AI Animation: Animating Midjourney images with Photoshop and After Effects

1. Course Promo: Hi guys. Welcome to this course where I will be showing you how to animate mid journey images with Photoshop and after effects. Now, if you haven't used mid journey before, that's fine, it's super cool. But I would recommend you checking out our course on mastered mid journey before you engage with this course. Now, mid journey is really, really, really good at generated highly stylized images, and it looks insane. But one thing that mid journey can't do yet is generating videos, which is a bit of a shame. So that's where this course comes in. Now by using a combination of Photoshop aftereffects and mid journey, what we're going to do is take those super stylized images from mid Journey, separate them out into layers, and then animate them inside of Adobe after effects to create a really cool dynamic animation. Now this is going to be a super fun course, guys. I'm really excited to show you the process. I can't wait to see what you guys create in final class project. So let's not waste any more time. Let's jump into the first lesson. 2. Lesson One - Accessing course software and materials: Hi folks. Welcome to the first lesson. Now in this very short section, what I'm going to do is I'm going to highlight all the different software that you're going to need access to. I will be providing a text document with links to everything as well. So first off, I'm going to be using Mid Journey, which situates itself within Discord. So this is a subscription based package, but I will be providing three alternatives as well. If you wanted to go with mid journey and you don't currently have it. Here is the pricing options. It's midjourney.com forward slash application, and it lets you generate all this kind of cool artwork. You will need to download Discord as well, which is completely free because it operates and functions out of Discord. So I will provide these links for you, the Mid Journey.com link and the Discord link. Now if you do want to use a free image generator, what I've done is I've done a little bit of research into which ones I recommend. So first up, we've got Adobe Firefly. I've typed this prompt into Adobe Firefly. Again, I'll be giving you the link and these are the images that it's generated. You've got a load of options on the side as well. Next we've got Night Cafe Again, I'll give you the link. And you've got a few less options. But same prompt and it's given me this image. Next we've got big image generator, which I'm not really a fan of. I don't think it gives you that high quality images yet. But you can see the same prompt has given us these images. And finally we've got Daly two, which is a different art style. I'm not really a fan of this, but we have got Dari Three coming out and it'll probably, it may well be out by the time that this video makes it out there and is uploaded. So very, very soon. So I would check out Dary Three because that also will be free. So these ones, like I said, are going to be free. And you can certainly use them if you already have an Adobe license. It may make sense to go with Adobe Firefight again. Really, really good. And you can work through all these different settings here. So this will probably be the free one I recommend. But this, like I said, is free if you have an Adobe subscription. Otherwise, perhaps look at Night Cafe, but I'm going to be using Discord. You'll also need a license for Adobe After Effects and Adobe Photoshop. You can get free trials for these softwares. So by all means, go ahead and use a free trial if you haven't already got after effects or Photoshop. So hopefully you can see that you can do this course whether it's with free software or with paid. So now that we've got all that sorted, like I said, I'll upload some links for you. But we can now move on to the next lesson where we'll actually start generating our artwork. 3. Lesson Two - Generating our image in Midjourney: Okay, so here I am inside of discords using mid journey. What I'm going to do in this session is I'm going to be generating my artwork. For which I'm going to then animate. And again, you can use whatever you want. In the last lesson, I went through Night Cafe, Adobe Firefly, D two, Mid Journey, which I'm using here. So whatever one and use a free one if you need to. I'm just going to be using the mid journey bot in Discord because I have that and whatever I prompt here will be able to be transferable into everything. So first off, what I'm going to do is I'm going to start by prompting inside of mid journey. So to do it in mid journey, all you've got to do is you've got to type forward slash imagine. And then you just put your prompt in there. Anything else like Adobe Firefly or the other ones? I think there's a box and you can just go and put it prompt in there. So I'm going to describe what I want to see. I want some sort of samurai holding a sword overlooking like a sort of city or a village. But I'm going to give it as much as possible. So I'm going to start off by thinking about what kind of shot I want. And I want a wide and I want it to be high angle, a white high