After Effects Transitions: Master Scale, Rotation, and Shape Effects

1. 1 Class Introduction: Ready to make your admissions feel smoother, more dynamic and far more professional, welcome to after effects transitions, master scale rotation, and shape transitions. My name is Eule. I'm creative designer, and I'll be your guide on this exciting after effects journey. In this class, we're going to dive into the creative world of transitions and learn how to build eye catching transform and shape based transitions inside after effects. You've ever wanted to make your scenes flow better, your motions feel more intentional and your edits look more polished, this class is going to help you do exactly that. You'll start by understanding transitions and transition effects, then move into powerful techniques like Zoom and mutation transitions before exploring creative ship transitions that can give you admissions a clean, stylish and professional finish. Class is also part of my larger after effects Skillshare series where you build your skills step by step as you grow into confidence and creativity inside Adobe After effects. So this lesson fits into a much bigger journey, designed to help you become stronger and more versatile with motion design. Whether you're learning for fun, for content creation or to sharpen your professional skills, this class will give you practical techniques you can start using right away. I'm excited to have you here. Let's jump in and start creating some amazing transitions together. 2. 2 Class Project: This class includes two exciting projects designed to help you practice what you've learned and turn these transition techniques into real creative work. For Project one, transform transitions, which we will cover in video four. You focus on creating transition effects using transform properties like skill and mutation. This project will help you understand how to build motion that feels smooth, intentional, and visually engaging. Then in Project two, ship transitions. Covered in Video five. You will create transition using ships to produce clean, stylish and creative scene changes. This is a great way to practice designing transitions that feel modern and polished. These projects are a great opportunity to apply the techniques from the class, strengthening your after effects workflow, and building confidence by creating something practical with your own hands. Once you complete your projects, be sure to upload them to the class project section. I'd love to see what you create, and sharing your work is also a great way to track your progress and inspire other students in the class. Take your time, enjoy the process, and most importantly, have fun creating. 3. 3 Getting started with Transitions: Hey, welcome back in this video, we're going to learn about transitions. We're going to talk about transitions. We're going to talk about the types of transitions and what they really are, and how to use them in our videos. So a transition is basically an effect. You apply mostly in between two scenes, or in between two videos in order to increase the visual appeal. Going from one video to another or going from video A to Video B. Okay? So that's basically the simplest definition of a transition. There are different types of transition, and they can come in different ways, in different flavors. Okay? They can come as transitions that have to do with transforming our layers. Okay? We can call those transformed transitions. We have effect transitions which come in form of effect. We have lots and lots of transitions. We have the simple ones, we have the more complex ones. We even have ship transitions, and we're going to really look at a number of them in this module. Now, I'm just going to go to my browser. In my browser, I've gone ahead and tad vital.com. So just create a new new tab and then just type in vatu.com, and it's going to bring it to Envato. It's a very popular website and it's used by creators, video creators, graphic designers and so on and so forth. And what we want to do here is go ahead and search for Zoom transitions. So let's search for Zoom transitions and kid Denta. These are the results I get for Zoom transitions. I just want us to look at some of them because they give us the ability to preview the preset, even though they are meant to be not free, but we can at least learn from them, let's start with this one. Let's see this one, slide Zoom transition. So open it up and now let's just play decency. You can see how the Zoom transition is happening, right? Yeah, they've gone ahead and added some more beauty to it. I cannot just Zoom. Now, let's just go back and see others. All of these half sound, you can enable the sounds. What did I hit? I think let me just go back. Yeah, so we can tell how really nice this one looks. There are lots and lots of them. I will advise you to just go in and see for yourself. Now let's look at other types of transitions. Let's just type transform transitions here, transform transitions. Yeah, and let's look at some of the results we have. Oh, you know what? Instead of transform transitions, let's type in rotate transitions or rotation transitions, whatever. Yeah. So let's look at rotation transitions. Here, guy, so we can see how they really add that visual appeal to our video. They are happening in between scenes. They basically happening in between scenes. Let's look at this guy and see the flip transitions. So this is an example of what we call a transformed transition pleat. Yeah, very nice, very nice. This is an example of what we would call transformed transitions because it basically has to do with our transform properties. It basically has to do with our rotation, our flip, this and that you get. Now let's look at other types of transition. Let's see let's just type transitions and see how crazy designers can go with transitions. Let's look at this guy glitch transitions. Yes, guys, yes, guys, yes, guys. Absolutely amazing. You can see absolutely amazing. Let's look at one last type of transition. Let's look at ship transitions. So ship transitions. Let's look at this one here. But Yeah, yeah, yeah, yeah, incredible work. So there are lots and lots of them, okay? Lots and lots of them. You can basically come here and search for inspiration as well, okay? Let's look at this one. Yes, guy, so you can see that with these transitions, basically, your imagination or your creativity is your limit. So that's transitions for you. Let's go ahead and try out some of the default transitions we have here in after effects. So I'll go ahead and bring in these two videos, that's Green Landscape one and Greenlandscape two, bring them in, that's in the transitions folder and import them. I'm going to create a new composition, hit okay, and bring these two videos in. So transitions usually will be applied at the end of one video going into the next video, they can be applied on the video. Some of them can be applied on adjustment layers, so it all depends on the transition and what you want to achieve. It all depends on the transition and what you want to achieve. So let's just let's just have them arranged like this, they have to overlap like this. Now, select the first one and let's go to effect and go to transition. So you see we have transition effect. Now let's try the first one, which is block dissolve. And for this guy, as soon as we add it, we are not going to see anything happen, but we have the options here. And then for every transition there is usually this transition completion slider which completes the transition. So we can go 0-100 and you can see that we are basically fading out of our scene. So at this point, at the point where you want to be at 100, you want to have the other scene aligned properly so that this first scene fits into the other scene or the next scene. What you want to do is select the first scene and then come to a point like this and maybe make this zero, create a keyframe and then go in time and make this 100 so that we have it looking like this. S going from one scene to another. That's the basic concept of transition. You're going from one scene to another and there are a lot of them lots and lots of them gets really complex. As you go deeper. Now, select this guy and come here and let's look at some of the options we get here. We have the block width. If we do this, you're going to see that the width of the blocks, which it turns our video into increasing is increasing. And then we have the block height, which also increases the height, so we see what we have. So if you just turn of soften edges, we're going to see that we now have actual blocks. We have actual blocks and we have actual edges, okay? So we can see that we can now have what we had before looking like this. You get because we've removed the soften edges, and we've basically messed with our block height and our block width, okay? It all depends on the effect you want to go for. It all depends on the effect you want to go for. You can go for something like this and then just have it transit into the next video like this. Incredible. Yeah, so that's the block dissolve for you. Let's delete the block dissolve and add the next effect. Transition, let's look at the CC jaw transition. Now, this basically does this, does this. You go from one video to another like this and we have the center which basically helps us to properly adjust the positioning of our block of our jaws, and then we have the direction which we can use to rotat our jaws. You can go from this to this. Then we have the height. Let's make this zero, so