Control, so Control K. Depending on the project that you're working on, you'll know what to do best. If we drag the video down here, we're going to have the composition that's exactly the same length and exactly the same resolution as the video. So we know that the video is 1920 by 1080, and if I open the settings 1920 by 1090 and it's 6 seconds and 20 milliseconds. Can also import the audio and we can import the picture. After Effects is not well known for working with audio. Premiere Pro is a lot better, and because you're using After Effects, there is a high chance that you'll use Premiere Pro as well. So I recommend working with audio in Premiere. So this is the name of our composition. The name of this composition comes from the video that we created it from. So if we want to change the name of the composition and here on top as well, we can click on Enter or we can right click and click on Rename, and we're going to call it Comp. We can also rename each of the files. So this is the file. This is the video that we have here. And if I rename it to video, it's going to be renamed here as well. However, if you want to rename something in the composition, it's not going to change the original name of the file here. So let's say I want to change name of the photo to photo. And if I change it here, it doesn't change here. We're going to learn that in the future, it's going to be handy because sometimes you want to change specific names in the compositions, but not here at the top. Now, you can also create folders. So if I click on Create a folder, it's going to create a folder. We can give it a name. We can say videos only. And then we will go ahead and drag our video and we'll drag it to the folder. We can close the folder if we don't want it. We can also right click and create a folder. We can call it all art and videos, and we can go ahead and track this there. By doing this, you make sure that things are organized because trust me, when you have like 50 different things in this project panel, it's a bit messy and it becomes a bit of a headache. Whenever we create a composition, we actually don't have it saved. So if something goes wrong but that's refex like it glitches, it's not going to be saved. So we need to save the file. The way we can do this is we can press on Command S or Controls. We can create new folder. And we're going to save the project. You can also rename the project to something like test or as you saw in the other video, something like one, like a number. So I can person save. Now it's going to be saved. Now, if you go into the folder, you'll see that we have our project. And you can open the project by opening after effects and it's going to remember the last eight projects that you have, or you can go to the place where you saved it and open it. Now, we don't have to worry that if it crashes, it's going to remember everything until the point that we saved it. So this is good to go. I always recommend my students to organize things well in the folders. Let's say we want to move these into the folder that we created. We'll select the three. We'll come and drop it to test. We can create another folder called Downloads. We'll drag it into the folder. Okay, we have it here. But now, when we come to after effects, oh, files cannot be found. Right now, it saved the previews. However, if we want to do some changes, you know, it goes like this. So how do we solve this? Well, we have our audio, for instance. We're going to or we have our picture. It doesn't matter. We just right click, replace footage. File, and then we just have to search for that file. So we'll come to test to download, and then we can take a look at the name. So we have violin and we have the violin in the name. We open it, and guess what? We also found the two missing files. So if this ever happens to you, just make sure to right click, replace footage, file, and this is the way you do this. If you have any questions, let me know, but other than that. I'll see you in the next video. 5. Speed Up After Effects: Autosave, Cache Settings & Performance Boosts: Come. In this video, I'm going to show you something that will save you a ton of headache in the future. So we need to come to after effects, settings. It is slightly different on Windows. You have to go to preferences first, and then you go into settings and come to AutoSave. Make sure that you have save every 5 minutes. Maximum project versions you can put even more if you want. Usually, we never reach this number. What you want to do is to set this number as high as possible. Reason we're doing this is because if you forget to press in Controls or commands and after effects crashes. At the time when you panic, you'll be able to just go ahead and open the file, and at maximum, you will lose everything that you did in the last 5 minutes, which is not bad, usually. Do this first. Another important aspect is because after effects is pretty intensive on your computer. You want to make sure that you give it as much power as possible. So you want to come to membrane performance, Run reserved for other applications, decrease it as much as possible so that RAM available for Adobe will be as high as possible. And then we press on the game. So now, you'll be able to work faster in after effects, and then you can also come to media and discase. I recommend setting maximum disc cache size to as much as possible, as much as you can give to your computer. As you see, I have 50, 50 is enough for me. What this does is when you work on projects, it creates previews so that it doesn't have to render in real time, where minimizing the time it has to render. So it's going to work a bit faster, and you just limit it to 50 gigabytes, for instance, so that I mean, you can give it 500 and it's going to take a lot of your storage. I don't have 500 gigabytes to give it, so I said 50, 50 works absolutely fine for me. And then you just pass on, Okay. So what we just did is your after effects will work faster. We'll make sure that your edits do not get lost, even if after effects crashes, and that's going to work even faster by giving it access to the disk cache. Have any questions, let me know, but other than that. I'll see you in the next video. 6. Motion Graphics Basics for Social Media Creators: Welcome. In this video, let's talk about the key difference between motion graphics for social media versus any other kind of motion graphics. And the biggest difference is time. But social media, we don't have as much time. If we're talking about far from content, we literally have less than 3 seconds to catch somebody's attention. When it comes to YouTube, yes, you do have a bit more time because these are longer videos. Although if we're not talking about chores, we're talking about long form. So the biggest difference is time. We don't have as much. We were to take movies or even TV shows, with TV shows, you have so much more time. And so you can spread things with social media. You simply don't have much time. I encourage you to take a look yourself. It doesn't matter what platform you use. When you log into social media, pay attention to how fast things are and especially pay attention to motion graphics. If you really want to learn motion graphics for social media, you want to submerge yourself, at least for some time, for a day or a week or a month, live and breathe it. Trust me is going to be a lot easier because I'm sure you've already had instances in your life when just by doing something a crazy number of times, you became a lot better at it. Have any magic tricks. All we do is merge ourselves, learn, and practice. If you have any questions, let me know. But other than that, I'll see you in the next video. 7. Composition Settings for Reels, Shorts & TikToks: Welcome. This is the last of the boring videos we had to go through. This is the last brick we need to put into the foundation in order to start building the building after this. In the next video, we're going to practice, but in this video, let's just finish up with the boring stuff. Okay, so you already know how to create compositions. Let me give you a bit more details about this. So when you press here and you create composition, I always recommend to all my students to set up 1080 by 1920 or 1920 by 1080. This is full HD, and I do not recommend you to use four K. Why? Because four K uses a lot of your computer power, and if you don't have a powerful computer, please stick with ful HD. If you have a super powerful computer, of course, you can go for four K. However, you will notice that four K, it's a lot of your computer power. So yes, there's definitely a difference, and if you're nit piggy, then of course, there's a big difference. However, at least for practice, I recommend you sticking with these settings. We have the frame rates. The frame rates will just show how smooth your animation is. Here's the interesting thing about social media. Social media reduces the number of frame rates. So even if you do a 60 and then you upload, people are not always going to see it. And it's a big issue with social media because why is this happening? Basically, they are reducing the size of the video and they format it so that it becomes a lot smaller in terms of the weight because when you export videos from After Effects, they're going to be pretty big. If you ever downloaded movies, then a movie can weigh like 2 gigabytes, and then a 22nd clip from After Effects can also weigh 2 gigabytes. So social media really reduces the video, and you don't always get the frame rates. There's also no stability in this. Sometimes they do this, sometimes they don't if you use short from content, that's the issue that you're going to have with frame rates. But long term YouTube videos, this issue does not exist. If you put 60 frames per second, you're going to have 60 frames per second. However, if you look at big creators, they rarely use 60 frames per second. I think only how ridiculous is the only channel that's over 10 million followers that uses four k, 60 frames per second that I know about. If you look at channels like misty Beasts, Vtasium, MKBHD, Car Wow, and all the other big channels, they always use 30 frames per second or 24 frames per second. Now, let's talk about 24 and 30 because we have basically the three main frame rates, 24, 30, and 60. So 24 frames per second is something that's used in movies. In my opinion, it's not smooth at all. I would prefer to use 30 frames per second. If you want your animations to be super smooth, then yes, go for 60 frames per second. Something else to consider is if you create motion graphics from scratch, not for a specific video, then yes, you can set whatever frame you have. However, if you're going to use it for a video and that video was recorded in 30 frames per second, it's going to look a little bit weird if you 30 frames of you speaking to the camera and then super smooth motion graphics. You want to keep it consistent. So the way I do this, if I build a project from scratch, if there's no video other than what I'm creating in after effects, then I will go for 60 frames per second. However, if these motion graphics are going to support the video and it's going to be part of the video, then I will use the same frame rates as the video itself. You can always check it if you drag a clip from the project panel into create composition, and then you press on command K and it's going to open the settings, the composition settings. Lastly, let's talk about how to export. So let's say you finished with the composition, you come to file, export at to RenerQO you can actually create a shortcut for yourself. The way you open shortcuts is by pressing this shortcut. It's option command, and I'm not sure what this thing is called. I think it's still there, but I'm not necessarily sure. So you press it on Windows, you press on Control, Alt, and the same button. And then you can search for export. Add to render Q and set whatever shortcut works best for you, you can set the same as mine because it works pretty well. So you can either now press Option E or go to File Export at the Render Queue. Now, you are going to have settings here. I'm going to save you a lot of time by making it as simple as possible. What I recommend you do is come to Edit templates output module. And here you want to set the movie default, set high quality with Alpha. You're going to have something else. I don't remember what exactly you have, but make sure to select this one and press your game. What this means is whenever you export, there's nothing else you have to do. Literally, you will have to press Option E, and that's it. Whenever you export, if you have a solid background, something like this, and you export, you're going to have a background. However, if you don't have a background and you have just a shape, then the background is going to be transparent. Depending on the project that you're working on, this saves a ton of headache. And you might say the background is black. But if I press on this button here, you can see it's going to be transparent. If you ever saw, PNGs and they have this interesting background, it means it's going to be transparent and the same we have with after effects. So just make sure to have the high quality with Alpha set in the output module here. And then after that, all you have to do is just I would put two, select where you want to export this two press and save render. And now if I open it, you see what we have here. And so now if I drag it into our composition, by the way, we can just drag and drop it here instead of going here, it's going to add it both here and here. As you can see, it's highlighted. Okay, so if I hide the one that we had, actually, I can completely delete what we had, and if I disable the background, you will see that it's transparent. If you have any questions, let me know, but other than that. I'll see you in the next video. 8. Keyframes, Timing & Spacing Explained Simply: Welcome. In this video, we can talk about animation basics, keyframes and timing. I'm going to go into the vertical workspace, and I'm going to create a composition 1080 by 1920. And let's make it 10 seconds long. Let's make the background black by pressing on Toggle transparency grid, and let's create a circle. We're going to select the ellipstool or we can press on Q. So if we had the V selected, we can press on Q. And we can select it. If you've already selected the shape tool, you can press on Q again, again, and you will see that you'll be able to change whatever you draw. Okay, so let's draw a circle. As you can see, I can either create an oval or I can create a circle. In order to make a perfect circle, you need to press on shift. And this way, it's going to scale uniformly. Now, let's put it in the very middle. And if you don't have the align options here, you can come into Window. And press on a line here. It's going to appear on your screen, and then you'll be able to just drag and drop it. Let's say I don't have an line here. And now I do have it. Okay, so let's put it something like this. Okay. So now we've just created the circle. It's in the very middle. What we can do is we can open this thing here and we can open the transform. With transform, you are able to influence the ball. You can change its opacity. You can change its rotation. And you can see it's rotating based on this anchor point. So if we were to put the anchor point in the very middle, it would rotate staying in the same position. So let's try to create a rectangle. And we'll put the rectangle in the middle, we'll delete the ellipstol. And what we just did is because we had this shape layer selected, we were able to create in the same layer both the ellipse and the square. The way you can put the anche point in the very middle and make sure it stays exactly in the middle you can press on command or on Control on Windows and press on this button here on the pan behind. Double click and it's going to be in the middle. So now if I use the rotation, you can see it's going to rotate perfectly in the middle. We can increase and decrease the scale. We can change its position, and we can change the anchor point. We can also close it. Let's say we want instead of having to open it, and usually this part is closed instead of coming here and then pressing here, all we can do is select our layer, and then let's say we want to decrease the scale. So we just press on S on the keyboard. It's going to open the scale. Or we can press on P, it's going to open position. R for rotation, T for opacity, and A for anchor point. If you want to have a few or all these options, all you need to do is just press shift in between. So for example, we have ancho point selected, I can press Shift S, and we're going to have scale. I can also press on by holding shift, P, T R. And now we have the same options open here. Now, all the motion graphics is based on keyframes. Keyframes basically is like a path. So if we were to start at A point and we go to B point, and at A point, we have certain value and at B point, we have an other value. And all we're going to do is just go from point A to point B. So for example, let's put a keyframe here, and then we're going to go to 1 second, and we're going to move it down. And so all that happens is it goes down exactly as we told it to. We can do the same for scale, for rotation. And so if we were to come here to 1 second long to make sure I am at exactly 1 second, I need to press shift, and it's going to stick. As you can see, if I move, it doesn't really move. It sticks to the key frame. And so here, I can press to create other key frames. And let's do 45. Let's see what do we have. Now, remember the keyframe fundamentals because everything we will do in the future, any movement, 99% of effects. Almost everything is based on keyframes. If you want something to move, you will use keyframes. So this part is really important. What can you do with keyframes? You can select them. You can move them further apart, and you will see that it's just going to make the animation a lot slower. We can put it closer and it's going to be very fast. We can select them. We can delete them if we want to. We can also copy them. And the way I just went back is I pressed in command set. Let's say I copy this keyframe. I just press in command C or Control C, and let's say I want to paste it here, I will be able to paste it. And so now what happens is we have this position here and it's the same as this position here. In terms of the position, nothing will change in between these two. However, because we still have animation for the other ones, it's going to continue. So the scale decreases and the rotation decreases. We can also animate the opacity so that it completely disappears. We can influence the anchor point. You will notice that the position and the ancho point are very similar to each other. All you need to do is to animate the position 99% of the time. The way you want to use the ancho point is, let's say you have the exact same animation. So literally just copy and paste and you have the position animated, but you want this copy paste animation to be in two different places. So that's when you animate the anchor point. So let's say, let's delete this keyframe, by pressing Command D, I can copy the shape layer. You will see that it's now called Shape layer two. I can press on A. It's going to open the anchor point, and I can put the anchor of this one here, and of this one, have this one, something like this. So you can see now we have exactly the same animation, but we just have it in two different places. Let's delete it. Now let's create a line. So we can create a line in two different ways. We can either use a rectangle tool, this one, and we can create a very thin rectangle, and it's going to be sort of like a line. This is a big part about after effects. You can achieve the same effect by using different methods. So this looks like a line, although it's a rectangle, and we know it's a rectangle because it says a rectangle here. However, we can create another line if we select the pentol which is the shortcut G. So we can create it. You cannot see it right now. So let's select it, and we have the fill and we have the stroke color. If you don't have it here, once again, come to window and properties. You will see it as a fill, but because it's a line, there's nothing in the middle. There's nothing to fill. So we'll set this to none, and we'll sell the stroke color to solid color. And so now you can see we have a line. The way you can make this line thicker is by increasing the stroke width. And so we can actually create Square. Technically, you can use this as a square. However, you wouldn't do it because it's not the best way to do this. Usually, if you want to create a rectangle, use rectangle tool. If you use a pen tool, you create a line. So let's decrease the stroke. Let's select our shape, decrease the stroke. Now we have our line. As you can see, we have both our yellow rectangle and we have our line both under the same layer. So it means that if I press on P and change the position, both of them are going to move, but how can we separate them? Great question. We can either press a new shape layer. It's going to create an empty shape layer. And so we can open this one contents. This is our line. We can press on Command X and then paste it into the second shape layer. And you will see that we have our line here. And so now, if I change the position, of one of them, the other one is not going to be changed. That's one way to do it if you've already create it. However, what you can do is you can diselect this layer by clicking here, or if you have this whole part filled in with something, you can just press on Shift Command A. It's going to diselect everything, and then you'll be able to create something. So when you have everything diselected in the composition and you decide to create a shape, this is the way you do this. Go ahead and give it a try. If you have any questions, let me know. But other than that, I'll see you in the next video. 