After Effects Tutorial: Create Amazing UI Animations Now!

1. Welcome!: a Guises case here, and I'm back with another class looking at motion in you are you know you can enhance your workflow by utilizing aftereffects to bring your designs for life. I'll be walking you through. The process of important or design files into aftereffects is what is animating the layers . Bring it all together on exporting them is even MP four or give. I'll also be shown you how to use graph editor to create easily these out effects as well as other effects and presets. Is your emotion blood offsetting key free to create more dynamic animations within your design, It is good to have an understanding of the interactive side of things because it allows you to think about the overall structure of the design is what it's horrible. Transition on the float will also be attaching class project files, including a completely father I made is what is a blank file that we re working from and also other helpful tips and resource is life. It will benefit you and your engine. Make sure to reach out to me in the feedback on this video as well as suggest of the future classes and also hitting your brother. Social platforms I raised get started, so let's begin 2. Overview of After Effects: All right. How's it going, everyone? So welcome back to the next part of this video. Now I like to start all of these clusters by giving people like a quick overview off thesaurus 12 interface. Just that I get a feel for how the environment is before we actually get into creating these projects. Now, you can see we haven't created anything yet whether that be a new composition or open the existent footage, but to give you a quick demonstration of you know what this interface is? Basically, this is the project's panel over here. So anything keep importing without the layers off images files it will display on here. You can also you view your compositions that are working in as well on here. A swell is open them, minimizing a will be stored here. This is your main timeline, and it answered on this side Here is where your layers will go. And here is where you'll be able to actually begin manipulating the timeline on creating animation stays. You know, it is a daily. So all of its very familiar over here is where you'll find your effects panel. So can you do things like audio your FX presets. You've also got things like a line objects as well. So we get all pretty standard or very similar. And up here is your basic tool. So here is where you actually move around the interface on when you actually start creating layers, you'll have things like unify camera tools. So if you're working in a three D environment with a camera, all your uses to move around irritation tools are shaped or should not create mass using this, this is where you manipulate the anchor point position in arm. So if you want a layer to actually animate from the specific side, you actually move the anchor point. Let's say you wanted to come from you know, the top left. You'd move the anchor point there, you know, mental. Like I said, all very familiar. So you'll know all of these mean again clinging to them s Oh, yeah. What I'm gonna do is gonna open up the completed project folder on, actually show you what we're gonna be working towards. All right, So I just opened the completed file up that will be working on. I have attached this in the downloadable folder. It'll be called completely project. You'll also have the file toe work from which is what will be using. So don't worry. All of this looks a little confusing, but like I said, this is where all of your layers are so you can see I important. This directly from illustrator, I thought would be easy to just show how to create basic animations with the, you know, direct CC workflow. So straight from illustrator into after effects are fully edible layers thes the compositions that we have. So in order to create this animation flow of actually split into water pool compositions, while same or pull three compositions are on a final one where you bring it all together, I'll be explaining why I do it this way. For me, it's just easy. It's kind of keep everything separated. If you start working on one composition with one giant timeline, it gets a little confusing. You you start losing layers. You can't work up over the years eso. By doing this, it allows you to split it up, and then at the end, you can bring it all together on from there would exploit. So this is how the final animation actually flows. Now you see follows Basic. You know, you I principal scroll in transition in. We also use a few of the funky little effects as well. Things like motion blur three D layers, which really mean this looks chaotic At the moment. We had, like, this was the initial transition here. So how this card actually goes up, and then these layers were created on mean designed three, and then I just copied the moon. I kept them yellow, so I knew that they were separate. But yeah, like I said, my seem a little confusing. But, you know, doing it this way is much easier. So for me, learning aftereffects was brilliant because it actually allowed me to start thinking more about the overall structure off the design. I started thinking more about how it would flow on, you know, Like I said, learning aftereffects allowed me to actually see that. And it's meant I've moved on to other prototyping tours, obviously, but it framer X, off use principal envision studio. But why learning aftereffects? You know, it made all of those sort of design decisions in the future much more possible. I remember the first time I actually learned this on. I remember seeing all of these amazing gifts, and I was like, I really want to do that on died. Looked after effects in the past. But that was like years before when I was first time in digital design on aftereffects, which is completely alien to me. And I know that it still is alien to a lot of people, which is why I'm doing this. But what I did one day, we just went in. I found a editorial by a guy creating, like, basic you animations. I think it was the menu that slid in, if I can find out of touch it in the other project folder. But, yeah, I sat down for three hours, just smashed it out on the college computer and eventually learned it. It made way for all of these things. Now, I mean, I'm using plug ins. I'm using things like Trump code. You know, I'm exporting them in XML files. You know, all of that wasn't possible about me finally knuckling down and learning it, so yeah, let's begin 3. Getting Started: Okay, so here we are in these stops green for aftereffects. So from here you can create a new project open and existent project that you're working on . Ah, well, view most recent. Oh, but what we're actually be doing is exit in this on opening these illustrated files that we have here. So I have edible you. I card you don't actually need the main for We just need this layer here. But that would make sense later. Stage. We have the men designed one which has this scroll section and then we also have been designed to which is the next