angle. And let's go cinematic as well. Putting all these keywords in there will really help whatever you're using to give you really cool results. So the more you give it, the better it is. So I'm going to go cinematic shot of a samurai holding a sword. And I'm going to put in traditional samurai costume. Because again, the more you give it, the better it will be. Next I want to tell the software or the AI where this person is. So I'm going to say standing on a cliff top overlooking a city or a village or something like that. Okay, And now I'm gonna give some further description. I'm going to say that I want a sunset in the background. And then I'm gonna finish off with just some key words. Okay, so another key words I'm gonna use, I think I'm going to go for photo realistic. I may go for, I don't know, fantasy orange and reds I want to add because those are the colors. I may say shot at Goldenhour. I may put, I' know 19th century stuff like that. So I'm gonna go ahead and I'm going to separate these keywords with commerce. Okay, So I've gone ahead and I've put photorealistic oranges. Reds shot at goldenhour, 18th century fantasy, ancient. And I think I'm just gonna put, even though I've got sunset in there, I'm gonna put sunset again. What I'm gonna do is in mid journey, the way you tell it what resolution you want is you put AR aspect ratio, then a space. And I'm gonna put 16 and then semicolon nine, so it's going to be widescreen. If you're using something else, you may want to look for a setting or a button. Some of them just generate squares, but some of them like, I think Adobe Firefly lets you pick a resolution. So what I'm going to do now inside of mid journey is just click Enter and it's going to generate some versions. And I'm going to go ahead and I'm going to see which one I like. Okay, so here are my four images. I'm going to click to enlarge. I'm really like in this one a life that bears a lot of depth in it. I'm also really liking this one as well, to be honest. So what I might do is I might go and get some variations of this one. So if I just click off, I'm going to click upscale image number two. Now that I've got it upscaled, what I'm going to go ahead and do is either click very subtle or very strong. What that's going to do is it's going to take this image and create variations. So mix a couple things up and obviously if I click very subtle, it'll be a subtle approach and then strong will be that. So I'm probably going to go ahead and click them both just to give myself some more options to see if there's anything that I like better. Okay, so here's my variations which are subtle, and here's my variations which are a bit stronger. So what I'm going to do is I'm going to click this one. And I really, really like which one? This image by here, image number three. So I'm just going to click Upscale image number three. And then what I can do is I can download this image once it's generated, take it into Photoshop and start the next process. So here we go. Here's my image. I can click to enlarge it, and that's really, really cool. So I can go ahead and view it in Web as well, and then visit site. And I prefer to download it from the web, but here we go. Here it is. So I can go ahead and I can click Save, and this is the image that I'm going to work with. Now in addition to this, if you're struggling with your prompt, what I recommend you do is go to a few websites. So we've got one here, Prompt Hero. If I click mid journey, what we can do is we can click, maybe you really like, I don't know this image, but here, for example, the Joker. And what you can do is you can say, right, okay, what's the prompt of this? The prompt is Batman, Gotham City at night, Christopher Nolan style, and all of this. And you can copy this or just click copy and try and generate very similar images. You can also go onto websites and look at articles if you just type in best mid journey prompt or something like that. This is really, really cool. So you can go ahead and you can copy that and try all these different prompts. I really like this one. That's awesome. And again, here's just another website of stuff I found. So hopefully you guys enjoyed that session. Go ahead and generate your artwork with whatever you want to use. In the next session, we're going to jump into Photoshop where we're going to start separating everything into different layers. So I will see you in the next lesson. Cheers. 