9. The Graph Editor: Smooth Animation Secrets: Welcome. In this video, we're going to master the graph editor. The graph editor is what allows us to create super smooth movements. Let's jump in. We'll create another composition. Press K, pressing Q, just like the shape tool, create the shape, put this in the middle and pressing command and click here to center the anchor point. Let's say we want to animate the position, pressing position. Then we move it up, and let's actually animate the scale. So I just shift a person scale, and I can also press on K and J. And if I press on K or J, I'm going to jump to the next keyframe. So instead of me having to go here, pressing Shift, I can just press on J to go to the previous keyframe or K to go to the next keyframe and let's increase the scale of this one to 200. This is what we have. But you can see this animation is so rigid, there's no smoothness in it, and I just didn't like it. I want to make it smooth. How do we do this? Well, we need to come here and press on the graph editor. Let me introduce you to the graph editor. Don't worry about knowing every single thing about after effects. You will not know every single thing. Even I don't know even the creator after effects. The Adobe themselves, I can guarantee don't know every single thing because we humans, we forget stuff, and that's okay. But I will still walk you through the information that you need to know. Don't worry about this part. In here, what you need to know the biggest difference is we have the speed graph and we have the value graph. You can customize what you want to show, but honestly, don't worry about this. All you need to worry about is the speed graph and the value graph. And to be honest, value graph a little bit less. The biggest thing you need to know is the speed graph. If you have iframes and a clic on, this icon's going to either show or hide the box. This is going to help us snap things a little bit better. This is Auto Zoom, fed section to preview. This part just helps you to either zoom in, zoom out. We're going to use this in the value part. And this just helps us to create some smooth animations. Okay, so what you need to know about is we have both the position and we have the scale, and you can see this is represented here. The speed graph shows the speed over time, and the value graph shows the value over time. I know it might be confusing, and trust me, it is a little bit confusing. So don't worry that you're confused. So we have the speed graph and the value graph. And if I select them, they look slightly different because they are slightly different. You can see that we have a square. Usually, if you have a square, it means that things are not smooth. What you can do is you can select these and you can either press here, but instead of pressing here, you can just press on F nine, and it's going to do exactly the same effect. So I can press here. You can see it becomes smooth, or I can press in my case, because I'm on a MacBook on laptop, I have to press FN F nine, but you can just press F nine on different devices. So it's exactly the same thing. Now let's take a look. As you can see, now it became a lot smoother. So we start very slow, as you can see, very slow, and then it becomes smooth, fast. And then it slows down smooth as well. As you can see, this shows only the speed. So that's why we have the first keyframe and last keyframe in the same position for both the position and the scale. As you can see, we have the scale which is red, and we have position, which is pink, and we have the different colors here. If we select the key frames, we can select the position, click here, and move it. However, we can also do a selection like this, and we're going to select, as you can see, it highlights the both, both the position and the scale. And if we move it like this, it's going to move both of them. But let's say I want to select just the scale. I can click on the scale, and I can move it like this. However, what I prefer is I prefer everything to have the same smoothness. So if I select both of these keyframes, like this, you can see the graph is pretty similar. Also, as you can see, I'm moving around. The way I'm able to move around here is I can press on H, and it's going to select the hand tool, or I can have the selection tool, which is the V, which is basically the mouse cursor, and I can press on space. And this way, I'll be able to move around. The way I'm able to zoom in is if I press on Option on Mac or Alt on PC. Let's take a look at what we have here. Let's play it. As you can see, the animation became even smoother because the speed starts even slower. It builds faster, and then it slows down and it's just a bit smoother. Let's say we come here, just like the key frames, and let's say we move them around. As you can see, we have the movement first, and then we have the scale. And it's super smooth. Now, if we come back here, we'll also see the change here. Now, if we come into the value graph, this is what we're going to see. The value graph is something a lot more advanced. Like, it's when you need super precision and you know exactly what you're doing. So in the beginning, don't worry about this. I'm just going to show you the capabilities of the software. We have the scale and we have the position. But the scale, we have only one variable, which is 0-100 to 200. But for position, we have both the vertical and the horizontal. And you can see it's represented here. For the scale, this is what we have. But for the position, we have it broken down into two lines, one of which is the vertical and the other one is horizontal. What we previously did is we moved the circle up and we didn't move it right or left. So because we moved it up, this is what we have. This is our change. It's represented here. And because we do not move it right or left, this line stays flat. Let's say if we were to move it right or left, you can see what happens. So this graph just represents the movement of the object. One of the things you can do here is you can press on position, and you can separate dimensions. And now, you'll be able to customize each dimension. So if I press here, I have the handles, and I can move them like this, and it's going to be smooth, as well. I can make it a bit less smooth. So we're basically achieving the same effects by using different tools, different graphs, and we can break it down different ways. And it doesn't only work with shapes. It's just easy to show with shapes. However, we can use the same thing but text. So let's say alte this, I can click on this graph here to come back, and let's say we do text. We'll put this text in the middle. We'll do position, add a keyframe, come here, move it out of the frame. Let's put it to something 1 second. Yes. Then we can select these keyframes, press F nine. So we can do it either here or on the graph itself. We're going to select the speed graph, select the key frame, and just make it a bit smoother, and let's see what we have. There you go. Now, let's delete the text. Select the shape tool, create a circle, put it in the middle. And let's draw a line, make sure we diselect the circle. Let's draw a line something like this. Make sure to add a solid color. We'll select the circle, diselect the graph and come to the composition, press and P. What we're going to do is to animate the ball falling down. And we're going to start here. After about 30 milliseconds, the ball is going to fall down. It's going to hit the ground, and then it's going to bounce up to something like this. Then it's going to fall down again. Then go up again. Then fall down again, bounce up and fall down. Let's say, our ball is going to be heavy, so it's not going to bounce a lot. Now, we need to select all the key frames, press FNF nine or just F nine, and now we need to animate the ball, and we're going to do it here. So let's understand what's happening. First, the ball starts slow and it needs to fall down fast, then rise up fast and sort of hold here for a second as the gravity starts to pull it down again. So, this is what we need to do. Insulate this first keyframe and we're going to move it right so that the ball starts falling slow and then it's going to fall fast in the end. So we're going to move this here, and this is what we have. Let's see. Boom. However, now the ball needs to rise up quickly and then hold here. So we need to move this one here and this one here. So as you can see, we created our own new graph from this graph, and this is the and this is the ball bouncing. And now we just need to do exactly the same thing with the other ones. So we'll select this one. We'll drug it to the right. Put this one here. Okay, now, let's take a look at our animation. However, I would move these keyframes a little bit to the left, actually like this. The important thing here is we're not striving for perfection. We're striving for practice. The more you practice, the better and the faster you will become better. So, give it a try. If you have any questions, let me know. But other than that, I'll see you in the next video. 10. Mastering Motion Paths & Bezier Curves: Welcome. In this video, we can talk about motion paths. Of course, you can manually animate an object moving and you can animate with key frames, but it's not always the best option because let's say you want to create this very elegant path and you want an object to follow that path. Technically, yes, you can do it with keyframes, but it's going to take a lot of your patience. We'll create a new composition, and let's create an arrow. In order to create an arrow, I'm going to person Q, you will see that I have a star tool. So I can drag and start creating a path. However, I can use my mouse and I can scroll up and down to add more parts to the star or to the triangle. In this case, all we want is a triangle. By person shift, I can make sure it is perfectly straight. Now, click on it again. Command, and I'm going to double click here to make sure it's in the center. This is the triangle that we're going to animate along a path. Let me close this. Now, let's create a path. We can press G to open the Pen tool and let's create a path. It's going to come from above and click hold and drag. And basically, I'm doing this thing. You just cannot see the other part of the handle, but I'm doing this. So actually, the first one we can do is just press on it, and then the second one is we need to hold and drag it. I can press shift to make sure it is perfectly either 45 degrees or 90 degrees like this. So I can drag it. And this way, you can see this path, this motion becomes a bit more elegant. Now, I can also continue here just doing exactly the same thing, holding shift and dragging, here and here. Okay, not perfect, but this is what we have. And, of course, we can disable the field color, and this is the path that we're going to have. Now, we can go into we can open the shape layer. Let's rename it to path. This one is going to be the triangle. So let's open the path. And what we need to do is we need to press Command C and copy the path. Just make sure you select the path and copy it. Now, if you go into triangle, we need to press on P, and we just select the B, and then we press Command V, and then what happens is the triangle now starts following this path. Obviously, as I told you before, you can animate it and make sure it goes along the same path using keyframe. So you just literally just change the position. But you can probably see that it's a lot, a lot easier to do it this way. By the way, we can also select these keyframes and press on F nine to make sure it is smooth. We can open the graph editor. Let's make sure we select these and drag them out a little bit. So now it's going to start very smooth and very smooth as well. One thing we can also do is we can stretch it out. So we just select these and stretch it out. And now instead of what was it instead of 2 seconds, it's going to take us roughly 4 seconds to follow this path. Great. Now, one very important thing you might need is that the arrow head also turns as it follows the path. So what we can do is we can right click on the triangle, go to transform and press Auto orient. Or you can see the shortcuts. By the way, these are all the shortcuts. So if you go into mask, you can see there are shortcuts, you go into shortcuts. So let's go to Transform and press on auto orient. Press orient along path. And this is what we're going to have. Of course, we can change the initial rotation so that it's more along the path like this. One thing you can see is that the motion is based on the anchor point and the anchor point is here right here, it's not exactly in the middle of a triangle. That's because it is in the middle of this square that the triangle is within. In this case, we do need to move the anchor point a little bit to make sure it's in the center. Let me show you one important shortcut. If you press on shift and then this line here, so it's a slightly diagonal line, you'll be able to reset the size of the composition of the playbg. So if I'm zoomed in, I can press shift and then this line and it resets everything back. Okay, so let's take a look. Perfect. Obviously, we can also delete the path because we don't need it anymore. We just copy the path itself. We made sure it's pasted into the triangle, and now the triangle moves on its own. And you can do the same with text. So let's disable the triangle, press on Command T too in the text. Let's put some text, path, contents, shape, path, copy the path, open position of the text. Make sure you select the position and pace the path. And now the text is going to also move like this. Now, you can do some other stuff with text, which is pretty interesting. So let's say we create a mask. The way we create a mask is we select the shape tool. So let's make sure we select a circle and we create a circle. But we need to make sure we have the text selected because if we don't have the text selected, we're just going to create shape, but we need to create a mask. So we select the text, and then we create the circle close and open text, path options. And you can see in the path options, we can select mask. So we can make the text a bitt smaller so that you can see it better. Let's move it down. And you can see that the text now follows the path of the mask. We can also press on reverse so that the text is going to be outside, and we can put it to something like this. Obviously, we can also animate it, so we can put the keyframe here, put it a little bit further, animate it. Make sure you select F and F nine, open this. Try to get out. Okay. Let's give it a bit more room. And there you go. And it doesn't have to be only a circle. You can do it with other objects as well. So we can delete the masks for the text. Let's select a rectangle tool, create a mask. Path options, mask one, and we're going to have exactly the same thing, and we can move the text like this. Pretty cool. Obviously, the mask is also not visible because it's not a shape. So if you make it transparent, you can see there is no mask. The mask is transparent. If you have any questions, let me know, but other than that, I'll see you in the next video. 11. Kinetic Text Animation for TikTok, Reels & Shorts: Welcome. In this video, we're going to learn text animations. And in this video, we're also going to start using the Effects and Presets panel. What I recommend you do to save you a lot of time in the future, is go to Google search for Effects Console. You can search like this as well and open the video copilot website. Go through the installation process, very simple just download for Windows or for Mac, and after you install it, come to After Effects. I'll give you a very quick example of what it does. So for example, we have a shape, and now if I press specific button combination, I'll be able to search for any effect. Instead of me having to go here and either open all of these or search for a specific effect here, it doesn't matter where I'm located. I just need to make sure that I have the layer selected, then I press the combination, it opens it, and then I can search for any effect like a glow. I add a glow effect and you can see, started glowing. That's the first thing to do. Now, let's add some text. I'll make sure to put it in the middle. I just like when things are in the middle. And we have a number of things on how to animate text. First, we can come to animation presets, text. You can see there are a lot of presets here. So animating and anything which literally can drag and drop it here. And whenever we do, you'll see we have some text animation. And if you press on you, you will see the animation keyframes. So if I delete it, if I press Comand z and press Command Shift Z to undo the undoing, you'll see the key frames. If you want the animation to start from the very beginning, just make sure that this playhead is in the very beginning. So what we can do is we can just delete this one actually, we need to open it and delete the effects. One of the annoying things that you have to go through the fold doors every single time after you apply a specific preset. So once again, come to text, animate in. And this works for both animation in and animation out. And there's a ton of here. Honestly, I use maybe 1% of all the effects that after effects has, maybe two. Literally, there are a lot of things for a lot of different situations. The situations that I usually work with doesn't include 19% of the situations. Some of my favorite text animations are, by the way, let me quickly show you the effects console so you can come to Window and then it is going to be at the very bottom. So we can click here. And if we come to settings, you will see that the shortcut for me is control space, so that whenever I press control space, I'm going to activate it, and that's all I need. So just cancel enclose it. So if I have the text selected, a press Control space, it's going to open the search bar. And I can type, for example, a typewriter. If I play the typewriter, this is the effect that we're going to have. I can press on you, and I'm going to have the key frames. For example, you can see, we have the keyframes here, but I'm not able to select them, so we need to press you in this case. And we can make the animation faster by moving the keyframes closer. So fast or we can make it slower. Sound like this. Perfect. So a typewriter is one of my favorite effects. Another great effect called fade up characters or words. Either one is great. Real like this one. We can also do the same for animation out. So we just need to search for fade out once again by character, for instance, and this is what we have. In terms of fade up by characters or fade up by words, in terms of fade up by words, it's basically the same as animating the opacity. Once again, you can chief different effects. Using different effects in after effects. This is a great one. In after effects, you can also run scripts. For example, I have this text Evo script, and this one does cost a little bit of money. I think it's like $30 on the text Evo website. So text actually, it's a script. Yes, it's $30, but you don't have to buy it because what we can do is we can do all of the effects that this script has will just be able to do everything by itself. So let me quickly show you what it does. Is this little thing here. So I have some preset saved up. And if I select the text, and then I open the presets down opacity and character. So you'll see that we have this interesting animation. Absolutely beautiful. And this text EvoScript is used very often online. You can definitely purchase it. It's very simple to use. The way you use it is let's delete the preset. So let's press on plus. I'll quickly show you this, and then I'll show you how to replicate this manually, which is a bit more work, but it's still doable. Okay, so we have two keyframes here, and you can see this if I come to the first keyframe and to the last keyframe, nothing changes. However, for example, I'll come to transform. Let's do the position. Let's move it up, and then we'll do the opacity. We'll bring it to zero. Now, you'll see that we didn't do anything to this keyframe, and we did some stuff to this keyframe. Let's play it and see. Exactly what I had before. Text coming down, and the opacity appears. And the text comes one by one. On the screen. Beautiful, super easy to do, and you can do a lot more with text EBO than just this. Let's delete the text EBO. Let's make sure we select this delete it. How can we do this manually and after effects? We'll open the text. We'll come to animate and all transform properties. We can basically do a very similar thing by animating the opacity. Let's say we put it to zero. Actually, let's keep the opacity. Let's move it up and then decrease the opacity. Now, if we open the range selector, we now need to animate either the start or the end. In this case, it does not matter. So I will put the keyframe here and a keyframe here. And you will see we have a very similar effect. However, we have it from the end. So what we can do is we can do it from the beginning as well. We'll put the end to zero, and then we'll have the start at zero, and we're going to have it like this. All we need to do now is press on advanced in the range selector, Advanced and mode subtract. So now we're going to have exactly the same effect. We also have based on characters, or we can even do words, the same we can do with text EBO. So we can have words appear. And here we have text, but let's say we have text Animation. Make sure we select all text by pressing Command A. Make sure we make the text smaller, put it in the middle, and let's see what we have. This is the text animation that we have. If I was to animate text, this is the way I would do this. You don't have to do this like this. What you can do is you can always just animate the transform properties like position, positioning, position out. So let's delete this text. Let's start from scratch. For example, we have text, put it in the middle. We can open P, set a keyframe. And then we'll set not the key frame but text being outside. And we can do it like this. We can also animate the scale, which in my opinion, is pretty. Actually, let's put it in the middle. In terms of the scale, there are some interesting animations you can do as well. So this is going to be our last keyframe, move a little bit to left. We'll put this one to zero. And then here in between, we're going to put this to 120. And we're just going to move these a little bit closer to each other. Well, let's put it like this. And by the way, let's make sure we have the anchor point in the middle. So once again, select command, put in the middle so that it doesn't grow from the left, but it grows from the middle. Okay. Put it in the middle. You can see by doing this, we have the text grow a little bit more and then scales down, so it's like, This is the way you can animate it. With after effects, oftentimes, it's not the limit of the software. It's limit of your imagination. Oftentimes, you also don't know what you don't know, and that's the biggest problem. The easiest way for me to learn after effects and other software and all the effects and all the interesting things you can do is just go online, get inspired by other people, see what they do, and then I'll be able to just replicate. And after I do 100 replications or 1,000 replications, or even ten. I learned so much of the stuff that I can come up with my own stuff. That's the way it's worked for me. There are no shortcuts. It's just a little bit of hard work. And the more and faster you practice, the better and faster you become better. So, give yourself a little bit of practice. If you have any questions, let me know. But other than that, I'll see you in the next video. 12. Masking & Track Mattes: Welcome. In this video, we're going to learn masking and track mats. In the previous video, we've already learned that you can use masks as a path. However, in this video, we're going to learn masks as isolation and track mats as isolation and cutting out. So let's jump in. In the downloadable resources section, you can find this picture of me, and this picture is 6,000 by 330 pixels, which is a bit too much. So we can lock the ratio to make sure that when we decrease the number of pixels, it's going to still fit the image. So, let's do 2000 by 1,100. That works for us. And you'll see that it zooms in a lot. Why it zooms in is because we had a very big picture like this and we have a composition like this. And then we made a composition this size. But the picture itself is still this big, but the composition is this. So that's why we have this kind of zoom in effect. In order to solve this, you have to press Shift Option command H or G. What the circuit does is it fits whatever lay you want into the frame size, either horizontally or vertically. So for example, if I have a shape like this and I press Shift Option command it's going to fit horizontally. But if a per shift option command G, it's going to fit vertically. Let's learn the masks. Let me create by person command Y a solid. Solid is used in many things and after effects. Oftentimes, it can be used as a background. You can also create a background in another way by just double clicking on the rectangle. Either the rounded or a full rectangle. So if I double click, you can see, we'll create a rectangle that fits the size of this frame, but we'll delete it. Okay? So now we have the background and we have the picture. Now, if I select any and absolutely any of the shapes, I can create a mask with the shape by selecting the picture. If I drag, as you can see, I can create any mask and basically cutting the rest of the image. But we're not necessarily cutting. We're just isolating the area that's shown with the mask. By pressing Command, we're going to do, and then I'm going to create exactly the same mask. But now, because we're using the rounded rectangle tool, we can round the edges. And the way we can round is by using the scroller on the mouse. So if I scroll up and down, you can see it becomes either more round or less round. So this is the way you can customize it. If you were to create a shape, it doesn't work like this. So if I use the mouse, as you can see, nothing changes. The way we would have to do this is we would have to go into the properties and customize the roundness, as you can see here. Let's delete this one. We can create mask using a start tool. We just need to select our subject, and this is what we can do. Now, in terms of the track mat, track Mat works in a very interesting way. Let's say we create a rounded rectangle and we'll do it something like this. We'll make sure we use the fill as a solid color, or we can disable the stroke color. This is the shape that we have. And we can select the picture on the background. And as you can see here, it says track mat. This is exactly what we're going to use. So we have to use this whip and basically whip the picture to the shape layer. You can see it works sort of like a mask. But instead of the mask being on one specific layer, we can use many different layers and track mated to the shape. If we change the shape, you will see that it also changes the track mat. We change the position. We can also change the roundness. So whatever we do to the shape, it's going to influence how the image or whatever layer you have is represented. We can also do invert mat by pressing here. This is what we have. We can also do a luma mat. And in order to do this, I need to show you it in a different way. Let's disable the background, and we're going to create another solid by pressing Command Y. Let's add a gradient ramp. And at the top, we're going to have a darker area. At the bottom, we're going to have a brighter area. So white, here, dark, here. Now we can use this as a track mat. Once again, we're going to connect our image. We're going to whip it to the solid. Nothing happens. But if we select the luma mask, something interesting happens. So you can see the darker areas. Actually, let's do it like this. You can see the darker areas are transparent. Because if I enable the track mat, you can see what happens. The darker areas are transparent and the brighter areas are not transparent at all. Depending on the project that you're working on, this can be super useful. And these are the kind of effects you can create using track mats. We have an orange background. We have the white part, and then we have this part, which actually will be a frame. We just have to add it because this is what it's supposed to be. So we have a person here speaking, and then we have an interesting explanation here on the screen. No, it doesn't work only with shapes. It works with anything you have with any kind of flayers. So if I was to create a text, let's create a text and make it absolutely huge. And let's put it in the middle. And now we can track the image to the text, let's see what kind of effect we have. We can also invert it, as we know, or we can create a luma, but luma doesn't make sense here because we just have a background. One thing I forgot to tell you about the mask is we can create a mask and we can customize this mask. So we have the mask feather, which basically means how sharp or how untarped the sides are. We have the mask opacity, which is straightforward, and we have the mask expansion. So we can either expand it or not expand it. If we decrease the feather, it's going to be easier to see. Mask expansion, and we are expanding. Or we can actually expand it in word. Go ahead and try it out. Play with this. If you have any questions, let me know. But t than that. I'll see you in the next video. 