page that it transitions to. So in order to maintain all of the layers, If you go to the original illustrator foe, you'll see that each of these are their own separate layers. Now one working in a Sharia. I know you have a lot of people do it. I do it. You tend to just work from the same layer because everything to stay separate. Anyway, it's not like photo shop where it'll sort of create individual layers. It all just gets combined into one big group. If I'm working with the sole intention of important into after effects. You know, I'll make that conscious decision to actually, you know, keep them all separate. Um, and this means that when you employ it in, you can start animating them as if, you know, the illustrator fault wasn't changed on. It was all so cool. Because if you make any changes in illustrator because it's like, you know, an integrated sort of pipeline, the changes will then be reflected live and after effects. So, yeah, this is a really cool way to do it. So if you go back into aftereffects, we're gonna open this one first. Open that. And now it says here composition, which is what you want. Andi also says layer size. Now you want that one layer size? Because what that means is that keeps it will separate. If it has documents size. All that would do is just import almost like a flat PNG. So key players size click open. And then, as you can see, it then imports the layers directly from illustrator. So I'm gonna go ahead open the other two as well, so mean designed to now I don't actually need this here. We just need the layer for that so we can go ahead and remove this. Now you can see it's created two separate compositions because it has this little frame icon here. So if I double click that, as you can see, it's retained all of the layers that you need so quickly move that up use. He's got the search bar here, which is also there as well. So yeah, that's that's a really cool way to do it. Um, one thing we do need to do just cause I needed to see these on the document is go to composition settings because a year changed that, too. 34 just because it's working at two X's iPhone eight dimensions so but there and then we have the fun job, and I'll show in this now because, you know, this is the joys of working. Sometimes move that town so that airlines nicely are not gonna trim this out. I'm gonna keep this in here so you can see you know, if you have the same problem, I have sure that's aligned, which it is on. Yeah, that's basically how you import them. And now all you can start doing is manipulating them. So obviously this search icon here. If you pee on it, it's got a cross, like, two seconds. Then move it. As you can see, it now moves across the page. Um, like that. Yeah, that was important it. Now what I'm actually gonna do is start showing you how to create the first section off the animation, Which is that scroll effect. You see the start where this kind of sticks at the top on this goes in. So, yeah, lets go from there. 4. Adding the Scroll Effect: the case. Welcome back to the next stage of this video. Now, what we'll be doing assuring you how to create that scroll effect where you have the stick enough. And then the additional u y. Car's gonna go in? Um, no, sort of some really nice effects, like offsetting the key frames and turning them into three D layers that was then able to rotate them ever so slightly on the X axis just to create a nice sort of dynamic effect. So the first I'm going to do probably was tricky as well. We're gonna create this sticky enough here. We're gonna take this search icon in the search bar, putting a move across to say, 10 frames 10 frames in. We're gonna hit his issue on key frame, not, and then we're gonna move to 24 years. So I think 10 frames is is good enough. I don't need to slow. Don't be too quick. So we're gonna keep from that as well, by moving. Get ever so slightly. So let's say live it up by three. Actually a line into the top alone into this up. So this will create this effect here as you can see in an ideal world, I pick with this or parent into the search bar. But because I have to scale, this is well, you'll also scale that this is the way I have to do it. So from there I want to do is one of s on the search. Well, so completely diesel as for scale and then hit you to bring there's up. So I wanted to be, you know, started 100% and then we're gonna move it to just again. It's this little go in. I say that it's about say one thing just so I know it's definitely off. And then on the position for the search bar also to search icon movie. I've aligned it by creating these rulers here, so this will move outwards. Um, and if we would see you play that back, what kind of see goes out like this? All right, So what? We've created that effect here. This is where it starts. Get a little tricky because we need to create the scroll effect for these you I cars. However, we need to get the timing right to make it look like these are all moving in sync. So we got cars 1 to 5 here, So hit PIF position on that. So that's in line with ease. Can a key frame it for now? We're gonna keep it. Like I said in line there, uh, we're gonna move across wolf dinner, probably so as I guess that there hopefully go to you. Let's say 25 frames could only go to quickly where you can't really see what's going on on . We're gonna basically bring these up. So when I show a bit of the last card too much, just probably. But it's about there. So what it will create is this sort of effect here. Now, as you can see, there's a bit of overlap which we don't want. So that's what I was trying to avoid. Um, And this is why I had to play around with it the first time, Mom. So we can take these on. We're gonna probably offset it. This is slightly so. I was like, guest there. That means that we're gonna want to move in, probably halfway. So the key is just to make sure that there's no overlap. You can see that's absolutely fine. Now we don't know, Don't go too quickly. So there we go, See how this kind of sticky now. But I think that's a little too delayed Now. I have to be honest ever so slightly out. So let's bring that back in a little bit. This is all aftereffects is really just cocky playing home of it until you get it right. It's moving 90 13 frame, so just make sure there's no overlap, which there isn't. As you can see, it looks like that kind of all flows together now. All right, so now that we've created the main sticking up on scroll section we'll need to do for the Zhuhai cards is offset them by one key frame. Because look a little too linear at the movement on before we had these in and these out effects and motion blood. This is another good way to kind of give it more like that. So we don't need to worry about the first card. So what we're gonna do is get rid of those and I show you the 1st 2 and then skip to the end of its otherwise I'll take ages. But all of these we're gonna move it one frame across de select those two and then like that. I fear this one here and then Skip basically moved out across one for him, and it will follow this line because then you'll move those to see it. Let's just quickly do up. It's now that we've offset the key firms and create this nice or scroll effect. The last thing we need to do for this section is creating fade in and fade out for the telecom. So already gone ahead and done here and I'll walk you through what I did. 7 20 frames, I said a scale and opacity kept on birth to 100. Ah, did this for a six frame duration. So it's three frames on the scale. I bumped it up to 116. So as it begins to fade out of 50% it kind of has that sort of pop out. And then as it goes back down to 100 on the scale in zero, when I press it you, it fades up. As you can see, he goes. So what we gonna do is if we hit play back, I have to start to clear the cache A. So hopefully the other play by area doesn't come up this time. As you can see, it creates that nice effect. 