Complete After Effects Course: Make Video Graphics Today

1. What is this Course?: - Welcome to the Complete Guide to Adobe After effects, - the place to learn how to create amazing graphics and special effects. - I'm Philemon or Professional motion graphics artist and video career. - I've edited and added graphics to thousands of videos for some amazing companies like - Ghirardelli Chocolate Participant Media and U. - C Berkeley, - just to name a few. - At the end of this course, - you will be able to create animations, - three D effects, - amazing titles and much more for your own video projects. - The course walks you through the program from the very beginning, - understanding the layout and tools available to you knowing how to create basic animations - , - working with shapes, - building a three D composition, - adding styles to your layers, - working with green screen and other visual effects. - And, - finally, - how to export these graphics for use in your other videos. - I designed this course for video creators who want to take their skills to the next level - by adding special effects titles and motion graphics to their own videos. - So if that sounds like you think this is the perfect course for you to join, - feel free to look through the course description for a little bit more information and then - click that in rural button. - Thanks for watching. - And I can't wait to see you in the course. 2. Course Introduction: - Hey, - guys. - And welcome to the after effects course, - this is Philip dinner. - And thank you for being here in this lesson. - I'm gonna go over what we're gonna be learning in this course because there is so much and - just get excited. - So let's just have a list of topics that are gonna be in this course and there's so many - more. - But let's just go over a few of them. - Uh, - the first couple sections are gonna be about the basics of after effects are we're going to - get into the program, - layup the basic tools. - How do you use those how to start composition and basically starting a project? - Then we're gonna get into the shapes and creating masks and text and just basically - starting to create our video projects. - And what the basics of that that that is, - And with that, - we're gonna then transition into animating all of those shapes and text and which is the - basics basic of aftereffects animating, - creating, - motion creating, - you know, - rotation, - creating opacity, - changes, - transitions between, - you know, - different scenes and whatnot. - We're also gonna have a whole section on green screen and advanced green screen editing in - after effects. - We're gonna talk about the pre set of facts and some text effects that you know will really - make your projects spark. - Um, - and Pop And you know, - for example, - we're gonna talk about you know, - how to create a page turn of facts that were You know, - it looks like your compositions Air turning like a page or an image is turning like a page - in a book. - We're gonna talk about some cool effects that, - you know, - make you're you can make billowing clouds out of we're gonna talk about lighting and how to - add lighting to your three D or non three D sets. - Which brings me into another topic three D compositions. - We're gonna talk about creating three D compositions and after effects on we're gonna have - a couple really cool demos where you kind of just follow along with me as I create cool - scenes such as space scene where we have, - you know, - a star field with the earth and the moon spinning around the earth. - So that one's gonna be really cool. - We're gonna talk about layer styles and what that means. - Different effects such as, - you know, - adding drop shadow on inner shadow and glows and all sorts of things to your different - layers. - Then we're gonna talk about exporting with the best export settings are for YouTube the - highest quality exporting with the transparent background for titles and other things. - And then there's so much more within that that I haven't even covered begin to cover what - this class is all about. - Really? - Um, - but there's so much more. - So come along. - I go at a good pace, - so don't worry about that. - Each lesson is gonna be follow along with me. - You're gonna see me as I use after effects. - And, - um, - one thing to note, - though too, - is that, - uh, - you know, - you don't need aftereffects to take this course, - but it's a really great thing toe have s so you can practice along with me. - And, - um, - I also teach you in the next lesson how to get a free trial of after effects. - So you don't have to worry about having to buy a program buying adobe after effects for - this course, - because you can get a free trial for 30 days, - and that will be great amount of time to test it out. - Take this class and see if you want to purchase it. - Um, - and on that note to teach the class and CS 5.5. - But no matter what you're using, - um, - the basics of after effects are the same. - So whether you're you're using CS six, - you're using CS 345 Whatever. - Um, - this class is perfect for learning the basics. - All the program layouts are very similar. - All the effects are very similar. - There isn't much difference. - There