4. Lesson Three - Preparing the image in Photoshop: Hello, I'm welcome back. Now in this lesson, we're going to be in Photoshop, and what we've got to do is we've got to separate our image into loads of different layers. So you can see I've gone ahead and I've done that. I've got my foreground labeled FG midground, MG and BG for background. Now if I turn these off one by one, you'll see that even though I've removed the hero and the rock and these bushes from the foreground, you can see that I've actually generated. And it's quite rough. I mean, you can see the clouds don't really make sense there. And it doesn't make sense there either. So it's quite rough, but there is a background generated and that's what we're going to be kind of doing. And don't worry that it doesn't really make much sense, that's fine. And then you can see when I remove the midground, again we've got these clouds going all the way down. So that's quite important that we do that. So this is one that I've made and I'm going to show you now how we can put this together inside of Photoshop. So I've got my image open here. Now you may see this little bar down the bottom. If you're using a more recent version of Photoshops, you can just kind of put this out the way. And what we want to do is start by duplicating our background, so we've always got a copy here. And we're going to use a bunch of different tools in this. We're going to use our polygonal lasso tool right here. We're going to use our normal lasso tool, possibly magnetic lassu. We're going to use magic wand, quick selection and object selection. So I'll just give you a quick bit of a rundown. So if I use my object selection tool now, this is quite a complex image actually, because you've got holes in the trees, you've got very similar colors, very similar shades. And this background is quite complicated as well, with very similar hues. So what we've got to do is I'm going to use the object selection tool. And I can just click on this guy, and actually it's going to do a really good job of just selecting him. And if I come in, I can see it's kind of starting to select some of the hair as well. So that's kind of a really good start. What you can do is you can then build on this. I'm using the polygonal naso tool. You could come around and hold shift. When I hold shift, you'll see next to the icon becomes a little. Let me just do that again. When I hold shift, you get this little plus icon. Or if I hold alt it becomes a minus. So I can subtract stuff if I want to, but I don't really want to subtract anything. You can go ahead and you can add some more of these strands kind of just by drawing and hold in plus. So if I want to add these by here, I can go in and this is a time consuming process, which is why I've got a version which I'm just going to run with rather than do mine all again. Because you'd have to watch all of that. And you can also go ahead and try the magic wand tool and just select a little bit more. So hold and shift and turn your tolerance perhaps up to 16. And just select some more of this color by here. And just kind of add, although this is doing quite good, you may just, again, want to add some of this stuff out here. And it can be quite a long process, but to be honest, I'm not in this instance going to worry too much about all of this hair out here because it'll look good anyway. And also when you are generating bear in mind not to use a generation or an image that has so much fine detail. So that's just something to consider. I am going to add this little bit in as well. So to do that, I can use the quick selection tool. Another tool and I'm just holding shift and drawing over this and it's just adding that to our selection. So I want to increase include the rock as well. So I'm going to go Object selection, holding shift. I'm now going to draw around the rock and hopefully it's going to include that. Let's have a look. Yeah, it's got it. So there we go. Just check the edges all up to speed. Perfect. This will do. And yeah, actually I want to include this bit by here. So again, I'm going to come to polygonal lasso. You can even try magnetic lasso just to make sure you hold shift so it goes to plus. Now hopefully if you go along this edge, it might detect the edge there we go. And I'm going to in, I'm just going to click there. I'm going to include this red as well because this is in the foreground. So it's just this sort of red shrubbery. And if you want to, with this tool, you can click, Place a point. Otherwise it'll try and do it automatically. So I'm just going to carry on coming around here and you can see what I'm doing. Okay, so I've just done that a bit roughly there. I'm going to go ahead and I'm going to get the polygonal lasso tool just to add these bits in the bottom where it didn't quite line up properly. There we go. And yet I'm not too fast. Well, I'm just going to get this edge by here and there we go. Now I'm going to do the extraction of the rock and the hero character. Now, even though the bushes by here on the right and the left are going to be part of the foreground, I actually want to do a little bit of a blur when I separate them, but for these I'm happy as they are. So I'm just going to right click and go to layer via copy. And if we turn this off, then this is what we've got. And again, we've got a lot of nice hair detail coming across there, so I'm quite happy with that. Okay, cool. So next what I'm gonna do is I'm going to disable this. And I'm going to focus on these trees. On these trees on the right. Now you can go ahead and what I would do is I would start off just by going with my object selection and just coming down and going like that and seeing how it does. It's probably going to do a semi decent job. Or it says it couldn't find an object, but that's because I've still got this layer selected by here. So just make sure you do it with the correct layer