Beginner's Guide to Animate Fun Social Media Reels in Adobe After Effects

1. Introduction: Hi, this is Hong. So welcome to Animate Fun. Social media reels in after Effects. I have been using Adobe after Effects for almost ten years now. The clients I worked for include Adidas, Paypal, Walmart, 711 and many more. In this class, I'll teach you how to animate a fun and exciting social media real in, after effects from scratch. I'll peel back the curtain and show you what it's like to work on a real world social media project. This class is a complete and comprehensive introduction to social media animation to help you get started with after effects and start making animation right away. During this class, you will be learning all aspects of after effects with real world practices. We'll go over from first, receiving the brief from the client, how to put together a project estimate and how much to charge for a social media project like this. After the budget is approved, we'll go on to talk about the storyboard and how to create your own storyboards. If they're not provided, then we'll cover the file preparation, best practices in Photoshop as well as professional after effects project set up, how to source and edit music for social media, how to take full control of your animation and bring life to your movements like a professional. We'll cover how to apply special effects to animation and graphics and give it a stylized look. How to animate transitions. How to animate fast and efficiently in after effects. How to easily animate typography to make it look fun and exciting. How to make simple animation look more complex and appealing. How to utilize third party assets to take your animation to the next level. Some animation principles. Tons of keyboard shortcuts, workflow tips and tricks that you can start using right away. Everything we cover in this class is applicable to any kind of animation project. And you will be able to apply the principles and techniques we teach here right away with your own projects. This course is comprehensive and not easy if you're someone who's interested in getting into motion design and want to learn how after effects works, and be able to take on social media animation projects. This class is for you. This class is for beginners, but it's fast paced. Therefore, a basic understanding of Adobe software is recommended. In order to keep up with this class, you don't have to know how to animate in order to take this class. But I won't be going into the details of what each tool does in after effects. If you're new to the Adobe software and find it hard to keep up, I would recommend you to watch one of my beginner classes first in order to get a basic understanding of the software. Before you take this one, I've covered a ton of information here. So it will give you a comprehensive understanding and overview of how a real world social media project is done. This class is for those of you who are serious about learning animation and want to get into social media animation. By the end of the course, you will have a complete understanding of how social media animation works. And you will have all the tools and knowledge you need to get started with any social media animation right away. And be confident about the process and your ability to execute and animate To follow along with the class, you can download the artwork that I'm working with in the resource section, so you don't have to worry about the design part of the process. You will be using the assets that the clients have already created and start animating right away. If you have any question going through the class, don't hesitate to reach out and I'll be here to help you. So are you pumped up and excited to get started with an awesome looking social media animation? I can't wait to see you in class. 2. New Gig Alert: Hey, welcome to this class. You know what? We just got an animation brief from a beverage start up. They're looking to create a social media animation to promote their brand. The name of their brand is called Juice. Through the social media campaign, they would like to raise awareness of their new brands and also promote their new flavors. Here is a brief introduction to their brand. They are a start up in Vancouver, Canada. They discover this new formula for innovative energy drink where it provides creativity. After drinking their product, it will give you more creative ideas and sparks and help you with your brainstorming sessions. It's backed by scientific research. The drink will stimulate your brain's right hemisphere, which is responsible for many of the functions that contribute to creative thinking. It makes the right hemisphere more active and work harder to come up with creative solutions. This drink itself is completely made of natural ingredients which promotes not only your mental health, but physical health as well. They're now introducing the two new flavors, apple and pineapple. They provided us a storyboard and they're looking to create a ten to 12 second social media animation to raise awareness of their new flavors. In terms of the tone of voice, they're looking to create something fun and delightful that matches with the visual they provided. The brand is vibrant and exciting, and it's targeting young adults who are just out of school and start working in their respective field. People who want to become more creative and achieve a more balanced lifestyle with this new energy drink, they'll get more opportunities for creative thinking and add more creativity in their lives and decision making. It is super helpful for IT professionals or anyone who only depends on logical thinking. Here are the files that send us with this e mail. We got the storyboard, their logo, and some illustrations that used for the storyboard. Overall. After review everything, I think that branding and packaging is looking really strong. I love the vibrant colors and the illustrations they did for the storyboard. This project is going to be a lot of fun and it's time for us to bring the brand to life. And make sure we're grabbing viewers attention with great animation. Now I just need to put together a quote for this job. If you search on Google, the average freelance motion designer earns $40 an hour. If you're confident with your skills, I would recommend you to charge at least $50 an hour in the US. So let's say that's the hourly rate that we have for this project. Estimating three days work for delivering this animation, including feedback and revisions. So here, the project estimate we put together for this particular project, depending on how complex the storyboard is and also depends on your market, you should give them a rough estimate of the project. It doesn't have to be the final cost, but it gives the client an idea of the rough production cost. I'll send the estimate to them and wait for their reply and their final go ahead. After a day of waiting, we got this budget approved e mail and now we can get started working on this animation with the files that provided. Let's go to the next video and we can get started on the fun part. 3. Class Project: Before we start on anything I want to talk about the class project, practice makes perfect. I would recommend you to download the resource of this class and start working on this project with me. This way we can do it together and animate together. For the class project, it's pretty straightforward. We already have the storyboard built out for you. And throughout the course I'm going to show you how to animate step by step based on the storyboard. And how we go from storyboard all the way to the final render of the animation. Just follow our class and you can animate either same as how we teach in the class, or you can come up with your own movement or animation. Remember to make it fun, exciting, and make sure your animation in the end is representing the brand. As you can see here, our brand is really fun, vibrant, exciting. And you need to let your animation convey those messages to the viewer so that when they look at your animation, they're going to remember your brand and they're going to be interested in knowing more of your brand. So that's the whole point of having animation is to convey a stronger message and then leave a stronger impression. Put it simply, just take our storyboard and animate the way that we teach in the class and make sure to have some fun with the animation and also with our beautiful design storyboard. We also provided some elements inside the branding folder. If you open the design elements I file, these are the little elements that we use inside the storyboard. It's either on the bottle itself or it's inside the different scene that you see. However, you can take these elements and maybe mix and match them, change the color however you like, and even find different bottles and come up with your own flavor if you'd like, your own layout. Essentially, our storyboard is made up with all these fine elements and also different flavors, different illustrations on the bottle. So in this case, you can even come up with your own bottle based on our design direction and using those elements to come up with your own storyboard. Maybe bring in some other colors, maybe an orange color or purple color, introducing some new flavors However you like. This is a fun part because we want you to be created while having fun with your own design and animation. At the end of the day, it's a really good practice and it's something that you can showcase your skill set, not only about animation, but also about design and customizing your own design. Well, that's it with the class project. I hope you have some fun with the storyboard and the animation that we're about to teach. Good luck and I'll see you in the next video. 4. Build Winning Storyboard: In this video, I want to talk about the storyboard and some of the resources that you can have in order to create a storyboard similar to what we have here. As you can see, this is our storyboard for this project. There are normally two scenarios when it comes to a storyboard. One is that when you are working on a project, you are given a storyboard by art director or the client. In that case, you don't have to create the storyboard by yourself. You have someone who are more specialized in creating this kind of storyboard that convey emotions or convey their brand values. And I think that's 80 to 90% of the cases if you're working with a agency or a studio. Because there's always someone on your team that's either a illustrator or a designer who are better than you to create this kind of storyboard. And as a motion designer, your job is to bring everything to life once we have this kind of fun storyboard. And the other scenario is where you have to create something by yourself. Well, that scenario mostly happens if you are freelancing for a client. And they don't know any designer who can work on the storyboard. So the client would come to you to create this kind of storyboard and also the whole animation for their social media post. Well, the first scenario is pre history board. Once you have the storyboard, you can just start get to it right away. You can disse the Photoshop file and then see how you can bring it to life. But we want to talk about the second scenario in this class here, because most cases, if you're freelancing, you won't have a storyboard. So you won't need some resources in order to help you to build up a storyboard like this. Whenever I need to create a storyboard, other than getting all the essential information about the client's brand and their tone of voice, their previous work, some references. I always go on pinches to find my inspirations. There's so many different styles on Pinterest and you just need to choose the Ac or a similar brand style that fits your client's need to promote their products or businesses. And you can see all these different colors. I like this yellow, pink, and blue tone of voice. It's really refreshing and it's modern and they got these type treatments. This could be one of the direction that you can take for your storyboard. And there are also some other like this is more of a vintage look or a collage style storyboard that you can take. If you are working for some brand that fit this style, you can probably reference this one. The good thing about pinches is that whenever you click on something, it's going to show you all the similar designs underneath. And just you can get more and more specific on your styles or specific on the visual that you're looking for. And get a bunch of great references. So later on you can put them together as your own storyboard. This is more like a collage style that we are looking at. And we have beautiful colors, great color palette. I like this purple green and blue color palette as well. Now you can see on this page with all these cell animation or like liquid effects, great patterns. So these are all grid style references for you in order to create a great looking storyboard. And pinches is essentially where I go. For inspiration, I'll just paint some boards and put them together in order to help me build a storyboard. However, other than the style of design, we still need a color palette. So I would go to cooler 0 to get my color palette. In this project, I did some color explorations within cooler. If you go to the tools you can select on this palette generator over here, it's going to generate some great colors. For example, this one looks pretty cool. For the one that I have, I did some variations. These are the different colors that I generated for this project. They all look similar because once you have a couple color selected, you can just have it locked here and then keep generating the last two color. Let's say if we like this orange color and we like this color here, we like this maybe blue color. And if we want to keep generating these two colors within the palette, we just hit on the space bar. And then it's just going to keep switching to different colors until it has something that we like. Let's say if I like this pink color, however, I don't like this color anymore. I can just unlock it and keep clicking the Spacebar to generate a good color palette that I can use. Let's say this one looks pretty cool. It's got this pastel doesn't have a lot of contrast, but it looks pretty chill, almost like a beach feel. It could be a pretty good color palette. If I go back to Pinterest, I might see something similar like even this one looks like the pink and the green could be the dominant color. It just got so many beautiful designs that you can reference. This is where I got inspiration and then coolers is where I got the color palette. Once I have it, I'll just take a screenshot and save it for the storyboard if you want to do some product. Social media, let's say social media products, it could be promoting a bottle of juice or promoting some product. This one here looks pretty cool if you need some supporting elements, let's say all these fruits here flying around, or even these illustrations where I go is I go to free Pick.com and then you can just search for fruits. This website is actually free if you are using it for educational purposes. If you are using it for clients work, you either need to pay for the monthly subscription or you have to give them a shout out. Just say like these elements are coming from free Pick.com so you need a credit at the end of your work. These are different elements that we could choose for building up our storyboard. And there's a ton of elements that you can use from free pick. There's vector images or PSD files or like photos, let's say click on Photos. It's got those real fruits that I can pick with my storyboard. And combining these three sources together, it's a great way to, you have a lot of control over your storyboard. You don't have to come up with anything from scratch. One thing I always do is that I never come up with my own color from scratch. I always look at the references I like and then make sure I'm grabbing the emotions of the work. And then I would use like a color palette generation tool to build out the color that I like. I never just start from scratch, from a piece of paper and then draw out like what you need from scratch without any references. And I don't think any of the grid designers do that as well, because they all take references from the Internet. Because there are so many grid designs out there, all you need is just to have an eye to look for it and, you know, appreciate and take them and take the good part. And combine them to have something that's looking amazing for your own work. And the last resource I want to introduce is Motion Ray.com Once we're here, we can go to Template. And then let's click on Motion Graphics. Over here I can search for a splash element. See there's a ton of different splashes and we're going to use one of those within our projects. It's one of those extra elements that's really hard to do if you're doing it on your own. However, it's really good to have this resources available to you so that you can download and then just add them on top of the video to add some flare to the animation that you already have. We've got some splashes here. There's a ton of different motion graphic accents that you can use. Some of them are interesting, they're all four different occasions. But as long as you can find a good one for your own work, you can download it. This one requires a monthly subscription as well in order to use it. If you're a motion designer who just started and if you're freelancing and earning money, I think it's worth the price to have a subscription. So that it can really give some flavor to your work and really push your work beyond. These are the four resources that I want to talk about in this video. After that, it just depending on how you want to build out the storyboard with the color, the references, and also the elements that you use from free pick. And it also depends on the type of client and the product and service they are trying to promote. That's it with the storyboard. In the next video, I'll show you how to prepare your Photoshop storyboard for animation. 