13. Understanding Motion Blur: When, Why & How to Use It: Welcome. In this video, I want to show you motion blur. It's a blur that happens when an object moves and you activate it by pressing this button here. So as you can see, I have a shape, and it's simply moving up and down. And if I press on this button, let's zoom in actually. You can see the edge is sharp. But if I click here, it becomes blurred. And this is the motion blur. So if we make it a bit smoother, you will see that in the very beginning of the motion, when it's just starting, the motion blur is not lot. So the motion blur grows proportionally to the speed. Once we have a lot of speed here, you see that it has a lot more motion blurr here. And then once it stops, there's almost nothing. Motion blur takes actual power of your computer. It's not like crazy, but depending on the project that you're working on, it can go crazy if you have 100 layers. However, when it comes to also recording videos at the same time, then it does take a little bit of power. So just for this reason alone, I'm not going to use it in any of the future videos just to make sure that you have the smoothest experience possible. If we're talking about projects, I use it in almost every single project that I create. I absolutely love motion blur, and I recommend using it as well. If you have any questions, let me know. But other than that, I'll see you in the next video. 14. Creating Depth with 3D Layers & Camera Moves: Welcome. In this video, we're going to learn three D layers and camera animations. These are one of my favorite tools and after effects because you can achieve absolutely beautiful effects with this. I mean, you can achieve lots of different beautiful things and after effects, but these are one of my favorites because with the camera, you can achieve blur. In photography, it's called bouquet. It's the blurry background or the blurry foreground. When you have beautiful lights on the background and it's blurred, this is bouquet, and you can achieve exactly the same thing in after effects using three D layers and cameras. So let's jump in. First of all, let's add a circle. Like this. Make sure to put it in the middle. And how can we make something three D? Well, we need to select our shape, and we need to toggle switches. The shortcut for toggle switches is Control S or Alt S on Windows. Oh, I can either press here or I can press Control S. Here, you will see this three D layer, which is like a three D square. So if I present it now our object became three D. We have different trentors, so we have the classic three D, and then we have Advanced three, and we have Cinemaot. Cinema four D is another application which is all about animations and beautiful things. If you don't have it installed, you will not be able to use it. And we are not covering Cinema four D in this class. So if you go to advanced three D, we'll be able to change the dometry options of the objects. So we can use the extrusion depth, we can add it. And now if you change the rotation, you can see that we added a little bit of depth. So geometry options, and we can add more or we can put it back to zero. You can enable to cast shadows, for example, if you add a light. So let's make sure we press Option Command A to dissect everything. Right click New Light. We're going to add a spotlight. Now, I can select the light and move it a little bit to the left, and you can see that we influence whatever object we have in front of us. Let's say we create another object. Actually, let's create a plate. So let's create something. Let's create a big square. Let's make it three D as well. Rotation. Let's rotate it 90 degrees. Position, we're going to lower it. Now. Let's use the material options, cast shadows on. For the light options, let's go into our circle, cast shadows, except shadows, and for our shape, which is this one. We have shadows as well, and we have to change the renderer. We have to go to classic three D. And here, we'll be able to cast shadows. So we need to double click on light, make sure we can cast shadows. And as you can see, we have a little bit of shadow this way. So we can cast shadows in classic three D, but we cannot do it in advanced three D. Based on the renders, there are different pros and different cons. Now let's talk about the camera. We can right click Nu and camera or we can use a shortcut Shift Option Command C and creates a new camera. You can leave these settings as is and you can press N K. You can customize the settings if there's a specific thing that you're trying to achieve, and you know what you're trying to achieve. If there's nothing you're trying to achieve, you just want to use the camera, then go ahead and use it like this. You can press K, and we're going to have a camera. As you can see already, we have some blur. This one is in focus, and the one on the bottom is out of focus. What we can do is we can come to the right, click on the view and you can see one view or two views. If we use the two views, you will see what we have. We have our camera here. This is the camera. This is basically the camera where it's positioned. This is what it's seeing. If we put anything here in the strangle, this is what the camera will see. And this is the focus point. So if we open the camera, transform, Camera options, and we can see focus distance. If I move it, you can see we have things either out of focus. Here, they're going to be in focus and here out of focus again. By the way, this is the view from the top. We can also view from the back from the right, from the left. So if we use from the left, this is how it looks from the left. This is how it looks from the top. Let's delete the light for now so it doesn't confuse us. Let's change the color of this object to something a bit brighter. By pressing space, once again, I activate the handle and I can move around. So you can see that the rectangle is not in focus. So we can click on it, press on P. And if we move it closer, you'll see that it becomes in focus here because this is the part that is in focus. If we move it further, now this part is in focus and the other part is out of focus. So now it's very out of focus. Now it's very out of focus, and it's to the front. In your camera options, you have a thing called aperture. The higher the aperture, the more blur you're going to have. It works exactly the same as the camera. If your camera has a white aperture, you'll be able to take pictures with a lot of blur in the background or the foreground. And if your aperture is small, then a lot of the things are going to be in focus. So if we decrease this, you'll see that everything will be in focus. However, if we increase it, some things are going to be out of focus. If you double click on the camera, you can also see that we have F stops because this is how it is measured. As you can see on the background, this is exactly what we have. If we're talking about real cameras, usually, most of the more affordable lenses have a lower a Stop. And by lower F stop, I mean, a higher F stop. I know it's a little bit confusing. The higher the F stop, the more sharper the things are. The smaller it is, it means the aperture opens up. The more blurry things are, and expensive cameras usually have a smaller F stop, which means a wider aperture. And there are a couple of things you can animate the camera. You can either animate it by pressing on transform, and this is the way you can animate it. You know, you can move around. And you can see exactly what's happening. Because we have the point of interest here, if we move the camera right or left, up and down, this part is going to stay as point of interest in the middle of the frame. If we change the point of interest, you can see what happens. We are moving the point of interest up and down, right or left. This is one of the ways we can use the camera to animate the camera. However, we can also use the camera and we can animate it with a null object. So we can click create null object, opreson shift option command Y, and it's going to create null object. Now, we can parent the camera to the null object. And now, whenever we influence the null, it's going to move the camera, however we change the null. We can also make a three G so that it gives us more options, like go back and forth. Usually, if you're beginning, I recommend using the null, and then as you get more advanced, you can use the camera to animate the camera. Both options are totally workable. It's just a little bit easier to work with a null than with the camera in the beginning. You can see on the screen, the solid that we created at our background, it doesn't move at all because it's not three D. The camera only sees the things that are three D. So if we were to make it three D, you can see that if we move, it's going to move as well, because now it is three D, but because it's not three D, it doesn't move. Also, if you make it three D, it becomes right in the middle where the point of interest is foamy. Therefore, you can see that it cuts our circle in half. For every option in terms of the position, the rotation, the point of interest, everything has a keyframe. So if we were to animate the position of the camera, set a keyframe here and another keyframe here where we become closer, this is exactly what's going to happen. We're going to zoom a little bit to the front. We can also do F nine to make sure the movement is smooth, F nine, and this is what we have. Now, I encourage you to go ahead and play around with the camera yourself. The more mistakes you make, the faster you learn. So go ahead and do that. If you have any questions, let me know. But than that, I'll see you in the next video. 15. Kinetic Typography & Audio-Synced Text: Welcome. In this video, we're going to learn advanced text animations and kinetic typography. What is kinetic typography? What's the difference between just a normal text animation and kinetic typography? Well, kinetic typography specifically makes the text very dynamic. You might have seen it online, and usually it's when the text is animated at exactly the same time as the speech, but it's animated in all the interesting ways. In this video, we're also going to use three D camera to put it all together. And compared to just a general text animation. A text animation is when you animate the opacity, when you animate the movement, a text moves onto the screen, that's a text animation. But kinetic typography is a bit more dynamic, a bit more extravagant. Let's jump in. In the downloadable resource section, you'll find this audio file, and it's me just speaking. So let's drag it in. Let's create a composition. We want to create 1920 by 1080. So it's going to be horizontal. We're going to zoom in fully, and we're going to add an audio. We'll make sure to cut it. So the way I can cut is I just zoom in here. I press on N, and I'm using the in and out points of this composition to press N, and then I'll press Shift Command X, and it's going to cut the composition to the point where I mark it. So if I mark it out like this, press Option command X, it's going to cut this as well, but we don't want that. So this is our audio. In order to see the audio lengths, like you see in Premiere Pro and other applications, you have to press L two times. So I press L. And here, I'm just saying, Hey, I'm glad, in this video, we're going to learn Kinetic typography. To make sure that this doesn't compete with my sound, I'm not going to add this audio so that you can hear it. You'll be able to hear it in the end where we have the final version. But for now, just remember that this is the text that we're going to. Create a solid by pressing Command Y. I'm going to add this color as a solid background. I believe it's called charcoal. Now, we need to actually add the text. There are a couple of ways you can add the text. Transcript the text from premiere, and then you add it here. In this case, because this phrase is so small, we can just type it in here. Command T. Hi. Let's definitely make it a lot smaller, 125. Well. As you saw, I just added a lot of different text, and it's supposed to be something like this. And now I'm just going to cut it a little bit like this. So we can cut a layer if we hold it from the left and we just drag it to a specific point. As you can see, it's only going to appear here. So this is what we can do or we can do it another way, for example, in this video, it has to start here. Instead of me having to grab it like this, I can press option and I can press a bracket. I can press either a left bracket or a right bracket, and it's going to cut. There's another way. I can press just on the bracket. Instead of it cutting to the playhead, it's going to move it to the left or to the right depending on where you press. So if I press left bracket, it's going to move everything to the right. If I press on the right bracket, it will move everything to the left. And you can see it here because, you know, we have these parts cut over here like this, but this one is not cut because it just moved there. But let's press Command, and let's cut option and left bracket. Okay, so here's what I'm saying. Hi, I'm blad. In this video, we're going to learn kinetic typography. Beautiful. By the way, we can also change the font. I have to select Let's make the background another color by pressing here. Let's make it cyan. And the text will make it something very bright. We'll make it bright pink. Now, let's select all the text by pressing Shift. So I click here. I click here by pressing Shift and select all the text. I really like this font, so I'm going to use it. We're going to use this font specifically. Once again, we can make it a little bit smaller. It doesn't matter because we can always customize it. I don't like the yellow. Actually, the yellow looks pretty good here. However, I want to make it white because white is a little bit simpler. It's more minimalistic. Now let's animate the text. You can either animate the text using what we've learned in the previous videos, clicking here and doing the animation like this. But in my case, I'm going to use the text Evil just to save time. So text evil play the preset. I quite like the way it looks. So we have high blood. In this video, we're going to learn kinetic typography. So we have the animation which is down plus opacity by words, right, movement to the right, opacity plus character, then left opacity plus words and up opacity plus character. Now, we can select all the texts and make sure it's horizontal distribution is the way we want it. We can press here and it's going to be perfect. Now, let's create a camera, Shift Option Command C, and we'll just create the camera. Now, let's make the text three D by selecting all the text and by pressing here. You can see all the text just became three D. Let's add another view from the top. Make sure to mark the camera with something bright like orange. I'm going to create a null object with Option Shift Command Y. I'm going to parent the camera to the null. Let's make the null orange as well so that these are both the same colors. The audio can stay this color. Doesn't matter. Now let's make the null three D as well. Let's use position. As I told you before, we can do effects in different ways. So here's a couple of things we can do this. We can either animate the text and keep the camera in the same position, or we can animate the camera and keep the text in the same position. Let's think of what we want to do. I think we want to do a little bit of both. Now, let's go to the camera camera options to the focus distance. Let's make sure it is where the text is. Now, I want the other texts to be placed in slightly different position because I want there to be a blurb. So when we have one text, for example, high and blood, we're going to have is in focus. And then when we come in this video, we're going to have high and blood out of focus. So in order to do this, we need to add some distance between the two and then focus on in this video. So let's do this part. We're going to move it a bit closer to the camera. Now let's set the position of the null to somewhere over here, and then will. And then when this appears, we want to be in a slightly different position like this a little bit lower, a little bit to the left. Right now, we're just putting the key frames, and then after that, we'll be able to make it a lot smoother. Let's change the position, this one, as well. It a bit to the front. Something like this. Okay, so we have let's put it at -600, and then we're going to put this one position two -600 as well. There's no particular way I'm identifying these numbers. I'm just saying, okay, this was at -574, and then I decided to just make it a round number because it's a bit easier for me this way. Let's create another if frame, put it here. And now let's animate to move like this. Let's make sure we put it in the middle. We can also animate the scale in this case because you can see it doesn't really fit the screen here. So we put the scale and the position. Let's make sure we put it both at the same time. Actually, scale here. Hi, I'm glad. In this video, we're going to learn kinetic typography. Soly we can make this one in the middle. Then once we have the text at the bottom uppear, we can put the position key frame, so we're over here and then move down a little bit. Okay, so roughly this is our motion. Okay, press command R and it's going to open rulers. Let's put rulers right in the middle. We just need to calculate it. So we have this is the number of pixels horizontally and vertically. We have 1920 horizontally. 1920/2 is 960. So we're going to put it roughly over here so that it is the middle because right now, right here, we have 900 and this one is 1,000. So when the text appears, let's do position. Okay. This is going to be in the middle. Now let's make everything a bit smoother. Hi blade. Let's open this. Press to see everything that's animated. This is the shortcut. When press U, we see everything that's animated. And I think I want to put a keyframe here and just stretch it out a little bit so that what I'm trying to do right now is I want the word high to appear first because there's a little bit of a pause. And then after that, it's going to go to Vlad. One of the ways we can do this is we can separate these two. So we can press Shift Command D, and we're going to cut it. So now we have two high. I'm blad. But in the second one, I'm going to delete actually in the second one to delete high. And in the first one, we need to delete I'm flat. So let's delete this. And we're just going to continue high until the end, as well. Now we just need to move the anchor point of high a little bit to the left. Okay. Let's see what we have. Okay, I actually really like the way it's going. Now we just need to make the moment of the camera a lot smoother. Right now, it's not super smooth. Even though we added is in and is out this temporal interpolation, it's still not perfect. So we can open the graph by pressing here or you can create a shortcut for yourself. A shortcut for me is Control G. Once again, if you want to add shortcut, you have to press Option Command, and then this til D in the end, Okay, this is the one. Either we can press option F three or in my case, option G S Shift F three or Option G. So let's slick this, open it, and let's make it a little bit smoother. And let's see what we have. Mm hmm. Great. Now, I just want to move these key frames a little bit further away from each other. Hmm. Let me like this. I want to change this one a little bit as well. Great. I like what we did here. However, I think we can make it even better. Why don't we create a custom pad for the kinetic typography and then animate it this way? And also, we can add a different type of animation for kinetic typography. So for kinetic typography, I'm going to delete this animation. I'm going to put it. Let's see. Actually, let's just copy this number so that these are on the same level, and we're going to put it to the right like this. In this case, we don't need the camera to move down. We will need the camera to move to the right. Okay. Let's add a path. So we dissect everything, press and G. Okay, so we need to add a path like this for kinetic typography, and I'm adding a mask. Now, if we go into the text path, we need to select the mask option. Put the text P, et's put it a little bit to the right. And let's add a typewriter effect. And let's see where it is. Let's hear the audio. Okay, should finish here. We're going to move a little bit further the range selector so that it starts here, 46. Okay, let's see, 47, 48%. Okay. So like this. I also want to animate the camera so that actually, let's put a key frame here for the position. I want to animate the camera so that it moves with the text so that it also tilts as the text tilts. So for this, we need a rotation, which one we need, we need this rotation, the Zt rotation. So we'll put the Z and we'll press on you to open everything we have animated. So open the graph editor. Okay, we have some weird animations here. Not sure what happened, but let's do it like this. Okay, and now you will see that we have a little bit of an issue where we have keyframes, for example, we have these keyframes, right here. And instead of it flowing smoothly, it's a little bit abrupt. So let's take a look. It's like three different stops. One stop, two stop, three stops. And we don't want to stop here. We just want it to move through these keyframes. So how can we do this after effect? We have to press on first of all, select these keyframes, press on command and click on these keyframes. You can see they'll go back to being a normal state, not temporal interpolation. Now, we have to right click, go to keyframe Interpolation, and we have to click on Continuous baser. So now, it's not going to stop there but it's going to flow through that. As I was working on this project, I realized I told you not to do something, and I did it myself. So I created a mask for the kinetic typography, this path here, which is this path here, which is mask. And let's see where it is. Yes, this is the one. And then I manually decided to animate the camera, which I didn't realize I could have saved a lot of time. So now what I did is I just copied the mask path. I created a new null object, and I pasted the mask path into the position of a null object. And then I deleted the key frames for the first null that I animated myself. And then from this point on, I just connected the null to the second. And now we have it move exactly as we need to, just a little bit smoother, which is exactly what we need, which is absolutely perfect. Okay, so now we're just literally to play around with the keyframes, make sure they fit exactly the timing of when I speak when things appear, just to polish everything in the end a little bit, and would be good to go. Okay, quite like it. Let's export it by pressing Option E. Select where we want to save it. Save it. And let's render. Now, let's take a look and listen. Hi, I'm Glad. In this video, we're going to learn kinetic typography. Yeah, I think it's not very smooth here in the end with this path a little bit, because we need to animated just a little bit more to make it a bit smoother and potentially just, you know, go there in the end, but I'm not gonna bore you with this. You've seen the power of kinetic typography, which is absolutely fantastic. And in combination with three D camera, I mean, it's just next level, right? Now, it's your time to practice. Have a go at it. If you have any questions, let me know, but other than that, I'll see you in the next video. 