Animate your design: use the blend tool to create abstract, moving shapes and posters

1. Introduction: Hey, guys, welcome back to another school share tutorial. I know it's been a while, but I'm back with an animated posted tutorial. So we're going to start in, Illustrator, I'm gonna show you how you can use the blend tool to sort of create these cool three d marae style shapes on. Then, from there we're going to compose a simple poster. I went through some very quick typographic techniques which is leading and turning. And just how I put this slight composition together from there will explain how we're gonna ready the document after effects. How will be able to export the illustrator file as layers on each of those layers will then be palatable and after thanks to do with as you please? So once we're in after face, we're going to start to walk on, distort our shape, both text a little bit on, Then we'll explain how to render things complete The start of more animated person tutorial videos if you guys were into that. But for now, this is my introduction to teaching it to you guys. Andi, I hope you're going to find it useful and hope you enjoy it on. Let's get rain toe 2. Creating your shape: So starting in Illustrator, the first step is creating our document. It's quite important to be aware of this stage of what side your document is just because when you're working between illustrator and after effects, a little later it's gonna be important to keep the documents the same. So just be aware when you're making it what it is now I'm gonna be working in a three. But you could always experiment with more webbing, video sizes, perhaps Brittain them 90 degrees and seeing how that feels. Um, but as I say, I'm working in a three. I'm having 300 dp I I'm staying at RG Bay on Create Now I've got May 3 document Onda. I've also got my got my reference poster that I made before I started recording. Now I'm gonna be making basically this. It's unlikely to be identical, mainly because crying a shape that looks exactly the same as this isn't the best way of showing you guys how to do it. I'm going to show you how I made this one on. I'm sure I'll make something that looks similar anyway, um, all the rest will keep the same as long as it looks right on the new poster. Um, but the same shall we walk me through? How made this as a still for now on then how we take these elements and put them into after effects and animated later on. So the first step is how I made this particular shape. Now I'm just going to copy it over to our new document. Now this is made from a fenced and group them four circles connected by each connected by a path. Now, if I select this rotate around, you can see that it's the same shape. It's just copy and pasted. But because they're both fates white, you can connect them A by lining up those circles on it creates something that looks, you know, started different. Andi, that's just Ah, cool little trick. I'm sure will experiment with later. But for now, I'll show you how to make this another first steps to create these two circles. So from move this over to the side, it's going to create a cycle. If you come over to your shapes palette and set their lips, gonna make a small cycle at the top here. Andi going to curve. It's my colors. I'm just gonna make it orange. And I want my stroke. Three white gnomes construct this Hold, hold, hold shift and drag it down. A fair distance to maybe you like there. I'm going to select this new circle, and I'm going to come over to swap filling stroke and swap them around. So I've got a white circle with an orange stroke on orange stuck with a white stripe. Now, to make this shape, I used the blend tool on the blend. Tool is gonna connect these shapes together and fill this gap here with a sequenced amount of steps. Now, as I walk through it, you'll see the different variations What we can do with it on. The first thing I'm gonna do is just make a copy of this and have one with no stroke. And I'll show you what difference it makes. No having a stroke to having a stroke or at least opposing strokes. We're gonna select my 1st 2 circles on good object blend and blend options. Now, the two we're gonna be looking at is smooth color and specific steps now valued smooth color. Select. Okay. Angered object blend and make it creates a really nice grade in between the two on because there's no opposing strokes, is completely flush fast like these two shapes and do the same thing. Object, blend and make. You can see that it's already creating this. It's off Mari effects that we wanted. And that's because stroke has to blend as well, Which is exactly what we want. Something on Monday. Andi, I'm going to stop these again. So it's like thes again, and I showed the specific steps. So if goods object blend blend options coming to specific steps now, this number here is the exact amount of circles that's going to fill the gap between our two existing circles. So if I just Jews say five, press okay and then go object blend and make can see this five cycles between the two fading from bright orange toe. Why it? So if I undo that and go to object, blend blend options and then make it something more like 100 and then go back and make you