5. Enhancing the Animation: Okay, So in the last video, we covered the scroll effect where we have the stick enough and he's offset. You like ours. So for this, what I'm gonna do is apply an additional touch to the you like ours just to give the animation of the actual level of dynamic nous. So I guess he will activated Motion Blur. And I also applied it to these ladies here. If your file doesn't have this, quickly, do this now. So please click there all of the layers that create a nice blur within the animation. I always keep it on at the start. They say you're not meant to, but I always to get to apply at the end. So for me, force of habit. Now, just do it at the beginning. If the u I cards are selected draft Freedy, which means it will render out Freedy layers and if a card 1 to 5. So if we select that was what we gonna do? It's like this little tub here to apply the three d layer Angie's. They'll bring up all of these different orientations based around accesses. Are there anyone we need to worry about? Is the X axis here. So for each one, because we hope set them it's gonna be a bit of a along with into process. But we're gonna go to the 1st 1 here for card one. I'm going to set an exhortation, go across again, show you how to do the 1st 1 cause you know, boys will be here all day on. Basically, they're gonna be exactly the same. So 00 and then halfway through. So, roughly when the car begins to really scroll, I believe is the what we are here. But they do go less. I work this out minus three as the best sort that the surgeon see, It's been it for all of them. I didn't actually mean to dio for, you know, so just quickly move the's in now make sure they're in line. Exactly. Remember, we offset them all by one key from so should they? Yeah, and as well, his key frame. It could be a little fiddly sometimes. So bear with me. All right? And that's it. Just gonna quickly. I hate having those of options down on the transforms. They're going to go across team caught five. I'm gonna hit you just to reveal what we're working with. And as you can see, it's created this nice or three d effect ever. So so ever so slightly there. But it just adds to it. Eso Yeah, for this video, that was it. That was a scroll. Um, if you want to keep playing it back, you can hit and on the keyboard to trim the timeline I survived him to do from working in, like, specific sections. Keep playing the back. So I know that I've got the timing down on in a later video. What we'll do is we'll pre compose thes reverse the layer and actually create a loop within this already for the next section. So, yeah, we're gonna look at this in the next video. This is the transition, so yeah, we'll see either. 6. Creating the Transition 1: right here we are in Maine. Designed Teoh Theater, second position where we're gonna bakery in the main transition for this You I called here , so you'd be thinking this is exactly the same as mean design one. The reason why I've done this like this is because when it transitions, you're wanted to start on the scene set of frames because of the same sort of layers Because of the wise, you know, they'll be glitches or literally jumpiness in the animation. And that's not what you want. If you want a seamless, you know, smooth flowing kind of gift. All I did wishes you can see these looks likely different. It's all I did wishes. Copy the actual layers from my composition. So you have made designed one layers here? Uh, yeah, I just basically copied these in because he's gonna kind of transition off. And then remember the illustrated father, I creates that with you. I edits. Will you delays open those two up here that is full of these top cards here. So this means that you know, if you've seen the animation that shows at the start, this kind of grows to fill the top of the screen on this kind of moves with it. And then what you'll have is thes elements kind of pop up from the bottom. CLS. Let's go ahead and start creating that. So the first thing you need to do is have thes two layers here on these two cards. Kind of pop off the page. Should have these to go That way. This one will go this way on this Will obviously then begin to go into its next state. So we have car designed to in three here, which are these bottom layers. So we're gonna we're gonna deal with those first. So I'm gonna do is, let's say, will start in 10 frames again. Like on the first. Animation off like that gives you enough times. Kind of engage you of what's going on. That's one second good. That will do. Yeah, we'll do 10 frames. I'm gonna hit p for position again. Pretty much gonna go across 10 frames again. In fact, probably slow this down a little more. We're gonna do eight frames this time. If you want to be quite a quick transition, you don't need to drag out too long. So, uh, we're gonna do thes down. I don't have to go away off the page because we're also gonna say opacity as well, Corrugated. There actually seems pretty reasonable. Ah, and then light less time we're gonna were offset. The key frame by one. I always do this because I just hate things. Kind of flowing. Really? Linear school knew that across. Did you see that kind of hopes are headed the wrong one? You need to Ah, I said this 11 key for I'm sorry. So, yeah, they will kind of go, Um and then, you know what we do is gonna send opacity, Booth thes as well. So the hit teeth. Transparency City. A prosecutor zero. Their on again hit you so you can see what you're working with. Um, I'm gonna go across the better as well, and we're gonna be the zero do the same for the top one is well, so called. Threw me transparency. You see what we're working with on again? Hit zero. She'll see. They kind of fade off like this. All right, so now that we've created this kind of transition for these cards here, haven't actually added anything like easing and these out to it because we'll do that at the end. Would on finalizing everything obviously go through, turned them into our easiest key frames on one thing, I want to play now as well. Now, I don't know if you guys will have this problem. I think it might be my GPU, but as an issue of motion blur where you'll see that this kind of a residual free, it sort of gets left over. So if we hit playback on that, you'll see it kind of stays