5. File Prep Best Practices: All right, in this video, let's see how we can prepare our Photoshop file for animation. We already have this Photoshop document open. This is our design. We've got three panels. This is our storyboard. The first panel, we have this greenish color introducing our apple flavor juice, sweet flavors. And then the second panel is our pineapple plus dragon fruit drink taste of magic. And then the third panel is our ending panel. It says unleash your creativity. And then we have these fruits coming up in a spiral and then just shoot up, almost like the game fruit ninja. In this phase, we need to make sure that all these layers that we see on the storyboard, all these different elements, are on its own layer. So that when we bring them inside after effects, we're able to manipulate each layer individually and animate them individually. We need to go inside each R board. As you can tell, we've got 1233 or boards. Let's open, let me make this panel bigger. Let's go inside the first board. The first layer we see is the circle element here. That's good. That's on its own layer. And then we've got these three lines. When we're importing folder from Photoshop inside after effects it's going to become a composition. And then we still keep all these three different layers separated inside this lines composition. And then we have this bottle here, which is good because we don't want to animate anything on the bottle. These designs are a part of the packaging on the bottle. We need to make sure this bottle is on its own layer. Right now it is, it's good. Then we have the shadow here. If I zoom in, you can see my shadow. However, over here, we have a layer mask on this shadow layer inside Photoshop. Normally, layer mask does not translate well inside after effects. What we need to do is we need to convert this one, this whole thing into a smart object. Once we see the layer mask, we just need to go over here layer and then smart object convert to smart objects. Now you can see we have this shadow smart object. If I turn off the bottle here, this is our shadow layer. After the shadow we got this folder. If I turn the eye icon, you can see a lot of things disappear on the storyboard inside the folder. We got this main text, this is good. And then we have all these little dots and stars as secondary elements. And then we've got this circle elements here inside a folder, and we've got this half apple. All these are inside this layer called elements. I think these are good to go because all these individual elements are separated on its own layer. And they will continue to be separated on its own layer once I bring them inside after effects, as long as I don't see a layer mask, it should be fine. And then we have the background over here, that's a green background in the first artboard. Then let's go on to the second board. It's essentially the same thing. We've got all these little dots and stars as secondary elements. And then we have the shape here, the lines. And then we've got the bottle here. And you see over here we've got the shadow, again having a layer mask. In this case, we convert this one into a smart object. Just go to layer, smart objects convert to a smart object, and this is going to be our shadow layer. It's not going to cause any problem once we convert it into a smart object and we've got the shape here, we can probably recreate this one inside after effects, but that's fine to stay there like that. And then we get the shape two, some element inside elements, we only have the copy here on the top. And then we have a backgrounds that's good for the second R board. Let's go on to the third board. Over here, we have the tornado top. We might need to recreate the shape inside after effects, but just like I said, we can't have any layer mask. We have the layer mask, it's not going to translate well inside after effects. So we need to go to smart object, convert to smart object, and then this is good. We got this one little circles here. We've got the dragon fruit. We've got the apple. We've got the pineapple. That's good. They're all on its own layer. And then we have the back behind the back tornado spirals. And then we have this copy. Let's delete this one, we don't need it anymore. And then the background. That's it for our Photoshop file. Most of the time we're going to receive some storyboard like this from a illustrator or from the client or our director. So before we do any animation for social media, we need to make sure that the Photoshop file is well prepared for animation, right? So this is what we need to do in terms of how to prepare Photoshop file for animation and after effects. Now that you see, we have all of our layers and elements organized on its own layer. So the next thing we need to do is to export these three different R boards onto its own Photoshop file. It's pretty easy just select the three boards over here in the layer panel and then go to file Export R boards to file. Now we just need to browse to our storyboard folder over here and then click on Open Export selected boards. Click on Run. Wait a little bit. It's running the script to save each R board individually. Click on. Okay, let's go back to the folder. Now you can see we have this main Photoshop file that was provided to us from the art director or Illustrator. And then we also have three separated boards so that later on when we animate, we can export each one individually inside after effects. That's it with this lesson, let's go on to the next one. 6. Pro AE Project Setup: Welcome back. In this video, let's get started with after effects. First, let's create a new project, and then we can import our artwork inside After Effects. I already have my after effects open. Let's just click on this new composition. This is how we create a new project. Normally, I would always name my composition name to be main comp. This is a working area of my project. In this case, we have a social media 0, which is a vertical format video. So we're going to go with 1080 by 1920, it's going to be square pixels for the frame rate. We can do 24, 25, or 30 in this case. Let's do 30 frames per second, full resolution, and then we're going to cut it. I'm thinking the duration of the project is going to be 15 seconds. Let's just put in 15 here. The background color can be a black. And then click on, Okay, now we have our after effects project to start working on this social media real you can see we selected black color as a background. However, it's showing me this transparency grid is because we have this Togo transparency grid turned on. If I turn this one off, you can see the background color is actually a black color. However, it doesn't mean we have any background, it just shows as black. We don't have any layer at this point, so if we put in something and then render it out, the background is supposed to be transparent. Let's turn this one off so that we have a black background. Next thing I need to do, I want to make sure we all have the same panel or same layout. So we're going to go to Windows and then go to workplace. Over here you can actually set up different layouts for different jobs, and then for now I just want to use the default one. I'll just reset default to save layout. It should be the after effect default layout. If you select that one, I think we should have the exact same panel. And if it's your first time using after effects, you can see over here in the center, we have this main composition, which is our preview window. And then on the left hand side, we have two panels. One is called Project. This is where we import our files. It's either a Illustrator file, or Photoshop file, or images or videos. This is where we import. And then if I click on this effects control panel, this is where we control the settings of our special effects. On the right hand side, you can see the effects and precess panel. Over here we can search for different effects like the drop shadow and then different ones, you can search the name of it. There's a ton of them. You don't have to get to know all of them. I only know like maybe 20% of them over here. This is where most of the panels are. We've got the info, the audio preview library's character. This is very useful. You can change the font color, different type faces, and then all these different settings for your character. We have the paragraph and then the Align panel is pretty useful. We can align different objects together. So this is going to be our default set up of after effects. And over here at the bottom we have our main composition, which is the main working area that we created to create the project. And then we have this layers panel and our time line. It's pretty straightforward. If it's your first time, don't get intimidated, because I'm going to show you how to animate the social media real step by step. It's going to be fun. Other than all these different panels on the top here, we also have many tools that we can select and use over here. The first one will be the selection tool, where you need to select different objects and move them. Or we have this like rectangle tool to draw rectangles. And you can see one, I draw the rectangle, we have a layer that's called shape layer one, and then we have a corresponding timeline. So this is where we find some of our tools when we are working on the project. After all these panels and tools, let's get started with importing our artwork. Let's go to the project panel over here. A quick way to import the artwork is double click on the empty panel here. It's going to open our window and then let's just navigate to our storyboard. Remember we have all these three different storyboard. Let's first open the first one under here where it says Import as. We need to make sure it imports as composition retain layer sizes. And then you also need to make sure this Photoshop sequence is not checked. It has to be unchecked because once you check this one, it's going to mess up with your layers later on. So make sure you select Composition, Retain Layer Sizes, And check this photo shop sequence. Click on Open. Now another window pop up in after effects. It's essentially the same thing, just click on. Okay, now we have our first composition called Storyboard Juice One. And then we have a folder here. If I open the folder, these are all the layers that you can find from that Photoshop file. However, what we need is this composition. If I double click on this composition, we got one. This is the board, and then double click on that. These are the different layers that we organized inside after effects earlier in the previous video. So that when we import, these are all separated on its own layer so that we can manipulate or change or rotate or like animate individual items, individual elements. To make the animation more fun, exciting or interesting, let's go ahead and import all three different storyboards. Double click on the empty area. Again, let's click on Modus storyboard two. Make sure you select Composition, Retain Their Sizes. Don't check this photo shop sequence. Leave it unchecked. Click on Open. Okay. And then let's do the same thing for the third one. Click on. Okay. Now we have all three storyboards imported. And then we have three different folders imported. First thing first, we need to organize our project panel a little bit so that later on when we have a lot of different layers and folders, it's easier to find and it's going to be saving us a lot of time later on, especially when we're working on a really big project, this is what we want to do. We want to keep the project panel organized. Let's go create a new folder. This folder, normally I would call this 00, Underscore render, So after I put in 00, it will always stay on the top of the list. And this render folder should contain this main composition. And this is the only composition that I'll render later on once I finish the project. This is my working composition. Next thing I need to create a folder called Assets. And then we can draw up all these folders that we imported from Photoshop inside this Asset folder. And that asset should contain these folders here. Next thing we can create a pre comps folder, and then we can draw up the three different compositions inside the pre comps folder. Another thing we need is music. It could be music and audio. I'll just put music here since we don't have voiceover or audio in this project. That's about all the folders we need for now, before it grow too big. Once we have more layers or different objects that we imported from different places, we can organize them later on to different folders. But for now, I think these four folders are good enough for us to get started. That's it with this video, and there you go. That's how you get started with a after effects project from scratch. And how to import your artwork inside after effects and make it organized inside the project panel. Let's go on to the next video. 7. Easiest Way to Edit Music: In this video, we're going to talk about music. Before we get into animation, we need to make sure we have a great piece of music that goes with this animation. And sometimes client or our director will select the music for us, but sometimes you got to select your own music. Once you see the storyboard of this beautiful design piece, you get an idea of how this animation should work. So for me, when I'm looking at this storyboard, I'm thinking the bottle might just like shoot in from the right hand side and then bounce a little bit. And then we got all these beautiful stretchy texts coming in. We got these lines drawing on, and then these different apples like different elements popping onto the screen. So this, this whole piece here based on the design, the visual, I think the tone of voice should be fun, exciting, playful, bright. It should give people a very happy feeling. And then we need to convey this message through music as well. So that's what I'm thinking of when I'm looking for a piece of music that's matching with this animation that I have in mind. So to find some stock Music The website I use is Epidemic. Sound There's other website that you can try out as well, but the one I use is Epidemic. Sound They have like a variety of different choices. You can even search for sound effects, different style like pop, hip hop, classical, all these different styles. I think in general all these different stock sites are pretty much the same thing, it just based on your preference. I've been using Epidemic Sound for a while and it's been pretty good, so I'm sticking with it. I think music is really important to the animation. Some people say music is almost like 50% of the animation. If you don't have a good music, your impact will be reduced by 50% So I think music is really, really important in motion graphics and animation. It's something that we need to keep improving on to be able to select better and better music for our animation. And then to add that 50% of more impact once the animation and music really sync together. After some search, I found these two Music here and then I think these two fit pretty well with the animation that I have in mind. We can take a listen, that's the first one. The second one might be a bit too jumpy or like too kiddish, I would say, At least to me a bit kiddish. So I wanted to feel more fun at the same time, not that car is what I'm saying. I think I prefer the first one bets, give it a try for the first one. Right now it's lasting for 2 minutes and 18 seconds, so it's too long for us. I think all we need is around 15 seconds. So we need to trim this music down to 15 second. Some of the music side, they have those trim down version for you. And it'll be easier if