can see that it makes that smooth grading again. And that's because it's made 100 circles between the two, and it looks smooth now, if I select these two shapes and make the same blend and go make those 100 circles have the my rice off a face that we want because of the stroke, I still want a little bit more. So I'm gonna undo go back into my blend options, put it up to something like 140. I'm gonna make that. And that feels a little bit more licensing work with. Now these numbers 100 40 10 5 They all depend on the side of your shape how far they are away from each other, just how opposing the cars are. So it's gonna be completely trial on ever on your power unless you've done it exactly the same as May, which is perfectly fine. So experiment with that for a little while and then when you happy will move on to how we're gonna add some curves and some three dimension to the shape so catching the next part 3. Warping your shape: So if you're familiar with the pen tal or manipulating betters in general, this next part will feel quite familiar to you. So it's going to select it. Andi again, you consumed. But the two circles joined by a path so we can manipulate this path like you would a normal path by adding ankle pines. So come back to our original shape each of these here. Each of these curves are individual anchor points. So you can see the anchor points here that I've put in manually. So move this out of the way. Andi, come appeared to my pencil. Hold down my mouse bone and select Add anchor point for this just to make it easier. I want to see my outlines. We're gonna command why? Or control Why? Because it's such an abstract shape. I'm not gonna worry too much about where I put my anchor points. I am heard just gonna hold down all on, make a copy of this in case I want to do it differently. And again, I'm gonna commit a pen. Tal going to the ad anchor Point total. I'm just going to click and sets Wawrinka points on my path so I just made, like, full on going to come back into display view. And now you want to select your Direk selection tool. This is the white, the way our now, if you then click on your shape, you build. See yunque points, and if you select one clicking on it, hold down and drag. It should look a little bit like this and just move the section between the other two anchor points. So if I did that, the blend will work with er Onda create like a tube sort of three D shape, even creating sort of shadows and overlays on This is really fun. When I saw off when I discovered this tool, I had so much fun just messing around with it. So I totally encourage you guys to do that. That's the basics. If you have a new evasion of illustrator when you slept your shape or selector anchor points, you'll see this soft white and blue circle. If you select that and drag it, you'll see how it solved curves the line. So if you want something a little bit smoother, that's a really easy way of doing that. And I'm just gonna play around this for a second. Um, make something a little bit like this. Of course. Just add You can also add anchor point as you go and you stretch the path, you might decide that you want to add an anchor point where you perhaps couldn't fit one in before, So that's totally an option as well. You can also select just the path to dragon move if you want to move up. So I have my shape. I'm sort of realizing now have obviously not made as many steps between my two shapes as a hard on my other example. But I'm five okay with that, I like that. It looks a little bit more. Um, I like that. I can see the strokes. Maher. Um, the best system to be aware of their is solved. No going back. There isn't a way of adding more in unfortunately, but anyway, so this is shaped I'm gonna work with now, and I'm just gonna make a copy of it, paste it over here. So once you have your shape, the next thing we're gonna want to do is blended in too itself to make shaped like this. So we do that is we need to fade out this end bit on. The way to do that is to use the white selection tool, select this last circle and make the circle white and that phase out nicely. So if I just copy and paste this so that I have this sort of spare for backer can now come back in here, drink this down, hold on and shift to make a copy civilly round, going to my outlines and zoom in on line up thes circles perfectly. You can see that they perfectly blend together and look like one shape. Andi, if you were to cover this gap with text like I have done, it does distract the eye from the fact that there is a little bit of a gap, which is potentially how you most in together, Um, you know, we could even take this a step further. We could command cop command, see to copy in command after paste in place and then rotate those round on great like across. So there's loads of different things that you can dio. I had taken it even further. Now you could continue to hold all drag things out on bond, move them in front, placing behind so we could keep going and going with this for ages. And I made a poster for this year that uses this technique. A Zai was experimenting with it. Justin doing all this. I'm just going to stick with my two shapes like this on and in the next part will start making it into more of a composition. 