might be a new effects here. - There There might be a new but in style, - um, - here, - there, - between the different versions of after effects. - But honestly, - um, - you know, - the basics are the basics I learned in CS four or three. - I believe when I started using after effects and the basics are still the same. - The process of creating aftereffects, - compositions and animations are it's still the same. - And that's what you're gonna be learning in this class. - So I'm really excited that you're here. - I'm just can't wait to get going. - And I can't wait to see what you create with all the techniques you learn in this class. - So thank you. - Thank you. - Thank you for being here. - Tell your friends and family if you like this course and share it with them and I'll see in - the next lesson. - Get excited. - Have a great day. 3. Who is your teacher?: - Hey there. - What's up? - This is Philemon er with the after effects course. - Thank you for joining in on this great lesson where I'm gonna tell you a little bit more - about myself. - Self give you a little bit of my background, - what I'm doing today and what my hopes and dreams aren't for the future. - Um, - just so you get to know me better and know why I'm teaching this course Why? - I'm qualified to teach you this course. - And just so you get to know me a little bit better and can have fun as we take this class. - So who am I? - What is my background? - And what in specifically, - how'd I get into after effects? - Well, - I have a film and television background. - I studied film and television production at Loyola Marymount University in Los Angeles. - And, - um, - I graduated in 2011 with a bachelor of arts in film and television production. - I made some great documentaries there from all around the world at two thesis projects, - one in India and one in Switzerland. - Both of those went on to play at many film festivals across the country. - Um, - but mostly I just really enjoyed my time in college there, - and it really launched my career in the film and video world. - I worked up in Beverly Hills for participant media editing short documentaries for a year. - I freelanced, - um, - after that for about half a year and worked on some great projects, - including doing motion graphics for a feature length documentary, - which was a great experience. - That was really the first time I fully got into after effects and was hired because of my - after effects skills. - Since then, - I have worked full time at a school, - creating online content for them and throughout this, - you know, - working on all sorts of projects, - from creating bumpers for Garrett Deli doing music videos and all of these projects have, - you know, - bits and pieces made in after effects. - I took us at advanced special effects course while in school, - and it was all about after effects. - And that's basically where I got got into the program and learned the basics, - because up until that point, - I had opened up after effects a few times. - But I was like, - Whoa was kind of crazy, - and I never really, - you know, - took the time to learn it properly, - so that class is great. - And I'm gonna tell you that this class is gonna help you way more than that class I I love - that class, - but it was just scratching the surface. - And this class, - I go into more detail. - I give you, - you know, - more tools to use and really show you how to use them. - So, - honestly, - you're getting a thousands of upon thousands of dollar education in this form of this class - because LMU was not cheap and that class was, - you know, - part of my, - um, - program there. - And so you're getting a great education from me, - Um, - from taking that class and from doing a lot of projects since then in after effects. - So I hope you can appreciate my background in after effects. - Um, - what am I up to now? - I'm actually currently, - um, - going to be moving up to San Francisco at the time of this recording, - so I'll be looking for some jobs in the film industry up there. - I'm also doing a lot of side work with my own production company and some friends as well. - So I'm looking really for, - um, - looking forward to this move up to the Bay Area. - Try something new. - And of course I'm creating these classes and having a good time with that. - So check out video school online dot com, - which is my current side project. - Um, - I give you lots of tips and tricks and articles on podcasting riding e books, - all related to video making and for helping you viewers to make better video. - So check out video school online dot com. - What are my hopes and dreams for the future? - Well, - in the end or non, - then hopefully, - in the near future, - I hope to start producing more and more documentaries. - I love shooting and editing and finding stories, - um, - for documentaries And, - um, - it's my goal toe. - Make some feature length documentaries that you know. - Either just playing film festivals or get you know, - some sort of small release around the country, - or even just online nowadays is a good option, - but just making some good documentaries that changed something that affect people that make - people understand a certain topic. - That's what