where it If I turned that off, it disappears. Eso all. I've done his just straight up creating a new composition with the exact same dimensions on this is just a little hack I found. Quickly, show it. Now, in case you guys have it, basically, copy all of these layers. Just directly, Command See straight into the new composition on, for some reason, always seems to help. So, yeah, just thought I could show that now where we don't actually need me designed to. So now what we gonna do is gonna create the transition for this bit. Here is Well, same thing again. That's gonna move off at the same time is thes. Yeah, Let's do that now. Trailers have left his later on. We don't actually need that one. You won't have this on your phone. So moved the cards. Now we also have search icon here. We should the search bar and then the one approve it, which is obviously that I had to keep their separate again. To be honest, you compare it not to there, which I have done. So what we're gonna do is on here gonna hit PIF position again. Seem, was the last time on simply gonna move? It's gonna be the same. Time is those which is on We're gonna I just realized I haven't actually key frame, not which didn't mind. There we go. Ok, well, key friend has now moved to there. You should fail. I'm gonna Cleve, move this off. Uh, number also going to go back on his teeth. Transparency opacity you to show both of those. Okay to the on on the embassy here. Zero on. What will happen is all of those will kind of fade off. So and then this will. So we just need to pay the icon as well so way have that. I come choose that one. Gonna go again, fade the our little all after, Actually, we're gonna probably go, Teoh, I'd say about their will. Start fading that one. So I come one. I thought we're gonna do the same effect we did last time. So we're gonna scale it Hit scale on their every move across six frame. So 123123 You're gonna scale that. Know that they were gonna keep that 10 0 100 them against scale. This one in the Senate to 1 16 light last time basically to create that sort pop out effect again, if you remember on the year the original main design one. Ah, and then we're also gonna set the transparency as well. So that's going to go. Used to shoot both of them. And I just enabled us to start actually fading now. So, as you can see, all kind of have to solve pop out effort. Popular foot. Yeah, that was that. Now we're gonna create the you I car transition to the top on. Move on to the actual the final part animation. Really 7. Creating the Transition 2: right. So as we've also got these two now, go off the screen like this. We've also got that sort pop out as well. We're gonna actually work on making this you icard kind of growth to take up the whole screen here. So, uh, as you can see, this is how it will look as it transitions up. Um, if you're gonna I might just copy that in just so I can actually get the Yes, this one here. Excellent. Quickly copied in. And then what I'm gonna do is using the rulers here. We're gonna Well, it will do is allow me to actually account the exact size and for, Well, I want to be accurate. Like I said, if you're creating a full flowing animation, don't want it to be noticeable. Jumps are inconsistency. So we have that There were a lot just lay eggs. So what I'm gonna do you feed that out slowly, just so I know it's there, But it's not intruding on the actual animation itself again. What many things that now. So let's say roughly as that begins to fade out, I don't really see Start that they're going to go even if you have the u icard container and we also have the Unicode text. So what we gonna do for these is we're in a position, Kiefer, when you hit a stopwatch, I am gonna move. Let's say 10 frames again. So what were now 18? They're gonna move across to you. She will do. 26 will do eight frames. I feel like that's a pretty decent speed, so we're gonna move that up. As you can see, I've also used the pan behind total to move the anchor point to the bottom like you Don't worry about doing this. I've done it for you. But I'm just saying for future reference, could you want things to grow from specific directions? Always used a plan behind tool. And what that means is that this will grow from the bottom up and create is really nice little girl. In effect, I believe we've moved a little too far. Blue basically play around with it. So now what we also need to do is ah, move this text here into position. So see, you thought What kind of feel? The with the space here toe a line of the margin so you see that? What kind of movie that was sort of move across to this direction here. I'm trying. Explain this as best as I possibly can. Um, for the U I. Car container course start will then begin to grow looking scale there. And then we want that to sort feel the whole screen towards the top. Okay, I said it's a 1 60 on the original file, I believe, just so I, you know, 100% sure that that's actually going off, so it will kind of grow up with it. You'll see this will then allying to the margin with everything else, which I believe is 30 pixel margin. And then obviously this will like that take up the whole screen. I am just gonna knew that down a little bit, actually. And also you, so I knew is they're gonna move that down ever so slightly. So is aligned nicely. There we go. So I kind of feel the whole top of the screen there. We don't need this for now. Must finish job. Ah, and yeah, well, the final thing will start to look like you'll see you get in. There is this Will kind of go off and that will grow up. Gonna move this in a little bit more as well. I always do this for, like, can you sign a little bit? Probably As I begins to go American. We could put me in another two frames. Like I said, it's all about getting time and rise. I feel for it to play around with this yourself and your own personal sort of preference. Yeah, that's definitely more like it for you. Yeah, It must be at the ease in and ease out that much better. Yeah, that's the main transition for that section there. Now, what we need to to is have this icon here and this icon here kind of popping. 