4. Composing the poster: So welcome back now. I've got a reference supposed to hear myself of one I made before on I'm just gonna work. I can show you quickly how I composed this and added the text on the shape behind it. If you concede e I originally added this shadow, but the way illustrator works, it's clipped the shadow horribly on dso. Since then, I've sort of what's outside of a work around for when we move it into after effects. So we'll leave the shadow. From now on, I'll show you how to do it in after effects. Now, the first thing is very easy. Just adding the rectangle. Andi, this just gives it some sort of depth, and it just shows that there's three layers, um, a background, a middle ground in the foreground. So that was the reasoning behind put in the rectangle there on. And I'm just going to use my shapes pilot over here and just draw a right single. I'm gonna come into my colors, choose to light gray, light it in that on. I'm just gonna command shift on left square bracket. Put that behind, and then I'm just gonna come over to my line Pallet over here. Align! It's the outboard and put it in the middle. But also make sure that my shape is grouped by going object group or command G and also making sure that's in the middle to some reason of God the quiet here and, uh, the next step, if you can see this is this goes from some of the top left, the top right. And that's so what I wanna do with this as well. So it's gonna select this. I'm not gonna hold down shift. I'm just going to use myself best Bridgeman, uh, to rotate it around, you know something maybe like that feels sort of similar on. Then the next step was adding the small text elements. So I'm gonna use my text tool A type tool. I was gonna click me outboard on again. I was gonna say blend, make it big. Uh, do command t to bring up my text options. I know that this is Helvetica, um extended. I think it was 83 of bleak. Andi, I'm gonna bring my turning in. So that's this one here, and that reduces the gap. Well, this space here between each character so it's gonna tighten that up nicely. Now, if you can see my spacing between the Elmer a. Majima and is tighter turns off is smaller than this gap between my enemy. I d on the way to sort of combat that is, to use your textile. So the type tool. Andi, select the letter to the left of the Gap, if that makes sense. So if I want to close the gap between the end in the d. I need to edit the individual Kern ng for the letter n as opposed to the day I suggest that this end come down here and reduced my turning You can see that brings my I d in. I want to do the same with my baby And that's just a sort of a handy little thing toe sort of be aware off. Be aware off the space between your letters. It really doesn t in a p typography and just shows off and nicer understanding of off the time someone's gonna make a copy of this. Gonna select that I don't want it to be the same color orange as my my strong orange that started my shape with so Let's do that. I can. I can use my eyedropper tool and just select the first orange of this first shape. That's the original one that we started with. I'm gonna open my swatch palette. I'm just gonna click and drag from this orange fell. And if you can say I'm dragging it across to my swatches palette on when it's in, you'll see a blue outline around the palate. And I could just drop this in if you can see it creates a little blue line of where it's gonna go doesn't really to Matt too much where it goes, as long as you know which is your color and there is. So now I construct my word. I consent to this orange Andi it's ready to go. And that keeps consistent orange without me having to, you know, keep I dropping everything. So I've got a copy of my text. Uh, while it's still live. So now I can expand this and turn it into just objects. So I want to go objects. Expand on. Okay. And again, I want to use my line options. Two lines outboard. Put that in the middle. So that feels better now just the fact that it's covering up at the white gaps slightly. Now, the wave composed. This is in three, uh, columns. So I have my first column here, 2nd 1 here on third just being here where I've just used the far right hand side to place my little logo. But also, you can see this row here is all aligned to my title. My blend on the quick way to do that without worrying about making a grid. Andi, I showed us every time. Um, it's just by using my right tangle, drawing it as accurately as you can to your word making sure it's a different color so you can see. And now you know that this is your row. So if you wanted, you could do command are and drag down some grid lines like that, all you don't have to all. So the next time I'm gonna do is that in my date, Andi, nothing quite like to do it in this sort of vertical way. It's just think of in the last couple of months. So the date today, 21st of January, and again, I'm just gonna select that Use my swatch Andi it's the right color. So I've now got all this space to play with. I want to make sure I use it all so that it really does create a strong so row through the middle of my poster so I could either drag out and make it really large like that. Also, just as a side