AI Animation: Create an infinite zoom with DALL-E 2, Photoshop and After Effects | Jonathon Parker | Skillshare
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AI Animation: Create an infinite zoom with DALL-E 2, Photoshop and After Effects

teacher avatar Jonathon Parker, Passionate MoGraph and VFX Lectu

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Course Promo

      1:57

    • 2.

      Ai Animation Examples

      2:00

    • 3.

      How to access DALL-E 2

      1:52

    • 4.

      Generating images in DALL-E 2 and Photoshop ready to animate

      11:21

    • 5.

      Animating an infinite zoom in After Effects

      15:52

    • 6.

      Class Project

      1:02

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About This Class

DALL-E 2 is one of the most powerful AI Art Generation programs on the market. It is comparable to that of Midjourney and Disco Diffusion, however DALL-E 2 has tools to not only create generative art, but to edit existing images. The ability to edit existing images is what sets DALL-E 2 apart from the crowd. 

By utilising the ‘outpainting’ function within DALL-E2 we will be able to create images that can then be animated in the form of an infinite zoom. This course is also reliant on the use of Photoshop an After Effects. You can get a free trial of Adobe photoshop and After Effects and there will be a lesson and links highlighting this.

DALL-E 2 has now removed their Waitlist and the software is free of charge, there is however a 15 credit limit per month. Within this course I have purchased extra credits as I use DALL-E 2 a lot in my professional work. However, there is no requirement for you to make any purchases!

The prerequisites for this course are as follows: You will need an internet connection, an email address, Photoshop and After Effects. As mentioned above you can obtain free trials of both photoshop and After Effects.



Course outline

Infinite Zooms made with DALL-E 2
 (A quick case study look at AI animations made with DALL-E 2, more specifically we will look at example of infinite zooms made with DALL-E 2)

How to access DALL-E 2 (This session will show you how to access DALL-E 2)

Generating images in DALL-E 2 and Photoshop ready to animate (In this session we will utilise the prompt command to generate our first artwork. We will pair this with processing our images in Photoshop in order to generate images specifically for our infinite zoom.)

Animating an infinite zoom in After Effects (In this session we will utilise Adobe After Effects to take our DALL-E 2 images and animate the infinite zoom)

Class Project (Assignment) – (This lesson will walk you through the class project that you have been tasked with, summarising the skills and techniques learnt so far in the course.)

As mentioned above in the course outline, the course will finish with a really fun assignment where you will have the opportunity to practice the skills that you have learnt in this course! I'm looking forward to seeing what you guys create so please upload your work along with any key prompts you made! You may wish to submit a YouTube link in order to share the work you’ve made!

Meet Your Teacher

Teacher Profile Image

Jonathon Parker

Passionate MoGraph and VFX Lectu

Teacher

My name is Jonathon Parker, a Motion Graphics and Visual Effects lecturer from the UK.

 

Firstly, a little background about me! I have always been the creative type and always strive to improve and push my creative skills further and further.

 

As stated above I am already teaching in the UK as a Motion Graphics and VFX lecturer – The difference with my courses will be the fact that they come from an educator, not someone doing this just in their spare time! All my courses focus on teaching and assessment. I will teach you a few skills and then set you an assignment to check that those skills have been learnt. I also see the importance of generating handouts and resources for the student, so I have included these in my courses also!