8. Creating the Transition 3: All right, So in this video, we create in the final stage of the animation. So that is having these two elements here popping as well as these elements kind of fade out from the bottom. So, yeah, quickly dragged these two into this was the search icon to on also the ad icon to as well, So we're gonna work on those quickly because they're really easy. So as it gets to there, or by the way, all of this will already be in your file. I just had to sort out these in as I'm going through it. But you won't have these issues when it comes to doing it. There will already be there. But yet, anyway, let's just quickly do this now. So I see two friends before I kind of wanted to fade in a relatively decent time. You don't need to go to lay either. Yeah, I see. I see one frame. What we gonna do is going to say scale todo again. Gonna do exactly the same as what we have been doing so well. Give scale. What? We are now on 23 frames going across to you. I'm gonna move across six frames. Sorry. Experience. Um, you're going to set that as well to keep out of the 100 was gonna move into the center here 116? Obviously. Only the difference is this time we're gonna reverse the fading. So they set a key frame that get you to show both of them on. We got to end it on 100. That's cool. Good. And start on zero. So what you'll get is this kind of pope ID And again, we're gonna do the same for the search icon as well. The exact same time it she's not gonna be is extreme. I'm saying I'm gonna scale it off said that, uh, can hit key from so ends on 100. I'm gonna move a crusted there. Let's say, you know, let's go to smooth. We say, Start from se foi again. We're going to go transparency a Pepsi, you to show proof of them. It's just gonna go to 100 sand. Make that 10 What? You should get this kind of pop in effect. And again when you had motion blur to these things that look much cooler, let's play the whole thing by just see how we will look. Yeah, they're a bit too delayed now. Again, like a set you can never actually tell when the best moment is to actually fade things in. So what I d one frame we could get away with doing it there. I think I said, that's all after fix. It is just playing around with it, getting timing down. And like I said, feel free to put your own twist on it. Well, I think you try. It might not look right to you, So yeah, that's much better, actually. Here rendering now because the laptop sounds like it's taken off. So here we are in main design. Three d are the final composition where we'll be creating the last section of the animation . Honestly, what we'll do is we'll create another composition called final lap flow. On what? That Opie is bringing all of these competitions together to actually create before design. Before we do that, we need talks to make these kind of pop up here. Now, I'd love to. These top four lays here, there purely there, just for like, a visual aid. So I know that you know how we will look we're gonna have the from which all of these. To be honest, witness that position key for him. We can move across roughly. What? We don't know. I don't need your turn off the light. 10 will be too drugged out. We will do. Eight were seen keeping with a in the moment. I feel like that. Maybe a little too slow, but we'll give it a go anyway. So we need them. Talks the end in that position. We need to go back here, though. Uh, really We don't want to come too far off this green. So I say, be there. Someone that would do is almost remover. Look really leading at the moment. Ah, so bear with me. Well, we are then going to do is again, we're gonna offset these key frames. So we have image left. We don't work without foot work with the head of two, so that would be OK, so we'll go text one. We're gonna offset all of these. I love it. They're gonna move across one frame to select those. Uh, if I remember rightly, I actually made it so that the center one came in last. So what's that image image right there. Image center can stay everywhere. Is, I'd say, How did they do it Last time? I didn't have. It'll come in kind of continuously. It was almost as if like the left one would come in first. So, actually, why I'm gonna do it. Knocked that back Another one. So image right will go across again, and then image center will come in last. So they will kind of go up different speeds, but also in a different order as well. So it's it's know as linear is a little more natural. Never go. Yeah, that should be okay. Um, turn off a second. They could get away as well with moving a little further down. All right, so one headed to I'm gonna do is for all of them. Go to the initial key, free where they start. I'm just gonna bump it down another one for like, they were a little too high up on the other one. So that's it. There again on image, right? Just have them start from further down position and in the center, Start down there on image left also stopped different positions. You see, they're all in line again there. Nothing's really changed, except they just start from a lower down position. I felt like you couldn't really see the movement is much lower light. Yeah, I should be much, but enough. I kind of feel like eight frames is quick enough is Well, well, they No, we're gonna have to move him in. Sorry, guys. Move 18 to 16. So just one pull of the last ones in by another two frames. Like I said, this is just all about experiment in making sure that, you know every time you look all right, so you can see there still could be one behind, But if you move them in, I want this to be quite a quick transition. No user wants to sit there and wait for a screen to load. That's my foot. All right. Now what we need to do is enemy the pink button at the bottom. Now, this isn't You'll see, I've kept this separate. Isn't gonna move with the rest of them. This will kind of have the same scale effect that the icon had here. So again, I don't delay it too much. So we're gonna go, probably as I gets to there. I still think it will be a little to delay, but again, we'll give it a go. We're gonna hit scale in scale. 100 and again. Six frames. So are we on 17. We're gonna go across the 23 um, scale on that as well. In this centre. Gonna bump it up to roughly. Wow. Okay. 1 62 Uh Lee again. You want to see You want to see the pope? What? You don't want it to be too much? I think that should be. Still think it's a little too virtually 16? Yeah, that should be okay. And then go to you again. Hit teeth. The transparency Ordina White So placidly when it's t but hit you for to unveil all of them on again, it's gonna end on 100 that's gonna start here. See if that's a little too delayed as it comes in. So they pop up. I kind of have this book. And so fade out, fade in Shin se. Yeah, I should be original Really bumping another frame or two. But no, I will not solely on. We'll get down to 1 16 See what that looks like Yeah, it's safe. Just in case. Awesome. Now that we've got this sort of being basic movement down one thing I could have got to Dio is really important as oil is for each of these. So it's like all of them. Well, not all of them not doing. Don't select pink, but And so it's all the way down to image left hit t set a new pussy. And then he you took sleep unveiled in Go Kristen. There, that's it. The new key frame and on the original make that zero. So they're not actually visible when they first move. And then what we're gonna have to do is obviously align the capacity to that is ikey free movement so I can go for it. Take these ones here, get those toe a line. I get no one to align as well on the last two. Tell us what you say. Is this one here? What? She's hoping that okay, that was around him. So they all aligned yet? And then what we're gonna need to do is just take all of these key frames. My God, there should be a quicker way of doing this. We've got into their like this and take the lead one. So the one at the front on just move it down to zero. I don't know why I said it's 10 frames. I think that's just again. That's just force of habit. Make sure