note, if you want to hide these blue lines, you want to do command semi colon on that will hide those fear on impressive again to show them again. So I can even make the day really large to fill the space. Oh, I can shrink it down, Andi. Just the leading now the leading which different to the turning is the gap between lines as a personal letters. So the leading is this space here. Now the leading on your text panel is this one here in the top, Bryant set the leading. We just want to really based up and to just that. We just need to select our text on Just use this up arrow here and hold it down and you'll just see so off the gaps between the text growing so say the size said the letting that you want, You know, being aware of if any changes is moving your ah words out of the guidelines just to tweak them back in and and that feels pretty good. I've always made it a lot smaller that, but so the next part is adding my little logo, and that is a simple as I have the vector for it here, Um, and again, just using my swatch. So this doesn't so this doesn't have to be a logo here. This is just what I've chosen to put here and to fill the post to look a little bit and give it a bit of context. Unless they've got Cem, little bits of tech started around and to do to do that, I'm just gonna again use my type tool click on and just type out what I wrote before. I don't want to have much can turning on it at all, because it's so small. I don't want it to look to much together. I'll just bring my leading in a little is Well, bring this, uh, Andi. Finally, I've just got my two little bits of textile around the bottom, you know? And that's about it. The last few little tweaks. It's just gonna be using that rectangle method once again to draw away like you bought it, agree and then drinking all the text elements to match that to keep everything the entire day. No hold. Oh, drag it around. Bring it to the bottom of these two here thing that down. Not forgetting my burger. Basically the same. Andi, For good measure, I'll put my website in the sensor and this is a really quick way of sort of getting away with not using a grid, but still create something that looks considered. So just to quickly recap, we have a row here that we've made quickly The old matches this lines up here, you can see that the top of my text lines up with the bottom of the rectangle. And then, of course, there's this strong line down here. Crane, this visual Bader all around the bottom 5. Preparing the document for After Effects: Okay, welcome back. So in this stage, we're gonna be taking our poster on we're going to be preparing it for aftereffects. Now, what we don't want is to just export this as a J peg and put it into after effects and animated the whole thing. What we want is to animate individual objects, to be able to animate this without it. Affecting the text on the way to do that is to export this document with each of these different elements as different layers on aftereffects off recognises thes layers on and allows you to treat them individually. So we're gonna start by making another illustrated document, and you want it to be exactly the same as the one you've just been working in. You want a three portray? Oh, however you've done it. You want to get this poster into new document Now, if yours is like mine and you've been working on to Ah, something non existent background. If I just copy and paste this in is going to be sort of impossible to land exactly where I want on exactly. Where isn't here? So an easy way to do that is to just draw your boundaries back in at least two, just a vertical horizontal. Then you want to select the whole thing. Come and see to copy convened paste end, and then you know where you want to line it up. So you want that's begins there, and that's be against their to leave those on. Now we're back exactly where we were. So now that we're here, you want to open up your layers Tab, this isn't something we often use. Illustrator, um there no often useful, but in this case, they are. So you want to go window? Andi layers. Now you can see we only have one layer at the moment. Despite we have thes off objects over each other, the wrist of only one layer. If you do this drop down, you can see that there is that there's all the elements within this one layer. So the first thing you need to do is turn everything into objects. So this path, this blend path, that you have any live text, everything wants to be selected, and objects expand appearance and then object expand. Okay, um, just for your self reference, if you then, um, one group this you could then come in and, you know, do things with individual circles on now that it's expanded on, but not constraints, that one path anymore. However, with this document, it's important to not have any soft glitter. Anything in it is gonna be going into after effects. So you've got your document to work in this one. So this is purely the poster to go into after effects. So any extra playing around, we're just helping pace that back into the the document. So now everything's expanded. You just want to come over to your layered panel here, select the layer one come up two years little menu here and go released two layers sequence . Now, when