you can find like a 15 second track that you can use for a 15 second social media real. However, that's not always the case, so we need to know how to trim the music down. Right, let's bring up our audit, Adobe Audition. Let's go to files and then double click. Let's strike our music inside the Adobe Audition open. This is the wave form of our music that's lasting for 2 minutes. By all means, I'm not really good at Adobe Audition and I only know how to cut it. Other than cutting the music, I have no idea how to use this software. But most of the time, all I need is just do a simple cut to make the music fit to the animation. So now we need to listen to the music and cut the section that we need and make sure it's going smoothly. Let's go from the beginning here. I want to see how it sounds at the end, since our animation is only 15 second, I think I'll need this at the end here. I'm just using my track pad on the laptop to zoom in and out. I think I'll need this last beat here to make sure our music is ending at 15 second. Normally, I'll just go inside here and then see where the biggest spike is. This indicate the last notes of the music and then I'll just select the ones right before that highest. Peak and select everything behind it. This will be the last part of the music, which is the last beat. And then we can do a command C for copy for now. I don't even think I need all these middle parts, so I can probably do a delete. I just want to see where I want it to stop before I insert that last beat. You know what? I think I found something here before 20 seconds, there's a really high beats that's transitioning from the first section of the music to the next section. Basically around here, around 18 seconds, there's a note that's pretty obvious, you hear that? I think that's the perfect place where I can insert the last beat of the music. I'll just cut everything that's behind that note there and then make sure I paste it in. The last bit that we copied before previously, command V. Let's hear what it sounds like. I think it sounds pretty smooth and natural. Let's hear it again. Yeah, I think that works for the last beds. However, it's still lasting around 20 seconds. So I need to cut something else. Let's hear from the start. Well, I think this is an easy choice because right now within the 22nd, there's a pattern that's repeating itself for two times. What I need to do is I just need to cut the first pattern because I like the starting beats of the music. It's got like this drum coming in F. If I play it from the start, maybe like 1 second or two second, I really like that part, so I'll keep that part and then maybe cut the first pattern until the second pattern kick in. And then I think I should be good. Let's hear the first second again. You hear that? I just need to cut that from here. I think it's from here. Yeah. Yes, from here all the way to all the way to here. I think after nine second from this part all the way to after nine second over here. Let's cut that and then let's hear what it sounds like. Okay, There's a bed that's repeating two times. That's not good. We need to cut it. I think it's one. You see the wave form? They're almost identical, so these two should be the same pattern. I just need to cut down one of these. Let's try cut this one. I think there's still a little bit that's off. Let me cut this one here. You know what? I think we might need to cut down this whole thing here as well. Let me cut this part here. I think this is extra. Now, let's hear this. Okay, now I think it's perfect. We just need to cut out the extra part that we don't need. And now we have this starting portion, which is good, leading into this section. And then it goes to a different beat. And then the last set that we copy from the end of the music kicks in, which makes this whole piece end add around 15 seconds. This is going to be our music that we use for the animation. I'm pretty happy with it. We can now just go to file and then export file. Make sure we save it. Under the music Put 15 seconds and then save. Okay, that's it with this lesson for the music. In the next video, we can start animating. 8. Start The Animation: Welcome back. In this video, let's get started with animation. In the previous video, we did cut our music, so I need to drop that music inside my after effects. Just double click on the project panel over here. Let's navigate to our music folder, and then we can choose this 15 second music here. Click on Open, we can drop this one inside our music folder. Let's drag this music inside our main composition, which is where we're going to animate for the Pres. Let's this, you know what? Let's double click on this juice one. And then go inside this number one composition. We need to copy all these layers command C and then go back to the main composition command V. Paste everything outside. We're getting the layers from this precomposition. And then paste them under the main composition where we're going to animate everything. This is basically our animation working composition. I can use command minus or command plus to zoom in and out. I can hold down Spacebar to pan around to look at the preview panel. First, let's animate the bottle here. We have the bottle layer here. If you toggle the icon, we can switch it on and off. Since we're animating the bottle, I can turn off the icon for the other layers so that they're not distracting me. Hit command R on the keyboard to pull out the ruler. Let me drag the ruler down, make sure we have a ground level here. I can also go on to this to grade and guide option, turn on the title Action safe. Then we have a grid over here and I know exactly where the center is. First of all, I want the bottle to shoot from the right hand side to the left hand side just coming in with some rotation. And then do a little springing around to settle in place. To do that, I need to pull out my position property P on the keyboard. I only need to animate the position, which is the horizontal position. So I need to click Separate Dimension. I only need to animate the position here. But before we add any key frame, we need to make sure that our anchor points, right now, it's in the center, is over here at the bottom of the bottle. Let me zoom in to make sure I have this anchor point at the edge of this bottle over here. That's when I do the rotation property. Shift R on the keyboard. If I change the rotation property, you can see I can have this bottle springing around like this, almost as if it's coming in too fast. And then it just goes over a little bit and then bounces a couple times before it settles down. That's the animation I want. Once we have the anchor point changed to this bottom corner here, all of the property that we change is going to go around based on this anchor point, the place of this anchor point. If I have the anchor point all the way at the cap here, if I rotate, it's going to rotate based on this cap. But that's not what we want in this case. We just need the anchor point at the bottom here. And then let's change it back to zero. Let's say the stopwatch on the exposition. This is our final state of the animation. We can go forward a couple frames. Let's go forward 12 frames. Command shift right arrow, that's for ten frames. And then command right arrow for another two frames. You can see over here in the frame setting, it tells you we are 12 frames ahead. Let's strike this final key frame to the 12th frame, and then let's go back to 0 seconds. At 0 seconds, I want the bottle to be outside the frame. The bottle just comes in like that. You know what? I think the music might be a bit too distracting. I can turn off the music for now. Once we need to listen to it, I'll turn it back on. The bottle comes in like this. However, it's pretty flat and boring. That's a good animation. That's not what we want. We need to select the two keyframe, Red click, go to keyframe assistant. Easy ease the key frame. Now our key frame has more energy. It's got easing in and easing out to it, which is good for now. However, I also want to make it more exaggerated. I want to go inside the graph editor, select the two keyframe, go to this graph editor view and then let's hit on this fit all graph two view. Let's make sure we're in the value graph. There are two graphs you can have in this view. One is a speed graph and the other one is a value graph. Make sure you're inside the value graph. I want to manipulate this curve here to make sure I have this extreme easing curve. The way to look at this graph is you can see the slope of this curve. The steeper the curve is, the faster the speed is. Basically, if I manipulate this curve down here, this is the steepest curve. It means that the bottle is coming in fast and then slowly, slowly slowing down and settle into position. That's how we read this graph. If I play the preview here, you can see the bottle comes in pretty fast and slowly settling down. Now it's got more energy. That's good. But now we need to add some bound to it. The way I want to do it is I wanted to go over which is the overshoot. This is one of the animation principles that we want to apply here. I want the bottle to overshoots, to go over the final states and then slowly recoil back to its final state, which is the center of the frame. To do that, let's go forward six frames. Command right arrow, 123456, and then hold down command. And click on the mouse to add a keyframe. And then go forward four frames. 1234, hold down command, click on it, add another one, and then go maybe three frames. 123, hold down command, and add another key frame. Now I've got all these key frames I want this bottle to go over. So I'll drag this curve down a little bit, and then I'll drag this curve back up a little bit. And drag this curve down a little bit and slowly settling down to the final position. If I hit z and then drag this area, it's going to zoom in onto this curve that I have. I just want to make sure it's not too much. I need to make these closer. This is a curve that we have, like this. Let's play this animation and see what we got here. I like the recoil, but it's not fun enough. I think it's too gentle, the curve. So we need to pull this curve even more. Give it a bit more curve so that it's not as gentle. Yeah, it's got some energy. We need a spring animation, almost like a springing bottle, something like that. I think that works. Just make sure I drag this individual key frame and then drag them up like this to give it more curve. Yeah, that's good. I think my curve is looking good right now. This is the springing bottle that I was talking about. And then let's go back to the timeline view. This is how it looks like in the time line. Now we just need to add some rotation. Hit the stopwatch for the rotation over here. I want this spot to move over maybe like negative ten degrees. And then once it comes back, it could be positive four. Then once it goes over again, it could be negative three. Then the final state would be zero. It settles down. A re click Keyframe assistant. Easy ease. Let's go to the curve in the value graph. And I just need to somehow match, almost like similar energy that we had in the position property that we animated just now. I can drag these handle to make sure these curves are smoother. Let's see what it looks like. Yeah, I think that works. Yeah. We got the springy bottle. The next thing we have the shadow here right now. The shadow should follow the bottle right now. I just need to shadow to take over the position property of this bottle. It's coming in with the bottle. However it's not rotating in this case. I'll turn on the icon, the shadow. And then let's copy the position. Let's go to zero second and then paste it onto the shadow layer command V. Now we should have the same animation. It's not matching up, so I need to select all the position properly and move them all altogether, over a little bit so that it's right underneath the bottle. That looks good. This is our animation. However, our shadow is missing some pieces here. It doesn't look too realistic. We need to modify the shadow a little bit. Right now it doesn't look so realistic. Let's go to Layer New and then add a solid layer we can change the color to a black color. Click Okay, and then let's go to the ellipse tool. Turn off the icon. I just need to drag a oval shape like this. Let's turn it on. This is a black shadow that we should have for the bottle. Let's move it underneath the bottle and then we can it on the transparency, make it less transparent, maybe 50% However, we also want to make the edge blurry since we added a mask it M on the keyboard, we can go down to this mask and then change the mask feather to 50 pixels, or 25 pixels, or ten pixels. I think ten pixels works. Now I just needed to travel with the shadow layer, use the pick whip icon, drag it to parent it to the shadow. Now this black shadow shape is going to follow the same position as the shadow layer here, they're going to go together. Before we do anything else, just make sure we save the project. He command shift for saving the project. And then let's rename this one to Moje Socio. Click on Safe. Now we have two shadow layers. We can maybe group them together. Select two layers and then command shift C to make a precomposition. Let's name this one shadow hit. Okay, now we have this shadow layer here. Let's zoom out and see our animation. So far. That's it with the bottle animation. And let's go to the next video to work on the other elements in the first scene. 9. Frame One Elements: In this video, let's animate the other elements in the first scene. In the previous video, we talked about how to animate this bottle coming in. Now let's go ahead with the other elements in the first scene. Let's come to this first circle element and turn it on. Let's keep this one simple. Let's turn on the size property on the keyboard. Turn on the scale from zero second. I wanted to start from 0% and then go forward. Six frames. Command right arrow, 123456. We're at six frames right now. And then I'll change the scale to 100% However, I don't want it to be boring. I still want to do the overshoot that we had for the bottle as well, but we're going to add overshoot on the scale property in this case. I'll go forward another, let's say three frames. Command right arrow 123. And then I'll add one more key frame here. In the second key frame, I'll change it to 110% This thing goes 0-110% which is the overshoot, and it's going over 10% and then coming back down to 100% in size. If I play this and zoom in, you can see there's almost a bounce at the end. However, it's not very noticeable. I need to give you some easing, right click Keyframe assistant. Go to Easy ease and then let's turn on the graph editor. Let's go to the value graph and then fit the graph to view. I just need to drag these curves to make sure they are more extreme. I'm going to drag these handles here, right? It's more like a curve. After we have a curve like that, let's go play this animation again. It just popping in precisely and then gives more energy to this animation. After the scale change, I also want to animate the rotation shift R to pull up the rotation property. Just add a keyframe at zero second at the six frame. I'm going to drag this keyframe over here. Then I'm going to go to zero second, make it negative 60 degrees. This thing is going to rotate, coming in and then landing at zero degrees. Rotating from 60 degrees when it's coming in and then back to zero degrees. And this is the animation. It just have a slight rotation to it when it comes in. That's good. If I want to add more energy, I can go to red click keyframe assistant easy, and then go to the graph editor. Let's just drag this curve to be more like a S curve and that'll be our animation for this thing here. After this one comes in, I also want to duplicate this layer here. Command give it a duplication. And then I want to move it up over here. Hit you on the keyboard to show the key frames. I want to keep the same animation. However, I want to make this thing bigger. In order to do that, I need to have a null object. Because if I change the size, it's going to change all these keyframes. I need to go to layers and then null object, click on the circle two, click on this Pick Whip button and then parent it to the null object over here. However, before I do that, let's go back and Z, I need to make sure this null object is at the center of this element. Now, if I parent it again, if I change the size of the null object, I can also change the size of the circle that I duplicate it, which is circle two. This way I'm not going to mess up with my key frame that I already have. Once I'm done with the adjustment, I can just delete this null to have this new shape or a new element at this new size. For now what I want to do is R on the keyboard rotation. I want to give it a rotation something like this, 60 degrees so that it's have a different orientation to this one. There's some variation to my elements in the scene. Another thing I want to do, I want to maybe change the animation on this a bit more. Because right now I feel like these two are having similar animation, which is not interesting my eyes right now. I want to give this animation some variations as well. Not only the size variation, but also some different feel to it. Let's delete this null object as I already have this one bigger now. I just want this circle two to be at 100% at the beginning. Okay, that's too small. Let's change it to maybe 200% Just cut it in. Then after six frames, I'm going to have to be growing to 320% Okay, that's too big. Maybe 280. 