&nb... See full profile

Level: Beginner

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Transcripts

1. Course Promo: Hi guys and welcome to this course on animating with Dolly too. Now, in previous courses we've looked at how to actually generate images with Dolly too. But we're gonna go a step further in this course. For this course, you will need access to Dalley two and the good news guys, that's free. All you need is an email. And you also need access to Photoshop and After Effects, which are to Adobe Creative Cloud projects. Now, I will be posting a link up in the class projects. You can get a free trial to both of these pieces of software as well. The great news is that anyone can do this course. Now, Darley to is an ai and ai that generates images from texts. And what we're gonna be doing is we are going to be used in some skills to generate a series of images from text. But we're going to be again taking that a step further and creating an infinite zoom from these images. So just a quick breakdown of what this course is going to look like. We're going to start off by looking at some existing work similar to what we'll be creating. Then we'll look at how we can access directly. From there. We'll jump straight into daily and start generating all our images with a little bit of Photoshop trickery as well. Then in the next lesson we'll be jumping into After Effects will be keeping it fairly basic. But we will be using a little bit of maths just to kinda create our infinite zoom. Now, even if you haven't used Darley two or any of the Adobe products I mentioned. This is a short 30 minute calls and is still relatively entry level. So you should be able to follow along with this if you haven't used those things before. Also the course, we'll finish with a class assignment where you'll get to practice those skills that you've learned in the course. So you can really finesse them and then you can upload your work. And I can give you some feedback on it as well. So there's not much more to say, guys, I'm really looking forward to jumping into this course with you. So let's get to it. 2. Ai Animation Examples: Okay, So I'm really happy that you've decided to set this course. I think it's really, really cool. More AI can do. And I'm gonna show you a few examples of what will be created. So here's two examples that I've made. His first one. You've got this infinite Zoom. I started with a robot in a desert, which I did for the other one, funnily enough as well. And then we've got loads of different art styles. That's what I like about this one is I tried to load a different art styles to this one. So you can see you've got photo realism, then we've got some sci-fi 3D stuff, then realism, then sort of vapor wave and stuff like that. So that's what I liked about that one big variation. This is the one that I'll actually end up making with you in the course. So again, starting with the robot in the desert, but I'll be making this one with you in the course today as I'm recording this at the end. So again, loads of cool, interesting stuff in this. Yeah, that's what we'll be making in this one. There is also some stuff online are found as well, which are really, really cool. So you've got this one 30-minute long, like infinite loop, infinite zoom kind of thing. It's literally insane. This is the kind of stuff that you can make them in a sort of taken while they may have a looped the same one over and over again. To be honest, I haven't watched it all the way through to pointing down. And then this one you've got is a two-minute one. And I would give an educated guess that this isn't because I've watched the first thirty-seconds and all different. So I'd make an educated guess and this is certainly a two-minute one. The one we'll be making is 20 s and there's no there's no reason why you can't go and make one longer. But this is the kind of stuff which will be making. There'll be a square video. So I hope that gets you excited. So what I'm gonna do next, I will show you how to access dolly. So I look forward to seeing you guys in the next lesson. 3. How to access DALL-E 2: Okay, so in order to get set up and start working with Dolly, It's free to use all your needs, an e-mail. So what you're going to want to do is you're going to want to hit Sign up and you're gonna want to sign up with the details. Once you've done that, obviously you're gonna want to click login. So I'm gonna go ahead and login. It'll end up logging in, I think automatically maybe. Or it may ask for a Google account from me. Continue with Google for now. Once you've logged in, you'll see a little profile picture in the top right-hand corner. And this is dolly. Okay? Now I do have a course which goes through all the basics of this. So feel free to look through that. But all you need to be aware of, this is, this is where we put our text prompt, whatever we texted in that it tries to show us, okay, we're gonna be using it a little bit more advanced in today's lesson. But the one thing