you select everything, it will now all be in a different color. And this color corresponds to this sort of color here, and the reason is done. That is because now it's for each of these different elements as separate layers, and the color coordination is so you can solve different shape between them now, although they're all in different layers, there still all a part of layer one at, similar to as if it was grouped and vote shop, so we need to do is select layer to go away down to the bottom on Select the final Layer. If, like me, it's cutting you off of the bottom. Just bring the tab out and drag it all the way down. See, once go select shift, Hold shift slightly late 10 and they want to click and drag these our above layer one. So now nothing is a sub layer. Everything is its own layer. So now when we saved this out as an AI file, all these different layers are individual creditable objects which can all be played with individually in after effects. So save this as an AI file on else catcher in the next part. 6. Animating: So once you have your poster in all its different layers you've saved isn't a ay file. The next time one do is open up after fax to one script and you cook a new project and then you want to go file, import and file. You want to come down to options here, so you want to create it as a composition on retained lay sizes. And what it's gonna do when you slept. Your AI file is it's going to create the compositions. So make sure again that you're in composition. Ask your illustrates file. So if you then come in, double click on this, that's your file on you can see for Zoom in that it selects all the separate pieces. Now the first thing you do is come up to composition composition settings on Boris's background here at the bottom. I'm gonna say white, obviously, because my backgrounds white um, de new things, really probably aware off is duration. I've got it on 60 seconds. But, you know, probably only one more like 10 and then it's OK. And that looks just like how I left it in. Illustrator No, in the first time we're going to do is give our shape a shadow. And it's quite simple. Just click on the shape commuted. Lee eight. I'm gonna command seed copying Command be on this has made it lay 11. I was gonna hit Enter on, rename this shadow This automatically put it above our shape But I'm just gonna drag it down, Place it below. So now if I hide our original air aids, it just looks the same because that's too So the reason I've created this copy is because I want the shadow to be perfect And I want the shallow to move in the same way that the shape is gonna move So having the original shape hidden I've just got my shadow layer gonna get effect Cool. A correction on bond, hue and saturation. Now I want the master saturation all the way down on the muster lightness slightly these things will be able to play with as you go. And so don't worry about it too much. Just make it something that looks like a shadow as long as you can differentiate it from your shape behind Now is the next thing you need to blur this So with ships let it go into effect. Um bluh on gasoline blur. Come down to your effects here on Just turn this way up. You know, I want it really quite blood to something like that. And then when I place my lay above, you can see that there's now a shadow for turn up this from her after full. I can see that in full quality as well. So that looks like a really nice smooth shadow. But if I wanted to change it all, I just select my sh other layer. I could make it Dhaka by using this master lightness. Oh, by using this master saturation, I could give it more orange. So this feels good to me. For now, this is something that we can continue to change as we go, and that feels slightly more three day. So now we've got eye shadow. The next thing I want to do is make our shape will make both the shapes move at the same time, and we're gonna do that is by just moving our orange shape or your your main shape. And then we're gonna copy and paste those moving key frames onto the shadow to make sure they stay the same. So the way we're gonna do this is we're gonna come into effect. You won't start and turbulent displace. Now, if you come down to this little arrow here going to your fax coming to turbulent displaced effects, you can see it's straight away. Put an amount of 50 on, which is why you have seen an instant change to shape, which you probably weren't one. So if you click on this, put that zero you'll be returned to your your normal shape. Now, to make this move, we have to set key frames starting from one number and going to another over a certain time . So to do that, you want to select this little stopwatch here. Andi, just select them all as you go now. These key frames are like markers to say. This is point A, and it has to get to what I'm now going to set his point B over this amount of time here. So if I don't use these little diamonds here, you can see that it's saying these key frames. So if I turned up this amount on this slider here by dragging yet because I've got my time on the second key frames, you can see the that is what's happened over that time is that it's made that change now to jump between key frames. Ah, a nice little