260. Okay, that's pretty big, 100-260 Then maybe I wanted to stay there for 260 or 250. And then after six frames, kick command red arrow, 123456, it will be 0% at the end. This is our animation here. From 200% it cuts in and then grows bigger. Stay there for a second for a couple of frames and then become smaller, disappearing. This is the animation that we have. If I select all the key frames, go to graph editor and then hit this button to fit the graph to view. You can see this are the S curve that we have on this animation. This curve is similar to the one that we had before to the first circle. We just need to drag these handles outside a bit more to form this S curve. So that our animation is going to have more energy because the steepness of the curve equals to the speed of the animation. You can see over here, the steeper the curve is, the faster the animation is. Then once we have a S curve like this, there's more speed variation to our animation. It goes from really slow, then the speed picks up over here in the center where my mouse cursor is, it's the fastest. And then goes slowly, slowly easing into position, that's the animation that we want. If we go back to zero second, it's got a lot more pop to our animation or the bounciness. That's the feeling that we want to convey. I think I'm good with the animation of the circle right now. Let's go to the next element. The next element we could do is this, turn on this whole thing here. This is the elements composition. Let's double click inside. We have this text animation. And then we have this circle over here. Let's pull this one command X to cut it, and then go back to the main composition. If I click on this flow charts, it gives me the option to go back to the previous composition, which is this map. You can see there's this blue line that's leading to this main composition. That means I came from this main composition previously. I just need to go back. Just click on this one, It's going to lead us back to the main composition. Now in this here, I just need to paste in that circle command V, paste it in, and then I'll just do the animation for this one. First of all, I want to move the anchor point to the center. Let's grab this pen behind to move the anchor point to the center of this element here. For this one, I want to keep it simple as well. I just want to do a same scale animation to the first circle. I just wanted to go from 0% all the way to 100% with a overshoots right before it lands. So I can copy the three key frames. Command C and then go to this circle here. Make sure my timeline indicator is at zero. Second command V it in. And then hit you on the keyboard to show the keyframe. Let's play this one. If I solo this layer, let's just solo, hit this button. Beside the icon, I can solow this layer. I can also solow the background. And now we're only seeing the background and the layer, so it's not distracting to see all the other layers. This way I can focus on this one. This is the kind animation we have. I actually like it a lot because it's got this pop to it, right? It's also been consistent with the other animation that we had with the previous element. In this case, I don't even need to redo the same scale animation again, I just copy the keyframe. Other than this, I just need to add another rotation to this element shift R. Since it's a circle, I just want the circle to rotating continuously in one direction. In order to do that, I need to add a very easy expression to this rotation property. Hold down option on the keyboard. And then hit the stopwatch. It's going to give us this expression window here and you can put in the expression that you want. In this case, we just need to put in very simple, one time times 20. Then after we have this, let's click off, we have this expression. Now if I play this, we just have the circle rotating continuously 20 degrees per second. I would say if I change the number here to 60, it's going to rotate faster. The larger the number is, the faster the rotation is. For now, we just want to keep it at 20. That's the kind of speed that we like. Okay, turn off the Solo button and then turn off the Solar button for this background. Now we have most of our elements ready. The other things we need to do, let's go inside the elements composition. We have a couple of these little stars and extra things. I want to copy one command X, cut this one and then go back to the main composition from this flow chart. Make sure the timeline indicator is at zero second. And then command V, paste it in. These are the four layers that we have. And then we can go to this label color here. Let's change it to yellow so it's easier to identify these little color over here. The orange ones are the little dots and little stars that I have. These animations are going to be straightforward. I just need to copy the three key frames that I had for this circle as well, command C, and then paste it onto all these four layers. Command V hit you on the keyboard to show the key frames. It's basically got the same animation. However, the problem I have is I forgot to change the anchor point. Right now, all these four little dots are coming in from the center, which is not what I want. Let's go back command Z. Let's make sure the anchor point for each element is right in the center. I just need to click on the pen behind too, and then track the anchor point to the center. However, there's a easier way to do it if you click on the second one, which is this one. The fastest way to center the anchor point to the object is if you hold down command key and then double click on this pen behind tool. You can see it goes to the center of the element right away. Let's do it again. Hit this element here. And then you can see the center of the anchor point right in the center of the frame. If I hold down command on the keyboard and double click on this pen behind tool, it goes right to the center of the object. Same thing to this one. Double click. Now we have the anchor point right in the center. So we can paste in the key frame command V. Let's zoom out. We have these little dots coming in. It's pretty subtle right now because I haven't arranged the layers yet because everything right now is coming in at zero second. Later on, once we have all the animation, we're going to arrange the layers so that they're not coming up all at the same time. The last thing we want to do for this first scene is we're missing the apple on the side here. Let's go to the apple layer, let's turn the icon for the apple. I can do a reveal with this shape. Meaning if I select this apple layer, let's go to Effects and Presets panel. If you don't have it, you can find it under Window Effects and Presets. Let's do a wipe effect. After I have the radio wipe effect, we can change the wipe center. Click on this center to be the center of this apple here. Then if we drag the transition completion, you can see it's wiping the apple away. However, if I drag it the other way, it's revealing the apple, I think the wipe rotation is wrong. Instead of using clock wise, we need to change it to counter clockwise. And then let's go back to zero second. At first, I just want to set a key frame to 100% so we don't see the apple yet. And then maybe after 12 frames, command shift arrow for ten frames. And then 1212 frames change the completion to 0% Now we have the full apple. If I solo the apple and the background, let's see the animation. First of all, I want to use a mask. Go to Rectangle too. And then draw the mask over here to make sure we cut out the part that is not looking good. And now we have like a straight line here. We can see this is the way we review the apple. It might be too fast. I want to change the keyframes. Maybe drag them apart. Give it more time. Yeah, I think that speed looks good. We can also select the two Reck keyframe assistant. Easy ease. And then let's go to the graph editor to drag the handle to more A S curve, give it more energy. As command save the project, make sure you always keep saving your project because you don't want to lose any of the work. That's our animation here. That's good. Turn off the solo button. Now we have the animation for the first scene, half done. The last thing we want to do in this video is to re arrange the layer a little bit so that they're not coming up. At the same time, let's hit command A to select all of them. And then hit shift tilta key to collapse all the layers so that they are all clean and it's hiding all the key frames. Now I just need to make sure I know which one comes in first. I think the bottle should come in first, and then the circle should come in as well. And then I'll drag the circle to maybe a couple of frames later. This one comes in, the circle comes in, and then the circle two comes in. Then, maybe the battle should come in like a tad later. Now, we would have these four different circles coming in, all not at the same time. Stagger them out a little bit. So they're not coming in. At the same time. For this elements, we haven't animated yet. So we can leave it there for blue circle. I want it to come in after the bottle lands over here. When the bottom landing, I want the apple come in, strike the apple layer. We can even move it up as long as underneath the bottle. It should be fine when the bottle settles down. Like here. I want the apple to review, or maybe after everything settles, I will have these four little starts coming in. Yeah, I think that looks fine. That's the way we want to arrange our layers. Let's see, the animation. You know what, I forgot to change the shadow with the bottle. The shadow comes in first. I need to direct the shadow here to make sure it aligns with the bottle. Yeah, I think it looks pretty good to command S for saving the project. Let's turn on the music and see what it sounds like with the music. Yeah, I think that works. Let's sit with this video. Let's go to the next one and keep animating the first scene. 10. Secondary Animation: All right, in this video, let's finish up animating the first scene. We already have most of the elements animated. Now let's go ahead and animate these lines. If I turn on the icon for these lines, we got three different lines. If I move this one up, one here, one here, and one there, So these are going to be interesting just as secondary elements giving the whole scene more life and then making it more interesting to look at. Let's double click this line composition. Let's hit this to Transparency Grid button here, so that we can see the lines clearly. First of all, I need to draw these lines inside after effects. This is going to be my first line here. I'll move it over here. And then go to the Pin tool. Just draw this line here from the end here, and then go here, here. And then maybe go from here to here. It doesn't have to be exact, I just want to draw a line here. Something like that. I think that should work. And then I need to turn off the fill hold down option, triple click the fill color here, 123 to turn the fill color off. And then we can change the stroll color to a black color. Change the width to three pixels. This is going to be similar to my line two here. That looks good. And then let's draw the other two lines. Okay, I can turn all three lines off, and now we have the three lines here. First, let's animate the first line. Let's go inside the layer. And then we can add a trim pass, go inside the trim path. This is my line three here. If I toggle the percentage, you can see if it's at 50% my line is cut off at 50% Basically, we can use this percentage of the trim path to control the completion of the line. In order to animate this, we want the zero second, the start and end to be 0% And then go forward maybe ten frames or 12 frames. Let's do 12 frames and then change it to 100% Now we just need to select all of them and then go to keyframe assistant. Easy. Go to the graph editor. Let's drag the handle here, give it more of a curve. And then just move these two key frames of the end property over. So we have a offset key frames. Now let's see what the animation looks like. It's a draw. Draw off. We have the line drawing on and then staying there for a second and then drawing off. That's the animation we like. That's good. Now we need to do is command C to copy these two key frames and then go to the other two layers, command V, paste it in. Let's see, the animation for the other ones. I think layer two works. This one works fine. Now they all have this drawing on and off animation. You see that? Yeah, that looks good. Next thing I want to stagger these, I want to stagger these by five frames, 12345, I want this one coming first and then this one coming in second after I have the timeline indicator here, I can use the shortcut left square bracket to cut the layer over here. It starts from five frames and then go forward five frames again, 12345. And then the third one starts at ten frames. Now I can cut all three layers here. Let's group them. Command shift C, this is going to be lines. I can cut the layer option, right square bracket to cut it here. Now I just need to duplicate it, command D, and then move it over using left square bracket and command D again. Move this one over again to give it a continuous animation. I'm just playing the same animation four times. This is going to be our animation for the lines here, for saving the project. Let's go back to the main composition and see what it looks like. I just want the line to come in. Maybe after everything settles also, I forgot to move this one over to the left so that it's bleeding off the screen. It still looks pretty big. I want to move it down a little bit, maybe make smaller, that's better, so it's not colliding with the other elements. Yeah, I think that looks pretty good. Just something extra to look at. Before we move on to the text animation, I want to add some wiggle effect to the apple and the starts. Let's go to the apple here. We just need to go to Effects and precess panel here. Let's go to Add wiggle. And let's choose wiggle position, double click. It's going to be added to the apple. For the wiggle speed, let's put it to maybe one and the amount, let's change it to 20 pixels. Let's see what it looks like. I think the speed is too slow. Let's change it to four and then, let's see, that's too crazy. Let's change it to two. And then, yeah, I like it. The moving speed is two wiggles per second, and then the wiggle amount is 20 pixels. The apple is constantly moving over there. I think I want to add these wiggle effects to the stars as well. Let's go inside. This is the four star. Let's select all four. And then command V pasting those wiggle effects, we have these four stars moving as well. All right, that's it with this video. Let's finish up the first scene in the next video with the text animation. 