selected. Totally did that on purpose and now it should detect, hopefully. Yeah, that's pretty good. I'm really happy with that. It's got, it's got some of the holes in, so I think I want to include this bit by here is actually black rather than the sort of purplish, foggy background but there. And I want to include this black area because I think that's shadow rather than a hole in the tree. So what I'm going to do is, again, just to use a combination of tools, maybe magic wand, and that was a bit too much, so I'm going to turn the tolerance down to about eight hold plus and then, yeah, I can just add that in by there and go through and just have a look at what we want to include. I think yeah, that's shadow in there personally. And that's probably going to be near enough there. I want to include some of this stuff up here so I could go ahead and try and do the quick selection tool. Make the brush a little bit smaller, hold plus, and see if I can paint this stuff in. There we go. This is starting to come along now if you want to be more specific, I would use the polygonal assu, so just kind of coming up here. And then you can kind of just click around. I'll just fast forward this bit for you. Okay, so I've got that selected now, and I think that's pretty much where I want to get it again. I've got a version which I did earlier, so I am like not spending loads and loads of time on this as I might have earlier. So once I've got this selected, I do want to do the right click and layer via copy. But before I do that I just want to, I'll just show you what happens if I do that layer via copy. I do feel that's a bit, just a bit too sharp. So what I'm going to do is I'm going to undo and I'm going to go to select modify. And I'm just going to feather buy one pixel. See how that works? So layer viacopy. Yeah, possibly I could have gone by two pixels. So let's just go select modify. And further by two. Now I've already feathered once, this'll probably give me a feather of three. But let's just have a look and see how it looks. So layer via copy. Yeah, I'm happy with that. Okay, so we've got that and then we've got this. Now all I want to do is I want to go back and I want to get this tree by here. And again, this is going to be quite tricky and it's going to take a while. What you'd want to do is probably start and see how far you get with the object selection tool, making sure again that we're on the correct layer and it'll get it for the most part. And then I'll probably just want to punch a few holes in. Yeah, there we go. I'm going to want to add just this sort of shrubbery by here. See if this does it. I don't think it will. Yes, there we go. It's pretty good. So I'm going to add just a little bit in here and then I'm going to go through and try and stamp a few holes where there's, where you can see the background seeping through. So again, I'll do this kind of super quick. I will time lapse it, but it's not going to be the most accurate because my version over here will do that for us. Okay, so I've got that selected and again what I'm going to do is I'm going to select modify and feather. I haven't given any feather and a combination of two plus one seem to work earlier. I'm just going to go three, go layer via copy. Now if I turn this off, we've got this tree and everything. So you can see this will now have a sharp edge, whereas these two will have a bit more of a feathered edge. And what we can do now is select the three layers by holding shift while we select the top. And then the bottom hit command or control, it'll merge it into one. And I'm just going to double click the name G for Foreground. Perfect. So I can turn this on and this is what I've got. So I've basically extracted the foreground. Now what I'm going to want to do next is I'm going to want to load this as a selection. And I want to paint in what would actually be behind them. Because again, if we're having three D layers and we've got a little bit of parallax, if the camera were to push in, you'd expect to see a little bit of change in the background. So what we're going to do, and this doesn't have to be accurate, is we're going to right click this layer. We're going to go to select pixels. And then turn this layer off and come down here. What we're going to want to do is go select and we just want to expand this by maybe about 12. That'll do. So you can see that the selection has now expanded and maybe I'm going to go expand. No, I'm gonna go feather. And I'm gonna feather buy sort of five pixels or let's go six. So it's just going to feather that just to get a nice smoother edge. And now what we can do is we can either, if you're using Adobe Photoshop version 25, which will be 2024 onwards, you could use generative fill or you could use Content Aware fill. So what I'm going to do first is show you the Content Aware fill which is in edit. And again, making sure you're on this copy by here, Go to Content Aware fill and it's going to look at the rest of the image. And basically all this green area you can paint in some more green. It's going to look at this and it's going to try and fill in those areas. And you can see it doesn't look that