I really think documentaries are made made for, - and you know, - that's what my passion is. - So I hope to do that in you know the near future. - Maybe in the next couple of years, - or maybe and the next, - you know, - in 10 years from now will be doing that. - But that is my goal for myself in the future. - But really Ah, - I just love, - you know, - hanging out with friends and family, - exploring the cities that I live in traveling. - I love traveling. - And, - you know, - I've been very lucky enough to get to go, - you know, - to some really cool places around the world, - including Europe and Asia and South America. - And, - you know, - it's opened my eyes to a lot of things, - and I'm really grateful for that. - So if you ever need travel advice or you just want to talk about traveling, - send me a message. - Thank you for watching this little introduction to who I am. - Please, - let me know who you are. - If you're if you want, - send me a message. - Give me a little bit of a background on you. - I'd love to know who is taking my class And why are you taking in my class? - That would be great. - So please do that for me. - Let me know if you have any questions. - about myself that you want to know and until next time, - have a great day and get ready from some cool aftereffects courses by. 4. Getting a Free Trial of After Effects: - Hey, - guys, - welcome to a great lesson in the aftereffects chorus. - First thing you need to do before taking this course is to get a free trial version of - after effects. - That is, - of course, - if you don't already have after effects on your computer. - So you can do this for a PC or on a Mac. - I'm using a Mac, - but the course will be taught for both. - And it's really easy to get a free trial. - You just go to Google, - type in after effects trial, - and, - um, - the first, - uh, - the first link will be Adobe download free, - free trial version, - Adobe after effects can open that up, - and, - um, - here it will let you download. - You just have to sign up for a quick account, - um, - and download after effects. - You can also go to adobe and downloads, - and you can just actually go straight to adobe dot com slash downloads. - Go to, - um, - after effects. - If it's on this menu, - you have just go at over. - Yeah, - Triplex. - Right here. - Flip, - try and then you can again. - You get to this page and you can download the free trial of aftereffects. - And, - um, - I think it's 30 days for free, - and it will definitely have that for enough time as you take this course adobe. - Now that for the new products, - um, - they're not even doing you can't even purchase a new version of after effects. - Now it's all cloud based. - You basically pay a monthly subscription, - and you're always up to date, - which is pretty cool. - So it's like 20 bucks a month eso if you really get into it and you get all the products - that you get after backs. - Photoshopped Premiere Pro in design All these great things. - Um, - So, - um, - and if you do have an older version of after effects, - that's totally fine. - I actually teach the class in Adobe Aftereffects, - CS 5.5, - and but the thing about aftereffects in most of these programs is that there's very, - very similar from one version to the next version. - All the processes are the same. - There might have a different, - you know, - effect. - Here they're the buttons might look a little bit different. - The layout might be a tiny bit different, - but for the most part it's going to be the same. - So don't worry if you're using CS three If you're using CS six if you're using CS 455.5, - you're still gonna learn a lot from this class. - You're gonna learn everything, - actually, - from what I'm teaching you, - so get ready. - Get excited. - This class is gonna be great. - I'm so excited to have you here and we'll see you in the next lesson. - Which is the first dive into aftereffects. - Have a great day. 5. Program Layout: - Hey, - guys, - let's talk about after effects. - Say you just opened up after effects. - It's one of the most confusing programs out there, - especially in the adobe. - Sweet. - If you've opened up a photo shop or illustrator or in design, - or another design, - a media related program from Adobe, - you open up after effects and it looks completely foreign. - Ah, - and even if you've done Adobe Premiere Pro before and have become proficient in that - editing software, - aftereffects is a complete new ballgame. - So let's dive right into it. - For all of these these lessons, - please watch in full screen if possible. - If you can watch it in 10 80 p HD that you can see everything clearly. - See the buttons on impressing See the text that's on the program So you know what's going - on? - So this is after effects, - and I'm just gonna go over the different areas of it one by one in this lesson. - So we're gonna talk about the toolbar, - the Project folder, - the timeline, - that composition canvas and then all these things over here on the right side that you'll - be using, - including effects and presets and all that sort of stuff. - So starting off at the talk. - Um, - and of course, - we're gonna get Maurin Toe. - What? - Each of these are in future lessons. - But right