11. Fun Stretched Text : All right, in this video, let's start animating this text on the top. Over here, let's go navigate to this text composition, which is this one. That's called the Elements. Let's double click on this one. And this is where we can animate our text. Here. You can see over here, we only have the Photoshop layer inside our composition. We need to animate this one. What we need to do is, first of all, let's duplicate this layer command, leave one as reference. We can turn off the icon and then go to the second one. Click create, Convert to edible text. We need to convert it to edible text, so that now you can see there's this text layer that's been converted. We can change to anything we like, but we just want to delete the extra E and the extra inside there. Now another thing we need to do is we need to convert this text into a shape layer. Let's click again, Create Shapes from Text. Now you can see one extra layer is created. That's a shape layer. Inside the shape layer, if I toggle this icon here, you can see all these different letters that's inside the shape layer. That's good, this is what we're going to animate. We're going to use the shape layer to animate the shape layer to stretch them out, and then animate them in and out. First of all, we want to access the path property of these shape layer. Select the shape layer itself and go to the search bar here, type in path. Now you can see all the path properties are visible underneath this layer. I just need to select all of these. But before I do that, I also need to make sure my end position is going to be something similar to my storyboard. This is going to be my reference for the storyboard. Let's drag out some rulers here. Command R to turn on the guide, and then we can drag out some guide to make sure we know where each letter is. I just want to make sure I know where this is stretched out and then where this is stretched out, I just want to put some guys here just for reference. And then the E is going to stretch out between these two guides here. And then the 0 is stretched out between these two guys gear. That's good. I can turn it off now and then turn on the shape layer. Now I just need to make sure everything is aligned with my storyboard. Let's go inside the path property, then select one of the path click on that. After we click on the past, our mouse cursor is going to turn white. And then in this case, if I zoom in, we can actually drag our mouths to select the anchor point. I just want to select the anchor point right now with the and part of the E on the left hand side. So that I can drag this out around here. The E is going to be around here. And then I'll drag the anchor point for everything on the right hand side and stretch out the E again. And this is going to be my final position of this letter. Then for the 0, I just want to make sure I select everything right before the center of the 0. Then now I can drag, You see I think I missed one of the anchor point over here. So I need to really zoom in and make sure I select all the anchor point that I needed to stretch out the 0. Now you can see I have the stretched out. I'll just align the 0 with this guideline here that I drew before so that I know the exact position that I need for the 0. Then I'll drag the right inside. Aligning with this line here. I think that's about the right position. And the amount of stretches for these two letters. Now I have all these past values for these letters. I can just go inside the shape layer again and then select all the path properties of each letter. I'm holding down shift key to make sure I'm selecting all the different paths for the letters. Then I'm going to add a keyframe. Let's go back again. I just want to make sure I'm selecting all the pass click on this layer and then search path property. Now you can see all these ones have a keyframe on the stopwatch, It's been activated. I think I got everything. All the letters. That's good. These are going to be the final position of my path once everything comes in. This is what it's going to look like at the end, when it settles in place. That's good. Since it's a final position, I need to put it maybe around 20 frames. I just want this animation to stop there. Maybe around 20 frames. So I'm going to go forward 20 frames. Command shift right arrow two times for 20 frames, you can see over here. And then I'll drag everything to make sure it stops at 20th frame with this layout here. And then for the start of the animation, I just want to first line, we can turn off the guide. Now since we don't need it, I'll just use a shortcut command. Semicolon to turn off the guide, or turn on the guide command semicolon. Again, click on one of the past property and then you can drag and select the first line. Move everything out to the left. And then drag and select the second line. Move everything out to the right. Now you can see we've added a key frame as zero second for all our letter. Because the value of the path is changed and it's automatically adding in a key frame. That's good. Let's say after ten frames, command shift, red arrow. I think I need the guide again. Command semicolon, around tenth frame. I want these letters to come in already in position. This is the final position. And then I want these letters on the second line also come in to be able to stay in position so that the E and 0 are stretched out. That's about the path value that I want to give a tenth frame that we have this frame here with the E and stretched out as a part of the animated scene. However, in this case, I also want to add keyframe on the other letters that doesn't have a keyframe right now because I only modified some of the past property for let's say the T and the stretched out and also the first group of the second line. However, I didn't change anything for the other letters. I need to make sure everything is anchored so that they're not moving around. Later on to mess up with our animation over here you can see the first letter S, and it's missing some key frames. I just need to add keyframe here as well. To make sure I'm anchoring all these letters to let them stay at the exact position as they are right now. For those ones that doesn't have a keyframe, I just need to click on the start here to add in a key frame. Now, I should have a keyframe for all the letters. That's good. And then we're going to move forward maybe three frames, right? 01233 times for three frames. Sorry. You know what? Let's move forward five frames. 345, that's five frames. We're at 15th frames right now. In this position, I think I want the first batch in the first line to maybe overshoot inside a little bit. And then I want the second line to coming in overshoot a little bit. I just want to give an impression that the animation is too fast so that before it lands in position it actually went over the final state. I think the final state for the 0 is this line here where my mouse is. But then it's going over to the second line over here, where it is right now. Just give it a little bounce at the end before it settles. Same thing, I want to add in key frames to the other letters that doesn't have a keyframe at this point. To make sure we're anchoring all the letters, all the past properties. That's good for this frame. And then we need to go forward another three frames. Command red arrow, 123. In this case, we're just going to do a slight overshoot again in the other direction. In the opposite direction that it bounces a little bit. We're just going to overshoot it slightly over the final guideline that we have. If you look at the E, this is position where my mouse is, is the end position of the E. So we're only shooting a little bit. And then for the same thing, we're only overshooting a little bit so that there's a little bounce at the end when it settles in place. That's good. I still need to add in the keyframe to the other letters that doesn't have a keyframe right now to anchor their position. That should be good if I preview the animation. Let's see what it looks like. Now you can see the bounce that I was talking about. It's got the slight bounce. It went over and then recoil back, and then settle in position it looks pretty flexible and it's very interesting to look at. However, we haven't added any influence to our animation, so we need to do that next. Let's select all the key frames. Right click. Go to the bottom of the menu. Keyframe Assistant. Easy ease. And then let's go to the graph editor. Hit on the second button here, make sure we're editing the speed graph. I can fit the graph to view here. If I drag the handle, you can see there says influence 48% I want to give it more influence so that it's coming in fast and there's more variation in the speed. I think the influence I'm trying to get is around 80% I'm just dragging the handle. As long as I see around 80% of influence, I think that would be good for this case here. I'm just trying to get 80% of influence for all these animations here, dragging the handle. You also don't want to give it too much influence because I'll make the animation to mechanical. However, 80% influence will give just enough variation to the speed that it looks very natural and very interesting to the eyes. This is a type of curve that we get with 80% influence. Let's go back to the graph editor. Let's see what our animation looks like now. It's more elastic. It gives more of a stretching feeling. I think it looks pretty good. Now that's what I like. The last thing I want to do is to stagger out the key frames. Meaning just want to do a offset so that these two lines are not coming in at the same time. I want to find the here, this is the, just want to select everything after the F and then maybe move the key frame a couple of frames forward to give it an offset. Yeah, so that they're coming in one after another. That looks good. That's our animation. Let's go back to the main composition. Let's take a look here and see what it looks like with the main composition. Let's see if we can add more interesting factor by manipulating maybe the scale property of this whole composition as on the keyboard. Once I have this one settle in, let's unlink the scale property. Make sure the anchor point is right in the center of the composition. And then for the scale property of this whole composition, let's had a keyframe here. When it comes in, I wanted to, she like this, it's like this. Then maybe six frames, 123456, after it's going to go back to its original state. I just want to manipulate the key frame a little bit to see what kind of animation I can get from here. If I select all the key frames, go to keyframe velocity. Let's change it to 66% of influence. It's pretty interesting to have something like this. We got the text coming in at 100% and then all of a sudden we give it a little stretch from the x and y scale and then it's going to stay there for a couple frames and then goes back to 100% again. So this is the kind of animation we got. There you go. That's how we animated the text animation in the first scene. In the next video, let's do the transition from the first scene to the second scene. 12. Liquid Transition: Welcome back. In the previous video, we finished the animation for the first scene, and this is what it looks like. Now we just need to add in the transition. And then we can animate the bottle for the second scene. So we want to have this liquid element in the animation to enhance that. This is kind of juice that you want to drink. It's a motion juice or like a creative juice where it gives you creativity and sparks. It's something that's really hard to do if you don't know how to hand or do cell animation. So in terms of liquid animation or transitions, the easiest way or the best way is to get some stock footage or the stock elements from a third party website or a stock footage site. So we have for this project, I got this splash elements from motion array and it's basically got all these splash elements, hand drawn effects to it. It's also got some sound effect, I can turn them off. So basically you can use all these different hand drawn splash elements in your video or animation to add some extra spark to it, right? It's not something that we can easily do within after effects if you don't know how to draw a cell animation. This is a website of motion array. They have different kind of subscription where you can get access to all these different elements. There's after effects elements or different templates, a lot of extra stuff that you can add onto your video to make it better. That's what I use in this project. Things is for educational purposes, so you guys can all use it to do your assignment. However, this is not something that you should be using for your client work or paid work because you won't have the license to it. I have all these different elements within my after effects composition. So let's go back to my original after effects jus animation file. I just need to import that after effect file within my working file here. Just double click on the empty area in the project panel. Then let's go to our folder. Let's get this after effect file. Just select this, AEP After effects project, hit on Open. Now it's going to import all the splashes. Put this folder inside our assets folder. And then let's put this shadow inside our pre comps that we always keep our project panel clean over here. This is the final comp I should have, all these different splashes. The one that I want to use is this one. This number nine here looks pretty good to me. Let's drag this splash number nine onto our working area. Let's turn off the sound here and then let's see what it looks like. Now, I just need to flip it for rotation. Let's flip it 90 degrees. Yeah, I think as soon as we flip this, it looks pretty liquid and it looks very organic. Yeah, I like it. This is the transition that we have. However, for the second scene, let's drag the second scene here. Let's move it after the transition. Put it underneath the transition. We have a different color. We need to change the transition to a different color. Let's go to Effects and Process. Let's search for Phil. Double click and then let's add the same pink color for the transition, it goes from the center and then transition out something like this. That's good, that's our transition. Then the next thing we need to do, I need to go inside the mo juice number two and then copy all these layers. Command C, go back to the main composition. Delete this composition number two and then add them over here. If I change the color to all these pink layers are my second frames. Let's put the splash transition underneath the pink layers. We have first scene and then transition over here. I want the bottle to come in. Let's go to the bottle here. This is our bottle. I remember we still have the bottle animation for the first scene here and the shadow. Let's copy both command C and then go back to the second frame bottle command V. Let's move it to the same position. Select all three layers P on the keyboard. I think for now let me, first of all, I need to change the anchor point, right? I need to make sure the anchor point is at the same position. If I turn off the first bottle, the anchor point should be at the corner over here. Now the shadow should be underneath the bottle. We can recycle and use the same shadow for the bottle. We just need to parent this bottle to the previous one or we can just copy the key frames. Let's try to copy all these keyframes. Let's hit you on the keyboard to show the key frame of the first frame, bottle animation. Let's copy all these keyframes. This is a bottle for the first frame command see. And then we need to make sure when we paste in the key frame, we need to make sure the timeline indicator is right in the start of this layer. And then click on this second bottle command V to pit it in. Let's see what it looks like now. I think it looks pretty good. It's got the exact same keyframes at the first bottle. Now I can delete it, let's see from the start. Yeah, I like this transition here. It goes all over the places to hide the first scene, and now we have the bottle comes in. Well, that's nice. There we go for the transition animation and the battle coming in. In the next video, we can keep animating the second scene. 13. Become Motion Insiders: Before we continue, I want to share with you an exciting news. Motion design courses just became more affordable at motion circles. With our motion insider membership for as low as $7 a month, you will get unlimited access to our top tier motion design courses, trusted by over 50,000 students worldwide. Time to elevate your motion design skills to become the best animators you can be. As an insider, you will also receive complimentary project files from all of our Motion Circles YouTube tutorials. And enjoy an exclusive 25% discount on all the other incredible animation projects from other artists in our project file shop. Don't miss out on this opportunity to level up your animation skills while becoming part of our vibrant community. Join us today at motion circles.com and unleash your creative potential. 