to be aware of is Darley has this credit system. You will have 15 credits per month and you've got the option to buy credits. Now obviously, because I'm on 29, I have bought credits. It's $15, 415. You don't have to do for this project. If you don't, then you'll have 153 credits. I end up generating 20 images. You will probably be limited just to create ten, but you can absolutely still do this course with ten images or 15 credits. You can do it with 15 images in Iowa. I do buy credits. What I'm doing stuff because I just liked the flexibility and I can generate three or four times to get what I really want. But again, with 153 credits, you can totally still do exactly what we're gonna be doing. Okay? So that's how you access, Darling. I'm going to leave it there because in the next lesson now we're going to start generating our images with Darley, processing them in Photoshop. So yeah, I look forward to seeing you in the next lesson. 4. Generating images in DALL-E 2 and Photoshop ready to animate: Okay, so in this lesson folks, we're going to generate the images that we're going to use in our infinite zoom. So we're inside of Darley. I'm logged in. Here is the link labs.openai.com. I'm logged in. I've got my 64 credits. So yeah, we're going to jump in now. What I'm gonna do is I'm gonna use the text prompts just to start with S1 will say a robot in a desert. I'm going to put Simon style, OK, because he's an artist alive. And I'm also going to put photo realistic. I think that's gonna be a good starting point. So I'm going to click Generate and I'm going to see what it delivers. Okay, so looking at this, I'm pretty happy with what we've got. I think I'm going to go for this one. If I wasn't happy, I could just kind of regenerate. I don't like what's going on here. So just a little tip. What you can do is you can use this edit function just to raise that you don't like. And I'm just going to click Generate again. And it's going to fill that gap with that prompt, which we've already used, may get a few different variations, but I'm sure one of them will do. Okay, So actually, I like that it's added another robot here. I think I'm going to go for that one. Almost looks like a bit of a battle, doesn't it? So what I'm gonna do is I'm going to click Download. And I've already got two images down here from earlier. This one, what I'm gonna do now is I'm going to drag this to my desktop. I'm going to rename it frame underscore 001. It's important to put two zeros because it just helps me ordering stuff. So just name it that. I'm going to click and drag this into my folder. Now, this is the part where I'm going to use Photoshop. So I'm just going to go ahead and open Photoshop. I'm sure you can probably do a similar thing with another photo editor or something. But this is going to be very useful for you, okay? So Photoshop is probably going to be the best way forward on at least that's what I'll be using here. So what I'm gonna do is I'm gonna go ahead and access my desktop. And what does it downloaded images. Here we go. I'm going to click and drag this image in. What I'm gonna do is I'm going to go ahead and do some stuff, but I want to record it as an action. And that means when I drag in images later on, it'll just kind of we can automate the process. So what I'm gonna do is if you can't see your actions Window, go to Window and click Actions. Then what I'm gonna do is I'm going to click New and I'm going to call this Darley resizing, something like that. And what I'm gonna do then is I'm going to click record. And what we'll be doing is a little cord, everything I do, so I'll start off with my rectangular marquee tool. Just come around this little watermark because I'm sorry Dolly, but it's not going to work with our, with our infinite zoom. So if I click Edit and then Content-Aware Fill, and it will do a good job. I'm just going to click. Okay. What I'm gonna do then is go to, I've got my son because they're still selected here and we'll select. And then I'm going to click de-select. I'm then going to hold shift and click the bottom layer. And I'm going to hit Control E or Command E on Mac, control E. And it's going to merge those layers. What I'm going to do next, I'm just going to go File and Save. And it'll just save over my existing frame 001. Next, I'm going to get my selection tool. I'm going to double-click on this layer just to unlock it. And I'm just going to click Okay. And now if I hit Control T or Command T on a Mac, it's going to bring up my Transform controls at the top in width by here, I'm just going to type 40 or free, so they both say 30. Now hit Enter and I'm just going to hit Stop. That is my thing generated my action. What I'm gonna do now is I'm going to go File Save As. And then I'm gonna go frame underscore 001, underscore, resized. And notice this from earlier because we saved at halfway through the process. You can see there it saves just after we've gotten rid of the, the watermark. So that's saved it. I'm just going