now, - I just want to tell you that this is the toolbar similar to in Photoshop. - Ah, - or even in Premiere Pro, - where you have your toolbar in the bottom right hand corner. - Here are all your tools that you can turn your mouse into. - So, - for example, - you can turn your mouse into a hand tool zoom tool, - Rotate a camera, - text, - pen, - shape, - mask, - racer, - puppet pin tool, - all sorts of different tools available for you. - And in this course, - we're gonna look through most of them and learn how to do that, - how to use them properly so and they're kind of similar. - I mean, - if you've used photo shop, - you know, - kind of what a handle or the zoom tool is, - but for in after effects and doing motion graphics, - use them in different ways and we'll talk about that, - too. - Down below is your project folder. - This is where you keep all your documents, - all your files. - You will import your video or any textures or layers or or basics source files into this - project folder over here on the left, - and you can organize it. - We'll talk more about that in a minute. - Um, - and then down below the bottom of the project been is, - are a few more options. - A few more tools, - such as organization tools such as, - you know, - adding folders to organize your footage or creating a new composition. - The leading etcetera down here is a timeline, - and it's a little bit more intense than again. - Adobe Premiere Pro. - Everything that has to do with the after effects is more intense than your standard video - editing program. - All these things up here on the top bar will go through. - We'll go through in future lessons. - But for now, - you just need to know this is the timeline and it works basically like a timeline. - You're gonna hear it. - See here the number is depending on how bigger small your a long or short your product is. - You'll see different time appear line it. - Mine is over two minutes, - so you see zero seconds, - 15 seconds, - etcetera. - You can zoom in on this by either clicking this down here the zoom into frame level tool, - the slider you can zoom in, - or you can click this top light grey bar and click the yellow at the end and zoom in as - well to your timeline. - Right here in the middle is your composition canvas. - This is where you'll be actually seeing what you're doing. - It will add your layers, - create motion, - and this is, - you know, - basically your viewer. - Unlike Premiere pro or other video editing software, - there aren't too videos players. - There isn't like a preview, - and your composition is just one over here on the right side, - you'll see your effects and in after effects. - Obviously from the title, - we use lots of effects, - and we'll go over a lot of them in the future. - Up here is just more information about the files and the tool, - the layers that you're working with and you'll notice me talking about layers a lot layers - basically meaning different layers of video, - of shapes of text within your project and again in this preview Ah, - little section over here, - you'll you can control. - Ah, - the timeline. - You can play your video posit, - etcetera. - You can see the frame rate and all that sort of thing. - There's lots more. - Uh, - There are a lot more things you can add to your window that will talk about in future - lessons when they come up, - such as character and you just go to a window and click on a different option appear. - And so, - for example, - character brings up font choices and styles, - and you can customize your workspace by basically going to the edge of a section. - Clicking and dragging just toe make bigger or smaller. - Or you could grab the top left of each little tab dragging out. - So I'm hold. - I clicked and dragged and moving it around, - so I'm gonna put that on the bottom. - And now I have my character box in a separate tab, - separate than my effects and presets, - which is nice so that I can always have my character tab open. - I might want to have my paragraph open as well behind my character, - so I just click it on and then put it up here next. - Teoh my character. - So that's a basic overlook of after effects. - The program layout. - I hope you have enjoyed this lesson and until next time, - have a great day calculator 6. Starting a New Composition: - back with another lesson in the after effects course for beginners. - Let's talk about starting in new composition last time. - If you watch the lesson, - we talked about the after effects layout, - and today I wanna talk to you about starting a new composition, - which is the very first thing you'll be doing if you're starting in after effects project. - So last time I had a new composition already started, - you saw the black canvas video canvas. - But if you just open up after effects for the first time, - this is what you're going to see to start a new composition. - There's a couple different ways you can do it up here at the top. - You can just go up to composition and select new composition. - As you see you can press command and on a Mac, - or, - I believe, - control and on a PC. - Or you can go down to this little video icon. - It looks like a little film strip down here in the Project folder Been and Click