we see this properly. We have the height, we have the width, and then we have the ship. This is presently set to spikes. We have the Robo jaw, does this, which creates this robot jaw. Then we have the blocks which does this. We can have transiting from this video to this video just like this. Okay. Then we have weaves, which gives us this effect. And all of these are animatable, of course, you see that we can achieve really complex stuff by animating several properties of this effect. But that's the CC Joy effect. Let's delete it and add the next one, which is the CClts wipe effect. Let's go ahead to transition and then add the CC light wipe or a light wipe, not light sip, light wipe. And for this, we're going to be able to do this kind of transition. Let's adjust the completion and I see. We are transiting from one video to another by creating this light wipe. It's really intense light that opens up and reveals the next scene. So of course, emit or create a keyframe on your completion, and then come further in time and make this 100 so that we have this incredible. Then, of course, we have different options. We have the center, which will help us control the positioning. We can do this. You can position it here. Come down just like this. Then we have the intensity, you see the intensity of our light increases. Then we even have the color of the light. Change the color of the light if you want. Do this. And then we have the shape of the light. We can mix the shape and emit like doors. So we have this ming like doors can be the square. So we have this incredible. Then we can reverse our transition, so we can reverse it to have the opposite, so we can have this instead. Just this how incredible that looks. Delete your light wipe transition and let's look at one more or two more. Let's look at the scale wipe effect and then transitions, and then the scale wipes the skill wipe, T is the skill wipe, and let's see what this one does. You see this is what this one does, it stretches our image from positive to negative or from negative to positive, whichever way we want to do it. For this, you'll be creating a keyframe here, create a keyframe here, come here, stretch your image, and we can admit as well for the center and also our direction. We can, of course, create a keyframe here, come here, then basically move this remove this can even do it manually. We can do this. Create this transition. Then we have direction direction. You see our direction, can go 360 degrees. All of these are unmitable of course. Isn't that incredible? Now let's look at the last guy because we don't want to spend forever in this video, go to effort transition. Let's look at the gradient wipe. And this is what we get with the gradient pipe. I just transits from one video to another, in this kind of gradient form. And we have lots of other options. So we can make this zero. The keyframe. Come here, and make this 100, so we have this. Incredible. Hit for keyframes and let's look at other effects. We have the softness. You can make the soft, you reduce the softness or increase it. And we have these other options like the gradient layer. For now, it's set to the layer, that's the particular layer we are transiting from. And then the gradient placement. You can experiment with these for yourselves. But that's the gradient effect for you, the gradient wipe transition rather. And that's basically how transitions work, and that's how we would use them on video. And we have lots and lots of other transitions, let's look at some of the other ones. We have lots of them here. You can go ahead and see them for yourself. The Venetian blind is a really nice one as well. And our transitions are not limited to the transition effects, right? We can do so many other things. We can add so many other effects with transitions to make this thing as complex as possible. So it's not just limited to our transition effects. We can add glitches, we can add color channel shifts, we can add a lot of other effects which we've looked at, okay? So that's basically transitions for you in a nutshell, and that's it for this video. In the next video, we're going to dive a bit deeper into transitions. So see you in the next one. Bye bye. 4. 4 Zoom Rotate Transition: Here, welcome back. In this video, we're going to learn how to create an incredible Zoom and routine transition, okay? This is a very beautiful transition, yet very simple to create. Now, let's get into it. I'm going to go to my full dog and bring in my two videos, my green landscape video one and two, import them. I'm just going to create a new composition 1920 by ten P, it okay. And then bring in my two videos into my composition, and I'll just position them properly. Now, I'll just, first of all, control shift to cut this guy here so that we have it come like this. Maybe I'll just do this, okay, so that we have it come from here to here. And then we now have our second video. Okay. And then I'm going to actually cut our second video here so that we then transit back into our first video. So we're actually going to be creating two versions of our Zoom and route transition. Okay? So do this and yeah, so we have this. We have our videos arranged just like this. We have the first guy, the second guy, and then the first guy. Okay? So we have them just like this. And I'm just going to select the first guy hits and scale this down while holding down control, just to the size of my composition. Do SM to the next one, hits scale it down to the size of my composition and do SM to the last guy. Yeah, perfect. Now the next thing I'm going to do is create a new adjustment layer, create a new adjustment layer. And I want to have my adjustment layer here. Okay? The first thing I want to do or the next thing I want to do is come to my effect and preset panel and type in the transform effect. Yeah, so we have our transform effect added, and I just want to go ten frames. How do I go ten frames? I can go frame by frame by holding down Control or command on the mark and then using my arrow keys to go from one frame to the next frame to the next frame up to ten frames, okay? And I can also hold down Control and Shift or command and shift, and then use my arochy to actually go ten fims. Okay? So this is easier. So I've gone ten frames, select my adjustment layer, Control Shift D or command Shift D and delete the s and then come back here to the middle and before I come back to the middle, I just want to create a key frame on scale and rotation, okay? Just at the start of our adjustment layer here. And then I just want to go 15 frames, 15 frames to the right. Okay, so I can hold on control shift, and my archey to go ten frames, and then I'll just hold on control, and then go five frames. So one, two, three, four, five, so I have 15 frames Control Shift D to cut. And you know what? I can just select this guy, this excess guy and then bring him below here. But we don't want to deal with him for now and we can even delete the transform effect for now, and we'll come to that later on. We'll come back to him later on. Now we can now select our adjustment layer hit you to view our qframes and come to the boundary between our two videos. That's the middle point or the boundary between our two videos. I just want to select my guy here and then change the scale to 50. So we are 50. So we are reducing our scale 100-50. And we also want to adjust our rotation. Okay, so from zero, we want to take our rotation to -45 to -45 degrees. Okay, so we want to go from zero and 100 on scale and rotation to -45 and 50 on scale and rotation, just like this. Okay. So the next thing I want to do is select my adjustment layer, hold on, Control Shift to kind of split them, hit on the Xs, and I'll just delete the keyframes or the first keyframes on scale and rotation here, delete them. And then for this new guy now, I'll maintain a scale of 50 and a rotation of plus 45. The only thing I need to change down is my rotation to plus 45 or 45 degrees hiddena so that we have it looking like this. So we go from this to this, and then come to the end of my adjustment layer or close to the end and then change my scale to 100, back to 100 and then my rotation back to zero so that we have it come from here like this to here. And back to here. Now, select all your keyframes and EZ. That's F nine for EZ, and I'll just go into my keyframe or rather my graph editor, select my first adjustment layer, select my graph editor, and I will just select my scale and lean control or command and then select my rotation so that I have the two of them selected and then select my keyframes and do this. So just drag my keyframes to the right hand side like this, select these guys and drag them like the source to create this tip or this very sharp boundary between this guy and the next adjustment layer. Perfect. Now, just go back and select my next adjustment layer, select my keyframes, open the graph editor, select my keyframes here, create the same thing, but in the opposite direction. So we have this very sharp transition between our two, I just meant layer. Now let's play our video and see what we've got. Okay. So this is exactly what we want to achieve. You want to achieve this. Now select your guy here and then go to effects and control and go to shorter angle. We want to on check use composition shorter angle, and we want to create our own shorter angle. We want to give this 360 hdenta. Come to the next guy and do the same thing on check, se composition, shorter angle, make this 360. Now, of course, we can see what our shutter angle is doing. It's