to click Save. And then this will come up and I'll click. Okay. What we'll notice now, I've got frame one, and frame one doesn't have the watermark and then I've got the resized version. So back into dolly. Let's go back. Let's go upload. And I'm going to find frame one resized and click Open. I'm going to click Crop. And then under Edit Image. And what I wanna do is I want to click in here and transparent area, just one-click. And what it'll do is it'll register that. Now as it really recognized that it's transparent. I'm going to type in here another prompt, sci-fi, cyber punk. And then an artist's style and hard, you can type whatever you want. The more wacky, the better. I'm just going to click Generate and it'll now generate this prompt within this outside area. Okay, so this all looks pretty cool. To be honest, I can't make my mind up which one I like. I'm loving this. Not so much then in the foreground I could erase them. But I think just to keep things a bit quick, I'm going to go for, and we go for this one. Okay? So I'm now going to click Download. And it's going to download the image. And same as for dragged desktop. I'm just going to rename it. Frame can score 000002. I'm going to click and drag this in. And now this is where the beauty of actions comes along. So I'm gonna go back into Photoshop. I'm going to open my file. So back into this folder and there it is. I'm going to drag in frame 00 to notice that currently it's got that watermark on it. Okay. Well, I'm gonna do is I'm going to find this. I'm now just going to click Play. And it's going to run through that entire process. So it's done that quick. If I come back to this folder, you'll notice this now saved it out without the, without the watermark. And what I can do now is manually File Save As. And this will pop up and I'll just save as resized. And click Save. Then. Okay, and you're probably going to guess what happens next. Now. I'm going to come back into Dolly. I'm going to click back and then upload. Let's find frame to resized. Click Open, click, Crop, click, Edit Image. Click in here. And you can go for something wacky, space, planets, stars Via. And I'm going to put again, I'm going with this one. I want to have the same artists to Azure. You can go for completely wacky different things as some of my example showed you. But I'm just going to click Generate now. Something went wrong. Please try again in a few minutes. If you ever see that, it's probably that Dali is just adding a bit of a moment. It was doing it yesterday. So yes, I'm going to leave mine a few minutes and then I'll see you back here. Okay. I literally came back in thirty-seconds and it did it. So I've got some pretty interesting stuff going on. I think I'm liking this one. So again, you probably know, I'm going to do now, I'm going to go ahead and click Download, and it'll download it here. Let's go ahead and drag first of all to the desktop, renamed brain underscore 003. And we're gonna do this for 20 images. Download devotees. So let's go into Photoshop and I'm going to bring this in. And now click Play. Do everything for me, just like that. And File Save As, and I'm going to save it as a resized. So that's all there is to this part. Now what I'm gonna do is I'm gonna go ahead and I'm gonna do is 20 times. So I'm going to end up with 20 frames. It is literally repeat the whole process. Okay? So I'm going to leave you guys to that. I'm not gonna make you sit through all of mine, but I'll fast-forward the video and I'll show you all my final generated images. See you guys in a bit. Okay, So I've gone ahead and I've got my frames generated. You can see all the work for him 20. Now with foam 20, I'm just going to drag it into Photoshop, but I'm not going to run the action because all we need to do on this, we don't need to resize it. We just need to select mount here, edit and Content Aware, Fill and just click Okay, click Okay. And I'm just going to de-select hold Shift to merge with Control E, these layers together and then just control them, Save and save that. What I'll do just to tidy up is I'll go into here and let's make a folder and say frames. And then every other image, I'm just holding Control on my Mac. I think you'd hold command. You just select every other ones. We don't want to drag in the resized ones here. The resized ones have done their job. So let's try these in here and I'll just very quickly play through mine. So it starts here. And then it zooms out, tombs out even more. And we've got all this wacky stuff. Okay, and now we've finished. Now I'll just show you perhaps some of the prompts that I used and then we'll wrap up and we move into the next thing. So you can see through here some of the prompts, bottle of potion, ethereal, mystical bottle of potion, Metro Detroit and Metroid stuff from Super Metroid, didn't like it. Then what else? Cyborg invasion didn't like any of that stuff either. Although that was pretty cool. Stranger Things are typed in at one point. I'm trying to fuel that. Simon style and hog industrial vapor way better style. Simon Stone Harvey again, art gallery because back here I started to as getting loads of this reflection stuff. So just thought I'd put to him frames to have put it in some sort of frame so that I can be a nice transition to the next thing. And then I think it shows one of the frames in here. And this then can I just carried on developing from there? And yes, those are the prompts that I used quite a bit of a taste for it there. So that's it for this lesson. We've generated our content in the next lesson. Now we're going to be in After Effects and we're going to animate this final animation. So I look forward to seeing you in that lesson. 