they're really good. So, as you can see, they kind of start zero pricey and they kind of fade in. And now what we're gonna do and the reason why movie about 20 is we're gonna take all of those layers, including the pink button. So you see down from head to That's Pink book and I mean a copy these I'm gonna move it to mean designed to Now let me know if you know there's a better way of doing this thesis personally, how I do it, keeping them separate. But then also, you know, integrating them. And it just has us sort of decent work flow to it, because what you could do is and copy them in changing color as well. So I knew that there from a separate composition gonna hit you, although actually, we don't really need to you could hit you to view them, but we will know that they start at the beginning. So here and now we're gonna do is move them out of the way. I'm gonna find a good point for where we can actually bring those animations in. So I'd say roughly there would be a good time. Perhaps a little delay. Let's see. Yeah. Ever so slightly delayed. So what we're gonna do is shoes, move it to you from, please. A racially excuse a notification. It's always, like, pointless notifications as well. Like I never actually read so here, anyway. Yeah, I think I moved in a little to phone, Uh, get it to let you see one frame. I think one friend like I said, I always underestimate how much sh one frame can make a difference. Now, as you can see, it kind of just transition in. It's not fades out. They come in. Andi. Yeah, that's, you know, the final transition. What we're actually gonna do now is go through at easiest key frames and use the graph It It's kind of demonstrate how you can create more dynamic kind of flows between different states on then. Yeah, we will also allow us to actually bring the full compositions together on create the final animation. So yeah, we'll see you in the next video 9. Finalising the Animation: All right. So, having put together the final transition for this, you can see this is what we were left with last time. Um, one thing we're gonna quickly do before we bring it all together. Issues term motion blur wrong for delays as well. Statistically, go down. Make sure the rule on so I should make it pop a little Mona. Yep. It's save on that and going back to the 1st 1 Just like, refresh your memory and what we were doing. We had the scroll effect here. So before we look this, we're gonna ask some easy east key frames. So things like the ad icon for the scale you can highlight these top three here and F nine or effort F nine to the position here we got You have to manipulate the graph it on this one. So again, f NF knowing we go into the graphic here, you can see here you get your speed graph. This is just a basic sort of linear path. What we're gonna do is increase the influence on both sides by 50%. This is a bring in and then on things like the position for the search bar as well. Also gonna do the same thing. So again, influence 50% on both sides. It's just creates a nice sort of dynamic transition. And if the things like the you, I call it, you don't actually need to manipulate the graph editor. We can just turn the easel directly into Eazy e's on Just use the default setting instead because I think it looks really nice like that. Sometimes it's good to just stick with standard. Don't try and over complicate it. So again F nine on Let's play this book. You can see it just pops a lot better now. And if you flows and has a lot more life to it. Game agreement May designed to as well, I'm gonna tune. He's unveiled them. I'm gonna manipulate these as well. So for the header F nine, I thought we could just highlight all of them. Should save time putting in a skip over this bit. Okay, so haven't selected all of these. Of course. Just skipped over. I'm going to scroll through what I selected eso Anything with position and scale. We're gonna set too easy. So again, effort. Sorry, f n f nine together on that shouldn't really create a nice effect. So let's just play that back. Yep. See, I just think you know it. Certainly so. But I just think it looked really cool. Okay, so now that we have our mean animations down, are the three on here? What we're gonna do is we're gonna loop this 1st 1 here. Now, to do this, it's gonna require us to pre composed these layers here, which essentially means placing them into a separate creditable composition on that will allow us to actually time reverse the key frames and create a loop. So let's let's do that now. So we highlight all of these. Go right click Pre composed. We're gonna call it interaction one. This just so you know what it is. So you'll see, it creates a new composition. If you want to go back and edit their shoulder, simply double tap. That you could make any edits is if you know nothing's changed and it will reflect live in here as well. So this is the pre composed for now. You see, you can just play black as you would on what we're gonna do. We're gonna find a good point to loop it, so probably I'd see there. That's a good point. I'm gonna go Command shift D. It's a trim it. Now what we're gonna do is come on the eve to duplicate this left. Good move across a bit too far. Let me go. Move that crusted there. Right. Click this layer when it right clicks, I'm gonna It's a time I'm going to select time Reverse layer. So you know, it's permission, The name, What it would do that we just reverse That's online. So, as you can see is now an exact replica of what we just don't or an exact mirror of it. I'm gonna find the point where the animation starts to go back, which is the I made a command shifty again. We'll delete this friendly here. As you can see, it would just go back to its start, and then we can bring that in lining up. Yes, that's aligned Gonna go across to here. Well, as you can see, you already see what's gonna happen. We're gonna end on the keyboard just to crop it. And what they should allow us to do is create a nice loot within the animation. So let's hit space and play that back. And there we go. You have no loot. The first animation. It's now that we've looked at this animation and also created the other animation on Mean designed to What we need to do is create a new composition in order for us to bring this together to undergo composition. New composition. If your dimension don't already said, it's 7 50 by 13 54 30 frames per second for resolution on a 50 frames of on a 32nd duration timeline. Keep the background color. Doesn't really matter if you have a background here already gonna call this final AP flow. It's just so I know what it is. Go to there on. What we gonna do is we're gonna go main design one you're gonna drag back in. So as you can see, he's looking, you know it's there. And then what we're also gonna do is drag main design to in. So see, this has both animations from being designed two and three dragged out in on top on. We're gonna move that out a little bit because I'll see, you don't need to intrude on this. So As you can see, this is how this up kind of flows. So we're gonna go to the airport, gonna drag it out