That. - So once you click that, - you get this dialog box open and you'll notice it's pretty similar to other video editing - programs where ask you for a name so we'll just do, - uh, - practice after effects. - That's what we'll call it. - Then you have different sizes, - so you can choose a preset size from this preset menu. - And you know, - usually those air. - Fine. - If you want to pick one of those, - you should. - There's no right or wrong answer for picking the size of a composition. - Sometimes you're using Ah, - you're using after effects, - along with Adobe Premiere Pro or a video editing software to add effects, - too. - A video that you're already work Young's on, - so you want to make sure that the settings are the same. - But if you're just working in after effects, - you know, - just choose whatever settings you want. - If you want an H D 1920 by 10 80 pixels, - you can just input those right here. - Say you want 12 80 by 7 20 You can choose that if you don't want this aspect ratio of 16 by - nine or 16 to 9, - which is the typical eight, - uh, - aspect ratio for videos. - Now, - today you can unlock it Bayan checking that box and, - you know, - putting whatever however many pixels you want, - you can actually really lock it and then, - if you increase by just clicking and dragging to the left or right, - it keeps the aspect ratio. - Even if you're just clicking on with and increasing the with, - it also increases the height, - so I'm going to go back to 1920 by 10 80. - Actually, - all do 12 80 by 7 20 Obviously, - a smaller size composition will take up less ram and memory and keep your computer a little - bit faster. - Ah, - down here, - square pixels. - That's, - you know, - just leave it at squares, - pixels, - Brain Marie again. - Another thing there's no right or wrong answer is just what you want to do or, - if you're using a another this for another video project. - Match the other video projects frame rate 23 976 or also known as just typically 398 23.98 - is a good frame rate for video projects. - Resolution this. - You can change after so you don't have to really worry about this. - This is just when you're playing back your projects. - Ah, - while you build them out, - it's You can show it in full friend, - full resolution, - half, - third quarter or even customize it. - Uh, - you might find that your computers a little bit slow and it's too slow toe play the full - quality of a video s so you might want to do 1/4. - I'll show you how to change that later too. - And then, - lastly, - you have your start time code in the duration. - Duration, - obviously, - is just the duration of your clip. - These things you can change later. - But say you're editing a title sequence. - 10 seconds would be good and you can start timecode later. - But most of your you just want leave it at zero and background color. - That's the last thing is, - if you want, - you can, - um, - change this to another color white or whatever you want. - But I would just leave it at black and there's some advanced settings, - but we don't need to get into those You click OK, - and there you have it. - There is our new composition down here on the bottom. - You can change the size of it. - I usually use a fit up to 100% and that fills this box right here. - This canvas and you can make it bigger or smaller, - depending on what you need room for outside of it. - If you need more room for the effects bands or the timeline or whatever, - I hear it down on the bottom is the resolution, - so you could just change this. - If you want, - see the other things you might need to know. - Ah, - this toggle transparency grid. - By clicking this, - it gives you this transparency grid, - which shows you what is transparent. - So say you want to create a project that just has text or titles, - and you want to put it over a video clip in a W. - Premiere pro. - It's good to know what is transparent and what's not transparent. - Ah, - there's a lot of other things down here. - The other thing I would like to show you is this button down here to the right of the size - . - You can click that, - and there's some cool tools, - so there's a title action safe. - So if you have to pay attention to titles for ah, - to make sure your tunnels don't go outside of these boxes for, - like, - television or something like that, - this is a good resource. - Or if you want to use the proportional grid, - I always use this when I'm creating titles and text just to make sure things air centered, - aligned properly, - etcetera. - And you can just go ahead and click it off as well. - That's it. - For now, - that is starting a new composition. - I hope you enjoy this lesson. - If you have any questions, - message me or find me on video school online dot com, - and I'll see you next time calculator and have a great day fight. 