16. Particle Effects & Animated Details: Welcome. In this video, we're going to learn about the particle effects and simulations. Now, there are three main facts that we use in order to simulate particles into the particle effects. One of which is the CC particle world. The other one is CC particle systems two, and there's also Mr. Mercury. Be honest, I've never used the Mr. Mercury. Because I never had a need for it. I've always used the CC particle world or CC particle systems too. The biggest difference between these two is the particle world is used for three D, whereas the particle systems to is used for two D. It's best used for that. So we are going to master the particle systems too. We're going to create two things with it. One is we're going to create a flying sphere, which is going to leave a trail and it's going to follow a specific path. That's the first thing. Then second thing, we're going to have a text disappear in a very specific and interesting way with particles. So it's going to become the text is going to transform into particles. Let's jump in. First of all, let's create a sphere. And we're going to press on Command Y and create a solid layer. And we're going to apply the CC particle systems too. Okay, let me quickly walk you through. So we have the producer, and the producer controls the position, so I can move it around. And at the same time, I'll create another solid. So we'll call this one particle systems two world so that you can see the difference between these two. So you can see that these are pretty similar in terms of the settings. We have both the producer physics and the particle, producer physics and the particle. The other stuff is slightly different. So the particle world if I open the producer, you will see that we have three D values. So I can customize the three D values. I I I disable the bottom one, so I can move it in all the different directions, I can stretch it in all the different directions, and that's kind of the biggest difference between these two. So let's delete it and focus on the two D part now. So the producer controls the position. If you go into physics, it controls the physics. So we have velocity, and velocity is kind of how huge it is, how big it is. The gravity is the gravity. So if we increase the gravity, we're going to pull it down more. Now, if I set both velocity and gravity to zero, we're going to have just a circle. If we have just the gravity to one, because there's no velocity it doesn't go anywhere. We're just pulling it down. However, if I set gravity to zero and velocity to one, it's going to go in all the different directions. And this is what we have already beautiful. We'll put the gravity back to one and the velocity to one as well, and we can also change the direction. There are also different ways that this can be animated. So slightly different. This one is quite a bit different. And you can just go ahead and play around with all of these, even fire. So let's set it back to explosive. Let's go to particle. Particle, we have different types. We can set it as a star, and this is what's going to happen. We can set it to all sorts of interesting shapes and types, bubbles, faded spheres. This interesting stuff. We can increase the opacity. Don't worry about this button here. We're going to learn this a little bit later in this video. And then we can change the color. As you can see, the birth color is kind of here in the center, and the death color is something closer to the end of this animation. And we can also randomize it. If you're seeing this for the first time, I can definitely understand the confusion and frustration about this. The more you practice, the easier it will become. So the only thing I recommend you is give it a practice. And let's start practicing. We're going to press on G, and we're going to create a path. Not the best path, but that's okay. And now we're going to create a null object by pressing Shift Option Command Y, or if you're on PC, then Shift Control Alt Y. Let's open the null, transform position. This is what we need. And then for the shape layer, let's open it up, and we also need the path. So we just created the shape, and now we need to copy this path onto the null. We just select this Control C, and then paste it into the position. And as you can see, these key frames already rove across time. So what this means is I can stretch them and everything that's in between is going to stay there. So this is the position, and we're just stretching it over the bigger time. Now we can delete the shape layer completely. Okay. And now we need to go into the particle systems to effects here, let's seg the producer, and we have to select the position of the producer and we have to whip it to the position of the null. And here's what's going to happen. It's going to follow this path. Now, we can also customize it if we set this gravity to zero, and then we can also set this one to direction. For velocity, let's put it to zero, as well. 0.05, maybe just a little bit more. And there you go. This is our particle flying. Obviously, we can customize the colors, so let's put it to white, and it looks absolutely beautiful and follows our path. Now, obviously, you can customize it in play round with all the settings. We can even make it something like this. Okay, so this is the first part, and let's create another composition. So we're going to have two compositions. Let's create another composition, 1920 by 1080, 10 seconds. And now we're going to create a text, a text that's going to be animated with particles. So Command T or Control and let's put the word text. Actually, let's make it all caps, and we can do it by pressing here, and let's put it in the middle. Now, I'm going to press Shift Command C or Shift Control C. And we're going to precompose it. We're going to call it text, and I'm going to duplicate it by pressing command, presenter to rename text particles. Now we're going to apply the same effect, and once again, we can either drag it from here or we can press on to open the console and search for CC particle systems, too. For now, let's come to physics. We're going to decrease the velocity to zero and the gravity to zero, as well. And now we open the producer and we have to stretch. To something like this. Basically, we want to cover the whole text with it. We're going to have this particle move from one side to another, so we don't have to cover it horizontally, but we have to cover it vertically. And now we're going to animate the position. I'm going to click here. And I'm going to put this one to zero and it's going to be over here. And then once I move to, sorry, it's going to be 1920, let's put here, 1920. So now it's going to be on the right, yes. And then if we go to, let's say, 5 seconds, let's put it to zero. So this is what we're going to have. Okay, perfect. Now let's go into the particle, and let's click on this button here, source Alpha inherita. Now, what this means is we're using the original layer to sort of shape our particle. So they are not going to just exist here or here. It's going to all happen within this text. Let's add a little bit of velocity, and you'll see what happens. Actually, we can give it a little bit more. Let's try something like this. In terms of the direction, let's put it to 90. Let's set the animation to direction. Let's decrease the extra to zero. Let's see what we have. Beautiful. And now let's increase the gravity to -0.2. 0.2 comma two. Now, let's create another solid per person command Y, and we're going to add a linear wipe effect to it. Let's set this to whatever to 50. Let's put the angle wipe -90 instead of 90. We're just basically inverting it. Now, we have to animate it. Let's set a key frame here and get this one to zero. And then we can also open the text particles and we can click on it, press you to open its animation and press here as well. And right now, by the way, I'm animating the wipe angle, not the transform not the completion. Okay, so just put another key frame again. Now we have completion. And by clicking here, and pressing Shift to stick here, or I can press J and K to jump between the key frames, and here we're going to have this to 100. Now, we're going to track at the text. Actually, we can put it here, the text on the bottom to the white solid. And this is what we're going to have. Beautiful, right? Now, what we can also do is we can increase the feather, maybe to 40, and let's change the colors. So instead of yellow, let's set it to white. And obviously, we can change the color of the background as well to white, but actually it, like it, red. So let's see what we have. Beautiful. Now, to give you just a little bit more explanation, so we have the particle animation that's based on the text. So if we disable the particle systems, this is the text, and everything we see here is just an effect applied on top of it. And then on the background, we have our text as well. And this text is track matted to the linear wipe. We could also do it if we were to use premiere pro we would do it with the crop effect or we could do it with animating the position of the layer on top. So we're track matting the text and basically putting two effects together. So we're transforming we're not actually transforming text into the particles. We're just making it seem like it's doing that. I also would like to introduce you to another effect, actually, two other effects, one of which is glow. So if I apply a glow effect, you'll see that it's going to glow a little bit. We can increase the radius. Actually, here it's not visible super well. So let's try to apply it here. Or actually, I know where to show you this. Let's apply to the text that's on the bottom. So if we add some glow here, this is what we have. This is the glow. Obviously, we do not want this kind of effect because it looks a little bit weird here, but I'm just showing you this effect. And another important effect is turbulent displays. So if we add it, let's add an adjustment layer by pressing Option Command Y, search for turbulent displays, and this is the effect. Basically, it's like in the theme parks, there is a mirror that completely makes everything look interesting, weird, and this is the same effect. You can customize it to your liking. You can push it to make things completely weird, or we can put it to zero, so like nothing happens. So if I disable and enable, nothing happens. We can increase the size. We can customize the evolution. By customizing the evolution, we're basically changing the texture of the displacement, and we can animate the evolution so that it becomes super weird. Let's give it a try. Here, here let's spread these out and see what we have. Actually, I'd like to get rid of the glow. Okay. Beautiful. And as a bonus, let's create some stars. So I'll go into the project and we'll create another composition. Let's create a solid. Let's apply the CC particle world. Let's go to physics, set animation to explosive, and let's reduce gravity to zero. Particle, let's use faded Sphere. Let's decrease this to something like this. Let's go to producer. Actually, let's make this a little bit bigger too. Let's try this. Let's set it to white. The death color will set also to white. We'll set the velocity to zero and increase the radius more so that there's no movement. Here are the stars, and we can customize the birth rate and the longevity to make it appear and disappear just a little bit slower. I hope you found this video valuable. If you have any questions, be sure to leave those below, give it a try very interesting facts. A little bit hard to understand at first, but once again, the more I practice, the better you'll become. Other than that, I'll see you in the next video. 17. Shape Layer Mastery: Icons, Infographics & More: Welcome. This video is all about shape layer mastery. Let's jump in. As you already know, you can create shape. First of all, let's create composition. By the way, you can create composition by also clicking here so we can create composition. And as you know, we can create shapes either from here or by pressing Q and choosing between different options. But it's not the only way to do this because you can go into the layer new shape layer. And it's going to add a blank shape layer. So it's a shape layer, but nothing. It's just a layer. Here, we can add we can open this part and we can person add. And here, we can create a rectangle, ellipse, polystar or a path. So let's create the rectangle. Here's our rectangle. But we cannot see it. Why? Because we don't have fill. So we need to add fill or we can add a stroke. Let's add a stroke. You'll see you have a stroke, or we can do a fill or we can do both. There you go. It's really important to understand. You can either create a shape like this, and it's basically the equivalent because as you can see, we have the rectangle path, we have the stroke and the field. And here we have exactly the same thing. What's the difference? Well, if you want to do it quicker, you can do it by coming here. But if you have a complex, big project, and you're going to have a lot of different shapes in your shape layers and in your groups, then the better way to organize things is by going into the layer, new shape layer. Let's delete this one. You can also see that we can add a group. So if a person add a group, it opens a group, and I can put our rectangle into the group. It also means that if I have the shape layer selected, I can create another rectangle and it's going to create it this shape layer. It's the equivalent of pressing on add here and adding another rectangle. But this one is going to be smaller. So we need to increase in size and it's going to be bigger. Now you'll be able to see that we have both here. You can also see that we have a group and we have a rectangle. The group is what we have created, and the rectangle is just something that we have created as well, but separately. And we can put this rectangle into this group, and now we're going to have two rectangles, both of these in this group. Once again, this helps to organize things a little bit better. Let's add ellips we are going to make it bigger and move it to the side to something like this. Okay. And now let's add a gradient field. And as you can see, all of these are now affected. And if I move the ellipse a little bit to the right, we'll see the effect on it. Now, let's delete the gradient by just clicking here. And by the way, let me show you this. If I move the gradient into the group, it's going to just influence the group. As you can see, the gradient is just in the group, but it's not on the ellipse. So it's not on the circle. That's why we only have it affect what's in the group. So let's do the gradient, and now we are going to click on merge paths. If I open it, this one says add, and we're basically creating a one giant shape that has three shapes in it. This now is one giant shape, the shape layer. However, if we subtract, you can see what happens. It cuts everything out, and it cuts everything in a specific way. Let me add in lips to the group, and let's do it like this. Whatever shape we have at the top, it's going to start from that shape, and then it's going to do the other shapes based on the first shape. So if we're subtracting in this case, it means we're subtracting from the shape that's on the top. Is rectangle path two. In our case, it's the right rectangle, the big one. And then we have our ellipse and rectangle at the bottom. Or in this case, it's a square, but we'll call it rectangle because it's rectangle tool used to create it. We are subtracting it and this is the effect that we have. Intersect. This is the place where all of these intersect. So it's the only place that's selected, exclude intersections. So we're doing exactly the opposite. So something we could do is we could create a chessboard using this effect, add and merge. Let's leave this effect for now. Let me show you the other ones. We can do offset paths. Something we discovered earlier when using masks is we have masks expansions, and it's kind of similar. As you can see, and blue or this darker color, we have the shapes themselves, and we can either increase the amount or we can decrease the amount. And you can see it's either bigger than the shape itself or smaller than the shape. This is something we can do with the offset paths, but let's delete it. Pucker and Bloat. Let's open it. So a very interesting and abstract effect. My mind cannot really understand exactly what's happening, but it's happening with the angles. Okay? This is something you can do with a pack and bloat. Then we have the repeater. The repeater works in a very interesting way. Actually, let me show you another way to use a repeater. We'll disable this, and let's press on G, create a straight line going down. Let's open it. Actually, let's enable the solid color and the solid stroke and disable the fill. Now, if I use the repeater here, let's see what happens. We can increase the number of copies. We can offset where it starts. Now we can also customize it to something like this. And something I did in the past with the repeater is, let's say you have a timeline. So we have like 2000, 2010, 2020, 1990, and so on, a timeline of years. And this is the way you can do this. And then what you can also do is every person GN, we have the shape. Okay, Control D. We're going to duplicate it. Let's create a group. In this group, we're going to put the first shape. Actually, let's put the group here. So we'll put the repeater and the shape into the group. Okay. And we can disable it. And now we can add a repeater. Actually, let's create another group. And we'll put it here, and then we'll put the shape and let's add another repeater. To group number two. Now, let's enable group number one. Let's just make sure we do the shape a different color. Let's use feel. Let's use stroke. Let's use something like red so that we're able to see it. And for repeater, we're just going to stretch the position, something like that. Okay, so one, two, zero, one, two, three, four, five, six, seven, eight, nine, ten. Okay, so we're supposed to have this red one over here, roughly. I don't remember exactly, but okay, let's say this is number ten, just to see everything that's happening. Let's put it to 800. Okay. And you can see that it is perfect. So now that I can move like this, I can also make group number two slightly differently. We can make it a little bit bigger. We can disable scale uniformly, and we can push the scale like this so that it's a little bit bigger. We can go into shape, stroke, taper, and we can increase the third length, and this is what we'll have. And then we can put, for example, like 2018 here or actually 2010, 2010. Let's make this text a lot smaller. We can either decrease the scale like this or we can decrease it here. Okay, so this will be 2010. This will be 2020. So I'm not doing perfect job, but this is something that you can do here. This is a repeater. Now, let's enable our shape. And let's add something else. Round corners is pretty straightforward. Adds roundness to the corners. Because the circle is round, it doesn't change. Let's go further. Trim paths is great because it helps us to animate the shapes. When it comes to shapes like this, this is what's going to happen. We can basically time the end and do it like this. If you don't like the way trim paths work, you can use a linear wipe and do a track mat like we did in the previous video if let's say we want to do a rectangle. Trim paths work really great if we use a line. So let's say we have a line like this and we add trim paths. So let's say 100, and here we'll put zero, and this is our line. Beautiful. And there's one annoying problem. How can you animate a circle in after effects? Because the experience I've always had with infographics, for instance, is the circle starts from the middle. It's not like it doesn't go all the way around. So how can we do this? Well, that's a very interesting thing. We do have to use a circle, but a different approach. Let's create it from scratch, and I will show you. Usually, we would put a circle as a solid color. But in this case, we need to use just a stroke. And the secret behind trim pads like this, we add a trim path. Let's do exactly the same thing. Great. This is what we're looking for. And now, all we need to do is to increase the stroke width to basically something like this. And we can zoom in to make sure there's no dot like this in the very end. Okay, like this. And so now this is the circle animation. Put this to zero. Perfect. And if I press F nine, select these like this. It's going to start smooth and smooth as well.'s play it again. Beautiful. Let's do the shape. Let's come back to the shape. We have a twist. Twist, basically just twists. All sorts of interesting twists. Now, wiggle paths make it look like you draw the shape with your hand. It's not perfect unless you are an artist, a professional drawing artist. But for the most people, you know, when I draw, it's probably not as bad as this, but this is the idea. So we can customize it. Once again to a lot of likings and shapes and all kinds of stuff. And let's go to Zigzag. This is what we get with Zac. Okay, let's do a quick infographic chart. We are going to decrease this because we don't need it to be this big. This is just going to be our floor. Now, we are going to use a square, and we'll need to make it something like this. Okay, let's change the position but just a little bit lower. Once again, I can put these as one shape or I can put them as two different shapes. Or the other thing we can do is we can actually go ahead and copy the rectangle from here and paste into here. And now, if we delete this one, this one is still going to stay here. Rectangle, change the position like this. Now, let's add some fill into our rectangle. Some solid color. And once again, as I told you before, many times natural effect, there are many different things the way you can achieve the same result. But in this case, we're going to animate it in a completely new way that you haven't seen before. So we're going to press on position and size. This is the final position that we want to have, and all we need to do is we need to click here to disable the proportional scaling, and now we need to decrease it to basically zero so that it doesn't even exist. And now we need to move it down. Let's move it down like this. And so now we'll also be able to see it grow by animating it in this way. Let's select both of these and make it smoother. Like so, let's see what we have. Perfect. What we can also do is we can just go ahead and copy this one and then make the other one a little bit bigger and make it a different color. So let's go into the rectangle, Control C, and then we'll paste it into here, transform, change the anchor point. Probably not that much, but let's move it to around here. Rectangle path. Okay, in the end, let's make it just a little bit bigger. And let's make sure it is perfect, maybe just a bit lower and let's change its color to let's say yellow. Okay, let's do another rectangle, actually, instead of copying, we can just press Command D to duplicate it. So this is the third one path. Perfect. Let's make it even bigger. Let's make sure we change the anchor point a little bit to the right, so now just move it a little bit further. And let's make it green. Okay, let's change the position of everything because it's all within one layer. This is the way we can do this. And this is what we have. One more thing I'd like to show you is, let's say we select the text tool, and by pressing the text tool again, we can actually make the vertical text, as you can see, changes, the icon changes. So let's say something like bad, and let's make the text a lot smaller. P, change it to something like this. Now we can track mat the word bad to the shape layer. It's going to dislike the shape layer, but we need to just enable it back again. And so now, this means bad. This is okay, and this is good. So let's do it with the other words as well. So we'll duplicate this, change P, and we'll just say, Okay, change the position to be a bit higher. We'll do the same for the other ones. So this is what we have. Mmm. Last thing. Let's open the shape layer, and let's find the out line. Let's add trim paths to this line. So add trim paths, and let's animate it as well. Mm. Now we have our three rectangles. So, honestly, right now, I would just because we already at this point, it's something we haven't thought about before, at this point, I would just decrease the opacity on all of these to make it just better and smoother. So if we open the transform of each, we can see the opacity. So we can set it to right before a rectangle starts growing. We can put it to something like this. As it starts growing, We'll put it to one so that it doesn't exist. Yes. Now, we'll just copy this opacity and we'll paste it to this rectangle, select it and paste it here. Actually, it doesn't matter once the line is finished. So oh, it does matter because we'll have it in the very beginning. Okay, let's do it for the last rectangle, which is rectangle number three. This is our animation. We can just make this line smoother as well. There you go. Give it a try. If you have any questions, be sure to reach out. Other than that. I'll see you in the next video. 