tiu C 20 frames, and then we're gonna simply crop with out there. So again, come on, shift D Delete this. So this has a full sourced scroll flow in there. Then what we're gonna do is gonna bring this in a little bit. Make sure that's aligned, and that's basically has this transition section here. So I dragged out to U. S C six frames just so you can kind of see how it will go on, then again and on the keyboard just to bring it in, as you can see, like Well, there were still separate. It all kind of flows is one on a mission. So if we hit space ball and play that back Siegel a nice scroll and it goes into the next page, and then you know, if you want to go to the extra level of looping it from here, so repeating this enemy should going back to the start and then playing it again, feel free to do that. I mean, it will also I want to keep the gift is short as possible. The whole point is meant to maximize files on you'll see when we export it in the next few videos, you'll see why it's good to maintain a good frame route. So, yeah, feel free to leave if you want, but this just kind of shows how it will come together. So, yeah, in in the next video, we'll look export. And this is an MP four and a gift file, and then I'll kind of Rick up everything we've done. But as far as animation goes, we've completed the process. So I hope that was an enjoyable lesson. Yeah, see in the next video. 10. Exporting as MP4: What's that goes? Welcome to the export in stage of this class. Now, let's say you want to put this design on dribble. Um, actually, dribble supports MP for now. Before, it would have just had to have been a GIF. Ah, But first, we're gonna start with the MP. Forsett's the quickest process. So you create a new composition for dribble, obviously college dribble. Make it. I think they support two X that may or three X so we could make it 1600 by 1208 100 by 600 . Obviously, broccoli to create a new composition, just quickly create a new solid so you can have a background on it. Uh, this is the color I used to look really nice called up BG, and then we're gonna do is final AP flow is obviously the final up float that's this here will be brought it all together in a drug about him. Scale it down. Think 75 is a good one. That Yep, 75. And crop it at six seconds where the animation loops so and bring in CS exactly the same processes. Final outflow. Just render that it's not real time at the moment, but you can see its little that all right. So this is where the amount of frames doesn't actually make a difference when exporting is an MP for because, unlike gifts on MP for the video, if we hit play on here, you'll see that it's running 180 frames like That's the maximum. It has a 30 frames per second animation for a gift, the maximum amount of frames you can have its 500 so that that will become apparent in the next video. But to export, this is an MP four. So you wanna put on dribble, you'll go to the media and Cuda Que Welcome to the out media encoder, and this is part of a dubious integrated with after effects on Premiere Pro. From here, you'll see that we have the file that we want to export here so we can split the destination for I also felt a work from it will create India and a McFall. See, I'm gonna save it. Ondas You can see the Kodak is a huge 0.264 which means it's an MP four on its much in its source to a high bit rate in Premiere Pro tend to use very a bit rates. I think in this you can choose what you want, but thus it doesn't really make a difference. Eso What gonna do is I'm gonna hit play. Hopefully doesn't render this one as well because that's already let's see, she could see is connected it All right, so that's finished us off, See says not currently including we used the air. The Mercury playback engine. I think that's just default. Wanna do we see it saved it to files toe work from. So let's double check that after effects after fixed files and you'll see like the Here's the baby media encoder file files to work from. So have A and E V P file there and then it will also have the video it was generated from back. You see it so well there looking cool on. Yet you could go ahead and load up to dribble in the next video. What do show you how to export is a gift. The other process a lot. We'll know a lot more, a little more long winded because it requires the use of foot wish up. So yes, the Koran If you want to see how to do that or if you already know, then feel free to jump ahead to the recap video on. Yeah, go from there. 11. Exporting as GIF: It's last thing you want to export. This is a gift, whether that be to put honorable or he was on a Web page to do this. You don't use the medium security. You do it directly in after effects that you add it to the room. Thank you. As you can see already started creating ones which closes up. So what you do is on lossless the other default former is quick time, which is what we're using for these videos. Quick time I What we will item to do is sell it to a PNG sequence because I'm sleeping you . The high quality artist means that you change the channels toe RGB plus Alfa. You accept. Okay. And then when you select your destination folder, I could get to say I for affects here. I'll going after fix twirls and it was succeed dribble, hashish, ash. I really don't know what that means. What it would do is create for every frame of the animation. It will be a separate PNG, so you'll save that to the annual hit render. It should be really quick. All right, so it's about to finish. There we go. You'll get a nice pinging sound on them. If you go to the destination folder when you see that white always comes up, so isn't aftereffects follows. You'll see this folder here called Dribble as you can see. Like I said, it would create a PNG for every step of the information or every frame of the animation. 100 80 images if I got it right, 179 after running and why? So in order to get this into a gift for Mom, what we'll do is we'll open fish up open that folder that we just had aftereffects for Host Dribble will take the 1st 1 and we'll drug back in And what this would create the exact dimensions that we need. Now we need the workspace to be set to motion because that's what we work in receipt of your toe window. You gotta works where it works based on your sex emotion, something you gotta lay there and I'll have your timeline here. Who would actually be using this? But it's part of it now. What we can do is go to layer. We'll get video layers and we'll go new video layer from file. I will find the excites folder that we had, so we'll set the 1st 1 again, will open it. And what Photoshopped will do is because it's set to motion and causes appeared GT Foods. It will automatically realized that it's a continuous play back, so you won't have to wait anymore. Layers in. As you can see, it's now a clip so you can delete this one. Yes, was the amount. What we're gonna do is well, just to make the file a little smaller is going to be image toys to 50%. Just so it's a lot smaller. It's a very small objects on. Your animation is not on there. Now we can exploit as a gifts that