basically making our motion blow more intense. And just like that, we've created the transition, but we have some problems here. We have these black edges because we are actually skiing down our video. So we have to fill this defect, and we do that by adding the motion tile effect. So motion tile. So add the motion tile effect to your adjustment layers, both of them. Or let's add it to the first guy, and then just copy it from the first guy to the next guy. So for this guy, we want to just adjust our output width and height. Let's make this 300. And 300 and then bring our motion tile effect on top of our transform effect, and this is what we're going to have you want to also check the mirror edges. Check mirror edges, and then we have this looking very seamless. Now, I just want to copy this Control C and select my next guy and Control V, then bring him on top of our transform effect. We have our effect complete or transition complete. Incredible, incredible. Perfect. These are incredible Zoom and routine transition. I'm just going to close this and close this and let's go to the next guy. For this first guy, we can see that we were zooming down. We were zooming down, and then zooming out. Okay, or zooming down from the first clip and then zooming back up. So we want to do the opposite. We want to actually zoom out. Okay? We want to actually zoom out. So for this, we are zooming in and zooming out. So we actually want to zoom out and zoom in. So that's the opposite of the first guy. So I'll just go ahead and do the same thing. So come here, go to ten films to the left hand side, what did I do? Come back, go to ten frames, that's Control shift, and then archy, go to ten frames, Control Shift D, delete the xs then come back here, go to 15 frames, Control shift, and then Control and one, two, three, four, five, 15 frames. Control Shift D, delete, let's go ahead and add the transform effect. So transform effect. Perfect. And then we want to come here and create a keyframe for scale and rotation, and then hit you and come here to the middle or to the point of demarcation between our two videos and now change our scale to 200. In our rotation, we want to do this. We want to change it to 45 degrees this time, not -45. So 45 degrees, so we have it coming like this, zooming in. Yeah, select adjustment layer control shift to split it hit you, to review the keyframes and delete this first keyframes because they are useless. And then we want to just go ahead and change our rotation here to -45. Key Dena. We have -45, then we want to come back here and make this zero. Make this 100. So we have this. Incredible. Now, select everything. Ese with F nine, and then go into your graph editor, and we want to first of all, select our qframes here, make them look like this. And basically try to achieve this look and go out play a video and here is our transition. Very simple transition. Next thing we want to do is copy our motion tile effect from this guy. Select motion tile Control C. Let's just pit the effect here and bring it on top of our transform effect and do the same thing here, bring it on top of our transform effect. Yeah, so let's go ahead and play our video from start to end to see what we've done. I'm just going to play my video from start to end to see what I've done. Yeah. So you can see the first transition. Incredible. Now let's see the next transition. Yeah, so we can see the first one was zooming in and the second one is basically zooming out, zooming in. The second one is zooming out. That's incredible now. I'm just going to sit this project so that you can have access to it. Control, and then let's give you the name, first of all, we have to go to the right folder, which is o expressions transitions, and then give you the name transform let's just say Zoom and Zoom rottes transition. Heat save. Then I want to just go ahead and collect the files so that you can open the project just as it is, it, it collect, and then at save. So in your FDA, you're going to have this Zoom u tit transition, and then you're going to have the Zoom butt project files, okay? Incredible. So that's it for Zoom and routine transition, and that's it for this video. See you in the next one. Bye bye. 5. 5 Shape Transitions: Hey, Day. Welcome back on this video, we're going to learn how to create three really simple yet incredible ship transitions, okay? So I have my videos lined out in my composition or in my timeline, and I have a composition 1920 by ten TP. I have the first guy, the second guy, the third guy, and the fourth video. So we are going to be having transitions in between the first and the second, the second one and the third, then the third and the fourth. Okay? So we are going to be creating three transitions. Yeah. So with that photo, do let's go ahead and start. First thing I want to do is create a new ship Leah. So create a new ship layer and I want to bring my ship layer in between our two videos. That's our first and second video. So our ship layer should be here. And we just want to have our time in between our two videos and select our ship layer and basically go ten films to the left hand side. Control Shift and your keyboard key or keyboard RU key to go ten films, the right hand side, and just do Control Shift D or command Shift D and delete the xs and do same to the left hand side, Control shift. And then your keyboard ARU key to the right hand side and Control Shift D to delete the axis. This is just to trim our ship layer. And the next thing I will do is create my line. So take my pencil and then create my line. I want to create a line in the middle from here to here. So I'm pulling down shift to create my line across my composition. Okay. I want to give this no field color, and I want to give this some stroke color. Okay? So I want my stroke to be say two or three pixels for now so that I can see my line properly and position my uncle point to the middle. So control lt and home key to position the uncle point of ship layer to the middle. Control old Hum key or Command option home key, and then control Hom key. Or command home key to centralize our line to the middle. You can as well use the aligned key to align your line to the middle. So we want our line to be aligned just like this. And then I'll come here and boost up my stroke. I want this to be 1080, same as the height of my composition because my composition is a 1920 by ten ETP composition. So I'll just open my ship layer here and open my content and go to my stroke. Okay, not really good to my stroke. I'll just select my ship layer and then add a ship animator. Okay? So I want to add the trim parts, and here is my trim part, and I'll just open my trim parts, and we are going to start animating. Okay? We're going to start animating our starts 0-100, okay? So 100. To 100. Yeah, so you want to have it 0-100. So you can basically do the 100 at the middle of the two videos, at the boundary between the two videos, and then come maybe here, and then create a keyframe for end and come to the end or maybe further in time close to the end and then just make this zero. And we actually want our zero to be here, not here. So we actually want it to be 100-0. So 100 to zero on the start and hundred sorry, zero to 100 on the start and zero to 100 on the end, okay? Zero to 100 and zero to 100. So we have our admission just like this, and we want to select everything and right click and then easy Es. So this is what we have. Good. Now we can select our keyframes for our end and just adjust them a bit this so as to extend our animation. Yeah, so you see we're extending our animion and you can select everything here, go to the graph editor, select our key frames and basically do something, just to maybe create a more creative animation. Okay? You can see that it's faster at the middle. So it's faster at the beginning. So you know what? I'll just use a normal Ess. Okay? Just a normal Ess for now. So this is what I've got. And we are pretty much done with most of the work. All we need to do now is select our shape layer and Control D and just offset the position our second shape of our duplicate and then change the color. So we can change the color K to whatever color we want. And now we have this anemi. So at this point, before our transition, we are on our first video, and then we now move into our second video during our transition, and now we are in our second video. That's basically what the transition would look like. Of course, you can select our two shape layers hit you and go into our graph editor and basically mess with our graph just a bit to create a more dramatic effect, maybe extend the graph. Okay. It's a let everything extend the graph. Yeah. So I'm just trying different variations to see what best I can get. I can just also duplicate this guy one more time and just adjust the position and maybe give this guy white. Okay? Yeah, so that we've got this now. I'll just hit for this, maybe adjust this one's Q frames. That's the ending Q frame so as to make it faster. Okay. Yeah, so that's it for the first transition. We can just select all our ship layers. And basically precompose them. S trans one, transition one, move all attributes into the new composition, heat Okay, and then select our Control Shift D to cut the axis here, come before the start of transition, and then Control Shift D to delete the axes here. So we have just our transition. One thing we can do here is just add turbulent displays. To create more more beauty or more complexity to our simple animation. Okay, see a bit too much here. Let's reset this