accurate on the actual where the guy is. You can definitely see the border. I could probably try feather that more, but you can see it's removing the rock quite well down here. And yeah, I'm going to just go for that, make sure it's output into a new layer. And then I'm just going to get that new layer select the background copy, control E and control D to D select. So what we've got now is we've got that plus what we've got by here. So we can turn that on. Now if we look up here, for example, we can see a little bit of a, we turn this off, we can see a little bit of a halo. So to be honest, it may not matter. You know, the tree in my original one, if we look over here, the tree actually doesn't look too bad. But if we come to this one, there's a lot more haloing going on. So you know it'll be different each time you do it. So you could try using Content aware fill again, you could try using generative fill. But if you do want to clean some of this stuff up, what I'd recommend is keeping this top layer on, making sure you're on this layer by here. Use your clone stamp tool. Clone stamp tool By here, what you can do is select that, make sure you've got a feathered brush all the way down. Maybe make the brush a bit bigger. Hold alt, and it'll turn into this little crosshairs. And I'm just going to click, and now I can start painting over here, and I'm just painting these pixels over. So we've got now just a little bit darker. So basically you're just painting in on this layer and what I would do is probably the bigger brush, maybe even opacity of 50 odd percent. Just so we're gradually painting in these darker tones here and it's not going to look as obvious, then that's something you could do. Like again, up here I'd probably take this color and just bring it across, just like that. And again, the same here. I'm just going to get rid of just getting darker tones. Just going to get rid of that halo in and you could carry on doing that to your heart's desire. I'm going to get some darker tones again and just paint them in there. Okay. So now if we've kind of got rid of that and we could do it again down here. So let's just turn this off to see what's going on. Yeah, and I don't like that bright haloin again, can be time consuming, but let's go and get some darker tones from up here. And just start painting some of that in. And you can see now it's going to start getting rid of that dark haloin there's you before and as you after again, some more painting that in just just to kind of get rid of that horrible nasty line. In fact, I'm going to get some darker tones from down there. Just bring that darkness across. There we go. And maybe by here as well, just bringing in some of that so we've got rid of that nasty halo in effect. And again, up here, I'm not going to do this too much more because you're probably getting the picture just bringing in a little bit of dark pixels, again on about 58% and that's going to get rid of all that haloin, now it's sticking out there. So just kind of bring it across. Reselect, hold Alt to re select down here. And it's just getting rid of it for you. So you can go ahead and do that. Can do it over here as well. So let's just get maybe these dark pixels. Just again select them and you can sort of paint them across and you can see maybe get a bit more of these greenish ones. And you can see that it's just gonna start getting rid of that halo in for you perfect. So you can go ahead and do that. I'm not going to do too much more time on it. So the next thing we want to do is we've got our foreground and we want to separate the midground. It's good to have a plan of how you're going to separate this. So let me just draw a little thing on top. You could go ahead and you could think, right, all of this stuff here, this is going to be, all of this stuff is going to be midground one. You may then want to, I don't know, get a blue and say, all of this stuff here, this is going to be like midground two. So that's going to be on a separate layer again. And then you may want to think, okay, and then the sky is going to be our fourth and final. What I'm going to do is I'm probably going to go for having everything lower. This is my mid ground. The whole thing is going to be the midground. And then this stuff up here is just going to be its own one. So I'm just going to do two more separations. You can have as many layers as you want, you just want to make sure you've got enough depth for that to happen. So I'm going to delete this and what we're going to want to do is we're going to want to essentially cut out everything below the horizon line. So basically get the polygonal lasso tool and draw all the way around this, all the way, all the way along the horizon where it's messed up a bit with the silhouette of the guys. Don't worry too much about being kind of accurate there, it doesn't matter too much. And then just come across, come across all the way and cut across just along there. I'm going to go ahead and I'm going to see how my object detection Or object selection, sorry, cops because it was earlier selecting. Yes. Kind of selecting the sky there. However, it's selecting some of this stuff