trick is used. J and K Jake's go off left. Cates go right. It's important to make sure you're exactly on the key frame when you make changes. If you're even, you know point point 0.0.1 or the second off Bill, it will count as a as another key frame. So used these keys to jump between them. Now, once you've made some changes, you know you content size, you could the amount Sorry. You could change the size, the complexity Convince the star and press space bar to preview what you've done. If it's not learning very quickly, come back up to here and you could put your resolution down to 1/2. And although ago but Bleriot but isn't how it's gonna look in the end, it just saves you the time of having to sit and wait for it. Surrender. So then press space bar or press this render preview button here to watch what you've done . Okay, so it's a course start, But there are other things weaken Dio where it says turbulent Here we could try bulge twist smoother The's a key frame herbal as well. So you could go from a turbulent displace to a a bulge, smoother displace. Or if you just want them all to be the same, just select one without doing the stop watching the key frame. Just having the one type is probably going to be the best. So try changing that on, then. Previewing back what changes you've made previously. Just to note this evolution tab here, um, by Tain the up wants in the left hand panel by turning up to one times that is how many times it completes this change before it gets too there. So by doing this on to say would complete this evolution of events twice before it reaches the key frames. So this feels quite cool to May. So the next thing I want to do is make sure my shadow completes the same movement because you can see my shadow isn't moving at all. So to do that, I want to select my turban displace, heading here and just command See to copy, we're gonna hide all this by just closing the arrow. Open up my shadow, brought the effects, selects the shadow here, command the based in the turbulent displace effects and then make sure that the key frames were in the same place. So it's likely you keep friends were back a zero. So if I select the mall, drag them back to start. Then I completed you all. I'll just do half now is the document started to get busier. You can now see that the Shadow is doing the same thing as the the orange shape. So that's the basic idea of one particular way of warping. Your so Omar, a shape in the next part will just look at another couple of little things that weaken Dio and then we'll wrap it up. 7. Extras: So you may decide now that you've made you cool poster that moves on all the of the Roman. Stay still and it looks really good, but there are other things you can do if you're not particularly happy with it, just in after effects such as changing the size of your shape on easy way to do that is to just select them both. So remember the shadow as well on Just drag on hold shift. Andi, you know, now that that's a little bit bigger, that makes the whole post to feel completely different. Nothing. If you wanted to maybe start on mating the text slightly. You could always tobon displaced that as well. So you could go into the store and displace. And, you know, it sets from key firms for this as well in the same way. So no over the same five second time period set these key frames. And, you know, maybe maybe you wanted to start it at this time. I love it weird. Um, and then it sorts itself out as it goes, you know? And just maybe make sure that it ends on the amount at zero. If you want it to end up with the you know how you had originally made it. I'm from there. You could even mimic the marae effect off the background image by going effect this store on displacement map. And then if you come over here and your effects palette, you could displace it. Overlay eighth, which I remember being my shape. And if I come over back into these options here into my displacement map, I could then key frame some displacement. If you watch my pixel sorting tutorial, I cover this in more detail. Um, but I was quickly went over again. So if I turned all these appear now over these key frames having displaced it on my layer aids, it will map it around the shape slightly. You know, you can see these curves and it where it's taken. The information set the ending to zero again. And if you activate edge behavior, you could turn that off on. That means that is well, then displays outside the constraints off the text box. But saying everything else up it wills off effect those settings. So So there's some different options for the text. I'm one last thing. If you did decide you wanted more than one of thes off Mario shapes. Um, all you would need to do is select both of the shape on the shadow layer. Copy and paste. Then and then you've got to, you know, make one big. The house put it all the way to the back. You could maybe even usually rotate. It'll toe rotated brown, so it looked totally, sort of not like it's the same shape is before Andi. You could also, um, put that behind. You could also put your large shape behind the gray square in my case, and that creates ah, so another, um, soft. I mentioned finally, if you're like me and there's a really strong Zoff