18. Automating Animations with Expressions: Welcome. In this video, we're going to learn expressions and automation with expressions in after effects. Expressions are these little codes that you paste into anything that has key frames, and it helps you automate this instead of you doing it manually, it uses code to do it. So if you're a coder, that's great. If you're not a coder, just like me, don't worry. I'll show you how to go around this. Even though expressions are great, I never use them myself, simply because I don't know how to code. However, you can always use AI to write your code, and it's an absolute game changer. First of all, let me show you a couple ones that are easy that are pretty famous. The wiggle one is the most famous one. Let's create a circle and put it in the middle. And now, let's open this. Literally, everything that has key frames can be animated. So every single thing that you see here that has keyframes, every single one of these can have an expression. The way you add an expression is you have to press on Option on Mac or Alt on PC. So if I click Option position, it's going to open the expression window and it's going to stay open like this, even if you click off. Now, we can just right here by deleting what's been here, wiggle, and it's going to give us the wiggle. Let's open this one here. So, for example, if we set wiggle, 350, it means that the first value, the first number is the frequency, and the second one is the amplitude. So let's give the try. Wiggle, three, coma 50. What happens is now the ball or the circle is going to bounce. It does it randomly. Every 1 second, it bounces three times and it bounces by 50 pixels. And you can see by how much it jumps over here. So if we let it play, it doesn't show. But if you scrap, you can see that it jumps. So this is the first one. This is probably the easiest one, the most used one. And we can do the same with rotation because the circle, you cannot really see it, and we can only see a slight change because we have our anchor point here. So let's actually delete this one, and let's create this guy. We'll put it in the middle and let's make sure we have anchor points entered. Let's open the rotation, wiggle. Three, five. So now it's going to wiggle. So this is the wiggle expression. Remember that the first one is the frequency, how often, and the second number is the amplitude by how much. Now, let's come to time. We'll literally just go ahead and copy this and we'll set it to rotation. Because we said time to 100, this is what's going to happen. It's just going to continue rotating. And the last one is loop in and loop out. Let's do it with precision. So I'm going to create a keyframe and I'm going to move it a little bit to the right. Now we're going to open the expression window. We need to type LoopOut. This is going to be the first one, Loop out, and then we have to put the quotation marks, and we have a couple of options here. We can either set continue. With loop out, it means that whatever animation we have, it's going to continue after the last keyframe. And pin, it means whatever animation we have will happen before the first keyframe. So as you can see, we have two keyframes. Loop out means it's going to be only after this keyframe. So it's only going to be here. With Lupin, it's only going to be here. So loop out, loop out, loop in. Let's see. So this is continue, and it's just continuing to go to the right. We have a couple of other ones. By the way, you can just delete this one, and it's going to give you the options. We have cycle. So let's see what happens. It just cycles. Slit this one, offset. Offset is, in this case, very similar to the continue. The difference is continue continues based on last keyframe speed, and offset repeats and adds motion value each time. And the last one is the ping pong. So ping pong just means it's going to bounce, just like a ping pong. So it just goes from this keyframe to this keyframe, so it goes like this and then goes like this, like this, like this, like this, like this. It just goes back and forth. And we can do exactly the same thing by just writing loop in. Loop in. And let's put brackets. Loop in, continue. And as you can see, nothing happens after the last keyframe because loop in only happens before the first keyframe. We continue. We have the cycle. Exactly the same thing. But now all the stuff happens before the first if frame. Now, unless you are coder, and even if you are, I still recommend you to don't learn this and just ask AI if you need some help. I'll give you an example. I needed to create this text animation. Let me close all of these. And I had some issues. Because I needed to save it as a mogurt to use in Premiere Pro. And you can see we have quite a lot of stuff here, but I wasn't able to match the motion at specific times of specific layers. I asked A GPT, I explained the whole situation and told it, Okay, write me a code, help me with that. And so we did. Now, if we take a look at the lib, I don't even remember where it is. This is the one. Nope. Oh, yes, this is the one. So this is the code that it wrote. And honestly, I don't want to know what this is because it hurts my brain. I would not be able to write on my own. And even if I was able, I'd be able to save just a lot of time for myself. So whenever you want to use an expression or you feel like it can be done, it's a great idea to just ask hATPT. Okay, why don't we ask hATPT to help us with this. I need you to help create an expression in after efect. I have composion that is 1920 by 102, and I have a square in the middle. I want you to write an expression and let me know where to base it exactly. It's going to move this square. Like it's going to jump around the screen, like all TVs that had a DVD logo on the screen, and this logo would just jump around the screen. So I need you to create expresion. Know where to base it and any other expressions. Let's see what it does. So this is what we did, created the composition, added this guy, and now let's see the expression. Okay, that's a lot. And yeah, I definitely would not be able to write it this fast. So let's give it a try. We copied it, and we need to paste it into the position. And let's paste it in. It does exactly what we told it to do. Okay. I like it. Let's make the composition like 60 seconds, so 1 minute will make it a lot longer. So let's just make sure that it continues to do it like this. Okay, great job. Now, the issue that we have is that this DVD player goes beyond the frames. So the edges of the square go beyond the edge of the composition. How can we avoid that? And oftentimes you do have to go a little bit back and forth with ha GPT. But honestly, it's always a lot faster than imagine how much time it would take me to write this script. Definitely longer than just going back and forth. And even before writing that to learn all of this. Okay, let's copy and give it a try. So I'm just going to Control A, Control V, paste. Oops. Paste. This is a lot from the future. As you can see, I had to go quite a bit back and forth with GPT for about 20 minutes, but we will get the final result, and you'll be able to see it now. Okay, this is the expression, okay? Mm. This is exactly what we needed. Like, I almost touches. Perfect. Okay, I'm not sure what we did exactly, but right now it touches the top and it doesn't touch it touches the top. It touches the bottom. It doesn't go beyond the frame, which is perfect. Now, let's make sure it hits the sides on the right and on the left. So we need to make the composition a little bit bigger to the right and to the left. Let's make it to let's try 800. Actually, if it just changes this one, maybe we can do it ourselves. Okay, we must do the opposite. So actually, let me just give it a try. So we had 12. So let's set it to 300. I mean, 1,300, 1,400. Maybe just 14 50. Okay, now, it does go beyond a little bit. Let's try 25 I still goes a little bit. Let's try 15? Oh, perfect. This is exactly what we needed. Okay, now let's see the bottom. Perfect. Let's see the top. Hmm. I think it doesn't touch just a little bit. But I think we can say it's okay. Maybe it doesn't touch every time, but Okay, I think we solved it. There you go. So we just needed to make the composition that jumps within a little bit smaller. And then, as you can see, perfect. Now, one thing we can also do is we can come here and we can delete the shape layer and we can draw. I think it's something like this. Well, obviously, actually, let's make a circle, okay? Let's put DVD right in the middle. We are going to make it bigger. Put it in the middle. Let's make the text black. Oh, yes. Perfect. So this is something you can do with expressions in after effects. Download Chat GPT, use it. It's absolutely free. It will help you. As you saw, it did take a little bit of time to really understand this, but at the same time, I'm explaining parts to you. If I was to do this on my own, it would definitely be a little bit quicker. If you have any questions, let me know. But other than that, give it a try and I will see you in the next video. 19. Rebuilding a Viral Short: Motion Graphics Music Video: Welcome. In this video, we're going to combine everything we've learned so far and put it into one video, specifically a music video. I found a very interesting clip online that I want to show you, and it's basically a guy animating text and the camera and the background, like, animating everything in order to make a music video, a super cool. So this is something I want to use as an inspiration and create a music video using motion graphics and text, and let's get started. And you will see in the video example, the camera moves kind of looking up first, and then it tilts down and forward. And so there's a lot of crazy animations, but in the beginning, it looks up. And the problem with three D and after effects is that if we create, let's say, like, a wall, it's one wall. There's no ceiling. There's no kind of bottom or sides. I was kind of thinking, how can we create this like 360 degree three D space. And I just asked Cha GPT, and it provided me a couple of websites. I think this website could work well. So it's a website with three D models, and I just tested. Everything works great. So we just download a model, import into after effects, and let's see what kind of options they have. Basically, I just need, like, a three D room, and I took a look at this one. Maybe we should just select this one or let's see the other ones. You're able to just first of all, you need to log in, which takes like a second, and then you will be able to use something like this because this person, I'm not sure if he used after effects or not. Let's see it again. So you will see that he uses a three D space like this, which you might have paid for. I have no idea, to be honest, but we will try to do everything for free. To be honest, I'm not sure if we'll be able to customize the colors of anything here. Probably not. I like this page because it's a little bit more close. So let's try to download this one. And for this, we need to After Effect, we need to download this file. So we'll just go ahead and download it. So let's go ahead and drop it here, then drop it here, create composition. Press Okay, and we can create a three D camera. Shift Option Kamanz, create a camera. I'm going to also create a null and connect camera to the null, just to make it a little bit easier. Make the null three D, and let's see. And now, as you can see, we are able to just move around. Okay, so we have our three D space just in case we'll be able to download some other ones as well. We'll delete everything here for now. We'll go to Premiere. If you don't have a premiere, don't worry. It's not a problem. I'm just going to show you to 99% of people who do have Premiere. So I'm just going to dragon drop a song that you can find find in the downloadable resources section. Drag and drop it here will create a composition, and we have to go into text. You can come to Window and have text open here. As you can see, I have a shortcut Command five, which can press and going to open here. So this is just a transcript of the text of the song that we're going to animate. Okay, perfect. So this is exactly what we're going to do. I'm just going to cut the song. Okay, so we're just going to do one line like this. You can do exactly the same, follow my steps and actually recommend you do this because you'll be able to just go ahead and follow the step instead of you having to just use your brain power. You can save it to just give it a little bit of practice. So one thing I like to do is create captions, and I like to create captions the maximum length to as small as possible and single lines. Basically, we're going to have one word per line, and that's it. We're not going to have, like, a huge text. So I'm going to create captions, and now I'm going to export these captions. So let's do export, export SRT, and now I'm going to create a folder where I'm going to save this. Press Okay. And we will use some automation to import this into after effect instead of doing it manually. So now we can come to after effects, and we can create composition 1920 by 1080. And now let's add our captions. So I'm going to press Command or run script, or we can do it here by coming to file, script, run script. And in the downloadable resources section, you will be able to find a script, which is PR two after effects captions. I'm going to open it. And now I have to find the exported SRT file and press on open. Boom. And we have our script, and by the way, we can go ahead and copy this just press Command C, and pas here, Command V. And we're going to have our song here in the background just in case we want to hear it. So we have our text. Waking up with the sunshine. There's 1 million reasons to smile, blue skies and sun in your eyes. That works for us. So now we will just need to animate everything. Okay, I'm going to run a script, and I'm going to use text Ivo to animate the text just to save myself a little bit of time. Let's use up opacity character. It took me about 3 minutes to do this. As you can see on screen, I'm just adding animations. We have a number of animations here, and just moving to the beginning of where the text starts. Now, we select all of this. Actually, we going to select these three and stretch it out like this, and then come here and press Shift Command D to cut these we have the selected, so I'm just going to press on delete and it's going to delete it. We are waking up with the sunshine. We have lots of text. And before we continue with any of this, let's disable it. So this is going to be the first part. Let's make it this fucha color, and let's try to import our background just to see what we have there. Maybe we'll be able to just go ahead and put everything there right now. There's dark background, and in order to get rid of the dark background, let's add some background as well, which we're going to keep two D, and therefore, it's not going to move, and it's not going to be affected by the three D camera. So I'm going to select everything, press on A, A, to just close. Going to create a solid, Command Y, and let's make it this color. You can just copy the same text and it's going to be the same color. And we have to put it on the background. So this is the way it's going to be. We can add some texture to it later, but to be honest, because we're going to have background blurred. We don't necessarily need that. The background is just for our imagination and a bit of practice and trying to replicate what the other person has done. Let's add another viewer. We can either add a view like this so that we have two views. So this is from the top. Okay, let's make our text three D. So now it's going to be here in the space and we can see it here as well. And let's select the text, press on P, and now we'll be able to move the text. Let's start with this, and let's move it a lot. Closer, maybe a little bit to the left. And this is what we're going to have waking. And obviously, we can speed up this animation. Also, I think we can what we can do is we can parent these to the room so that if we move the room around, it's going to move as well. Perfect. Now, let's put up somewhere. We'll just put it somewhere for now, and then we'll see how things go a little bit later. Okay, so we cannot sit really well. Let's move things down a little bit. So let's take a look at the original. Mmm. So each of the texts that he has or they have, whatever, has a little bit of rotation. So let's do this. We're going to add a little bit of rotation to each of these minus seven, seven, and minus seven. Each one is going to have a little bit of rotation. Perfect. Why don't we create a camera and we'll see what kind of effect we have. So shift option command C to create the camera. This can be one view, and this is going to be the active camera. We're going to create a null. We're going to parent the camera to the null. So once again to switch like this, either press here or press Command S or Alt S on Windows. Okay, so P, and we're going to make it three D. Let's use two views. Mm. Interesting, interesting. I didn't know this was the issue. We can only see whatever this background is, this room. In advanced three D. But in Advanced three D, we do not have gusan we don't have this blurry with the camera. So we only have it here. This is a bit of a shame, but we'll see. We'll see what we can do with it. Hm. Maybe there's a workaround and after effects, and I just don't know about this, but I'm going to use all the tools that I know of to create what we're looking for. So, unfortunately, we do have to delete delete the room, and we're going to use the classic three D. So let's change it to something like this, and we're going to need to change the camera focus. We might need to make the text a little bit bigger, say to 100. So we have one position of our camera, this, and then we have some other texts on the background. So let's set the position, the position, and let's use rotation as well. Which rotation do we need? Okay, here's what's been happening. I was trying to animate the camera with this text, and went through a ton of different options, different movement types, different easing, tweaking everything, graph editor. But no matter what I did, the camera movement just didn't feel smooth. I've spent over an hour testing things, adjusting curves, trying all kinds of variations. And yeah, everything you're seeing right now on the screen, that's over an hour of trial and error. As you can probably tell, I also added some extra animations later in this video, and you'll notice, for example, that the word smile moves in a subtle semicircle that's done using the path mask in after effects. I create a mask shape, and then I had the text follow that path. Actually, I decided to stop experimenting and did some research, and turns out the solution is pretty simple. So let me walk you through what finally worked. Okay, I did some research, and it turns out the solution is pretty simple, and we do have to use nulls. And basically, with nulls, we'll be able to customize things to make it super smooth. The problem with this is, if I open the keyframes, we have position go from one keyframe to another key frame. But what we want to happen is we want these key frames to sort of overlap, which is something we can do with a null object. And so if I delete this camera and I have to create another camera, and I have to create a null, put this no over here, connect the camera to the null, and now we'll be able to do some fun stuff. So let's change the position of the null, and actually, we have to make null three D as well. Now we basically have to do exactly the same animation and I'll show you what the difference is. Okay, here's our first movement. We come from here to around here. We can spread it out a little bit. And we do exactly the same thing AFN, F nine. But now we have to create another null. And so this is the animation that we have. We can open the graph editor, make it a lot smoother. So we can spread these out even more. Okay, so let's move this null here. And now the secret is to connect null number two to null number three or 122, doesn't matter in the names. And now you want to open this, make it three D as well. So now let's do exactly the same thing. So this is what we'll do. And then we want these key frames to overlap. So this one is still in the process, but we're going to start moving to the next one. So where do we need to be? We need to be here. So let's change all the rotations and everything. We just want to make sure things are in the middle. And then once we master this one, let's select press of nine. Select this, this, make it smooth. So now, you'll see that while this one is still in the process, we are already starting to move to the next one. This is how you create this very smooth camera. Exactly. So let's do this quick animation. And then we'll see where it goes. Make it smoother. Okay. So now let's see what we have. Let's select all the nulls, close them, and let's see what we have. Oh, this one, we just need to move it to start the movement a little bit later. Like here. Yeah, super smooth. And we can actually create another null and do exactly the same animation as we did. Mm. Sure, let's delete it. Let's do it from the camera itself so that we have the point of interest, the position here and we'll just start from a different. Okay, like this. Okay. Great. I really like where we got with this. Now we know how to do e smooth animation, and honestly, never thought it'd be done like this, but it's the way it's done. If you have any questions, let me know. But other than that. I'll see you in the next video. 20. Congratulations!: Congratulations. If you're watching this, it means you've made it halfway through the course content. I know we've covered a lot, so congratulations to you for making it to this point. And there's a lot more valuable content coming soon, but before we get to the next video, I want to simply ask you if you found value in this program up until this point, to take 60 seconds to leave you honest review. Of course, I will immensely appreciate this, and this will also help hundreds of future students in deciding the best program for them. So leave a feedback now. And of course, if there's anything I can help you with, please let me know in the Q&A section below. You're doing great. Keep going. And with that being said, let's get to the next video. 