in the foreground which I don't like, it is just going to be a pain. So what I'm going to do, and I'll time lapse myself doing this, is I'm going to use this tool here. And I'm just going to cut across all the way across. Before I do that, I am just going to go ahead and, yeah, we've seem to be getting a little bit of that stalk in, so again, using the on background copy two, I'm going to use this clone stamp tool and just get rid of that stalk. But there if I turn this up, there we go. It wasn't like in that. Okay, so what I'm going to do is time maps myself cutting out this and I'll see you in a second. Okay, so I've now got that selected. So what I want to do is I probably want to do a little bit of a feather. If we have a look, it's kind of a little bit of a soft edge. So I'm going to do a feather of let's say select modify feather. Maybe two pixels there. And there we go. What I want to do now is right click and layer via copy. And now if we turn this off, we can see so far we have got, we turn everything off. We've got our BG, sorry, foreground character, now we've got our mid ground. So let's just go MG for mid ground. And we want to do similarly, what we did earlier is select our mid ground. So select pixels. Come to this image, turn the top two off. And we want to, again, now we want to fill this with more clouds from the sky. So there's a couple ways we could do this. Again, we could use generative fill this time. So let's go ahead and see what that looks like. So if I click generative fill, if you've got it, then you can use it if you don't, but don't worry, we can use the content to wear method. I'm just going to click Generate and we'll see what this gives us. Okay, so we've got a few options from generative fill. Looks a little bit weird down here. Again, the midground is going to be over the majority of this. The only thing I'm concerned about really is the horizon line. So there we go. This is the kind of stuff we've got. Yeah, Okay, fine. Well, that's generative pills, let's turn that off. Let's go ahead select pixels, because we could also possibly use, if we wanted to, we could use our where is it, edit and content aware fill, which is not show enough. And we want to make sure on this layer, there we go, Edit and content aware fill, which is right by here. And again, we could use this method this time and you can see it looks a bit weird. So you could go ahead and possibly, I'm going to paint out this little bit where the silhouette was because it went a bit weird. And I'm going to hold all to paint back in all of this stuff, but again, I'm not too fast on having the stuff at the top because it's more, the pixels we're worried about are just the ones around the horizon line. So I may well actually get rid of that stuff, but there and just focus on this kind of stuff. And again, I can go ahead and I can go with that and just click, in this case I'm going to go Current Layer, and click okay. And so we've got the options of this dour cloud background or this. And I think I'm going to just go for the one that generative fill did. So what we've got now, actually I want the original sky kept, so I'm just going to put this above generative fill, sorry below. I'm can select these and go control. So we've got the original clouds as well and now we have got BG for background. So let's put these in order. We've got our background, we've got our midground, which is going to go on top, and then we've got our foreground, and we're back basically to our main image, our first image. Let's have a look and see how different it is. It'll probably look slightly different on some of the edges, but if we turn these off, there we go. Just a touch bit of edge difference, but it's nothing major. And again, I showed you how you can go in and you can go into each layer and you can paint out those halos by using the clone stamp method. So you may want to visit that again. Clouds are showing through a little bit by here. So what you may want to do is come into there, get your clone stamp tool, get some of these dark pixels, and just start kind of painting through if you want. But again, I would probably go on a bit of a 50% kind of thing then just start painting stuff in if you wish. But it's completely up to you. And so we've got now all of our layers ready to take into after effects. And that will be the next lesson where we will look at actually projecting this to create a subtle smooth pushing animation. Okay, cheers for joining it, and I look forward to seeing you in the next lesson. 