7. Importing Footage: - Hey, - guys, - this is a quick lesson in the after effects course on how to import footage into your - aftereffects project. - So there's a few different ways to import footage. - And why would you be importing footage? - It would be for if you have, - you know, - textures or images or photos or cartoons or graphics or something that you have outside now - you've already made or or that you've bought from online or you downloaded, - you want to bring it into a project. - I do this all the time with textures with, - you know, - logo's with video. - You can bring in video, - obviously, - and so there's a few different ways to do that. - You can go up to file and go ahead and import and just go ahead and click file or even as - you saw a press command I on a Mac as the Harkey. - And then you just go to your find your file something and go find some file of this in my - texture, - and then you just go ahead and press open, - and there is in your project right there like that. - You can also, - as I saw sa just press command, - I you can do that you can select multiple files in select all of them an import, - or lastly, - you can just go to your finder or on your PC. - If you just go to your documents, - confined your files and you can drop them into after effects. - So that's easily how you import files into your project. - Another thing is organization. - Organization is very key to being a video editor or in motion graphics artist. - If you're taking any my other classes, - especially my video editing classes, - you know that I love organization. - So keep everything organized and I usually keep folders for all my textures. - For all my compositions, - for all my titles, - for all my images, - for all my video and the way I do that is just clicking this new folder, - and I usually name it, - uh, - whatever I want. - So you can just highlight click on your folder and impress the enter key, - and that allows you to change the name so changes to textures. - And I was going to select all these. - I'm holding command down and selecting my textures and bringing them into textures. - Then I'll create a new folder you can right click and just say new folder, - I'll do compositions. - That's what I call my different videos, - that I'm creating all my sequences. - If you you know, - if you're a video editor, - you often see See, - you hear the word sequence in after breaks. - I call them compositions. - Um, - and that's pretty much it. - That's you know how you import footage and that's how you organize. - So keep your footage organized. - If you have any questions, - please let me know. - But until next time, - have a great day and stay safe. - I'll talk to you that later Bye. 8. Basic Tools: - this lesson, - we're going to be talking about different tools that you have available in after effects. - So last time we've talked about the layout of type out, - starting new compositions, - adding new footage to your projects. - Ah, - for this one, - I created a couple quick layers that we can demonstrate the tools with. - And as you see here, - there's two layers down here on the bottom. - There's a deep green solid, - and this is some text you can't see. - This is some text, - because this eyeball over here on the bottom left is turned off. - I turned that on. - You can see it. - So that's one thing you will be playing with is toddling on and off layers to see them. - Um, - you could also rename your layers. - I just clicking on it and pressing. - Enter. - So do that and hold this green star. - Um, - if you double click a layer, - it will open it up in this layer. - Editor, - Um, - and you know, - I'm not gonna teach you about that right now, - so I just go back to my composition tab. - So we're talking about tools, - though Some first you have your selection tool and when you hover over these tools. - It shows you in parentheses, - the hot key for them. - So for selection tool, - it's V. - So selection is basically for clicking and moving things around on your canvas, - um, - and selecting different layers. - So if you have both layers up, - I can select my text or my star. - It's like my text moving around my star around. - It also helps when you are changing the size of something so you can grab a corner of - something and change the size. - Um, - if you grab a corner and hold shift down, - it locks the aspect so you can't stretch or squeeze it. - And seeing with the text, - you can click and drag and change the size of your text. - That way, - the hand tool. - This is for moving your canvas itself, - so it's not moving. - Larry's just a canvas, - and this works well with the zoom tool, - so you show you both them. - So zoom Tool is hot Keesey, - and it automatically shows up as the positive zoom magnifying glass. - So this zooms in, - and if you press the all ult for option key, - you can turn into a zoom out tool. - So say you zoom in but you want to move downwards, - you can select the hand tool and move the canvas down if you needed, - like, - change something down here on the bottom Left star point or whatever you can. - Ah, - so I pressed Z and zoom out. - No, - move your canvas around. - That way you can get your cameras back to set being centered and fully viewable full, - full size by just clicking fit up to 100% down here on the bottom left of the composition - canvas. - The rotation tool is for rotating texts O R. - Two layers rather. - So you just click the layer and you can rotate. - Why, - with the rotate tool, - that's pretty cool. - Um, - the camera tool, - this is more for if you're doing three d work, - which will talk about in the future so we won't