21. Social Media Transitions with Mr. Horse & Motion Duck: Welcome. In this video, we can talk about transitions. And with this video, we're going to use some third party apps because with transitions, of course, you can create them from scratch. But transitions are always just it's like classic. These do not change. And so what you can do is you can just use already created transitions, and that's it. Instead of you having to create every single time, you're going to save you a ton of time. Plus, you're going to get some extra stuff. So there are two third party apps. One is called Motion Doc, and the other one Mr. Horse. I recommend you come into this website, get started for free. There's no time limit or, you know, you don't have to put your credit card, anything like that. Just get started for free, download it and you'll get it for free. And the same with Motion Doc. Once you install these, come to after effects, and you'll be able to find them in Window extensions. You're going to have motion duck here, and you're also going to have animation composer here in the window. So motion duck animation composer. Let's talk about animation composer first. I can close this here and open new window floating, but then I'll always just put it to the right. Or in the vertical space, I have it here. Okay, so let's say we have actually, let's create a solid, have solid of one color, and we'll have a solid of another color. And we're going to have a transition around here. So changes from one to another. We're going to go to pre comps transitions. There we have the transitions, or we can just go ahead and search for them over here. So, for example, we have a glitch, which is this one. So I can search for a glitch, and I'm going to be just, you know, just in this window. So glitch, and they're going to have a glitch. So if you press on add, it's going to add in the middle, you have a cut, and this is what we have. Let's see. Okay, we have to render it out in real time. This is our transition. We can cancel it and we can take a look at other transitions as well like Swiss transitions. You can't really see this one very well here because of the backgrounds. But let me show you some of the other ones shake zoominFade I just becomes dark bright. These are pretty interesting. So there's some sort of animation happening, and then there you go. Rotate. All of these are super, super great. You just have to press and add. You can add a sound as well. Usually, I add sound in premiere, when I'm working with. And on top of this, you're good to get a ton of different other stuff. So, for example, text boxes, you can just go ahead, add it in, and this is what you're going to have. There you go. You can save a lot of time this way. Social media stuff like notification, a mouse click, shape elements, all sorts of interesting things. Just literally go ahead and click on Add, and there you go. Start to preset. So for example, if you have something just appearing on the screen, you can literally use all of these to do it. Just, for example, let's add a circle, and let's solid color. Okay. And what do we want? Like, let's use this one in and let's see. Yeah, it's going to appear. Just make sure to center the anchor point to make sure it happens exactly in the middle. So this is premiere composer. Let's talk about Motion Duck. I use Motion Duck less because honestly, premiere composer is just enough for me, but Motion Duck actually has some pretty interesting stuff here as well. So basically the same thing. Let's do animation in and there you go. You can add any of these typography presets. Also very interesting. So if we have some text, let's have some text. Let's put it in the middle. Actually, we can just get rid of these guys like this, this one as well. So we can press on in suck the layer in, and there you go. For some reason with Motion Doc, have a lot more in premiere. I'm not sure if it's a glitch. You can try it out for yourself and let me know if it worked for you. So instead of doing things manually, this is the way you can do this. I really recommend you doing it, especially for transitions like seriously to transitions by hand. This is going to save you a lot of time. If you have any questions, let me know. But other than that, I'll see in the next video. 22. Bringing It All Together: A Complete Motion Graphics Edit: Welcome. In this video, let's put some finishing touches to the project that we've been working on using transitions. We have our text animation appearing on the screen. Super cool. Then we have this one. And what we want to do is put the transition in between the two and change the background. This background, I think it works really well here. Maybe we can even change the text color to, for example, yellow. So let's go to properties, and let's edge it to something like this so that there's a good amount of contrast. Now, let's cut it up and slit, and let's create another. So there let's create a white solid. Let's put it at the bottom, and let's put it like this. And now here, we can do the opposite. We can have a text the same color as we had background. So like this. Now, instead of it just jump in here. By the way, let's see why it jumps. Okay. Let's add a transition, like we had in the video. So he has a transition from one space to another. In this case, it's just a slide. But when he goes down, you can see he has a very interesting transition. So let's add a transition from premier composer. So we'll go down composer. Let's add a swoosh. Actually, where's this one? It's this one. What's it called? We'll see what's it called here. Pan short. Okay. So let's add it to like this. Okay, we can customize it also. So let's do that. I decided to do a little bit less of the shake intensity. Color distortion. I don't think we see any color distortion here. So let's see what we have. Okay, and we'll press here to limit to this part. Okay? So what we can do is we can actually just move this up a little bit more like this so that it's more in the center. Now the last thing I want to do is actually a couple of things. I want to create the sort of highlight effect behind the text for think. So he has it here for T perfect. And I like to do it, too. So let's do it for the sunshine. I think it will work great. We just need to add a rounded rectangle. Or just a regular rectangle depending on what we want to have in the background. So let's throw it in. We'll have click this. Let's put it below the sunshine. And we're going to make it three D. Now, let's make it white, P. And let's put it in three D space. Now we press on R, as well. Let's do some rotational power, maybe S to increase the scale. Now, let's apply a linear wipe effect on this one, and let's to -90 And let's animate it. So we'll start from here, and then we'll end here. So we'll do it like this. Let's look from the top. Okay, so maybe we need to move it a little bit closer to the text like this. And maybe we need to change the color to this one. Actually, the color of the text. Let me double check. Like this so that there's more contrast. And let's move it just a little bit down so it's most entered. Okay, this is beautiful. Because we have the text, the same color as the background. We cannot actually see the text when it's already appearing here, or maybe we can see a little bit, but I cannot see it. And it looks like we're tract matching it. So interesting way we can achieve this. I didn't think about this. Hey, the last thing I want to do is add a little bit of three D things in the space. And by three D things, I mean, like little shapes flowing around like I did in this video, right? Like, these little three D shapes. So let's try to replicate that. He has circles. Let's try to do triangles. Honestly, I'm not necessarily sure how he does these sort of, like, flowing actually, these bubbles underwater because I think that's what's happening, although I've just noticed that let's try to use a lip stool, solid color. Let's apply glow to it, increase the glow radius, let's increase the stroke a little bit like this, and let's set opacity to a little bit less. Now, let's cut the contents, duplicate the lipstool, maybe place it in another position and duplicate and place it in another position once again. Maybe we can do it once again. Maybe we can decrease the actual maybe we can decrease the scale and move it in different places like this. And then after this, we'll be able to just duplicate it. So let's try, something like this. And now let's go to the Ms form position. And let's do a little bit of wiggle. Let's try two, 50. Let's see what it does. Okay. Now we just need to make a lot more of these. How can I randomize a position of layers in after effects, like I needed to be super random throughout 360 degrees in using three D camera. Not using the camera, but I'm using the three D camera, and I want things to be positioned in all different ways. Let's see what it does. I also have a wiggle expression there. So if I paste it below the wiggle expression, will it work? Actually, it's probably easier to just try it out than to ask GPT, but let's see. Okay, we go and let's put our two and 50. Let's duplicate it and copy this expression. Transform. Interesting, interesting. So we are on the right track, is doing it randomly. However, it's doing randomly sort of in one place. I wanted to do it throughout 360 degrees and also change the three D position, like all around so that it's close to the camera, far away from the camera, right, left, bottom, left to change its orientation so that it looks like it's on the ceiling, on the floor, things like that. Okay. Let's try this one. And let's use our two and 50. Well to let these. Now, let's so I think we are achieving the effect that we're going for. We might need to just go ahead and duplicate it once again. Hopefully my computer can handle it. Yeah, it takes almost half a second to load this. So let's bring it down a little bit. Okay, let's leave it like this. Yeah, actually, pretty good. Let's cut these like this. So a couple of different ways we've achieved the same effect or similar effect. Obviously for the background, we can also make it three D, but we need to as I told you before and explained, we need to create, like, a three D space. So I'm going to leave it at this for now, although this is something that can be done here as well. So let's export it and see what we got with the music. Waking up with the sunshine. There's a millions to Wow. Actually, it's better than I thought it would be. It's really good. Waking up with the sunshine. There's a There you go. If you have any questions, let me know better than that. I'll see you in the next video. 23. Real-World Client Edit Breakdown: A Professional Case Study: Welcome. In this video, I want to walk you through my client edits and just literally show you everything, the videos themselves, the organization, just like everything, everything. These videos have already been posted last month, so there's nothing I have to kind of hide and everything is open. So the way this works is I have a folder. As you can see, April 25, S is Sumner, and then we have PR downloads. And for each of the videos, there's specific folder for each video, and we have after effects, exports, and role. And I would literally just create a premiere project file, put it here, and then these folders are created automatically by premiere. Then I would literally just select all of these and just, like, literally put all of these in Premiere and these three and just drag all of it into Premiere. And I always start with premiere because I first want to just cut the video after it's been cut, I work on it and after effects and after after effects, put it back to premiere to work on the sound design. So let's take a look at some of the videos. And the way I do this is I work on after effects projects, and then I export after effects. I don't want to run the real time in Premiere. It's been working greatly for me. Recently, I started experimenting with keeping the dynamic link of after effects in premiere so that it plays live. It works kind of right as well. So maybe I'll start using it like this. But the way I did in the past also works perfectly fine. So let's take a look at exports. Let's take a look at this video. I studied it. I don't want to watch the whole video, but I can give you a couple of examples. As you can see, I keep the eyes on the same level, so his eye level is the same as all the other people that are coming after him. It's all more or less in the same level. And it also depends on the picture that I downloaded and I had to move it around a little bit, so it's not perfect. But anyway. So, motion graphics. Okay, this is the one. This is actually the one that I showed you, and we have a couple of these where it was just appearing on the screen and told you before that I had to go with TPT to do this automation. I can actually do it in premiere by using Motor graphics, but I do it in after effects anyway because I want to have more control over it. Then this part was done in after effects as well. So we have, is this a typewriter? It is a typewriter. Perfect. Yeah. So we have a typewriter, Mark Zuckerberg. This is done with a solid, and then you apply a fast box blur and just scale it out so that there's this haze, interesting haze. Okay. I mean, this is pretty much it for this video. So mostly with motion graphics, especially with my clients, a lot of the times it's them speaking or just some overlays, because motion graphics is a lot harder to do. It's a lot more expensive. And by combining all of these things, we're able to create video where motion graphic just supports the main parts, the main ideas or just when it's a bit easier to do when inspiration hits, there are many levels at when it happens. And as you saw, this one was pretty easy. There's very little motion graphics here. So let's go further. Did you know it? Okay, we have a little bit of animation in the background. You can see his head is just cut out with the Roto Brush tool and after effects. The same thing here. He's cut out, as you can see, it's not perfect. Like this edge here, you can see a little bit of his haze. And the stars I did myself with money. I didn't do it myself. I downloaded that from Invato. But stars is just stars. And then I believe these are animated with Premiere composer or Mr. Horse, not premiere composer. Premiere composer is in Premiere Pro, and that one is in after effects. Okay. Depends. Nothing interesting here, super interesting as well just like. Let's see what else we have. Okay. Nothing interesting here. Did you know there? Oh, yes. This one is pretty good. So we have different Emojis appear. As you can see, Sumner is cut out as well because his hand is in front of the Emoji. The interesting thing about Emojis is After Effect doesn't support Imoges. Premiere does, but After Effects doesn't in order to use Emojis, you have to download them as images. And there is a website, and I can quickly show you this website that's called Emoji two Image. So PEC this website, JpeCslash optimizer.com, and you can search for Emojis, and then you can download them. That's how I was able to do this video. And then we have this interesting animation. He's talking about the eight human building blocks, eight essential human building blocks, yes. And you can probably tell that these are the same emojis as here in the background. So literally what I did is created shapes, organized them, created animations. And then I parented the emojis to the backgrounds and just filled with black, and that's it. Like it's a simplest that. I actually pretty like the way this video turned out. Like, when you watch it, you don't expect so many things to move in these specific directions. But I think this video turned out to be pretty great. This part I did in premiere. However, recently, I started doing these kind of videos in after effects. I think because the way this works is you basically have to track MT. And you can track MT in premiere. However, it's a bit harder to do in premiere than after effects. So I started using this with after effects. I created a template. Pretty easy to do? Pretty good? Yeah, that's how it is right now. Okay, I did this in after effects as well. He's saying, You're being brainwashed, and I just use my imagination to do this. So I tracked I don't remember which part of his face that tracked, but I did some tracking. I think it might be the ears, and then just edit all of this. Some of the animations like these ones, Sumner and Ali, because they're husband and wife, they requested specifically to do this. They actually sent me examples of what they wanted to do. And this was very, very important because by sending examples, they let me know what they like, what they don't like, and it's a lot easier. It's like when you go to Barber and you just show them picture, it's a lot easier than just to explain what you want. So this is something that they wanted. And actually, there's no motion blue here. And if I added motion blur, I think it would be better, but there's but anyway, pretty good. Let's take a look at other videos. These. Top seven platforms. Nothing interesting here, as well, last year, we Yeah, the way this was done, just roster Brushing, putting the graphic behind him, I would say mostly in terms of after effects for this video, anytime you see a text that has a glow, it's after effects because in premiere, you cannot achieve the same effect. Starting mi? Oh, yes. But motion blur, it looks so much better. It looks a lot more expensive for motion blur on the background. So that's why we use it. Once again, something we've already discussed. So that's it for this video. You can take a look at some other videos as well. In the previous course that I created, I actually showed the breakdown of this video, and super simple to do, super simple motion graphics, but it really, really, really supports the video. I would do things slightly differently right now because when was done in April and right now is June. So almost two months, actually over two months. And actually, still a very good video, but yeah, a couple of things I would do better here. Mm. This was pretty interesting. So we have money up here in the background and then just goes down. I believe there's also sound effects. Yeah, this was pretty cool. I'm just trying to think of how I did this. We can either use a repeater. Repeater, I believe is only with shape players, but we can also turn the text into a shape layer. And by that, we can use the repeater or we can simply just copy paste and move things a little bit for the timing so that it doesn't appear all at once, and it appears one by one like this. Cool. Explain this one as well, previously, and this one as well. Let's take a look at this one. Oh, yeah. Wow, this was a lot. So once again, for Emojis, it's images. Then we have fire from Envato and money from Envato, as well. I think this is actually, I really love the way this turned out. The fire looks super, super great. Like, I love the way it turned out. The rotor brush is not perfect, but who cares? People don't even notice it, especially when you watch it for the first time. I really hope this gives you some inspiration. As you can see, there's nothing crazy. All that editing does is supports the video and with motion graphics as well. You are just trying to support the video. Like, that's the main part. You can definitely create video just out of motion graphics, and it's something I've done for myself. The goal with Sumner and with Ali isn't to create motion graphics video. It is to create video and so that people know them, learn from them, to build trust, and therefore, they can then go and get the cores that Sumner and Ali sell. So that's why it's important to show a lot of their faces, and it's not just the audio. That's how it's been. With Ali, I definitely use less motion graphics. I think with Sumner was a little bit more. Actually, let's take a look. Yeah. I mean, this is what I used, and then I believe Ali requested me to do something differently here. Yeah. And you can probably tell, as well. Some of the motion graphics do repeat and that's because I use templates. I used this timeline many, many times with them. Just to save a lot of time, this actually turned out to be pretty great. Oh, yes. This one was very cool. I completely forgot about this one. So this is like a Google Drive, sorry, Google calendar. It's actually a screenshot from Google. And then I created one shape that fit exactly. I just literally tried to replicate the way Google Google calendar looks. And then these animations, yeah, I mean, super, super cool. A little bit of Zoom. Zoom in Zoom out. Similar here. Oh, yes, I completely forgot about this one. This one. Actually I love this one. This was really cool to work on. It's only a limit of your imagination. And also, you will see that in order to keep the text visible on the background, we use, like, a background for the text. And whenever the background changes to orange so that instead of white becomes orange, I switch from green to just nothing over here. Yeah, this was super cool. Super cool video. Obviously, you might have some questions. Be sure to reach out. When there's more specificity in terms of the questions, it's a lot easier to help, so just be sure to reach out if you have any questions, but tell than that, I'll see you in the next video. 24. Sound Design for Motion Graphics: Audio-Visual Sync That Pops: Welcome. In this video, I want to talk about sound design when it comes to motion graphics. And you will oftentimes realize that a lot of the sounds that motion graphics does, like, these sounds do not exist in real life. And how do we go about this? Well, a lot of the times it's just our imagination. And recently, with AI, it became so much easier. We can just ask AI what sounds can work. Humans used to come up with the sounds and it was a little bit harder to do, but now that AI knows all of that, you just can buy and solve the information, puts it to you in a message and it's great. So let's think through, for example, we have this animation here that we've created, and we have a sliding animation. Because I created sounds for this so many times for, like, the moving lines, I know what sound works. It's like, either a pencil or a marker, something like that. So we can search for the SFX folter, drag it here, and actually let me take my headphones off so that we both can hear it. Let's search for a marker. Something like this. Let's give it a try. So it starts around, okay, around here. Actually, this one is too long, so it should end around here. We just drag it like this. Maybe make it smoother. Yeah, that's how you do this. In terms of the typewriter effect, you actually can use a typewriter or something that clicks. You can create it by yourself by going to premiere composer and searching for like a click. And actually, this is like a keyboard. So let's see where it starts. Here we'll use just the first sound. Okay, do it like this. Okay. This is a bit too loud, but if we were to make it not so loud, it would better. Yeah, we can do it this way or we can use something like a keyboard. Mm. They don't have a keyboard sound. Interesting. I thought they do. So search for a keyboard, keyboard, drag it in. Okay. Do it like this. Oh. Actually pretty good. So that's why I'm And let's use a typewriter effect. Actually, this is video. Let's do it like this. Then for the next line, we would also use a marker, but a marker that's probably a little bit longer. So we have two markers. You can use a longer one. Make sure find where it starts. Something like this slow down in the end. Perfect. And then we would do the same thing here. Something like this. You can actually also just record the sounds yourself. And that can work as well. Sometimes I believe I did that in the past, yes. The very best way to find sound design is, first of all, you'll be able to find these sounds in the downloadable resources section. The second thing is to go to Epidemic Sound. I've used Epidemic Sound for like five years or even more. It's absolutely great. If you go into the sound effects, as you can see in the very beginning, they have these, like, big themes, and then you can click on them, and then you can search for a lot more than like smoke and you can like somebody smoking, Babing, whatever. This is great. If this doesn't work for you, you can come to Pixabay Pix a Bay music sound effects, and let's search for something like Smoke. So Pixa Bay is free. Poof. Okay. I would say epidemic sound is better. They specialize. They have more budget because people pay for that so that they're able to invest, and it's better quality. Piga Bay is definitely a good choice to go as well if you're a little bit on a budget. In terms of other motion graphics or whenever you feel stuck, just literally come to HAGPT, ask it, and it will help you. You've seen me use HAGPT dozens of times, so I'm not going to show you, but yeah, JAGPT is a great friend. If you have any questions, let me know. But other than that, I'll see you in the next video. 