5. Lesson Four - Animating in After Effects: Okay, welcome back. We are now in after effects and it's time to load in our file from earlier. What I did is I just in Photoshop, I just went file save as saved as a Photoshop file. So it'll save all the layers, that's just important. Don't save it as a Jpeg or anything. Go file, save as and save as a Photoshop file. Once you're in here, we're just going to double click And I'm going to go ahead and locate that. And it should be somewhere down here. Samurai image separated and that should say layers. Oh, let me go just meddle that. Round separated layers, perfect. So click Import. Now when you get this, you want to make sure import kind is composition and retain layer sizes. And just make sure it says Editable Layer Sizes rather than merge. And just click Okay. And what you'll have then is a composition and you'll have a folder. So my composition is currently 4,600 pixels by 2,500 which is a bit too big, but we'll sort that out later. So I'm just going to go ahead and double click this composition. And here we go. We've got all of our layers like before inside a Photoshop. I'm going to remove the background. And what we want to do now is we want to make things three D. So I'm going to go ahead and turn each of them onto three D. If you can't see this little icon, what you want to do is click toggle switches and there we go, There they are. So I'm going to go ahead to overturn view layout by here and I'm going to say I want two views. Now. Right now our current view is in active camera, so if I go two, we've got, if we click between the two, you can see these little blue corners. So this one is active camera and this one is top. See as I click between, this is our top view and this is active camera. I'm going to go ahead and I'm going to go layer new and make a camera. We're going to just click okay. Just happy with that. And there you go. We've now got our camera. So what I'm going to do is I'm going to get my background layer. And you can see now I've got this little gizmo on it with BG selected. I'm just going to hit P for position. And as I click and push this further away from the camera, you can see in the left, in the active camera, it's going further away and getting smaller. And you can also see here, look at this number, 823, that is, that is our value of Z depth. So as we push it further away, it gets bigger and bigger. I'm just going to go, I don't know, 8,000 and no that's 800 side 8,000 So it's way, way away. So if we zoom out on this side, we can see that's where it is. And what I'm going to do now is I'm just going to gradually scale this hit with BG selected. I'm just going to scale until it fills our frame. Again, just like that, I think 497 or let's just go to 500. There we go. So it looks like it did before. Now with midground, I'm going to go ahead and I'm going to push this into the background like so I think roundabout. Yeah, I think round about 6,000 pixels will be good. So let's just hit P position and changes to around 6,000 Again, I did 606.3 zeros. There we go. And again, I'm just going to simply scale this up until the edges on the sides reach the edge, but there, so it's going to be around, I think 400. Now, I'm just going to bring this down just until the bottom of it meets where it should, which is round about by here again, we are back to normal. Now what I'm going to do is I'm going to get my foreground hit P, you probably know. Now I'm going to push out, I'm only going to push that till about, I don't know, 1,000 pixels. I type the right amount of zero this time. Hit to change it to scale on the layer G. And I'm going to go and scale this until the sides get just to there. There we go. So it's going to be around 150 think. Yeah. And I'm just going to move it down ever so slightly, so the bottom of the rock is there. So I'll be honest, we've got our image looking exactly like it should. Let's just zoom in yet. All the sides are lined up. So the next and final thing to do is basically animate our camera. And we're done. We can do some additional stuff, and I'm going to pinpoint that to you as well. But let's go ahead and just animate the camera. So what I do for this is I'm going to go ahead click the drop down transform. And as we move our camera in and out, have a look at these numbers down here. What you'll see is actually it's not just the position that's moving, it's the point of interest. So I'm going to go ahead and key frame them both. I'm going to say that this is my starting point. And how long is this composition has given us? It's 8 seconds, so I can see that because it goes 1234567 and then eight up to here. Even though it says at the end of dede that if we go to composition settings, we can go ahead and currently 7 seconds and 27 frames. So I'm just going to go eight. And also I'm going to change of frame rate to 25. There we go. And click. Okay, cool. So we've got a bit longer. I may need to extend these layers now just to make sure that they fill the entire composition. And that's it. I've got my key frames here for the first one. So I'm just going to move forward. Maybe about tell you what, I think, I'm going to do this composition at 4 seconds actually, and I'm just going to push the camera in like that. And I may bring the camera now upwards. In order to do that, I can either just play around these numbers by here, but it does become a little bit hard when you're kind of doing all that. What I would do is I would just undo that. And I'm going to come into left view and I'm just going to click to drag, and move this up and you'll see that the numbers move. In fact, I think I'm just going to go a little bit like this and maybe then come into our front view and just move it to the side. A little bit like that. And maybe push in just a touch more. So