14. Animate 2nd Scene Efficiently: Let's keep animating the second scene here. We already have the bottle animation coming in, which is the same as the first scene bottle. Now we just need to deal with all these different elements in the second scene. First, let's animate this element at the corner, at the bottom here, which is called the shape three. I think the way I want to animate it is going to be the same as the first scene. I want to find some key frames for maybe the circle. Let's hit you on the keyboard. Let's copy these scale property keyframes, command C, and then we can drop them onto this shape layer, shape three. Let's command V, paste it in and hit you on the keyboard. Let's see the animation. It just goes up. And I think the overshoot is too subtle. In this case, I want it to be more exaggerated for the overshoot, maybe 115% and then when it settles down, maybe it can take four frames. This is going to be my animation here. However, since it's a very unique shape, I want to add a rotation property, shift R. To add a rotation property it, the stopwatch here. Let's rotate it maybe like 180 degrees. I think this animation looks fine to me. Let's duplicate this layer command D then for the rotation of this one. Let's you on the keyboard. Let's do a full rotation of one round, which is 360 degrees. We're going to have one shape coming in really fast, rotating really fast. And then the other one rotates really slowly. Now another thing I want to do is let's change the color of the second one. Select the second layer, go to effects, and presets, find full effects. Let's change this one to a blue color here. Yeah, I think I like what it looks like now. Now we have this little shape here, animated. We want to animate this bigger circle here. For the bigger circle, I want to do the same thing for the first scene. Let's find that circle, this one here. Let's see you on the keyboard. Copy the scale property. Let's go back to the second frame. Find this shape two. And then make sure the timeline indicator is at the beginning of this layer for pasting in the scale property. Now we have this popping in animation. And then I want to pull out the rotation property. Shift R, hold down option on the keyboard. Click on the stopwatch to add in a time times 20 expression like the other one. Now we have this coming in, rotating just like the first scene you can see. Now we're going really fast because all these keyframes, we don't have to do it again. We have all these keyframes already in the first scene. We just need to copy and paste onto a similar element so we don't have to do it again. Right? It's going to be efficient. And time saver. Remember we have these animations for the little stars and dots. We can use those animation as well for the second scene. Just make sure we have the anchor point in the center. And the trick we had before is to select the layer and then hold down command, double click on this pen behind tool to have the anchor point set to the center of the object. That's good and now we can select the four. Go back to the beginning of the layer command V, pasting in all these scale key frames. Now we have these. Then the last one would be this shape over here. It's called shape on E, Y. For shape one, let's try to do a radio wipe effects the same as the apple in the first scene. Let's adding a radio wipe. Let's solo this layer. We can probably, let's change the center first, make sure it's in the absolute center of this half circle. Let's do a counterclockwise. Hit the key frame, go forward 12 frames. And then hit you on the keyboard. Put a key frame down there. This is going to be the final position as zero second at the beginning of the layer, we need to change it back to 100% It's fully invisible. This is our animation here. Let's click Keyframe Velocity, change it to 66. That's good. Maybe we need to give it more time. Direct the key frame further apart. I also want these two shapes to come in at different speeds. Let's duplicate this one command D, and then we can use our pentool to draw a mask. This is going to be the inner. And then I want to draw another mask for the outer. For this mask, I just need to turn the mask option to subtract. We have both the inner and outer shape. Five would be the inner, let's rename it to inner, then this one would be the outer. I just need to stagger these alibis so they're not coming in at the same time. Yeah, just to give it more variation, right. Since we are using co effects in the scene, I'm wondering if we can still do the co effect for this layer here. We can probably duplicate these two command D and then change the label color to blue. And then also go to the effects and precess panel, search for fill, double click on it, change the color to blue. Now we would have a blue layer, red layer second. However slightly delayed we have the blue coming in first and then green color coming in second. You just need to adjust the outer and inner a little bit so that we have the blue outer coming in and then green outer coming in, and then blue inner coming in, and then green inner coming in. To add more variation to this animation, I think that looks pretty good. Now we just need to adjust the layers to make sure they're not coming in at the same time. Right, Just like the first we have the bottle, we can delete the shadow now because we have the shadow from the first scene. We can have this one bottle comes in, circle, comes in. And then once the bottle almost settles, I think we should have the shape here coming first. And then we have these coming in pretty late here. This one coming in later. This one comes in first. We have this shape coming first, and then this shape maybe coming in here. Now we have all these little stars and circles coming in one at a time. Stagger around, just making sure we are offsetting all these layers so that they're coming in in different times. Yeah, I think it works. There we go, for the second scene. We're going to finish up the second scene in the next video. 15. Finishing Up 2nd Scene: In this video, let's keep animating the second scene and finish it up. Now we already animated a bunch of elements in the second scene. Next thing we want to do is the trim path effect on these little curved lines. Let's go to find these two lines here. It's under the lines composition. I can double click and go inside this composition here. Let's turn on the transparency grid so that we can see these two lines. It's going to be the same way that we animated previous lines. We can use the same keyframe that we use in the first scene. However, we still need to draw the lines within after effects. To do that, let's go on top here to the pen tool and then let's draw this line here. Just want to adjust the curve so that it's smoother. I think that that's the first line I can turn off this one. Then for the second one, let's go back to the pentool. Again, it doesn't have to be exact. I think that should work. Let's turn off the line one as well. We can delete these two if we don't want. Now we just need to copy the key frame from our first scene. Let's go back from this flow chart to the main composition, and let's navigate to the first scene. Where is our animated lines? Let's go inside this folder here. And then go inside this composition. Hit U on the keyboard. Remember we animated the trim path effects, both the start and end percentage. We can copy these four keyframes. Command C. Let's go back to the previous lines we have, which is this one. Let's select the two layers, go back to zero. Second command V to paste it in. Hit you on the keyboard to show the keyframe. Let's play the animation and see what it looks like. Both of these are going from right to left, which is the direction that I like. I can just stagger or offset the layer a little bit so that they're not coming on at the same time. I want this first line coming in first, and then after maybe a couple of frames, drag it back a little bit, the second line comes in. Yeah, that works. Let's select both. And then command shift C, let's rename it to line two. Then we can cut this layer option rest square bracket. Cut it here, and then duplicate it, command D. And then just keep duplicating it. And then repeating it so that it's animating, repeating for a couple of times, and that's what it looks like. I'm just using the same animation and repeating it for a couple of times. Let's go back to the main composition. After the bottle ***s or settles, we have these lines drawing in to add a bit of secondary animation. I feel like these lines are still coming up almost at the same time. I want to maybe go inside again to drag these or offset these a bit more. Let's go back and see what it looks like. Yeah, I like command S save the project. Before I do the text animation, I just want to add a bit of wiggle effect on these little stars and circles like the previous scene. Let's go back to the first scene here, and then these are the element that we had, the wiggle effect. Let's copy the wiggle effect command C under this effects control. And then let's go back to the four layers in the second scene command V, paste it in so that they all wiggle around. If I zoom in and play it, it's got a subtle wiggle to it to add a bit more fun to the second scene as well and make it consistent with the first scene. The last thing we need to do for the second scene is to animate this text here. Let's find this composition in our time line. It's actually this elements composition here. Let's double click to go inside this composition. Remember how we did the text animation in the first scene? We're just going to do the same thing as we animated the first scene. First of all, let's duplicate this layer command D. Just save one layer for reference and then for the second layer, let's right click Creates and then convert to edible text. Now we just need to delete the extra here, the extra C here. And this is how our text is going to be. Let's re click this text layer and then create shapes from text. Now we have the shape layer of these letters. Next thing, we just need to manipulate the shape layer in order to animate these texts coming in. However, since we saved one layer as a reference, I just want this one to be a reference for my position. This layer is just going to be our reference for the position of the S and C. Let's strike out some guys. Hickman, R, for ruler, and then let's strike out some vertical guys here. I want to know the position of the S and then the position of the C here, and also the edge of this whole thing here. That's roughly our position. And then I can turn this one off, and then turn this one on. Hit this one layer, and then search for path on the search bar. If I select one of them, it's going to give me this mouse cursor which is in white color. Ask me to select the anchor point from these letters. Now I just need to drag out the S to match with the original style of that title. Right? To do that, let's command plus sign. I just need to drag all these key frames right before the center of this letter. Then if I move out this anchor point, I'm going to drag out this here. Remember this is a line for the edge of the. I need to align the left edge of the S to this line here. And then I need to align the right edge here to this line. I just want to zoom in and then align this here. This is going to be our final. Then, same thing for the magic, let me click on the path, and then I can select the anchor point for all these different letters. Drag out the C here, This is the left edge of the C. And then I need to drag out all these ones here as well, to align the C with this edge here. After that, I think this is roughly the same as our original style. If I turn on the reference, it's mostly similar. So that's good. This is going to be our final position of the title. Now we're just going to deal with this one layer. First of all, we need to select the layer, and then let's search for the path property. Now I just need to select all the path property of every single letter in this title. Let's click on the stopwatch for one of them. And then it will add keyframe to all these letters. Now we know these keyframes are the final position of these paths. Let's say if we want this animation to take around 20 frames, let's go forward 20 frames. Command shift right arrow. Command shift right arrow. Again, you can see here is 20 frames. I just need to move the key frames to the 20th frame so that this is a final position. And then let's go back to zero second. In this case, I just need to move everything out. I want the first line to come in from the left and then the second line to come in from the right. I just need to hit on one path property. And then selecting all these letters in the first line, move everything to the left. This is going to be our first initial position of the first line. And then let's select everything on the second line. Move everything to the right, which is the initial position of the second line after we positioned them outside the frame. You can see all these different key frames are added automatically. Because we change the path, right? We change the path for all these letters. If I play the animation right now, they're just going to linearly coming in from the initial position that they have and then coming in to settle to the end position. That's our initial animation for now. However, what we want to do is we want to add some stretches. Let's go forward, ten frames from zero. Second command shift, red arrow at ten frames. I want this to stretch out already. Let's hit the past property for one of them. And then let's select all these different anchor points and tell this middle part where the S is stretched out. I want everything coming in a tenth frame already with the stretched out. Same as the second line. I want to have everything coming in like this with the C stretched out. Now we just need to add the keyframe to everything that doesn't have a keyframe. Here you can see these letters are left out. I just want to make sure we have a keyframe for all these letters here to make sure we have a anchor throughout our animation. If I play this one, let's see what it looks like. It's going to stretch out and then coming in like that. Then after the tenth frame, I want to do a overshoot. When it lands or when everything settles, I want to go forward. Let's say command right arrow five times for five frames, 12345. Let's see what we can do for this one here. At this point, I want this letter to go over. And then for the second frame I want to go over. These are the overshoot that we're thinking about. I want the S to become smaller before it settles in position. I want to maybe bounce a little bit. Let's go forward maybe three frames. 123. I want this to go over a bit more like this. The C go over a bit more like this and then settles. Let's see what it looks like once we had that adjustment. It's just more like a bounce, where at the tenth frame we have everything stretched out. And then after five frames, the S is shooting over. It went over from the final position, which is supposed to be this line here. It, we too much. And then it goes over. And then after three frames it came back up. However, it came over a little bit and then at the 20th frame, settles down in position aligning with this guide layer here. Same with the C here, that's our entire animation. If I scroll down, you can see some of the letter doesn't have a keyframe. So we need to add keyframe to those letters that does not have a keyframe right now. Just need to add these keyframes to anchor them so that they're not randomly going to places that we don't expect them to go. Just adding key frames. Now everything is aligned, we have all these different key frames. Let's select all the key frames and then let's go right click keyframe assistant at the end. Easy ease. Let's go to the graph editor. Remember the influence that we had? We had a 80% of influence for this kind of animation. Let's go inside the speed graph. It was supposed to be the speed graph that we are animating in edit speed graph. And then select these keypoints. Drag the handle until you see their influences around 80% It should be good enough. Let's drag it out to around 80% for all these handles, that's good. Let's go back to the timeline. Let's see what it looks like. I think we got the energy that we want. Let's go back to the man composition and see what it looks like. Yeah, I think I like the animation overall now that I'm thinking I should delete the extra animation in the first scene here. I don't think it looks well put together. It just, it seems like something extra. Let's hit you on the keyboard. Let's delete this scale property change from the first text animation if I played the whole thing. There you go. That's our animation for the first two scenes. 