for now and then just make this 68, maybe adjust the height. Yeah, so that's a very easy way to add some flair to your transition. Now let's go to the next one. The next one, we are going to create a new ship layer come in between our two videos and also cut our ship layer. Okay? Just like we did the first one. And then for this, I'm going to take my ellipse tool and create an ellipse. I'm going to remove the stroke and give it a field color instead. And I feel my ellipse is not even. It's not the perfect circle so I'm just going to try to create a perfect circle by holding down shift and just do this. Perfect. Now, make sure our anchor point is in the middle of our ship so control all home or command option home on the mark, and then control whom to centralize our ship and just bring it in between our two videos, right? Incredible. Yeah, we want to come here and just come to the end and just hit, just make this big, really big. I make this small. Either work. You know what? Let's make this big. Let's make this bigger than the composition and then just create a keyframe here and come to the first frame here and make this small with the zero. So we come from small to big. That's good. But transition is a bit too long, so I'm just going to make this shorter and just cut off the excess guy. Come here, cut off the excess, control shift delete this guy. And then select all our Q frames and right click and Easy Ease. Yeah, you can go into graph editor and just create something interesting. What am I doing? Don't do that. Let's see what we can get with this. So this looks good. Yeah, so let's work with this and just Control D to duplicate my ship and come here, click on Toggle Switch to enable you see your track MAT option. And all you want to do now is while selecting your Ship layer three, that's the one you've duplicated, just come here and select your ship layer two as your track Mat and you want this to be Alpha inverted. So it's an Alpha inverted mat so you have to enable this so that when you just offset your layers like this. So bring the ship layer tree a bit further in time, so that when you play it, you now get this. Okay? Yeah. You can adjust the offset to give you different effects, basically making your line or your circle thicker or less thick. Okay? The more the offset, the bigger the thickness. Yeah, so we can select both of them, Control D, and just bring these duplicates down and just adjust their position like this so that we get this. And furthermore, we can just go into the colors for this duplicate and then just change the colors. Okay? So we have these colors incredible. I think we should make the colors a bit brighter. Yeah, so these walls we now have perfect. Now we can select everything, and of course, precompose transition to, hit Okay, and I'll just come after my transition and Control Shift D, delete the Xs, come before my transition, and Control Shift D, delete the s so that I have just my transition. Incredible. We're going from this video to this video. Perfect. Now I can just select my guy here and add a turbulent displays to create something more interesting. So we see how incredible turbulent displays is making really simple ship transition become. We're going from simple to complex. And one interesting thing with precomposing your transitions is that when you select them, you right click. You can go to Time and basically time reverse layer so that you go from what you had before to this, okay? So we have it coming from big to small now instead of from small to big, like we had it like this. Yeah, so either way, whatever one works for you. And you know, one thing is, you can just go ahead and add, say, a Triton or yeah, just a triton probably, even though we don't have three colors on this guy, but you can add a triton or tint effect change to now change the colors without without having to go into your precomposition and do the changing you get. So that's just one little trick or one little tip there. Yeah, so this was our first guy and this is our second guy. Isn't that incredible? Now we're going to work on the third one. And the third one is also a ship transition, of course. Now we have to come in between our two videos and then create our new you guessed it ship layer. So we have our new ship layer, and of course, we have to cut our ship layer because our ship layer is too long. So we cut it like before. Like we did with the other ones, and then now select our ship layer, take your pen tool, and I want to come to the edge to the diagonal edge of our composition and then just create my line to click to create my first uncle points or my first line or my first point for my line and then come here and create the other one. And for this, I want to give this strew color instead of a field color. Yeah, so let's work with this color now. Okay. I just want to go in and see if my line is positioned well and try to position your line well Yeah, incredible. Now we can just open our content, open ship, and then go to my shook. I want to make my shook with zero for now. Okay? I want to make my shook with zero, and, okay, it seems like I'm having a new ship here. So apparently, I didn't create my shook on my main ship layer. On the first ship layer I created, that's this one. I created it on this one, or it created a new ship layer for shook so apparently, that's what happened. You know what I would do I just select this guy, Control Shift D and trim it at this place or at this point and then delete the excess to delete the excess, so we can work with this and we just delete the one we created initially. Perfect. Now, just go back to your contents to your stroke in your stroke, and you want to go now to the start of time and create a keyframe for stroke width, create a keyframe and then come here and mix stroke with big. Just make it big. Let it cover the entire scene so that if you just hit you isolate our keyframes and basically easy our key frames so that we have this. Yeah. So of course, we go through our graph editor and exaggerate our movements a bit. Yeah, incredible. Now the next thing I do is duplicate my layer and then come here, make sure I am also able to see my track mat options, and then I'll come on layer four this time. Come on layer four, and then select layer five as my track mat. And make sure it's also Alpha inverted. Now, if I just adjust or offset my layers, we can see what we get. You can see the admission we get. Okay? The thickness would depend on how much offset we give our boot layers, of course. So for now, this is what we have. You can select our boot layers and Control D, and just click and drag them a Bove or layer five, ship Layer five, and just adjust them in this manner, and then change the color. Yeah, change the color. Let's see. Hit okay. Now let's see what we've got. Incredible. So we're going from this scene to this scene. Incredible. Of course, we can select everything right click and precompose and have it as transition three. Go ahead and cut the excesses and then add our trobulent displays. Okay. Incredible. Yeah. Let's try doing the opposite. Let's try reversing time and see. Yeah, so we see where we get with the reverse. It's also looking nice. Perfect. I'm just going to undo that to take it back to the normal. So here we are with three really simple yet amazing shaped transitions which we've just created here in after effects. The second one And this is the third one. Yeah, and that's it, basically, guys, for this video. I'll go ahead and save this project so that you get access to this project in your project's full. And this will come to the end of this video, see you in the next one. Bye bye. 6. 6 Exercise Transform Transitions: Hey, D. Welcome back. This exercise, we're going to be creating some cool transformed transitions in this project. Now, in order to open this project, come to your folder for this module. That's transitions, and in your folder, you're going to see this slide show folder. So open the slide show folder and open this after effect project. This is a project, and once you open it, you're going to be brought to a page that looks like this. Okay? Now, what I've done here is I have gone ahead and created this slide show animation, really simple stuff. I've just added images with a few effects. Okay, to each of these precomposed folders or precomposed scenes. And if you go in, you're going to see that we just have an image, a text, which is admitted, and we have an adjustment layer for each of them with a few effects with the optics compensation effect and a very simple admission of that effect. That gives us this effect, you're seeing right here. Yeah. That's basically what I've done for all of these placeholders. You can come in and let's say you want to change the image. Let's say you're not satisfied with this image I have used here, you can open the images folder, and you're going to see a lot of images which are in the project. So you select the image and drop it in the composition and just hide the one you don't like. Skill is down, and you're going to see that now we've replaced our image, okay? And just like that, we've replaced our image. Yeah, so that's basically how you replace an image. We have lots of images from here. Which I got from pixlo.com. So yeah, so let's get started. Now, the first thing we want to do is create our adjustment layer, and the first transition we're going to be creating is rotation transition. So I just want to come here and move 20 frames to the left hand side. I'll just do Control shift or command shift, and the left key to go ten frames