sense of cool appellate, it is possible to change it completely If you're now deciding that, um, do you want to? Um, the way to do that is to just go on toe layer new andi adjustment layer and then some to go effect Color correction. Andi either cooler bonds. Hey, HLs, um hue and saturation. They're old solved different ways of doing the same thing. Um, we'll go with Hue saturation for now. Andi again, this must Hugh on this master hue wheel here as you turned that you'll go through different color variations on you can see sort of what you post. It would look like blue. Oh, you know pink. And if you come into the channel control, you can change even more specifically by changing the appearance of greens and science, etcetera make it brighter and darker. Or if you wanted to, you could dio affect channel, invert and change the whole thing. But of course, with this adjustment layer, like everything else, it's also its own separate things. So I could drank. This just meant lay it down between my two animated shapes and now just the back, just the back itself Dark Andi that gives the post to a whole different feel. 8. Rendering: So it's a gay off after effects, and as a video file, you'll need to have Adobe Media Encoder. It is possible to exploit as a quick time file straight from after effects. But if you can get me to encode A if you do have crave cloud, it's definitely worth getting. And using that over after effects is rendering capabilities. So a couple things to be aware off this bar along top indicates the amount of time that's going to be rendered. So if you know that you're animation last seven seconds or her belong, it is just make sure that this bar is the same. This means it isn't gonna render extra like stuff, because if you see it still happens, it's still there because I haven't trimmed it down, but I don't need to trim it down. I just need to stop the render their Andi. That's why we need to be aware off. So you just want to go composition at two media encoder render queue or if you don't have media encoder just at surrender que Now, if you don't have media encoder and you want, can you go at surrender que you got these things at the bottom. So you want to keep on lossless, You don't really want to lose much quality. And that at the former quick time is fine. Um, so just okay, the settings, best settings, quality full everything as it is. And finally, output to this is where you would choose obviously where the file is gonna go file former it's that's great time. And then you would save That's where that's going to go and then this job is sort of ready to go so you would click, render, and then that would do its thing and render around. The thing is, is that it just takes so much longer, um, to export quick time fail then it just export next an MP four file from Media Encoder. But unfortunately, for whatever reason, you can't export an MP four from after effects that may be plug ins or something. But far somewhere media incurred A is the best way to explore aftereffects. So when you've added it to you, media incurred a render queue. You'll see that the job is here. Andi, you do it in a similar way to you exploit in a similar way to have just explained for non media encoder exporting This, uh, on the left here hates to 64 That's what you want to keep as that's type of compression Andre will be using. So if it's hates to 64 just leave it. And if not, you want this little drop down page 264 OK, you want to match the source? You want that to be high bit, right? If you can, if you have the space. If not, you know medium. But really you want to be on high Onda again. This final box is where you're going to be exploring it to say that and then once you've done all those things, that's ready to go if you have, if you're going to be like me, Andi exports from different variations of this. So I want a variant without the adjustment layer Onda without thes two lays as well. I can then add That's my major and Kerdyk you as well. It's exactly the same. Um, it's using the same cess ings as the one we've just done. And then when I press play, this starts a que onda, it will do one after another. Andi rendered them to waive, asked him to be rendered to. So this comes to the end of the video on If you've made it this far, Thanks for watching. I know it's been a little while since I've made one of these tutorials, this sort of idea of animated posters from numbering working on a lot recently stress. If you follow me on instagram, you'll see that I just completed this audio visual piece called Old Space. If you want to watch that, just Google 100 years dot space on bond, click on the Lincoln Center. The pays to watch it. It's very flashy, so be aware of that if you have any sort of issues with that. But sanction that. I do hope you find this interesting on. I look to see what you guys do make with it. If you post things on Instagram, you know, tag me in it at Tom Appleton design because I love seeing you guys work and again posted down below like you always do. Andi, thanks for being active and taking part in these little classes and making the work that I show you guys It it doesn't mean a lot to May 2 again. Thanks for watching Andi. I'll catch you in the next one