5. Animating an infinite zoom in After Effects: Okay folks. So I'm inside After Effects now and I'm ready to start animating the interpreter Zoom. So the first thing I'm going to want to do is just come over here and double-click and then navigate to my desktop and find where my friends are. Here they are. And I'm going to click and then hold shift and select the last one. I don't want, I want to make sure that this sequence isn't ticked. Don't want it to import it as a sequence. I'm just going to click Import and it's going to import all of the images. Okay, so what I'm gonna do is I'm gonna get frame one. I'm going to click and drag it down to the new composition window. I'm gonna go to composition settings, and I'm going to change the longevity to 10 s. And let's go 25 frames per second. And 10 s would be 250 frames because I'm set up in frames. And I'm just going to call this frames one to ten. Okay? And I'm going to click Okay. So it's 10 s long. If you're working in frames and you don't like it, just hold Control and click your time. But here there is one to 10 s. Okay? So I'm gonna do is I'm going to get frames to ten, select them holding Shift and I'm going to click and drag them down below. Now I'm gonna do the exact same thing with those lead into 20. And I'll illustrate the reason why we're doing them in sets of ten liter. So dry travel, adding new composition window, composition settings should be able to say in 25, 10 s. And I'm going to call this frames 11 to 20. And click Okay, and then I'll get frames 12 onwards. Shift-click and placing down here. So that's what I've got so far. Okay, so now that I'm in here, I need to start playing around with my scale. So when we come to frame one, if I hit S on the keyboard, you will notice I can now type in here for scale 30 and hit Enter. And basically if I turn this icon on and off is just kind of a lined it up there. Okay, because remember we scaled down by a factor of 30% area. Now what I'm gonna do, notice you've got the parent option here. If you haven't, just click Toggle Switches, but it should be able to see it. And if you still can't, just put here, right-click, go to columns and make sure that Parent and Link is ticked. Okay, So what I wanna do, I've scaled this down to 30. I want to grab this pick whip, not this one on the scale, the layer one, click and drag and drop onto frame two. Okay? So what will happen now as I scale frame to frame one scales with it. Okay? So before I do move on, notice that we've got a bit of a harsh edge around there. What we can do with frame one selected, just get our square tool. And I'm just going to click in and just do a little bit of a mask inside like that. Okay, cool. So now I want to come to frame two. I'm going to hit S and it'll be very much the same type in 30. Hit Enter. Now I'm going to parent, so click and drag for him to, to frame three. We've got a bit of a harsh edge again with Frame Tool selected. I'm just going to come in and just mask, just roundabout but there. And so we've got that connected there. Now I'm going to come scale, take frame freedom for 30. And make sure we then link this to frame for. I'm not actually seen a harsh edge on that one. So I'm going to skip. Welcome to frame for IT S, change it to 30. And I'm getting a bit of a harsher edge on this one. So I'm just gonna make sure I link this to here. And I'm going to come on to this one. And I'm going to get my mask tool and start masking it in like that. And what I may do as a main feather, this mask slightly. But essentially, you're gonna wanna do this and go, go through this. You can see frame. This one is linked to the one below. This. Frame two is linked to from frame 33, link to four, and so on. Okay, so I'm gonna go ahead and I'm going to carry on doing that for mine. Okay, So now I've done each of them. They're all they've all been linked to each other. Okay, so I've just gone through literally what I've done, just a little bit of a recap. Fast forwarded that bit. I've gone one, scale that down to 30 and then linked it to the one below. Phone to scale that down to 30, linked it to the one below. Three, scale that down to 30 linked to the one below and so forth. And when I got to the last one, I did scale this down to 30 because it will need to tie into the next one. Now