16. Spiral Animation: In this video, let's put the transition between the second and third scene, and then let's start animating for the third scene here. First, let's put in the transition, let's navigate to this number nine, command D, and then let's put them all the way to the top with the shortcuts. Hit left square bracket to move it to where the timeline indicator is. For the third scene, I think we have a blue color. Let's go inside the Mo number three. Let's copy these layers. And then command C, go back to the main comp as paste it in command V. And then let's use left scrip bracket to move everything to where our timeline indicator is. Now I just need to change the color for the splash here. Let's go to the effects control panel on the left top, change color to this blue color over here. Once we have the second scene settles, we'll have this blue color liquid transition. Then we can delete this background, which we don't need. We have this text here that we need to animate the same way that we animated it in the second scene. Then we have this tornado animation here. Let's go inside this tornado composition to animate these different elements here, let's turn on the transparency grid so that I can see them. First of all, let's animate the spiral here. We can turn off these elements. We got a spiral top and then a spiral bottom. Let's go animate this spiral bottom here in order to do a draw on effect. Since this shape here is looking pretty complex. And then I wanted to follow a certain order from the bottom. Just go and draw it on all the way to the top. I want to use a stroke effect to animate this scene here. Let's go to the effects and precess panel. Let's search for stroke and then double click on the stroke to put it on this here. Then another thing we need to do, we need to draw a mask. If I turn off the stroke, what I need to do is I need to have the tornado bottom selected. And then go to the pen tool to draw a mask over this tornado path. Basically, I need to draw mask similar to this tornado path. It doesn't have to be exact. I just need to draw it almost covering the line. Draw this pass here, I can adjust it later on. I just need to use this pass to animate this spiral shape to have it right on. Now I'm just drawing this shape here to match with this spiral shape. Now you can see we have this orange pass overlaying on top of this spiral shape that we have. That's good. And then inside the stroke effects, let's turn it on. Let's use all masks as a stroke effect on this shape layer here. And then we need to go to the bottom here and says Review original Image. Now you can see everything disappears. However, if I change the end percentage here, you can see our animation zoom out. If I change the end percentage, you can see we're drawing on the spiral shape here. That's how we animate this whole thing. Let's hit the stopwatch on the end property. And then go forward ten or 20 frames. And then let's put 100% here. Hit you on the keyboard. Let's see what it looks like. That's pretty fast. I think it's too fast. Maybe like strike it out. Space out the keyframes, you can see there's a little problem over here. Whenever it crosses, I need to maybe adjust the brush set smaller so that there's no other parts revealing. When it cross a different line, I adjust it to 2.6 then I think it's looking better. Now, I like how this one animates. I think that's good. Now we have the animated tornado bottom. I just need to command duplicate it and put it over here all the way to the top. These are the spiral shape that's going in front of these different elements that we have. The fruits, I need to use this one as a mat for the tornado bottom layer. I need to drop this tornado bottom two underneath the Tornado top. And then let's go to the track mats. Use this one as a track mat. Select tornado top one. Then if I turn off the tornado top bottom, let's see what it looks like. Essentially, I'm using this top to be the mask for this bottom animation. This way, we can only show this animation wherever this top layer is visible. In this case, if I turn on the bottom and these layers, it would make more sense here. Now you can see we have this tornado shape here. We have the part that's covering in front of the fruits. If I don't have this layer here, if I turn it off, all these fruits will be going outside of the tornado. Because the tornado is going at the back. Only these four lines is going in the front. Okay, I think that looks good. That's how we animate the spiral shape in the third scene, which is used the stroke effect, and using the mask to animate it in the next video. Let's keep on going for the third scene, and then let's animate the fruits coming in. 17. Fruit Ninja: Welcome back. In this video, let's animate the fruits coming in. First of all, I need to move the anchor point of these layers to the center of the fruit. Let's select the first one. This one already have the anchor point in the center, which is good. And then the dragon fruit already have it in the center. Let's zoom it in. Yeah, it looks like it's in the center. Let's move it down a little bit more for the apple, let's drag this anchor point. I'm just using the pan behind Tool to move the anchor point. Then for the pineapple, I'll drag it over here to make sure it's in the center. That's good. Now I just need to select all four layers on the keyboard for position at a key frame. Let's go back to 0 seconds, at zero second. I want these fruits. First of all, let's lock the tornado animation that we did so that we're not accidentally dragging them. Now, for these different things, I just want them to go down at 0 seconds. I just wanted to be outside of the frame. And then maybe after ten frames, I want everything to shoot up like this. Shoot up, maybe like this. Then after maybe another ten frames, I just wanted to settle down in position. This is going to be our animation shooting up and then settle in. However, it's not looking as nice because we haven't added any curve adjustment or speed changes yet. Select all the key frame relic. Let's go to keyframe assistant easy. And then let's go to the graph editor. This is going to be the speed graph edit. Speed graph that we're working in. I think when it comes in it should have a lot of speed. And then when it reached the top position, I think it should hang there. It's lost most of the speed over here. It's the slowest speed, should be almost zero. And then at the end here, it should speed up. Then we should do like a couple bounces over here. If I go back to the timeline, I'll just strike these frames over a little bit, and then I'll make sure it's got a couple of bounces maybe let me copy these frames. And then let's strike the white position down a little bit so that it's got some bounces to it. Let's go back to the curves editor. Just curve something like that. Let's see how it looks like. Yeah, I think it looks much more natural. Now we got to hang over here at the highest point. It's losing all the speed in the speed graph. You can see this is the speed is zero pi pixels per second. That's when the speed is becoming zero. For a brief second, that's how you see the hang in the air and it's coming in pretty fast. You can see the speed here is almost 116 pixels per second. And then we added one overshoots. It went over the final position and then recoil back to its final state. That's one overshoot, one bounce. I think that looks pretty good. I'm happy with that. Now, I just need to do some rotation property on these four layers. Hit shift R and then hit the stopwatch on rotation. I want this to be the final rotation. And then over here, I just need to maybe have a coming in negative, positive 30. Negative 30, positive 30. Let's see what it looks like. Yeah, I think it looks subtle, but it's okay. Another thing I want to do, I want to add more fun. I want to duplicate these four layers, command D, and then maybe have these elements. Let's change the label color to yellow. Hit you on the keyboard, I want this one coming first. Then maybe just like fruit ja, where it just going outside. Instead of landing, I need to delete all these layers in the position property. Instead of having these fruits landing inside, I just want them to be thrown out, maybe 12345, after five frames. I just want this one to go down from here. This one go outside from here. This one go outside from here. This one go from here. If I select the key frames and then check the curves editor. Where I have to drop in, hang there, then I want this parts to be speeding up, hang there, and then speeding up going outside of the frame. These are the first element that came in. However, I don't want them to be coming at the same time. The first thing I want to do is maybe stagger them, offset the key frame a little bit, and I also don't want them to be the same size. At the second batch, I need to change the size, shift on the keyboard, make them smaller. Maybe like 30% Okay, the apple is over here. That's good. And then I'm going to move the second batch. I'll set it. Let's see what it looks like. Only with the first batch. Okay, I think the hang is too much, it's going away too quick. So let me just adjust the curve one more time. I think this anchor point should be right in the center. So let's see, 12345677 frames. It reached the top, and then let me select all these key frames. Let's go to the graph editor, just giving it less influence then this part. Let's see if this curve is right. I think I need to adjust the curve a little better to make sure this is the highest point. I need to have this point to be the highest I need to make sure it's not going over. And then I should need to change the curve to make sure these are dropping like this. The curve should look like this. Let's see if that works. Yeah, I think that works better. I need to make my dragon fruits separated from my apple. And then I want the apple to be a bit bigger. Apple is too small, maybe like this big. Then the pineapple need to be bigger. Let's try 50% We have the pineapple coming in first, and then the apple coming in second. And this one comes in first, third. And then we have this motion here. Once we have these coming out, we'll have the second batch coming in. This, let's see what it looks like. I still want these to go higher. I think it's not high enough for this one. Make sure my timeline indicator is at this keyframe here. I just want this keyframe to go higher like this. Maybe starting with a different position doesn't have to be the same. I wanted to throw from this side here. That's good. Then for this one, the dragon fruit, I want to go higher. And then I wanted to start from this position over here. I think that's good. Yeah, and then the apple can go a bit lower. However, it should be thrown from this side. And then the pineapple should go from the left hand side thrown to the right. Yeah, I think that works, just adding some randomness to the animation. Okay, that's our animation here. Let's turn off the transparency grid and then let's go back to the main composition and see what this animation looked like. Let's turn off the text from six second. I think it came into early. Let's strike this layer behind. We need to add a background, it's good. Move it back a bit more then. I'll just start the spiral a bit later. Let's strike the spiral, maybe over here. And let's go back to the main composition. Yeah, I think that looks good. All right, that's how we animate the fruit coming in for the third scene. 18. Stretched Text 2: This video. Let's animate the text animation in the third scene. Let's go to this leisure creativity. I might want this text coming around here when the fruits drop so that it's not overlapping with the element that's flying up in the scene over here. I just want to do a composition command C. And then let's name this one text three. Let's double click to go inside here. This composition is too small command K to make this one the same size as the outside, which is 1080 by 1920. Click Okay, that's good. We're going to move it on the top here. Remember how we did the previous one. We're going to go quick this time. First of all, we need a reference. Save this one command D, duplicate another one. Create Editable text. And then we just need to delete one of the 0 here. Then click Create Shapes from Text. We need the reference to make sure where the 0 is, this is the 0, and then where the outside edge is. I just want to pull out some guides to align them. Then I just need to unhide this one. And then go to the first layer search path property. Hit on one of them and then make sure we're dragging out the 0 here. Dragging out these layers here. This is a final state of the 0. Now I just need to select all the path here. I'm holding down command to select all the path. Hit the stopwatch, make sure it's settles. After 20 frames, I need to move the final state to the 20th frame and then go back to zero. Make sure I have the first line going to the left. The second line should be coming in from the right. Third line could be from the left as well when it comes in like this and then go forward. Ten frames can shift. Red arrow hit on the path. I want this one to come in already like this with the old stretched out. Then since I only have key frames on some of these letters, once I drag that, I need to make sure I have keyframe on all these letters. Just adding key frames at this point where my timeline indicator is, it's a ten frames in the timeline. I'm adding keyframes on all these letters and then go forward five frames, command 12345. At this point, I want these letters to come in, go over maybe here, that's good. And then I need to make sure these are all anchored with a key frame. I'm just adding key frame on all the other letters. And then go forward maybe another two frames or three frames. 123, let's do three frames. And then at this point, I want this one to come back up like this. I'm adding key frames again to anchor all the other letters. Anchor these, make sure they're staying where they are right now. Then the last position is where the 0 stretch in. And then once I have dots, I'll just select all the key frames. Everything go. Click Keyframe Assistant at the end. As then let's go click Keyframe Velocity. Remember we want to set the influence to 80% We can do it the same way as before with the curves editor. Or we can do it this way with the keyframe velocity option, change it to 80% Click on okay. And let's see what it looks like. I think it's going in too much at this point. I think this or this three lighters are coming in too much. I need to maybe give it more like somewhere around here. Let's see what it looks like. Yeah, I think we like the bounce on the second line, but we didn't like the bounce for the first and third line in this case. I think I'll just delete all the in between key frames for the first and third line. Let's see what is the first lighter for the third line, which is here. Let's go back to find the C here. This is, I want to delete all the middle layers, middle key frames For the C, from the C, I want to delete the middle key frames. And then let this one settle in ten frames over here. Yeah, I think that works. And then for the first line, let's go back to the first letter U, all the way to the H. Let's delete all these middle key frames until the H. And then let this settle around ten frames. We only have the stretch animation on the second line here. Then the third line, I can delay these animation by a couple of frames, maybe over here, 123. And then I can also delay the animation for the middle line here just to offset it so that they are coming in line after line. Yeah, I think that looks good. There's a little bounce for the second line. I think we're good with that. And then let's go back to see what it looks like. I wanted to come in around here. Coming in around here. So it's coming in right right after the apple fall down. Yeah, I think that looks good. Okay, I like how it is now. That's our animation for the text here. Okay, that's how we animate the text in the third scene. Let's go on to the next video. 