and do that one more time, to go 20 frames and just Control Shift D or command Shift D to slice it here, delete this guy, come here to the middle between them and do Control Shift D one more time and delete this guy so as to have this really short adjustment layer of 20 frames. Yeah. So the next thing I'll do is add my transform effect, transform. So add the effect and we want to just come here to the start of our effect and create a keyframe for rotation to create a keyframe here and then come in time and just change our rotation to 95 degrees. Okay? And we also want to add a motion tile effect. So motion tile effect. And we want this to be on top of our transform effect. Yeah. So for motion tile, we want to mirror edges. We want to make this 300 that's for output height and output width 300 as well. So we have this. Yeah, I have a sound here and I'll just hide my sound for now off my sound for now. And after we're done with our transitions, we're just going to play everything so you see what we've got, okay? But since you have the project open, of course, you can play it and see what we've got, what we've created, what I've created. But since I want to save time here, I'll just keep playing the entire thing and jump into our transition. So for here, we want to hit you to enable our Keyframes, select qframes and ese qframes. You can hit F nine for that and go into your graph editor. And right now we have speed graph. I want to view my value graph. So this is my value graph, and what I want to do is achieve something that looks just like this. Yeah, so this is what we want to achieve. Incredible. Now the next thing I'll do is, of course, duplicate my adjustment layer, bring it here. Hit you. And right here, I want to change this to I want to change my rotation to plus or -95. So -95 here, and I want to make this zero. Yeah, so we've got this. Yeah, and then select my Q frames, go into my graph editor, and I actually want to create the opposite of this. I want to do this and do this. Okay, so we've got this. Yeah, looking nice. So I'll just select everything, going into my graph editor to see what I've got. So it's aligning well. So I'll just play everything now and see. I think we have to enable our motion blow. Okay? So we can enable motion blow by giving it a specific shorter speed here. Maybe I'll just give it a specific shorter speed. Let's say 360. Sorry shorter angle, not shorter speed. And then I'll just on check this for each of the adjustment layers. So 36360 for this also. So I'll just going in to see how I can make this better. Yeah. So you want to achieve exactly this look. Yeah, and then I'll just select my key frames for the first adjustment layer and then come into my graph editor, and I want to just create a bit of exaggeration here. So I want to select this guy and just do this. Okay, do this. Now, the effect this gives us is, let me just play this so you see. So you see it gives us this anticipation, this little anticipation effect. So we can see that the anticipation is a counter rotation of our actual direction of our actual rotation angle, or rotation direction. So it's doing this little anticipation, let me just exaggerate this so that you see better. If I do this more the see it. Okay? Yeah, so that's what we want to create. Good. Yeah, just like that, we are done creating our first transition. Yeah. So the next guy is a very special one. Okay? So I'm just going to duplicate one of these adjustment layers Control D and then bring it here and bring it right after our desired layer. Here, I think I have done something wrong here. I've misplaced my this particular guy, so I'll just select him one more time and bring him here and bring him here. Yeah. So we don't want to mess with these guys here. We don't want to mess with them. We just want to have this credible. Now the next one is this one. So for this one, I will actually make my adjustment layer longer. So I'll make this longer, just this long. So let's see 1 second. 1 second long should work, or let's say a bit more than 1 second, right, because this looks a bit more than 1 second. Yeah. So let's see this length and then select the guy and delete all of these guys, maybe not the motion tile. We don't really need to delete them because we're actually going to be using them. Let's just reset and just remove the keyframes, remove the qe frames for rotation by clicking on the stopwatch icon and just reset this and reset this so that we don't have any admission on our adjustment layer. What we want to do is we want to create a moving transition effect. Okay? So we want our guy here to move several what I call that films, okay? To just move and reveal the next guy. Now enough of talking, let me just go ahead and start doing it. So the first thing is we want to select our adjustment layer here, and for our motion tile, I want to increase my output? My output without make this one line, actually. Very much. And then I want to kind of move my position on my transform effect. Before that, I will just go ahead and mirror edges for my motion tile and close this so as to see my transform effect properly. So for this, I want to just select or come to the begin here, create a keyframe on my position, and then go right in time or go to the end or towards the end and just increase this. I want to actually make this 16,000 I want to make this 16,321 16,321 hit enter so that we have this. Now hit you for your keyframes and open these up, come here and hit to enable your opacity and just reduce your opacity and hit you for your key frames. Now, if I move my position, you're going to see that we are actually seeing we actually seeing the copy of our position, which the transform effect is nibs move, right? So we actually want to make sure it aligns with the original image, with the original image. And based on the previous one I did at exactly 16321, it aligns perfectly. So that's just what I want you to take note of, because, well, if you use a different figure, you might actually not have it aligned properly at first. But once you just keep going, you're going to be able to align it with the original by just reducing the opacity of the layer of your adjustment layer. So you can hit When you have everything aligned back, you can hit T for your opacity and make this back to 100. Just hope you understand my explanation. So hit E for a qframe select everything and EZ es them. And what we want to do now is go into our graph it into our speed graph. And we want to do this. We want to achieve this curve, close our graph editor, and let's play it to see what we've got. Yeah. So this is exactly what I intend to create, okay? So we are done with this guy, and we're just going to add one more effect, and that is the CC lens effect. So CC lens, select our adjustment layer and add the effect and just close this so as to see our options better. And for my size, I want to give this one of five size. For my size, one of five, and for coverage, let's start with zero for now. And what we want to do is come here. S five frames from the middle. So hit Control or command, and then your left arrow key one, two, three, four, five, or let's say ten, six, seven, eight, nine, ten, okay? So create a keyframe for coverage, and then come here to the middle and make this 100. And come ten fims forward and make this zero, so that we get this. So we get this lens distorted effect, this exaggerated lens distorted effect around this side, right? So you can see the effect I'm talking about, incredible effect. So I'll just hit, hit, and select everything here. Ese Yeah. So basically, that's our effect. That's our transition. So we've got the first guy or the first transition. This is our first transition, incredible one, and then we've got the second transition, which is this. Now let's go ahead and create the third one. I just go ahead and create my new or adjustment layer. And make sure it's here in between our two scenes, and then I'll just say ten frames from here to the left hand side to Control Shift and then archy to go ten fims Control Shift D and delete this guy, come to the middle and delete this guy. Okay? And maybe I'll just make this a bit longer. And now we are going to add our effect. We have to add our transform effect, transform. For our effect, we want to start by creating a keyframe on our scale rotation. Our scale NR rotation have to be 100 and zero from here, and then we come here and make them and make our scale 50, then our rotation, we want to make it -45 degrees. K -45, hit enter. I've got this and then hit you, select everything Z with your graph editor and let's do this. Let's achieve this look. Yeah. So that's the look we want to achieve and then just duplicate this guy Control D, hit you, extend the end of the duplicate and then just cut it from here. Cut it from here, control shift delete the xs, select the main guy hit, and just delete these keyframes, delete them, and then start from here. So here we have our scale at 50, and then our rotation at -45. We want to actually change this to plus 45, to plus 45 and then come here, make our scale 100, make our rotation zero. And select all our key films, go to our graph editor and just do these. Perfect. So we've got this. Incredible. Now the next thing we do, of course, is add our motion tile effect. So motion tile. And we want our motion tire to be on top of our effect stack. So for our motion tile, we want to repeat edges, sorry, mirror edges, not repeat, and then make this say 303 hundred copy our motion tile with Control C, come here and Control V and have it on top