I'm going to do the exact same thing in this composition as well. So S for scale 30, and I'm going to link scale 30. And I'm going to link. And again, if you started to see a bit of a harsh edge, you can come in versus an optional one. And you can just start to chuck a mask on there and maybe feather the edges of that mask a bit. And it just kinda helps to blend it a bit better, but it's not absolutely necessary. Okay, so now this number here S scale with booty. And I can see a little bit of a harsh edge there. So again, I'm just going to go there. And just make sure I link this and I can feather the mask a little bit. But again, you're just going to need to work through so I'll fast-forward as I do this one. Okay, so now that I've done that, when I get to frame 20, I'm actually not going to scale this one down because this will be our final frame. Okay? So what I'm gonna do now is I'm actually going to start animating it. So that's the setup done. So I'm gonna jump back into my first comp. And what I wanna do is I want to actually start off zoomed in on frame ten. If I just zoom everything in now, it's going to zoom in exponentially to everything in here. But just trying to click and drag to scale up. It's actually scale up exponentially. And basically what we're going to end up because all of these are linked, we're going to end up being really close in on frame one. We've got to get a little bit creative with the math because as I click and drag is just gonna go really slow because the scale is what we call exponential rather than linear. So what we're gonna do is we're going to bring a little bit of maths into this. Now, let's just open up my calculator and maybe my notepad. Because there's a real simple way we can actually figure this out. So let's get my little notepad like this. Now what we've done is we've scaled every layer to 30% and we can work that out if we do one sort of inverse it 1/9, 0.3, you're gonna get a 3.3 beaker. And I think that's my masker x 1/0, 0.33, 0.3 V occur in. But because we work in percentages, we want to times that by 100, times this by 100, 333. And what that's gonna do, we've inverted what we've done. If I type 333 here, it's going to scale it up to the next frame. Now what we need to do is we need to actually then times that. So we need to put that to the power of maybe three frames and then do your luxury. I think that's in the wrong place. Let's put the brackets here. This is purely illustrative. I'm going to give you the formula to type in brackets somewhere around there. I'm not very good at my maths, but that's going to work out the scale to get to the third frame. So let's put that to the test. I think I need to go scientific, scientific. And actually what we can do is we can actually type this in down here. And eventually we're going to put 11 because we're going to have 11 frames. But essentially the function that you're going to need to type it in is I'll put this in a little text document and I'll actually upload it is going to look like this, okay? And we're going to type that into position here. Watch what happens now. If I do type this into our scale, because you can type ten plus ten in here if you wanted to. And it's going to give you a scale of 20. Well, I'm actually going to type this in here. What it's doing is just backtrack in that 30%, putting it to the power of 11 because we've got 11, even though we've got ten frames and now we're gonna go live and to get one extra, and we times it by 100 to get a percentage. And this is actually if I type this in here. And it's gonna give us this massive number, and that's actually the number that we want our scale to be. So let's just, I'm going to paste that formula in here. And it's going to scale all the way right in. What we're gonna do is we're going to set a keyframe at the beginning. Success keeping that were very much, we're really zoomed in a moment, so don't worry, it looks bit weird. And then I'm going to come all the way to here. I'm literally gonna go like 30. Okay. So what you've got is it's a zoom out from my initial, I'll zoom out really slow and then really, really fast zoom out from my initial one. And then it goes like super-duper fast towards the end. But that's because it's an exponential thing. So what we need to do now is just select these two keyframes. Right-click Keyframe Assistant, exponential scale, and it's going to counteract that. So watch what happens now when i just play it back. So you can see kind of what's happening. And basically all we need to do this for both things. All this function is doing is it's really sort of undoing this 30%. So 1/0, 0.3 is 3.33. We times that by 100 to get our percent, which is 330%. That's what the first frame. We do it to the power of 11 because we're zooming in 11 times. And then we just set a keyframe for that at the beginning and we go back up to 30. So again, I'm going to post, make sure you have this as a text file. I'm going to come here and I'm going to do the same. So what