you go to export. This might take a lot of loaded. We'll hopefully know what's safe Web legacy. It's a little outdated compared to the rest of it. So bear with it. Okay, so once he saved, the legacy has opened. Obviously, these are all the settings I use, so feel free to quickly put all of these in. I always said it to 256. I mean, that's the maximum amount of colors gifts can support. That's what I'm saying, when they're very limited with what you can do. So if you have radiance, you'll realize there's a lot of, like, awful diffusion in there. They'll start to look really greeny. Luckily, this is very sort flat. The shadows won't look too great, but you can't really see those on. Obviously, it's worn out of 180 frames, like so Dustin maximum 800 by 600 with you'll want to set the loop to Forever on From the You can even click Done. You don't really know where it will save it, or you can hit, save and specify the exact place that you want to put it. So again, we're gonna put in after effects unless it's cool. It, um, we'll call it skill share animation, and it will be adult gift for So you hit save. There you go 12. Recapping & Thoughts: Okay, so now that we've gone through the entire animation process, you know, right from import in the design into after effects to actually creating animation states and then export and it is an MP for a gift. Yeah, that's kind of recap. Everything we've done from start to finish. So we're going up to the other project panel. We've imported our designs directly in from Illustrator. You know, you don't have to just use illustrate. You can also use photo shop. I think the Baby X'd as well has a an integration as well with after effects. If I'm going to check that out if they do, that's really cool. You know, one thing that always puts me off using these kind of software is like sketch because I can never actually animated like Don't get me wrong sketches. The primary designed Till I use and all I have to do is export, usually individually and then do the same thing again. Build them up in the project panel, but yeah, using illustrator, you know, it's a direct pipeline. What we've done is we've kind of segmented. The design almost so picked out the key areas where there'll be a mean interaction we saw broke that down. And then obviously, on this one, we've pretty composed it. Like I said, if you go into this here, So interaction one is still a fully creditable composition, you can go through and just add it on. All changes will reflect live directly in Maine, design one. And what we did was time reversed. This layer here's a duplicated it trimmed it down, flip the layer around to criticize loop Main design to is well, just to give everything more organization. We actually kept all of this separate here. So the you I called how that transitions end was one animation below the yellow sections here. And then, of course, we created these kind of slide up animations here. And then, of course, just us, you know, get the flow better and get the timing right. He kind of brought it back in the final outflow. This is where you bring the entire design together. So you took main design one main designed to on just created as one continuous animation here. And that meant that we could Then you know, either export this directly over the fire will be huge or you can drag it into dribble like a miserable composition on. Just go from there, Honestly, using after effects, it can be daunting at first. I remember when I first started using it. It took ages just to get the basics down, and I was doing things like the wrong way. And, of course, everyone develops during workflow like my workflow might look crazy to some people. They might think, Why you doing it that way? But it's just, you know, you pick up your own personal kind of styles and kind of ways of doing things. Like I said for me, I prefer to split everything into separate compositions and and bring it all together in the final outflow. And then, if I have to convince that down further into a dribble complete, like composition, I will on union if I'm exporting is a GIF. The way I've always been showed its talks to use for a shop for like a really effective way of doing it. I've never had any issues doing it this way, except for if the animations like more than eight seconds and I'm burning 30 FPs, that's when you start to run into problems because it out does the 500 limit. Um, then you have sort of convinced the frame rate of the composition down sort of 24. That's the only time I've ever had an issue with gifts. But obviously a dribble supports MP for now, so it makes life a hell of a lot easier. Honestly, the way the industry is, it is good to have an understanding of mission because, you know, you're not just think about the design. You're also thinking about the disorder, the U X prints, pools and how it will flow. You think about micro interactions. It also helps you communicate better with developers and engineers because you're like, this is how things flows. Can you actually do this in code? Allows you to kind of refine the animation. I mean everything on here. I've kept very realistic. So yeah, it could be translated in design. And what I'm going to do for the project files is attached. Helpful resource is and things that I feel you can brush upon whether that be, you know, simple things like graph. It is one cool thing I could have showed in here, but we didn't really need to is the old clicking here will allow you to add a what we call expression codes and our Lincoln. Helpful tips on there as well is like cool transitions and things you can add in just to give your design a lot more death. And, of course, plug ins like truck code as well, after fixes a massive so far that you could do loads with it, you say. As far as as far as the animation process goes, try to keep it simple as possible. The more confident in the more comfortable you get with software, the more you start kind of branching out and doing other things, such as three D environments. Honestly, if you look at video copilot, he has some incredible kind of tips of three D animation videos as well. And as well is that he also has additional software that you can download like Element three D, which basically creates like a three D pipeline between Cinema 40 Andi aftereffects. It's incredible what you can do with it. We've only really touched the surface if this, but hopefully it was informer. If is, some of the processes can be a little fiddly, so it's kind of hard to break it down and explain it. But yes, definitely leafy back. Let me know how it could be. Improved hot suggestions for light feature classes now, like the future of the industry and stuff, but obviously someone who is a big fine of motion. It's fun making videos like this and kind of teaching other people how to do it. 13. Wrapping it Up!: so that was a tutorial. Hopefully you enjoyed it, and I was informative with the process. Like I said, make sure you leave. Feedback can reach out to have any questions or future class suggestions. Also hit me about the social platforms such dribble Linnington.