19. Liquid Logo Reveal: All right, welcome back. Let's work on the final scene of the video which is our logo. So I wanted to add a logo at the end of the animation using our splash and liquid asset that we found. That way we can not only stress the importance of our brand and also give it more fluid feeling just to complement the idea that we have a creative juice that we're promoting. In that case, we just need to over here, after we have the third frame, we wanted to transition to our logo and then show the brand a bit more. Also show the fun of the brand. To do that, first of all, we need to transition these elements out. And maybe here let me listen to the music and see where the logo should be coming in. Like the strong beat is around nine second and 20 frames. It's wrong here. This is where the speed is the strongest, right around 10 seconds. I know the logo should be revealing around ten second. I just need to reveal the logo. Maybe around 8.5 second over here on this third scene settles, I'll just transition everything out. In this case I'll have this text animation goes away on the keyboard. And then add a position property shift, red arrow, and then let's make it go out like that. And then right click keyframe velocity. Let's change it to 66% of influence. See what it looks like, it just goes away from the top. And then for the tornado scene, same thing. Let's hit on the keyboard. Let's do a zooming out. However, once I zoom out, you can see the other fruits that we throw away at first. So I need to go inside, make sure I cut those. They were thrown out. I'll just cut these layers. Select all four layers. Option rest, square bracket. Cut the layer so that they're not visible anymore. Let's go back again over here. If I zoom out, you can see it's not visible anymore. I'll do the same influence, click keyframe, velocity, change everything to 66, click Okay, that's good. Then I'll just bring in our logo. Go back to Project. Double click on the panel here. Navigate to our branding, and then go to this logo here. Click okay. I can drag this folder to the asset folder, and then the logo to the precomps. And then let's drag the logo in. The color is a bit different, so I just need to go inside. Delete the background. Delete this layer here. Let's go inside. We have this text here, let's go inside and click Create Edible Text. That's good. Then let's delete. Let's draw a rectangle the same shape at this one. That's good. We can delete the rectangle. I want to use an outline of this logo here. Let's select the editable text here, and then go to character. We can flip these two colors and make sure I have whites as the stroke color of this text here. And then for this one, I'll have the stroke in white color as well. This is going to be our logo here. Now we have a outline logo. Let's go back to the main composition. We just want to review this outline logo with one of the splashes. Let's go back to the asset, and then in this case, let's use four. Let's drag it down here. And then move it all the way to our timeline indicator. Use left square brackets. And then over here I just want to cover this for half of it and then go duplicate it as on the keyboard. Unlink the size property and then flip this one on the y axis so that it's flipped upside down. And then once we have this one goes out, we'll have the splashes coming in. This one goes out, splash comes in right around here. I'll just make the logo a bit smaller. Yeah, it's revealing this outline logo here. We have this one goes out and then we have the liquid coming in, revealing the logo. That's good. Juice, rebuilding the logo. And then we want another two splashes. We want to splash number five here, let's drag it down. Let's turn off the sound effect for now. Move it back. This is what it looks like for number five, it just goes around. In this case, I wanted to go inside the logo to fill in the outline so that it becomes a solid color logo. First of all, let's change the rotation of it. R on the keyboard, let's change rotation and then let's make it smaller like this. I wanted to go inside the logo just as if it's filling up the logo. I think that works over there. Maybe I move it up a little bit more. Okay, that works. And then I also want to duplicate it and then make it bigger, then change. Let's make it all the way big, like 200, big like 200% And then unlink the scale property. Let's flip this one, negative 200 that is coming in the other side. And then I can move this one away around here, it's going to a different direction, adding more interesting fluid on the scene. Now we've got two same liquid splashes, but they're going different directions with different sizes. Just give it some variations so that it's more interesting to look at. I think we're good with the scene here. We just need to fill the logo with that liquid here. Then to do that, first of all I need to use the Splash Five command C and then let's go inside the logo. I think this is where the animation should happen. I need to command bring this one here with the shortcut and then I need to make sure and see where it is. First of all, you need to make sure the direction is correct so I need to flip this one again. I think hit shift, make possibly 200, so it's going from right to left. And then I need to give it a good angle this way. Something like that. It's going over to fill the logo, right? It's going through the logo from right to left and then it's filling the logo. I think something like this should work and now we just need to make sure it fills with in order to fill the splashes inside the logo. First of all, we need to use this logo as a track mats. We just need to bring it outside. Then I need to make sure, instead of outline, I need to make sure it's a fill color for both. This one here, I need to fill it in with a white color. Then I need to select two layers. Command shift C. This one is called logo fill. Now we have the logo fill and then we need to use the logo fill as the track mat for the Sp 05. Just select the layer and then go to track mats, select logo fill. In this case, if I toggle the time line, you can see this is the animation we got. I think I'm not very happy with the shape inside the logo here. I need to maybe, let me turn off the track mat, make sure I need to adjust this one a bit more so it's like thinner, maybe like this when it comes in. I just want to make sure it's good looking when the splash is coming in. Yeah, I think that works. I'll do the track mat again. Go to this track mat option logo fill. Yeah, I think that just fine tune the rotation property and the scale property. Yeah, I think that works. Then since the splash left the logo, we need to still fill it over here. We still need to do one more thing. We need to have at least a white layer go to layer new solid and then let's create a white layer. Okay, And then we need to use the white layer to fill the logo right after the liquid pass by. I need to go for the position when the liquid comes in like this. I want this position to be here at a key frame. And then when it goes away, maybe like a couple of frames, 13 frames. I want this white layer to fill the logo. Then let's go click Keyframe Velocity. Let's do 66, we're using white solids. Select the track mat logo, fill number one. As if this liquid is dragging this white solid mat to fill the whole thing. Let's see what it looks like, the whole animation at the beginning. I think it's peaking in. I need to move it all the way out. It might be too fast. I need to give it some wiggle room. I need to move this back a little bit. I want to see all these different trails before it fills. Yeah, I think that looks fine here like that. Let's go back to the main composition and see what it looks like. I need to time this one correctly. As soon as the tip of the splash reach the E, I need to have that animation coming in. I need to time it around here. Yeah, it starts right here. And then let's go back. I also need to make sure the small splashes is not going over the logo here. I need to add one more track mat around here and then I will use this. Go to five, make sure this one white solid should be the alphath showing only where this white solid is to be the alpha mat of this one. I need to the splash five, Taking white solid two layer number two at the alphamat see what it looks like. Let's see the animation over here. I'm not liking the edge of the white solid color over here. This white here. Can I rotate a little bit like this? Yeah, with the rotation, it might look better. There you go. I think we're good with this animation of the logo here. It serves the purpose. Yeah, I think I like how it looks like. There you go. That's how we animate the last scene for the logo. 20. Final Touch: In this video, we just need to add a couple extra things to finish up this project. First of all, I want to make sure that our music is synching up with our animation after taking a look at it. I think right now it's synching up pretty well, especially with the last beat here. I want to make sure when that last beat come in, it's revealing our logo at the end. It's called the last final impact, where the liquid comes in to the logo to reveal the logo. So I think that works with the music right now. The other thing I need to do is I need to go down here to the audio levels. If the music is too loud, normally I would put it at negative ten sabel. And then for the end, let's say if our animation is 12 second, I'll just add a keyframe at the end and then maybe drag it forward half a second. And then for the end just maybe negative 30 to slowly easing out the music. Same with the beginning. I'll add a keyframe at the beginning and then drag it half a second forward. And then from the start, let's do negative 30 to ease the music in as well, so that our music is not very abrupt. It's got some gradual increase in volume. If you hear closely, you can tell it's actually easing out at the end and slowly decreasing in volume. That's what I like. That's good. Another thing I want to do to add a bit extra elements. I want to have a camera poll on these elements so that they are constantly, maybe zooming in a little bit. Let's try that. First of all, let me group the first scene and second scene and third scene together so that we have a cleaner working space here. I just want to grab all the elements for the first scene right before splash transition. If I select later 28, all the way down to the background, Let's do a precompose command, shift C and then let's do this one as frame one. Click. Okay, now we got a frame one group, and then let's leave the transition there. Let's do a group for the frame two from layer 11 all the way down to 26. And then command shift C to precompose. Let's call this frame two. Click Ok. I also want to make sure I know the start of the frame two maybe around here. This is the earliest point when the layer come in. I need to use this point as the cutting point for layer two with my timeline indicator staying here at three second frame. And then let's go back to main composition. Make sure I cut this layer here. Option left square bracket to cut it here. I know this second frame is coming at this point here, that's good. And then the third frame would be this one. I think the third frame would be everything with the logo and the splashes, all these layers, everything that's left, command shift C to precompose, name it to frame three like that. And then I need to make sure I know where that endpoint is, is right here. Let's go back to main composition. Cut it right here. Now we got a much cleaner working space. So we got frame one transition and then frame two transition and frame three. That'll be our final working space that we cleaned up everything. I want to turn off the sound effect for the last frame and then let's see what it looks like. Now, I hope I didn't mess up with anything when I'm grouping the layers. Yes, I think it works. That's good. Now, I just need to make sure within the project panel, I'm selecting frame one to frame three. And then drop them underneath the precomps folder so that we keep our render folder clean with only one main composition for saving the project. And now I just need to add maybe a camera movement. Instead of using a camera, we can just use to animate the scale property of the frame. Hit on the keyboard, and then let's add a keyframe here. Maybe right here before the second frame shows, I want this to maybe zoom in a little from 100% to maybe 105% so that we have a constant camera pulling in effect. Let's see what it looks like. It's pretty subtle. It's not very visible. Let's try 115. 100% to 115, yeah. Now we have this constantly pulling up, getting closer to the camera view so that our scene is constantly moving. It's adding another dimension to our animation. I think it might be too much. Let's try 110. Yeah, I think I like that. We'll do the same thing for frame two. Hit on the keyboard. Let's do 100% to 110. And then for the last frame, same thing, hit on the keyboard. Let's do 100% to 110, all the way until the end of the animation. So let's see what it looks like now with our camera pulling in, I think the last frame is really subtle. So I want to give it a little bit more poll at the end. Let's try 115 for the third frame. Yeah, I think that works. It's subtle, but you can still feel that it's constantly moving. It's coming towards you, it's got a little bit of impact. I think that complete our animation part and this is a video that's ready to be exploited. In the next video, I'll show you how to render the thing out into a amp four video and then it's ready to be shared on the Internet. 21. Render: In this video I'm going to show you how to export our animation into an MP four video. There are two ways you can do it. One is to render it inside after effects, and the other one you can render it inside Adobe Media Encoder. The reason that we have two ways is because sometimes if we only render inside of after effects, we cannot do any work while we're rendering a video. So that caused a lot of problem and wastes a lot of time. Some video are very long and very hard to render. It takes hours to render, so if you're rendering inside after effect, it's really hard for you to work on anything when you're rendering. That's why normally, like 90% of the time, we render our video inside the other program that's called Adobe Media Encoder. But in this video, since our project is not that big, and I'll show you how to do both. Before we do the render, we need to make sure the area where we want to render out and we can use the keyboard shortcut and end to control that. If I only want to render from five second to ten second, I'll go to five second and hit on the keyboard and then go to ten second. Hit N on the keyboard, that means the beginning and ending of my render. So if I want to do from zero second, I'll just go back to zero with my timeline indicator And hit B on the keyboard to move the render range all the way back to zero second. And then for the ending, I'll just go at 12 second. Hit on the keyboard to let it render all the way to the 12 second. That's a range that I need to render out my video. Let's go back to the top menu here, go click on Composition Add to Render Que over here. For the render setting, we don't need to change anything. And then click on this high quality over here in the format, we can change it to H 264, which is a standard format for our MP four video. And then Quick Time would be a Quicktime video. Normally we would do H 264. Click on Okay, and then we can choose the output folder. Click on that. Let's go inside our folder and then choose this render folder here. Let's rename our project to Mo. That's good. Let's say one. And then click on Save on Render. Now you can see it's rendering. After a brief moment, we got our video rendered out inside the red folder. Let's play and take a look. Yeah, I think it looks pretty good. That's how we render the video from after effects. And the second way is to render using Adobe Media encoder. Let's go to Composition and then add to Adobe Media Encoder. In this case, my project is going to be added inside Adobe Media encoder. And over here, we don't need to change anything. It's already selecting the 64 as a default. We just want to choose the Apu folder here. Make sure we're selecting the render folder, rename it to two. Click on Safe. Click on this Render button here on the corner. All right, after a brief moment, we'll have this video rendered out in Adobe Media encoder. It's essentially the same thing as we render it in after effects. Here's our mode juice number two. So those are the two ways you can render out your video. And now this animation is ready to be uploaded to the Internet. That's it with this video. Let's go to the next one. 22. Congrats: Congrats on finishing this class. It's not an easy project, But I'm glad you stick to the end, I hope. Now you have an overview of how a social media animation projects done from the planning stage. I have now taken you from the first e mail brief, all the way to the end of the final animation. If you're working with me step by step on this project, that's great. Take some time to finish it and upload it to the project page so you can share with your fellow students and get feedback from me if you have anything that's not clear. When you're going through the class, don't hesitate to ask me. I'm here to help you. This class is packed with tons of information, workflow tips and tricks, shortcuts, and things that I personally use every single day while doing professional work. Don't worry if you can't remember all these right now. With practice, you will get there one day. Meanwhile, you can always go back and check on the part to refresh your memories. Once you're done with this class and finish your project, I'm sure you'll be a confident animator to take on any similar social media animation projects going forward. If you're interested in learning more after effects animation, make sure to check out my other classes in other topics. However, if you're serious about learning motion design and want to get paid doing motion design work, I will recommend you to check out this class as called Animation Principle, Emotion Design, Secrets of Great motion graphics. In there, I'll take you through various projects and teach you the secrets that lie between an amateur animator, professional animator, how you can make the breakthrough that most animators dream of within a couple of weeks. And take your animation skill to the next level. It will make you a confident animator and be able to charge higher hourly rates, up to 60, 70, 80 an hour in the US. I put the link in the description if you want to check it out. Thank you so much for taking this class. If you're still here, it will be really appreciated and mean a lot to me. If you can leave a review under this class. And it will help this class to reach more students who want to learn motion design. Just like you hope you enjoyed this class, I'm looking forward to your class project and we'll see you in the next one.