discuss that now the pan behind tool hockey - Why is very special Because and you're gonna use this? - A lot is, - especially if you are bringing in images or different layers, - and I'll show you more of that in the future of when you would actually use this. - But it basically moves the anchor point of your layer. - So right now, - my anchor point is for The star is in the center, - and that's great. - So when I rotate it with the rotate tool, - um, - it just rotates from the center. - But what if I want it to rotate from one of these points? - I take the pan behind tool. - I click and move, - and you can see that moves. - Um, - it moves this little circular cross in the middle. - I'm just gonna move that to one of the apex is I think that's what you call it. - And now I go to my rotate and see it rotates on that point. - So that's kind of cool. - So for Tex right now, - my my anchor point is down here in the bottom left, - and that's because it is left justified. - So I want to move it to the middle so that I can rotate from the middle. - Just go ahead and do it like that. - So if it was on the bottom left and I use the rotate tool, - it would rotate from the bottom left anchor point. - So that is the pan behind tool, - the shape tool. - It creates shape, - so you can, - um, - create new shapes, - just like so if you hold down the shape and but and you will see different types of shapes - so you can do Pentagon square circles, - etcetera, - if you have a layer selected, - this also asset axes. - Unmasking tool. - So, - as you can see, - I created a mass, - but we're gonna talk about that more in the future. - Same with the pen tool. - This is for creating masks like so, - Or if it's not selected, - you can create, - um, - custom shapes. - All these things will talk more about that in future lessons. - Text for adding text So you just click the text tool and type and that those are the only - tools I want to show you. - For now, - these the rest of these air more for image editing. - You got the brush tool, - the clone stamp tour race tour, - roto brush tool puppet pin tools, - those air, - very advanced topics that I don't want to get into yet. - But those are your basic tools and after effects. - I hope you enjoyed this lesson. - If you have any questions, - please let me know you are a star. - Believe it. - I totally believe if you're taking this class and you're gonna be making some awesome. - Awesome after effects projects in the future. - So believe it. - You're a star and I will see you next time. - Have a great day, - Stay safe. - If you need any help, - contact me through video school, - online dot com, - or just message me through the course sites. - Have a great day, - and I'll talk to you later. - Bye. 9. Basic Layer Transformations: - Hey, - guys, - this is Philemon or back with video school online's aftereffects course. - I hope you're enjoying the lessons so far. - I hope I'm not going too fast or too slow, - but just right. - And I hope you're just learning a lot and excited for the rest of the lessons because we - got so much more to cover after effects is crazy insanely Ah, - confusing, - but also awesome at the same time. - So in this lesson, - I just want to show you quickly how to place your footage on the timeline. - And, - ah, - the basic edits are ways to edit your your layers. - Um, - so previously I didn't import some textures, - so I'm just going to show you how toe place them on your timeline so you can just click and - drag and drop them on your timeline down here like so, - as you can see, - it placed it all my timeline. - But I want to move it so that it is at the start of my timeline. - I can also just stretch out in the end by going to the the end of the clip and clicking and - dragging when you see the double era cited arrows. - So now I have my brick wall. - I can also I'm just gonna delete this by clicking on it and pressing Delete can also just - click and drag and drop it right here in the middle of the composition. - So now I have this layer, - Um, - and so the basic edits. - Uh, - well, - with your your pointer tool or your selection tool, - you can, - you know, - chains the size of it. - Um, - you can move it around. - I can rotate it with the rotate tool. - Um, - and then the last basic thing is opacity. - But another way to get toe all of these edits. - Editing options is on the timeline. - And then the next lesson, - we're gonna go over more about all these different things. - But for now, - I was just on our brick wall layer. - Click this triangle, - which brings down another option called Transform Going to click that Trump triangle next - to transform. - And we have a few different options. - So as we move this around, - you will see these numbers change for a position. - If you increase the size, - you will see the size change as well, - 16% to 86.5%. - Or if I just squeeze it and C is 21% and 86.5%. - If I rotate it, - you know, - you get the point. - It wrote states, - you can also edit these. - These numbers are the positions by just clicking and dragging these numbers or clicking and - typing in a number. - And this is really nice when you are when you just want to move something along the y axis - or the X access