of our effect stack. Yeah. Incredible. So we've got three incredible transitions. Now, I think these three are just enough for this exercise. So what we do is just repeat them over and over again here to fill in the remaining places. So next thing I'll do is duplicate this one, Control D, then bring him right here and bring him right here. Yeah. Incredible. And then the next thing I'll duplicate this guy Control D, the two of them, and then bring them right here and position them properly right here, just like this. Incredible. And the next one is I think this one. Yeah, so this one, so Control D. And you can do them in whatever manner you want. It mustn't be the way I have mine. You can do them randomly. If you want or if you like a specific one better, you can have more of it. Okay? Just whatever you want, okay? Incredible. Then I think I'll have this guy to finish it up. Yeah. I want to just do one little final touch and I'll just create a new solid black solidity and then just bring it on top of my a stack. And just come to 1 second and Control Shift D to cut it here and delete the s, and I'll hit T for my opacity, create a key frame on the first second. And then just come to the edge here and make this zero so that we have this effect. So it's feeding from black to our video. And then we want to also have this at the end, select the guy, control D, and bring him to the end. And for this one, I'll just go to time and time reverse layer so as to have the opposite. Incredible. So with this we've come to the end of our effect or our transitions. Now, let's just enable our sound and play everything so you see how everything plays together. Yeah. Yes, guys. So that's it for this one. We can see how our transitions just make our video more beautiful. They add a lot of richness to our video. And that's it for this one. I'm going to go ahead and save this guy. So I'll go to file and then dependencies, collect files so that you can actually have this project just as I have created it. So I'm going to see with a slide show. And then I'll have hyphen, and then I'll just write transform transitions. Yeah, transform transitions folder, and then hit CV. So you're going to have to transform transitions folder, and then you're going to have access to everything I've done here. Yeah, that's it for this video, guys. See you in the next one. Bye bye. 7. 7 Exercise Shape Transitions: Hey, welcome back. I this exercise, we're going to be creating three amazing ship transitions. So I have gone ahead and made a copy of my main comp from the previous video. So I removed all the transitions we worked on the previous video, and now we're going to work on the ship transitions with this new duplicate I have created. Okay? So I'll begin by creating a new composition, create a new composition and I'll name this ship trans one, for ship transition one and it okay. Now the next thing we're going to do is create an ellipse. So create an ellipse. And for my ellipse, I want to make this 250 for the stroke size. So I want to give the stroke size and no fill colour. And let me just change this stroke colour to this. This is the color code, hid okay. And I'll go into my ellipse and then go into my ellipse path one and make this the same size with my stroke size. That's the path size. So 250 id enter. So we have our stroke size as 250, and we have our ellipse path sizes 250, close this. And then I will go ahead and align my ellipse to the composition to the middle of my composition. And perfect. Now the next thing I'll do is go ahead and add a trim path shape animal, and I'll just come to my trim parts here and now create some key frames, okay? So I want to start by bringing both my start and my end to 100, okay? And then create a keyframe on my start and go to 1 second. And make this zero, then create a keyframe here on my end and go to 2 seconds and make this zero. So we have this. Okay? Yeah, this is what I want to create. So select everything an easy ease. Go into your graph editor, or maybe not. We don't really need to go into our graph editor, but we could just go into our graph editor and just exaggerate our movement a bit, edit our cove a bit. Okay, so I have to create speed, just a little speed in the middle, at the middle. Yeah. So this is what we want to create perfect. Now we are done with most of the work, close this, and now we just need to start duplicating our shape. Select your shape layer Control D to duplicate and go into your ellipse path and make the size bigger. Yeah, so make the size bigger and just make it just as big as this, okay? It should just cover the previous one. Okay? Just like this and then go ahead and do Control D. Select, make sure you select your ship layer two and then Control D. And now we need to do the same thing. But instead of going into my contents, I'll just come here. I'll just come here and type size, and it should expose our size and I'll just scale it from here. Increase our size from here. Perfect. I'll do the same thing for this, I'll duplicate this Control D, then click here and then hit enter to expose my size for my duplicate I'll make this bigger. And finally, do the same thing. That's duplicate my layer, kid and tar, make my size bigger. I want to cover my entire composition with my duplicates. Yeah, this looks perfect. Select everything includes them. So we have our admission looking like this. Now, I just want to create a change in colors. I just want to make the colors darker as we progress. Okay? Darker as we progress. That's mistake. I should be going up, not going down, select the one up, make this daka select the final one, you make this even daka. This is what we now have incredible. Now the next thing I'll do is just offset my layers. I'll zoom in and offset my layers by two frames. Select the second one, hit Shift and select the last one, offset this by two fims then control and click to deselect the last one or the first one and then two frames. Then Control and click to deselect two frames. Control and click to deselect two frames. Perfect. We have this now. So this is just the transition we want to create. So we just come to the end of our transition here and just trim our composition. Okay? So trim comp to work area, and perfect. So this is just what we want to create. And we can now go back to our main comp and bring in our ship trans one, bring it here, and just align it. Now, you want to come to the boundary between our two clips or two scenes and make sure it's aligned like this, okay? Just like this. Where the ship transition completes the most or is completes the most, you want to keep that point at your transition, between your two scenes so that we now have this. Yeah. So that's it basically for this first one. Now, let's jump into the second one. So for the second one, I'll create a new composition like I did before adena. Maybe I'll just call this shape trans too. Do and I'll go ahead and create my ellipse one more time. I'll create an ellipse, give this a brighter color. Okay, so I'll go with this color head, okay? And I'll just go ahead and align my ellipse, my comp, go into my ellipse contents, and then go to my ellipse part and make sure my size is 250, just like this. Then I'll just come to 1 second. Come to 1 second, and I'll just close this and open my stroke and go to my stroke width, and I want to create a keyframe on my stroke width. So create a keyframe here and come here and make this zero. And I also want to change my line cup to round cap. Okay, so we have this animion. Perfect. Now the next thing I'll do is close this, select my layer and click Add and then add a trim parts ship animator. Now open my trim parts. I just want to create an admission for my start and end. We cannot start and end. I think just end end and offset. So let's come here, create a keyframe for end, and then come here to 1 second and make this 100 so as to create this sort of animation. Incredible. Now I'll just create a keyframe for my offset as well. Okay, and then come here and make sure my offset is set to 180 hit enter. So this is what we want to have. Okay? And then just close this, hit you, select all your QFms and EZ Es with F nine. And basically, we have this Okay. Yeah, it's looking nice. So the next thing we want to do is duplicate our shape, so Control D. And now we will just come here and type size so as to expose our size again. That's our ellipse size and make this bigger, just like we did the previous one. Just like we did the previous one, so Control D. Select your shape and Control D, okay? So so that you duplicate the shape layer, not the ship, not the ellipse inside. So Control D. Then click a hidden tar to expose my size, make my size bigger. Then Control D, it here to expose my size, make my size bigger. I'll do that one more time. Control D, click here and Hina to expose my size, and make my size bigger to cover my scene. Perfect. Select everything hit you, hit you, maybe three times to close everything so that we get this animation. Incredible. Now we just want to offset our rotations because everything is looking so boring. So we just want to hit R select everything and hit R to expose our rotation, and we want to just offset these rotations randomly. So some of them should should be more rotated than the other, just to create some randomness, actually. Okay? So this one is too much. Let's reduce maybe make this minus. This is just to create some randomness, actually. Yeah, so you see what we have now, maybe I'll change this to plus. Yeah, so I like what I have so far. I'll close everything. The next thing