come into our top view and basically you can play between these until you get kind of what you're looking for. Maybe bring this up then just a slight little bit and we'll play that back and see whether we like it. There's something along the lines of that. So let's go and give this playback. And you can see now that's why we generated extra pixels around here, because the bushes and the trees are moving out the way. So this is our final little play. The I'm going to go to Composition settings, and I'm going to go, let's just change this to 4 seconds long. I don't want it that long, so let's just go ahead and click. Okay. There we go. And it's 4 seconds long. Now we've still got the issue of this being too large. It's 4,600 pixels by 2,500 So what I'm going to do is I'm going to go ahead and create a new composition. And I'm going to go HD 1920 by 108025 frames per second. Because that's the frames per second that I went for within this. So let's just click there, and let's go ahead and see final. And click okay. Now what I'm going to do is zoom in. And I'm going to drag this composition from before. And it can simply now just be scaled down. I'm gonna see fif 50, where z, that get us nearly there. And let's go ahead and go 50. And it's going to be 42. Okay, perfect. Let's fit that and give a playback of what our final thing looks like. And there you have it, That's our final sort of animated camera. So there's a couple of things we can go ahead and do to try and add some realism into this. One of those things is to add some camera shakes. So if we go back into this composition, but here we can go layer null object, which is just an empty layer. Turn it on three D, with the layer selected, Hit and hold it Alt or option. On Mac, you want to click the stopwatch. And then what I want to type is wiggled. And then I'm going to go, let's go for two, and then a 20. So just a quick little explainer. A wiggle expression is going to take these values, our X, Y, and Z position, And it's going to basically wiggle them, or it's going to randomize these numbers so they shake around a little bit, then you've got these numbers. So the first number represents the frequency, so how often or how fast it's going to shake. And then the second number represents the amplitude, which is how far it will move. So we're saying 20 pixels or maximum of 20. So let's just click off and see what this does. As we play back, you can probably see that there's now a little bit of, no, there's not any shaking now at all because we haven't linked our camera, sorry. So what you need to do is then link your camera to the null object. So we've animated our camera, but now it's looking at this. So it's going to wiggle as well. So you should now see when we play back, there we go. It's taking a little bit longer to preview in because you can see there's just a little bit of shake in there. So if we go back to this version and play through, you should be able to see it a bit more clearly. It's kind of going up and down a little bit more. Kind of just shaken around just a little bit. So I could come back in here and I could say, let's go by a value of 100 and let's see what that does. So it's probably going to do it quite a lot more. And you can see that is going around all over the place a bit mental, just to prove the concept to you, really. Yeah, and I'm not liking that, so I'm going to go back down. I think I may even go twice a second and then by a value of ten. And that's just going to be a lot more subtle. So a few other things you could do. If you had stock footage of maybe some embers or maybe some sort of smoke, what you can do is you can insert that in there. You don't have to just put it on top. You could put it so that the smoke is actually behind our character. So you'd put that then on top of the midground. Between the foreground, so you can also add sound and stuff like that. But that is how you take an image from mid journey, separate it up, and animate some parallax. You could go ahead and maybe do a little bit more edge work. So go back into Photoshop and maybe you're seeing as a little bit of within here, there's a little bit of that sort of shadow coming through. So you just go back and clone stamp that. But that is how you take an image from mid journey and animate it with some parallax, So I really hope you guys enjoyed that. In the next lesson, I'm going to set you a little bit of a class project. So I look forward to seeing you in the next and final video. Cheers. 6. Class Project: Congratulations guys on making it this far. Well done to you. Now for your class project, what I want you guys to do is I want you to generate the whole process again. But I'm going to give you three themes which you can run with either medieval fantasy or horror. So just using one of those themes, I want you to go again and generate your image in, separate it out, and animate it within after effects. Once you've done that, upload a link to a video so that I can see it and check it out and we can all see each other's stuff as well. So thanks again for joining guys. I really hope you learned some stuff and I look forward to seeing you in future courses.