25. Branding Basics for Social Media Creators: Come. In this video, I want to talk about branding and consistency. It's really important for creators or businesses at any levels, but it's especially important to understand for people who are just getting started. You probably just like me, in the very beginning, you want to reinvent the wheel. You want to come up with new stuff, and it's definitely it's great. If you can do that, and if your imagination can do that, that's a fantastic job. But it's also very exhausting for yourself. And it's not the most efficient thing you can do. I always try to reinvent the wheel with every video that I created, whether it was with motion graphics, whether it was with some other videos. It's just every single time I try to reinvent the wheel. First of all, you might burn out because of that. And secondly, it wastes a lot of time every single time, instead of having a consistent workflow, you're coming up with something. And the second thing is like guaranteed, if you come up with new stuff every single time, people probably will not follow you. The reason for that is because when somebody follows you on social media or your client, for instance, they follow for a couple of reasons because they like your style, whether it's just yourself speaking to the camera or your client speaking to the camera, whether it's the colors, the animations, things like that. And if you change that every single time, you're going with every single video, you're going to attract a new audience. So stability and consistency is super important. And Branding is also a part of that. So what is Branding? Well, when you think of Mr. Beast, you know, it's him. When you think of your favorite creators, you know, specific thing about them. So, for example, about the colors. If we think Mr. Beast, then it's his logo. It's this bluish logo of this beast. When we think festivals, that's also this blue color when we think Dud perfect. Well, in terms of the colors, for me, it's green because they had this interesting animation in the very beginning, dark and green or just, you know, we think about the five guys. If we think Carwow, we also think blue. So, yes, I do recommend whether it's just yourself or whether you're working with clients, is to keep the same colors. People like that, and it's easier for you because you can even create shortcuts for yourself. And instead of searching for new colors every single time, just press the same button, and that's done. You can save a lot of time for yourself. Secondly, when it comes to animations, it's using the same animations or using the same templates. And in the future videos, I'm going to show you a video on how to create templates, and how to reuse them. But let me quickly give you an example. So for some of my videos, I've created this template for myself, and if I open it in after effects, I always have this sort of old paper background. I like this background. It's simple, minimalistic, pretty dark. Like, it has a mood. And instead of me having to do it every single time, or instead of it being inconsistent, I just saved it as a template, and I'm now able to reset every single time. If you create an animation and you know you will use it in the future, or even if you don't know, I still recommend you creating templates or creating presets the same effects. It's always great to build a foundation and then build on top of that foundation. The way I like to explain this is your previous video and the next video and the current video are very similar to each other. So it's almost kind of the same video, in a way. But if we take a longer time period, so let's say a year, and we take a look a year before, we take a look at now, and we take a look at one year in the future. These videos are going to be different, like, completely different because you want to grow and develop and change things improve things slightly. It's not necessarily just changing for the sake of changing. It's improving a little bit by little bit. And one of my favorite books ever is Atomic Habits by James Clear, and he talks about the power of atomic habits that if you improve by 1% every single day, you'll be 37 times better by the end of the year. And if you become worse by 1%, you'll be almost equal to zero after a year because that's just that's math. And the same thing here. You want to improve a little bit, but keep the base the same, and you can change the base over time. But it's not like you change it every single video because that's just going to blow your mind. And it also makes the work a lot hardier, like, a lot, a lot harder. I had this problem quiet a lot in the past where things would seem like too good to be true, like, too smooth. And I think there's something wrong with things being normal. And so I would purposefully make things harder for myself. You know, why? If things are simple, keep them simple. Like, don't overcomplicate things, keep things consistent, keep things as simple as possible. You might have 1 million of ideas in your head, and that's great. Just make sure it doesn't do a bad service for you. The way I like to work, and a lot of the successful people in the field and just in different fields work is they focus all of their power on just a couple of small things, and they become so good at those things that they get really good results. So that's what I recommend, as well. Don't diversify crazily. Of course, it's your life. You can do whatever you want, but I always try to recommend create a base and build on top of it and create a very good base, very polished base. There's no such thing as perfect because you can always make something better, but just become a little bit better with everything. I know this video is slightly different. If you have any questions, let me know, but other than that, I'll see you in the next video. 26. Custom Logo Animations that Pop on Every Platform: Welcome. In this video, I want to talk about custom logo animations. And at this point, you probably already understand how Truex works and how any animations work. There are no shortcuts. I mean, there are some shortcuts that can speed up the process, but there are no overall shortcuts. Like, you cannot just jump and have a very cool animation ready. Like, you literally have to sit for hours and hours and work on it, animate every single piece and thing and think everything through and yeah, that's a lot of work. There are no overall shortcuts. However, if you have a little bit of a budget or your client has a little bit of a budget, I can recommend you a couple of websites for custom logo imins. So one of the websites is called Motion Ry. The other one is artist, and the other one is Invado. But however, you can see that Invato is currently available. So these websites are very similar to each other. Motion Ray, you have video templates, presets, motion graphics, slots, footage, voiceover, music, sound effects, graphic design, photos, plugins. Whew. A lot of stuff. With Art list, as you can see at the top, you have a lot of stuff here as well. And with Invato Invato there's as much as you can see on Motion Array. These websites are very similar to one another. I've used every single one of them. Invato is the most versatile. Motion array is the most creative, and Artist is the most cinematic. Okay? Let's do, like, this presets after effects. Let's do titles. For example, you like something. We come here, click and download, and that's it. Then you'll be able to have whatever it is that you download. It's as simple as that. And when you download, you're going to receive a folder going to look something like this. So let's come to After Effects. And for example, we have a tutorial, and they literally show you step by step on how to do stuff, and this is a custom animation that you can do that you can also customize later, but it's already done. So it can save you 2 hours instead of you having to animate this. So there are a couple of files, project files, the footage do not touch Font and music, things like that. This one was downloaded from Infatu elements. And let's take a look. So we have the logo reveal bright, and we have the dark one. So let's open the dark one. I'm not sure what the difference is between these two, but let's give it a try. So I'm going to open, and let's see what we have Logo reveal, render. Okay, this is the final one. So as you can see, it's pretty well animated, and then it eats a lot of the power of my computer, and it's already at the quarter. Mm. Interesting. So let's see. Let's play it. Wow, that's a lot of power. Okay, so we're going to have some sort of animation. I'm not sure what the black things are, but pretty sure that's not in the final render. And let's just come to the end. Maybe we can start from here to see what's happening. Mmm. Interesting. Okay, so we have the logo here and we have the text here, right? This is the text. And this is what we have in the final render. So we have the logo and we have the text. So if we were to change this, for example, for after effect and we can search for it. After effect icon. Okay, this is transparent and in good quality. So we'll give it a try. Let's put it here, okay, increase the scale. And Ooh. This looks very interesting. Oh, that's because I see why it eats a lot of power because this is three D, okay? And let's write something like After Effects effects. And let's see what do we have here. Actually, why don't we just render it out? So let's save it on desktop and render it, see what it does. I had to stop the video, and you can probably hear it on the background. My computer was about to absolutely explode. I'm not sure what was wrong there or, you know, whatever. It didn't explode properly, so I had to stop the video and open this one, and this one plays a lot faster. So this is the animation that exists. So why don't we give this right here? Literally, I just opened the other composition, which is the bright one, and I opened the FoligG one, as you can see here, FoligG. So let's open the composition text here. Let's change the text to effects, and let's change the logo. Okay, let's drop this one in. Just select this one. Main. Mm. Interesting. Okay, let's see, first of all, oh, it says logo stroke. So S, I want to make it a little bit smaller so that it's roughly the same size as that one. And I'm going to copy it because I want to keep it the same size, logo glossy logo. Okay, let's put it here as just This is logo here, okay? So this is what we'll do. Oh, this is great. Okay, let's see what it is. Okay, let's try to export this one, render it out. Okay, this one works perfectly. I'm not sure what was wrong with the other one. Maybe that one was like eight K. Who knows? Okay, and let's open it up and see what we have. Mm, this is really cool. I love this one. And if we added some sound effects, so there you go. It got some logo animation. So if you do have a little bit of a budget, really recommend you this. The subscription here, the pricing is everything at $25 a month or 25 euros, video templates. Depending on what you need, you can go ahead and check every single website. I have no affiliation with them. But if you want, you can find link in the downloadable resources section, or you can just go directly to the website. These website saved me a ton of time. I really, really recommend you use these. The interesting thing about is you can download and whatever you download, you will just have it taped on your computer. You'll be able to just continue using it. If you have any questions, let me know. But other than that, I'll see you in the next video. 27. Creating Motion Graphics Templates & MOGRTs for Reuse: Welcome. In this video, we can talk about templates and Mgurts. If you've ever been confused by this, we'll make sure this confusion doesn't exist anymore. I Mogurt and template is basically a synonym. It's just something Adobe came up with this interesting name, and I believe it's a short form version of motion graphics, mogert Motion Graphics. Template. Something like this. So that's why it's called Mogurt but it's basically a template. So a couple of things you need to know about Mgrits and templates. Mogart is something you can use only in Premiere Pro. And if you're going to use after effects to create anything, you'll probably there's 99% chance that you will use premiere to put everything together. Instead of you even opening after effects, you can do stuff in Premiere, and then I'm going to show you how to do that. The Mgart that was created in after effects can only be opened in Premiere Pro, and Mgurts created in Premiere Pro can only be opened in Premiere Pro. So whatever mogert you create, it will only be able to be used in Premiere Pro. In after effects, there is no mockery. There is a template. And I'm going to show you both. Let's create a composition. Let's create a text. We'll make sure to put it in the middle, and let's apply typewriter effect, right? Something like this text may be even faster. Text. Great. We can either go to Window and open Essential Graphics. We can either open it here, but I'm going to close it. And we are going to go to here, essential graphics. So let's come here. And by being here, we are able to create Mgards. But before we do that, let's come to our vertical workspace. Let's make sure we save this. Let's call it text template. And you are going to have now a template. And so now whenever you open it, you will just open this project. And this is basically a template. This is how you doing after effects. You can do all sorts of stuff, and then you can also have a project open. And then in the project, you can drag and drop the after effects file over here. So let's give you an example. So for example, the paper background that I showed you in the previous video, I can just drag and drop it there. You will see it will be open like this, and then I can just drag and drop and there you go. So instead of having to create every single time, you just have it saved and good to go. Whenever you add it here, and let's say I come to this, you know, I come here, and then let's do some changes. Let's Let's disable this. It actually doesn't change the original file. So this file, if I open just this project, it's not going to have any changes. So this is the way you can save a template for yourself. And then you can save hundreds of templates. One thing I can really recommend you do is to create some sort of images, add Imoges or add colors, whatever filtering method and organization method works best for you. Just use that one. I really like emojis, so you can see, I have this spiral blue emoji that I always use for after effects. So I know any folder that contains this, there's an after effect. Oh, let's create mogart. We'll come to essential graphics. Let's close this and we'll have just our text here. The way it works is whatever you drag into this window into Essential Graphics window, you will be able to later customize in Premiere Pro. So you need to think in advance, what is it that you want to customize? You can always create another mogart, but whatever you add here right now is going to be your mogart for the future. So let's drag the source text over here. This one is the name, and this one is the actual text. So if I change this thing to something like Hello, is going to change. But this one is just the name for this property. So we're going to have the text. And by the way, let's try to make sure it always stays in the middle. So let's go to Align. Let's make sure it stays like this in the middle and then we'll come to line. So now, whatever text we write is going to stay in the middle. Hello? Yes, it stays in the middle. Perfect. This is our text. And now we also need to add our either range selector. No, so we need to add this one. Keyframes on controls will be ignored in Premiere Pro when the composition. Mm hmm. Actually, let's try to delete this, and then we'll have the range selector, and we'll all I'm pretty sure we'll be able to customize it in premiere pro. So you do have to experiment a little bit with this because it's not always clear what part has what? So this is the start and the end. If we do it like this. Okay, we'll give it a try and we'll see how it goes. We need to give it a name, type, writer effect. Primary, we need to change the composition where it's going to happen. And let's export it and bring it to Premiere Pro. So yes, we need to save the project, and I will have to stop the video because it's not going to save it with the video recording. Okay, we're going to save it here, save. Include. Yes, you can set this. Honestly, I don't set this because it's about the fonts and it's about after effects needs to be installed. Honestly, I never use it. And for the keywords, you can set these. I didn't use this to be honest. Okay? So we're going to save, and I'm going to step the video. Okay, now that it's exported, let's come to premiere. Let's go to essential graphics and make sure you select a place that's going to have your motion graphics. So you can select you can just create a folder on your desktop and call it motion graphics. And then within that folder, you can create smaller folders like text, motion graphics, you know, shapes, motion graphics, things like that. Just to make sure you know where things are located. It's going to help you a lot. So let's present plus add an additional folder. This is where we saved it. Let's add this folder. Okay, downloads. And this is fact. By the way, let's create composition, so or in this case, sequence. Let's drag and drop it and keep existing settings. That's okay. But yeah, let's change the settings 1080 by 1920. And this is our animation. Now we go to properties and this is what we have. Interesting. So it's actually not animated in a way. So let's ask Sha GPT on how we can do this. I want to export a mogord from after effects, and specifically, it's a text with a typewriter effect, and it has animation range selector, and then it has the start animated. And I want to be able to change the start, basically the keyframes in Premiere Pro. However, when I added to the central graphics panel, it said that the key frames will be ignored, and there is a selector. Range selector in premiere, but it doesn't actually have the keyframes. So how can I create keyframes to animate this in premiere? Yes, that's exactly what I thought slider with the time expression because that's exactly what I did in the past with JGBT Animate the start. Not sure what it meant, but let's do it. Okay, so this is going to be at zero, this at 100, text. Perfect. Now we need to add expression apply slider control effects expression control.pression control. Let's fort expression. Slider control. All click the start stop watch in the Rnge selector. Okay, so let's copy this. I'll click the start stop watch in the Range Selector. Alt click paste this in. There's an error that says error line 13 property start of. So what do you need to put there? So we just need to change the names to something else, and it should work. Okay, what exactly do you need me to rename? Oh, slider control. This is what we need to rename. Okay, now everything should work. Okay, it doesn't matter what key frames we have here, and we can probably delete this one because we're not going to need it. Now we just add a slider here and it should work. Okay, so let's give it a try. Save. Let's export everything and add it to Premiere. Okay, we are back Okay, so we have the typewriter, and we have the typewriter, the second one. I'm not sure which one is which. And interestingly, one has two. Oh, we can actually just move the first one to trash. It might crash premiere, but we'll see. No, no, we didn't. Okay. Perfect. So let's open the properties. Well, it looks like I'm not able to animate the typewriter control in premiere. There are no keyframes for that. It's just once again, the same slider that I had before. Anyway, you can see that HAGPT is just not doing well today. It's glitching. So, you get the idea. You just go back and forth to HAGPT. It will tell you how to do that. There's definitely way to do it because I know, like, I've done it before. I just don't remember exactly how to do. You go back and forth, you save the mogurd, you add it into the graphics templates panel, and then you can also remove the folder. I'm not going to use this folder, so I'm just going to remove it. And that's it. You just go back and forth in after effects. As we've learned, you have to create a template, and then you'll be able to reuse that template every single time. I hope this helps. If you have any questions, let me know. But other than that, I'll see you in the next video. 28. Building a Motion Graphics Portfolio that Gets Attention: Welcome. In next couple of videos, I want to talk about career pathways, freelancing, finding your first clients as motion graphics designer. And the first thing starts with your portfolio because people need to see whatever it is that you do. There are a couple of things you can do. First of all, you can create something absolutely from scratch, use your imagination. However, I would recommend not doing that. Of course, I mean, it's your choice. You can do whatever you want. But I do recommend replicating something that's already worked well. So you can go on YouTube, on Instagram and just find what other people have done, find videos that have gotten views, or you can use popular influencers, see what kind of motion graphics people have done, and just try and replicate. That's the best way that I know. And I do recommend you posting that to all these social platforms. Make sure to leave your details everywhere because once you show some of your projects, and people see that, and they won't start working with you, but they cannot fight you, you know, that's a little bit of a problem. So make sure to fill as much details as possible about yourself on social media, practice, practice, practice, become better, and post things online. In next couple of videos, I'm going to show you some of the better ways to find clients. But in this video, specifically, like, I really want to tell you that you need to show what kind of work you can do. It is in a very high demand right now. So even if you're just getting started, you can still get some projects done for other people. So replicate styles or use your imagination. And if you have any questions, let me know. But other than that. I'll see you in the next video. 29. Where to Find Clients & How to Pitch Your Work: Welcome. In this video, I'm going to show you how to find clients and get paid for your work. There are a couple of ways you can do this, but the one that's worked the best for me is a website called it Job. This is how I get started, and this is how I recommend you get started. All you have to do is just have a YouTube channel, six videos, have Google account that's connected to YouTube Channel. I recommend you just create a profile. Optimize as much as possible. By optimize it, I mean, just fill in as much information as possible. I believe you do have to have at least six videos on your YouTube. So this can be your portfolio, six videos. And then go ahead, login. Literally go through every single step here and fill in as much information as possible, or you can come to the top, start filling your profile, boom, boom, boom, boom, boom. If you've already worked with somebody, perfect, because you can ask people to actually verify that you've worked with them. You can put their videos in, so from their channel, and they can also leave you reviews. Whatever videos you add, it will be shown here, how much work you've done in what order. And as you can see, I have not updated it in 2025 at all, although we've done, roughly 100 videos this year so far. So login and then come to jobs. And here you will see all the jobs. You can set it by categories sus a video editor. Here, sometimes it's just like super specific things like creating just motion graphics. Other times, it's a little bit more than just motion graphics. It's a little bit of other extra work, and there you go. This is I mean, you can see everything in front of you. Open, whatever job you like. Shorts editor. Make sure to read through this because it's really, really important. Then click actually open the link, click on Apply. Then next. And why do you want to open their channel? Because you want to find their name. So find their name. Or, you know, you can contact them even here. So this person does not have a name, and I would actually dig a little bit deeper. But if they did have a name, I would say something. Hey, their name. My name is Vlad. I am a video editor, motion designer, whatever your speciality is. Based on the description, I think we could be a great fit, say something. If there's something specific, they ask to write in the description, add it here, then let's say we do this, then link to one of your verified videos, then click on next, submit and this is just a numbers game. Before I got any success, I think I sent 60 to 80 different applications. I don't remember exactly, but roughly 60 to 80, and that's how I got my first client from this website. There are other websites like Fiber and apk. The coaches that taught me they recommended me not to use these websites because it's commoditized. However, I think with time, it's slightly changed, and you can definitely come here and you can publish your services here. So we can search for motion graphics. And you can see what people do here. You can take a look at other people in terms of the price of work. We're going to talk about that in the next video. Once again. You can come to this website, take a look. The one that I really recommend is Whitey jobs. I remember, and at that time, I did not have the skills to do this, but there was a famous fitness influencer, and he was looking to do motion graphics in the beginning of his videos, motion graphics with a little bit of effects and bral footage. And he was ready to pay $500 for an intro that lasts less than a minute. You can see you can achieve pretty significant results here. The results here are very, very different. You can also message and ask people to do work for them for free, or you can actually go ahead and just actually do some work for free for somebody. So actually, like, edit a video or create a motion graphic for them absolutely for free. Sometimes people do tests, like work, like test work. So do it for free, some do it paid. I did both for free, and I did both for paid and Um, you know, people are slightly different. One thing I would say is somebody who's willing to do it paid is probably going to be a better client than somebody who's not going to do it paid. A lot of people apply. Not a lot of people actually submit. So if you work and practice and become better, you will absolutely dominate this. Okay, let's get into the next video. Otherwise, if you have any questions, let me know, but let's get into the next video and talk about the financials. 