I'll do is select everything here, Control D to duplicate them, and then click them and drag them on top of the first layer, so as to duplicate them. And for this, I want to change the color. I want to make this more interesting color. Whatever color of your choice really work, whatever color of your choice. Let me just go with something that looks like this. So this color, let's see. Yeah, we can change it later on if we want to click A, and I just want to change the color of my layers of the duplicate, Perfect. Now, just go ahead and hit R while having them selected and expose my rotation and just go ahead and offset these rotations. Offset these rotations. More then close them or not necessarily, but the next thing we have to do is now offset them, offset them just like we did before. Offset them just like this, by maybe two, two frames. Yeah. So you just zoom in and upset them properly. So you can offset them by whatever amount of frames you want, you can use two frames, you can use three frames or four frames. Yeah. So that we have this. Okay, I feel like changing the colors to something more Okay, let's see. Let's try something else. Okay, I'll go with this, and then I'll just select the ones in the background and also change their colors so as to create some contrast between some obvious contrast between our two colors. Ohio. So we have this Incredible. Now, I just want to work on my rotation for my duplicate. Select this first guy and just do the rotation and you can see it in relation to the one it's duplicated from. So just create your rotation accordingly to create a lot of variation, just do that for every other one. Yeah, I think we are good to go with this to select everything in close. Perfect. And the next thing I want to do is just select all my layers, all my ship layers and precompose them. So let's give them the name. Let's see, let's say in trans in transition in and make sure you move all attributes into the new composition heat. And what we want to do is just have a duplicate of trans in composition. Come here. Come here. Where is it? Yeah, this is it. Come here and just go to edit and duplicate or Control D. We want to rename this and give you the name trans out. Okay, the trans out and heat okay. Perfect. Now, just bring this here. I'll have it on top of my trans in. Transin starts and then we have transo. Yeah, I want to come here to the point where my trans in ends, to this point, then basically have my trans out begin, okay? Yeah. So for this, I actually want to select my trans in and then go to my Track Mat. If you're not seeing your track Mat, of course, you know what to do. Toggle switch slash Modes will reveal your track mat option. So come here and select your trans out, okay? So select your trans out, and you just want to click to have it as Alpha inverted, okay, so that we have this in turn. Yeah, so the trans out is now cutting from our trans in as it please, you get. So we have the trans in, and after the trans in, we have a trans out which cuts from our trans in, thereby revealing our video. Yeah, so that's basically it for this transition. Now, I just want to come to the end of my trance out and just, of course, you know what to do. Trim your comp to work area, and go to your main comp two and then bring in your shaped trans too, which is completed by now, which should be completed by now. Yeah. So this is it. And you want to just make sure you have it set like this. Okay. Yeah, so that we have it. Incredible. Incredible. So we have our first guy, we have our second guy. Let's play. Yes, guy. So this is nice. I really like this. Now let's go ahead and create the last one, which of course is not the list. So for this, I'll go ahead and create my new composition, call this Shape trans tri. It okay. For Shipron three, I'll go ahead and take my pen to and just create a line, just a line, very harmless line and select my line, click the stroke color, make this white, and for my stroke width, I'll just make this 20. Perfect. And I'll just come here. Well, first of all, make sure everything is aligned properly. Then come here click ARD and then trim parts. From there on, I'll just open my trim parts options and then create a key frame for my end. I'll make my end zero and then come to 1 second and make this full. Okay? Yeah, and then I'll just come to the middle or around the middle and create a keyframe for my start, then come to the middle 1-2, and then just make this 100, so that we get this animation, basically. To select everything Easy. We into your graph editor. Of course, you know, easy is is F tine, go into your graph Editor and then just make your graph look like mine. You speed graph. Yeah, perfect. Now the next thing we do is just start duplicating our ship layer and just adjusting our ship layer around our composition you get. So we want to select our ship, first of all, ship layer, then Control D to duplicate it and then click from the anchor point and move its position. And now we want to create a lot of variation. So we don't want this to be as long as this guy. So we have to pick our pen tool. You can hit G for that and select one of these anchor points and basically while holding down shift, move the point to adjust the length of your of your line you get. So we get this. Perfect. Now, we're just going to do this over and over and over again. Select your guy, your ship layer, Control D, move your ship layer, hit G for your pen select an anchor point and move it hit V to click out, and we have our third shape. Now just going to go ahead and do this and speed the video up because I don't want the video to be unnecessarily long. Okay? So I'll just go ahead and speed it up and then come back when everything is done. And yeah, so we have our lines all duplicated. So if your composition is not looking like mine, you can pause the video and try to achieve what looks like mine. Okay? So we want to have something that looks like this and then select everything. Select everything, and I'll just click and pre compose. I want to name this small lines. Okay, small lines and it okay. So I have this small lines composition. Yeah. Now I'll just go ahead and create a new composition and name these big lines. And hit okay. Now, for my big lines, I'll actually come into my small lines and copy one of the lines here, so I don't have to start creating from scratch. Yeah. So copy one of the lines here, maybe copy one of the big lines, bigger ones this guy Control C, and then go to big lines and Control V. So we have our big line, and we don't want to hit you here and basically delete all our keyframes. We really don't need them. So we're going to create new keyframes for our trim parts. We want this to be zero, we want this to be 100. Okay? Now just bring my line here. Okay, at the edge here and boostop my stroke. So I want this stroke to be big to be let's say 150. Or maybe 150 is too much. Let's say 120. Yeah, 120 is perfect. Now I'll just create a keyframe for my end to come to zero second, create a keyframe for the end, and go to 1 second and make this 100. So all your QFmess with F nine, go into your graph editor and adjust your graph to look like this. Perfect. So you want to have this anemonPerfect. So close your graph, and now we actually will do what we did in the last composition, right? We are going to be duplicating our line one more time. Okay. Once again, select your shape layer and Control D to duplicate your line. And this time we are just going to be moving it up or down. We are not going to change the position on the X axis, just Y axis, so up or down. So bring it up, and we actually want to also be changing or adjusting the width of our stroke. So I'm going to make this 80 for this guy, and we also want to be adjusting the length of our line, so I can hit G for my Pinto and select the ankle point here and move it just like this. Okay. Yeah. The next thing is select the next guy, set the next guy Control D, duplicate, bring him here, hit G, expose your key frame, select one of the ankle point here, hit V, select this guy, and move him. For this one, I'll make the stroke 50. Now I'll just go ahead and speed up the video one more time so that we don't spend all D. I'll just speed it up and then show you what I have after I'm done duplicating. So I'm done making copies of my lines once again and you can see how everything is. Okay, so this is what you want to achieve. You want to achieve something that looks close to this, at least close to this. Okay? So we can see that the lines are of different thicknesses. That's for their strokes, and they are basically arranged just like this you get. So try to achieve this. And then when you're done, select everything and also precompose. So we're going to name the big lines. And heat. So we have big lines and we have small lines. Okay. Incredible. Now, what I want to do is bring my big lines composition into my transtr. Remember the transfre is the main composition, right? Yeah, so bring my big line big lines composition to bring my big line copy this and then come into the st shaped transtre bring it here, and I want to actually bring it to the bottom and have a duplicate of it to Control D. I'll just select the bottom one come to Track Matt and select the one on top and then just make this Alpha inverted, and basically offset them offset them. So we have this the more you offset the longer they are basically. Yeah, so I'm having this bleeding from our track malt. So we can fix this by adding one effect to select the one on top, the big lines on top and then just add the chocar effect