I wanna do is set a keyframe, first of all, for 100s and I'm just going to put that to the end. Then what I'm doing here is I'm going to paste that. And we've got something that looks like this. Okay, so what I'm going to select them both, right-click and go to keyframe assistant, exponential scale and exponential scale. So you've got now a very similar thing. You've got this exponential scale zoom out. So the next thing that we've got to do is we've got to actually combine these two things. So I'm gonna go and go composition, new composition. I want it to be 1024 by 1024 because that's the resolution of these two. And I want to make it this time 20 s long. And I'm going to put combination and click Okay, the drag both frames, one to 1011 to 20 n. Let's come through. I'm going to hit the top layer to about 50% transparency. Now we would think that they just go after each other. But if you have a look, this, what we wanna do, we want this to these two align. So I'm going to come maybe back to here. We go where it's just there. And I'm going to drag this layer and almost just trying to line them up, like so. So we've got tonight opacity backup. So basically if we play forward, this is kind of what we've got. Then you go into another one that was a little bit of a jump there. So it's probably out by a frame or two. So you can try and think, Is that it? Yeah. So did I smooth it was just asked by a frame or two. I'm going to come back to the beginning. I'm going to trim the first bit off by here. So I'm going to trim that. And I'm now going to go ahead. Does the end needs to come off a bit? No, it doesn't. So I'm gonna get both of them, drag this to the beginning. Perfect. So if we play it through, this is what we've got so far. Okay, So what I'm gonna do now is I'm going to come to the end. Use my page down keys just to find the very last frame. And then hit N on the keyboard, which brings in our work area, right-click trim comp to work area. Now I'm going to get these two Control Shift C to precompose them. Make sure move all attributes is ticked. And I'm going to call this time remap because what I wanna do is I want to, wanted to start off nice and slow and finish nice and slow. Okay, so in order to do that, what I'm gonna do is I'm going to go right-click, right-click the layer time where time is and enable time remapping. I'm going to get this first frame. Right-click Keyframe Assistant, Easy Ease n. Right-click this one. Keyframe assistant and easy ease. Now, it's not doing it too brilliantly at the moment. So what we're gonna do is select them both, go into our graph editor. And if I hold Alt and click and drag, I'm just going to click out to give this a nice little bit of a curve. And I'm also going to Alt click and drag this one to give this one a nice little bit of a curve as well. And now what we should have if I come back is something that starts off and then gets a little bit faster through the middle. We now have our final animated infinite zoom. So there was quite a few complex techniques within that. And also if you do look back e.g. you can see the edge of that border there. So you could go back, what's that? Could go back in here and think, which layer is that? It's this one by here to come back in and add this mask by there and maybe feather the mask by ten pixels just to feather it a bit. So if we come back now, it's a little bit nicer and you've kinda go through and make sure each one is like that. So that is our final infinite zoom. So I really hope you guys learned a lot with that. Like I said, this complicated function, I will upload. It is very complicated to understand. So don't worry if you didn't quite get it, you basically need to just be kind of like pasting that in. And it gives you this number for the scale which is going to take you use to actually drag too. So anyway, hope you enjoyed that. Stick around for the next class because I'm going to set your class project in the next class. I look forward to seeing you there. Cheers. 6. Class Project: Hi guys, well done. You've made it through the course and onto the class project. For this assignment, it's not gonna be too difficult. I want you to use the skills and techniques that you've learned throughout this course so far to create another infinite zoom. But this time I want you to use just one art style if you can. But more importantly, I want to see three locations across the infant Zoom. I want to see a jungle, I want to see mountains, and I want to see outerspace. So if you can keep it to one art style, that'll be great. Definitely include those three locations, mountains, jungle, and outer space. Once you've made it, I think, uploaded to YouTube and then share the link in the class project because I'd love to see what you create. And I think it'd be great if we can see what each other are created as well. So I really look forward to seeing what you guys do with this. I hope you enjoyed the course and I hope to see you again in a future course. Well done, cheers.