30. Pricing, Contracts & Project Management for Freelancers: Come. In this video, we're going to talk about pricing, contract and project management. So first, let's talk about pricing. If you are just getting started, I think the price does not matter as much. All you have to do is to get some practicing. The more you practice, the better you'll become, the more you'll be able to charge. All you have to do in the very beginning is to get paid at least at least $1, right, so that you have a confirmation that this actually works and you just need to become better in order to get paid think it's important to view I mean, it really depends on your situation, but it's always important to view it not just from your point of view, but from the other person's point of view, as well. It's not just how much you want to charge. It's also how much value you're actually going to bring them. Whenever I was discussing any pricing with my clients, I always thought about, Okay, how much is this going to generate them? And I didn't know exactly, but I would kind of estimate at least a little bit. Okay, is this, are they going to break even? Are they going to get money, burn money? Like, what's going to happen? And it's always just about value. Are you going to bring value or not? This is the first thing. Second thing, about the contracts. I never had contracts with editing videos. Whether it's mostly motion graphics or just editing videos for social media, for long term music videos or for short form content, never had any contracts. And once again, it really depends. I just happened to find people that were trustworthy. And so that's how we worked, and that's how we still. Feel like you want to contract, that can certainly work. It's just something you have to discuss with the person that you're going to be working with. It's not necessary. As long as you know, you're going to be paid and they actually pay you and you have a good relationship, everything's great. Some people say that, yes, without a paper, you're absolutely nothing, but it really depends on the situation. I agree with both sides. Now, in terms of the project management, the way the whole process usually works is we do a little bit of communication through these websites like IT jobs. Then we finally agree to start working together. It's just basically like messaging back and forth. After that, they send me files through Google Drive, and then I'm able to download them, organize them on my computer, and then start working on the videos. If it's the videos that I create myself, then I just go ahead and record the videos, organize on my computer, and then start working. A very good website that we use in order to feedback for them to give me feedback and for me to receive feedback is called frame dot I. Unfortunately, I'm not able to show you this platform because literally everything that I have there is just projects with my client. So I cannot show you because the information is confidential. But you can search online. It's super easy to use. It's just like a platform, and you have videos there. You can upload videos there by just dragging. And then the client is able to comment, and I'm able to see the comments. And then we go back and forth, while I do the editing, they give me feedback, editing feedback, editing feedback, and then finally, I either upload videos directly to YouTube because I'm able to do that because there's managerial or editorial access, or if we're talking about, reels or Tik Tok, then I upload those back to Google Drive, they download the videos, and that's it. Obviously, if you have any questions, let me know if it's legal questions, I would not be able to provide legal advice. I'm just sharing my experience with you, and I hope it really helps because if I was to hear this couple of years ago, this would really, really help me. Okay, if you have any questions, let me know. But than that, let's get to next video. 31. Minimalism in Motion: Less Visuals, More Impact: Welcome. Over the next couple of videos, we're going to talk about minimalistic motion graphics. And in order to do minimalist motion graphics, let's go through some important aspects. So minimalist design is centered on simplicity, clarity, and purpose. Here are the core principles. Less is more. In my opinion, it's the biggest lesson you have to learn. It has to be as simple as possible. So strip away the necessary elements. Number two, clarity and focus. Minimalist emphasizes what's important. Once again comes back to the first point, less is more. Use of negative space or white space, once again, comes back to the previous point, which comes back to the first point. When it comes to minimalism, the empty space is not wasted. It's used to give room to breathe, improve visibility, and guide the eye. Number four, limit color palette. Once again, comes back to number one, which is less is more. Stick to a few harmonious colors. Often minimalist designers use neutral tones with one or two accent colors. Simple typography where we use one very good and readable font, functional design where every element should have a clear purpose and enhance usability. Number seven, grid and alignment. It brings order, balance, and harmony to a minimalist design and consistency in spacing, colors, styles. In my opinion, the biggest lesson out of this is less is more. You want to make it as simple as possible. And by doing this, oftentimes the other ones will come as well. Okay, now let's give it a bit of practice. First of all, I'm going to use this paper background, which is a template, which you can also find in the downloadable resources. It's the one I absolutely love, so let's drag it here and let's drag the paper position. When it comes to minimalist design, I always think about lines. So let's start with creating lines. Press G to open the pentl. Okay, we'll start with the line at the bottom, and we're going to go up. Then we'll add another line here and another line here. And pressing shift at all the times. And let's make sure this is roughly straight. Okay, I'm using shift in order to make it look down exactly like straight down instead of it being a little bit at an angle like this, let's enable the stroke, disable the solid feel. Ah, I already looks great. I love it. Okay, we can make it a little bit thicker. Let's maybe put it to four, and by the way, we can click on this button here in order to get rid of the blue highlight that choses the shape. Okay? This works great. Let's put it back. Now, let's open the shape. Let's go to taper. And now I want to minimize the start so that it's very thin and elegant, and the same will do for the end. And now we are going to add trim paths. So let's add trim paths, and we're going to animate the end. Like this, and then we're going to animate the start as well. So let's start with the end. This is the final, so we'll put it there, and this is how we're going to start. Then we'll do the same for the start, and here we'll put it to 100. Perfect. Now, let's select F nine, go to the graph, select it, and smooth it out. We don't actually have anything happen on the screen because we have both of these moved the same time, so we need to move one further away. Maybe like this. So let's see what do we have. Oh, yes, this is great. As we've talked a lot about consistency, let's add another shape, another animation, and let's keep it consistent. So we're going to add a circle like this. I'll make sure to adhere. And let's make sure that we move it to around here, the color, let's put it to white. And let's just double check that our line and our circle, the stroke width is the same. It's at eight. Now, we need to add trim paths for this as well. Actually, what we can do is we can just go ahead and copy the trim paths from this one onto this one. And let's see what we have. Mm hmm. Yes, I like it. Now, we need to do taper because we did taper. So we need to go lips, stroke, taper, and we need to set ten for both the start and the end. So let's see what we have. Beautiful. And I think we can actually so let's rename this to line and this one to circle. Why don't we copy this circle. Actually duplicated by pressing Command, pressing command, as well. So let's open the P here and move it a little bit to the right, maybe not as much. Something like this. Now, we need to change the position to put it around here and at the top, as well. So let's see what we have. Okay? And I want the top circle to start a little bit later as this one approaches. So around here, actually maybe around here. And then I want this to go in the opposite direction. So let's presson you to open these animations. And now, basically we just need to change the keyframes to be to go in the opposite directions. So we select this and this, move it around here, around here, I'm moving them this way in order to keep the same animation by making sure it is consistent. But now, if we open the graph editor, we'll see that it's actually in the opposite direction because we move the keyframes around. So we need to press F nine again to make it actually select F nine to make it smooth once again. So if we select this, go here, you'll see that it is smoother again, instead. So, how it was and how it is right now. Okay, I just realized I was doing it for the second circle. So let's just press on Command Z to make sure we just go back to where we were in this circle. Okay, press you here, select these these Okay, let's see what we have. And I want this one to start when this line approaches. So let's move it a little bit further. Something like this. Mmm. I like it. Now, let's make sure that things are centered well. So let's open the line. Let's open the path. Press Command R to open the rulers. Let's add rulers here, okay? This is almost perfect. We just need to move this one to this line. Perfect. Okay. Now, we know that these guys are exactly in the same position, so that is great. Everything is pretty much centered around here. Now we just need to make sure that we have the same amount space here and at the bottom, and it's positioned in the middle. We'll make sure that the circle at the top is going to stay in the middle. So we're going to parent everything else. To the circle in the middle. And now, all we have to do is select the circle three, put it in the middle, and the other ones are going to move to the middle, as well. So we know that this circle is exactly in the middle. This one is a little bit to the left, and It's fine with us. Okay. And now let's make sure that we have everything visible. Let's press P on circle number three and move the whole animation down a little bit. Okay, let's see what we have. If you have any questions, let me know. But other than that, I'll see you in the next video. 32. Typography in Minimalist Motion Design: Welcome. In this video, let's talk about typography in minimalist design. Present T, create text, and let's write minimalism. Let's Make it a little bit smaller. Put it in the middle. Let's make sure it's centered like this, and we could end it here. I think something that works really well with this colored background is this color, it's called charcoal, and it gives an interesting mood. One of the best things that I've learned about typography is you can keep the text squared. So, for example, this is our text. Let's make sure it is centered like this. So we have the text. Actually, let me make it smaller so that I can see typography in minimalist design. And here's what we can do. We will delete these spaces because if you keep the space, you know, this space here and it moves the text a little bit to the left, and if I delete it, to move it to the right. So let's make sure we don't have any spaces. Perfect. You know, actually, this would work really well. We could make this a little bit bigger, right, typography in minimalist design. We're just keeping things symmetrical, simple, we don't have any other stuff. But an interesting thing doing after effect is you can select the text, sect it here. So we have our text layer with a lot of text and we can change the font size of every single text. So we can make it this big, a little bit bigger, one, two, five. I'm looking at this edge here to make sure it is exactly the same. And now we can also increase the word design so that it fits like this. Perfect. Now we can move it down. And let's move this one down a little bit as well. Let's make sure we keep the same distance between the words here. And this is one of the best ways you can do this. Very simple, very organized. Of course, we can increase the space between the text a little bit more to give it more room to breathe like this. But really, a lot of it is just personal taste, and let's make sure we keep it centered. Perfect. I absolutely love this. One of the best ways to animate the text. And if we were to add a simple animation, I would literally just put a typewriter effect, and that's it. So this is what we can do. Select the text. Type prior, and I'll just put it to the beginning. Typography in minimalist design. Oh, I love this. If you notice for the text, I also have this option selected, all caps because if I disable it, this is what happens. And I don't really like when that happens. I like the text to be all the same. It's it's a lot more balanced this way. This font is called task or grotesque. 7,700 semibald. There are different variations of this font. You can find it online. I also believe it's one of the best fonts that just overall exist. So yeah, with text, it's very similar to overall minimalistic theme where you want to keep things as simple as possible, less is more. This is what we have. If you have any questions, let me know. But other than that, I'll see you in the next video. 33. Clean, Simple Animation Project: Welcome. In this video, let's combine everything we've learned about minimalist motion graphics. First of all, we are going to turn this into a horizontal workspace. Press Command K, and let's do 1920 by 1080. For the background, it's okay if we just scale it in or we can press Shift Option Command H, scale it in, and we will move it down like this. First, we're going to create a line and a line that starts around here. Let's drag it in like this. And I want to make sure it comes here. Let's do something. We already down stroke, taper. Let's add trim paths. Let's animate the trim paths. Like this. Let's at the start to ten, as well. Once again, we're making it a little bit smoother. F nine. We can make it even more smoother like this. Okay? Let's see what we have. Perfect. Move it a little bit further away. Now, let's add our text. Let's make it a lot smaller because it is a little bit too big for us. Make sure to put it in the middle. Actually, let's center it within the frame like this. Now, with the shape layer, let's set the path, press on G, and let's move it to something like this. Maybe we can stretch it a little bit more. Now I want to duplicate this line, put it on top, and let's select the path. Like this. And now I want to completely change this path. I want this path to let me select it. Actually, let me press V and select it. Let's change it to something else, and we'll change this one. Be like this. Now I want to make sure that we keep it centered. Okay, let's add the typewriter effect to the text. You will put it make it a bit faster. Okay. And we want this animation to start as this line reaches it. Motion graphics, and then we want to see these keyframes. And then as it ends, it starts a little bit slow. Just move it bit of left. This one starts a little bit too slow, as well. Move it to the left. Okay, now we need to make the composition height. Let's put it to 3,000. We will do this for now just to see what we have on the screen. Actually, we can make this line a little bit further. Let's drag it until around here. Out like this. By the way, I just pressed option in order to have these things open up. So we'll just put it there. It's duplicate now motion graphics, put it on top. P Let's select all the layers, press U to see all the animations. So when we have motion graphics, then this thing comes, and I think we need to make it a little bit longer because this line is longer. Now we'll just use this one to start around here. Okay. And now we just need to finish this line. Duplicate this line again. Put it on top. Let's see the path first. By pressing G and pressing command, I'm able to delete the key frames. So right now, I will be able to just person P, move this one up, and disappear. Like this. Okay? Now we just press on U. Select these keyframes, move them like this. Okay. Okay, this looks great. Now, let's connect everything to motion graphics. So we'll parent this to motion graphics like this, parent it to motion graphics, and we'll move it. Down. Okay, perfect. Okay, now we want to make sure we select everything and precompose it. Okay. And now, for this composition, our height is going to be 1080. And now we see the animation. So now we just need to press on P, go down to the point where it starts. Okay. This is where it starts. So we'll do something like this. And then we can put a keyframe as it starts moving down, we'll put another keyframe and make sure this one is in the center in after effects. Okay. Let's see this animation. Obviously, it's a little bit rigid, but we can make it smoother. I think I would prefer for this to be a little bit smoother. I want this animation to last a lot longer. This path, this white path, second one. Okay, when it reaches, now we can just move these keyframes a little bit further away. So let's see how it goes. Okay. Now we can also make this by selecting these key frames a lot smoother. Actually, doesn't have to be so sharp over here maybe like this. Okay, let's see what we have. Motion graphics. Mm, yes, I like it. Okay, let's render it out and see what we have. Motion graphics and after effects. Oh, yes. Perfect. There you go. Minimalist motion graphics. If you have any questions, let me know. But than that. I'll see you in the next video. 34. How to Plan Your Capstone Video Project: Welcome. In this video, we can talk about planning your CapsmPjectF in to come up with idea, and a great inspiration of ideas can be social media. If you are social media, then your feed is filled with the things that you like. So use that as inspiration. Use your favorite creators, influencers as inspiration. And hopefully, were inspired by this course and you can use some of the things from this course, or you can completely go ahead and just replicate one of the things that we did and that can be a caps on project. There's absolutely no pressure. All I'm asking you to do is to practice. If you get a little bit stuck, first of all, you can always reach out to me, but secondly, you can use HAGPT. ChaGPT has all the information that has ever existed and that is currently existing, and you can just go ahead and ask it, and it will provide you with ideas. If you have any questions, let me know. Better than that. I'll see you the next video. 35. Executing and Editing Your Capstone Project: This video, let's talk about executing and editing your capson project. You know how to create a video. You know how to export the video, and that's all you need to do. Literally, just go ahead and edit the video, and then you already know how to export. Use our Exporting Preset, export the video. If you want, you can come to Premiere, do a little bit of audio or if there's anything else you want to add, then go ahead and do that in premiere. One tip I will give you is give it 24 hours before you share this video. Oftentimes, especially in the beginning, People, just like myself, get overwhelmed. There's a lot of information and you just cannot remember everything. So give it 24 hours, just completely forget about it, and then come back, watch it with a fresh head. And I'm sure for a lot of you, you have new ideas come up and you'll be able to make the video just a little bit better. That's all that's needed. You know, make it just a little bit better and better for you. The word better for different people, it means different things. Whatever better means for you, do that because all you need is to practice as much as possible. If you have any questions, let me know. By than that, I'll see you in the next video. 36. How to Publish Your Video Projects: Welcome. In this video, I want to quickly show you how you can submit your project. So this is the predecessor course. If we scroll down, you'll see that we have some of the projects here. So, in order to submit a project, just click on Submit Project over here. So you can paste a link over here, and you can paste a YouTube, Vmeo or other video links. I actually recommend using Vmeo. The way you can do this is just search for Vmeo literally just join, login. You get some free access. So I think there's like 5 gigabytes maximum and 500 megabytes of uploads per day or per week, something like that. So plenty enough to upload this project. Then go ahead, just upload it here, add the link, add the title, or just say something like a project. And if you have a little bit to share, it would be great if you could add a little bit of a description. It doesn't just help other students to learn from you, but it also helps me to learn from you. Go ahead and send it, make sure it is not private. Otherwise, you will be the only person that can see it. Then go ahead and publish, and that's it. If you have any questions, let me know. But that, I'll see you next video. 37. Last Step!: Congratulations. You're nearly 100% done with the motion graphics for social media course. There's just two small steps you need to do. First, take action. As Confucia said, a journey of 1,000 miles begins with a single step. So if you haven't already, take your first step by creating your first motion graphics. All of the best information in the world means nothing if you don't act on it, and even small steps lead to massive outcomes. Lastly, if you found value in this program, I would really appreciate if you could take 60 seconds to leave you honest feedback. I will be immensely grateful to you and your feedback will massively help future students in deciding the best course for although this course is complete, your journey has just begun. I am so excited to see you edit online, so be sure to keep me and your fellow students posted. Remember, I'm here for your success. So if there's anything you need, be sure to reach out and in the section below. Thanks again, features me as your instructor, wishing you all the best and looking forward to seeing you in future courses.