to type chocar. And the simple choca, add the simple choca and you just need to bring the choke mat to negative two, maybe or negative three or negative 1.5, whatever value, a negative value. Okay? So we no longer have those bleeding. Okay? So we have this noun. Incredible. Incredible. Now we can select the both of them, that's the big lines one and big lines two and precompose them one more time. We can call them big lines. Big big lines so that we knew that it's the biggest big lines. You get the heat okay. And now we have the. We can control D and control D one more time. Have in three copies and select this guy here, come to track mats and select the one on top and give the Alpha inverted and we can just offset the one on top to furthermore create more variations. Now we can change the color, so select this one and just give him a field color field color. Oh, feel. So we have this feel on and you can even offset it if you want. You offset the layer and we see the effect we're getting by offsetting the layer. Now we can see that we also have this bleed on this gyn. I'm just going to add the choca. Add the chocar and reduce this. So you want to always be adding the choca on the one that is invincible, right? The one that is invincible due to the track martin. The one on top, the layer on top. Yeah, so we now have this. Of course, we can change the color. You can change this color to my favorite color. Yeah. Today what we have so far. Incredible. Two. So I'm just trying to offset the layers to achieve the best look, okay? So you don't have to follow what I'm doing. You can basically try to achieve whatever look you want to achieve. Yeah, so this is the first thing I want to achieve. Now the next thing I'll do is select my small lines and Control D to duplicate them. And I actually want to do something. Before I duplicate them, I actually want to just delete and then animate the positions for my small lines. So I want to have this set to I can see that we are having some error here. I think due to my offsetting, I'll just move this forward to clear that. Okay? So we don't have anything strewn on our edge before our video starts. Perfect. Now, I just select my small lines, hit P for position, and I'll just come here. I'll come to zero and then create a keyframe on zero. Come to 1 second, and just move our position just a bit, to the right hand side. So we have this incredible. And maybe we should move our position to when our lines disappear, right? So we select everything and EZ now let's play and C. Incredible. We can go ahead and duplicate our small lines, so Control D, and for my duplicate, I actually want to hit S for scale, and I want to link my heights and width, so I link them so as to scale my height separately. I want to do this. And then just give it a feel. Give it a feel. From my feel, I want to just maybe sample this color and make mine bit brighter. Okay. Incredible. So we have this? We can keep adding more complexity to our lines to our layers. I can furthermore duplicate this guy Control D, and even offset him further. Let's duplicate, maybe change the color to something that looks like this. Okay. Yeah. So I just took the layer behind. Okay, I can hit S for scale link them and just boost up my vertical scale just like this. G incredible. And I can also hit P for position and just unmit the position. So you can really just have fun with this. You mustn't follow my rules, you mustn't follow the way I'm working. Okay you can just have fun with this, feel free and have fun with it and just select everything easy easy. Okay. Incredible. Incredible. Yeah. So basically, I think we are done for now. Next now I do is just just control V. Okay. Okay. I think I don't have it copied. I actually wanted to copy the line I copied from the small line. So sorry for that confusion. So just delete I'll just delete. And instead of controv I'll create a new line. So take my pencil just create a new line from here to here, why holding down shift. Okay? So this is what I wanted to do. Yeah. So select my ship layer and then align to the middle of my composition. Properly. And then for this, I'll just make this 1080 the size of my composition and open this up and add a trim part. For my trim parts, I'll just open my trim parts options, and I want to animate my end from here, come to 1 second and make this 100. Come here to the middle and animate my start. Click here, come here and make this 100. Select everything easy ease, go to my gravity door and select all I just create this curve. Basically, what I want to do is I want to come to a point where my line covers the entire this particular line covers the entire composition. So that will be the point where we are going to transiting from one scene to another. What I want to do is select all of these guys just move them forward a bit, so that we have this, we can see that it's covering the entire scene now. Now, I just want to make this the background, so bring him the last bring him to the last and I want to also hit you, expose my key frames and just pull down and click here that option on the mark and just squash my keyframes to reduce the length of the admission on this particular layer. P can see that it's faster, so it's very fast. Perfect. I want this looking like this. Basically, I'll just change the color to a dark color. I'll sample one of these colors and just make this very dark version of that color, hilena. And furthermore, I can do one last touch to this. I can just add a turbulent displease effect turbulent displase I don't need to change anything. We just have it animating, right? You just have the effect, so you can see the effect we get with it. So you just hit save through S, go back to my main comp to and then bring it in. That shaped trans tree shaped trans tree. This is shaped trans tree, bring him in. And we can see that it's long m, just delete and go back in and just trim my composition. Come here and just trim my composition, right click and come to work area and go back to my main come too and bring it in and it should be shorter now we see it's shorter. Place it properly. You want to place it. You want to achieve this at the point where you are transiting. Yeah. Incredible. So that's our transition. Yeah, so that's our transition. Let me just play this one more time, so you see. Yeah, we see that we have it transiting and then we have the remnants of our lines. That's why I made the big shapes animation faster so that we can have remnants of our small lines just like we have it here. That's the look I wanted to achieve. Now, I'll just go ahead and duplicate all the transitions we've created so far and have them on the other places to have this guy Control D, bring him here and arrange him here. The third one is control D. And just do this. For the last one, I think I'll just pick the second one, Control D, bring it here and align it here. I'll just go ahead and align them properly. This is properly aligned. Perfect. Let's see for this. Yeah, it's also properly aligned. For this, it's also properly aligned. Yeah. Then for this, almost properly aligned. Let me just line it. Yeah, it's properly aligned, and then, this one is aligned. Now, let's play our video from start to end so we see what we've achieved. Yeah, I'm just going to make this bigger and fit this and play. Actually see that the resolution is not high, so I'm just going to make the resolution full and hopefully it won't lag. I just pray it doesn't lag. So let me do this and bring it back. So you can see that it's lagging, it's lagging because our resolution is very high. Nevertheless, let me just make this half so as to save computing power and time. Yeah, so that's it for our shape transitions, and that's it for this video, I'm going to save this file. So I'm going to go to file and dependencies and collect, hit save, and collect. So for this, I actually want to give it. I actually want to replace it with the one I created the last time, which is the slide show transform transitions, right? So I'm going to name it slide show slide show transitions. Okay. So slide show all transitions folder. So I've added all. So slide show all transitions folder. So in this folder, you're going to have all of these, all of these. So just go ahead and open the folder and you're going to assess the way I've personally created mine and probably follow suit if you get stuck trying to follow the video. Yeah, so that's it. Hit save. And basically, that's it, guys for this video. See you in the next one. Bye bye. 8. 8 Conclusion: Congratulations on completing this transition class in after effects. By now, you've learned how to approach transitions more creatively, how to work with transition effects, and how to build both transform based and shape based transitions that can make your admissions and edits feel much more polished and professional. I hope this class has shown you that even simple transition techniques can make a huge difference in the quality and style of your motion work. Don't forget to upload your class project so you can share what you've created. I'd love to see your work and celebrate your progress with you. And if you've enjoyed this class, be sure to consider with the next class in this after effect series, as we keep building your skills step by step. If you've missed any of the earlier classes, this is also a great time to go back and explore them so you can strengthen your foundation even more. Keep creating, keep practicing. Keep pushing your skills forward. Your next level in after effects is built one class project at a time.