access, - uh, - access. - Sorry. - Um, - and you don't wanna, - like, - mess around with the other axis. - So, - um, - you can play with the position. - You can play with the anchor point, - which, - uh, - again you can change with the pan behind tool. - You play with the scale, - you can play with rotation, - and here you can play with the opacity, - which is pretty cool. - So, - um, - this also you can use hot keys to bring these up, - and so we're getting a little bit into the timeline. - But I'm just gonna go ahead and talk about it right now. - So say you don't have this drop down menu open, - so it's just like this. - You have this latest selected and you press s, - it will bring up scale. - You can add it scale. - That way you press it are it will bring up rotation. - You can edit the rotation p will bring of the position a will bring up the anger point and - T we'll bring up a pastie. - Also, - you can remember t for transparency and edit it that way. - And so that is how you add layers to your timeline. - Um, - here, - I'll add another layer to show you. - So this one is really big. - So I'm gonna bring up the scale, - size function and, - you know, - decrease to the size of this. - Maybe all rotate both of them. - So I can select both by pressing shift and selecting another one or command and selecting - both press are and you can rotate both at the same time. - Then I'll just move one to the left side of the screen and one to the right side of the - screen so that, - you know, - this could be the beginning of some sort of of video. - Next lesson. - I'm going to talk more about the timeline and all these other functions. - But for now, - I think you get the point, - um, - of how to place footage and your basic edits. - Thank you for watching. - And I'll see you next time 10. The After Effects Timeline: - Hey, - guys, - welcome back to another lesson in the after effects course from video school online dot com - today. - Let's continue talking about the timeline. - Last time we talked a little bit about the basic functions and add a edits you can make - using this drop down menu in the timeline when you add layers to your composition. - But there are so many other little buttons and things that you want to be aware of. - So, - um, - going from left to right, - basically, - you have this eyeball that turns on off a layer this circle one. - It's solos, - a layer. - So if you have a bunch of layers, - but you only want to pay attention to one, - you can turn on the solo layer and so ah, - layer lock. - This lock will lock the layer so you can't make any changes to it. - That's often helpful. - Um, - you can change the color of your layers. - This helps in organizing. - You know, - different sections of your animations or different parts different. - Ah, - you know you can. - You can organize Ah, - group all your photos into a group all your text and with colors. - However you want to do that, - you have your layer name. - Um, - these next few ones. - I'm not gonna talk about down here, - but then you have a couple buttons over here. - You have a blur function in motion blur option that you can check on and off. - And this turns on motion Blur when you're animating and this makes you know you're - animations. - Looked a little bit more natural. - You have this also this three D cube, - and this turns your layer into a three D layer, - and we have a whole chapter about that parenting again. - We'll have. - We'll talk about in the future, - but basically you can lock a layer to another layer. - So basically, - if you carry it this sidewalk layer to a brick wall layer whatever you do to the brick wall - air you will do to the sidewalk layer. - So see, - say, - I want to change this scale. - See how the sidewalk Claire is locked to the work wall layer. - Um, - if you do this, - toggle switches modes button down here, - you come up with another some more options. - This mode blending mode button will bring up all sorts of blending modes, - and these are really fun to play with. - We'll talk about those more. - It's basically different ways that you know, - your your layers blend with each other. - So, - for example, - we have, - you know, - vivid color. - Classic difference. - You know, - just it makes different effects for when you have layers overlay lapping each other. - Um, - this preserve underlying transparency. - No, - these things are very advanced, - So we'll do those in later lessons appear at the top. - Um, - you the one you will need to pay attention. - Read attention to right now, - is this motion blur? - So you have to click this motion blur on to make sure that the motion blur is actually set - . - What I mean by that is, - if you don't have this checked, - but you have motion blur set for particular layers. - Even if you, - um, - render this out, - it won't have motion blur unless you enable it. - By pressing this motion blur button right there, - There's different. - Um, - there's different options up here, - but those are more advanced. - So for now, - we'll just stick to the basics again, - as we talked about last in one of the first lessons is your timeline. - You see the frames and the time at the up top, - you can zoom in by this top light grey bar clicking on the yellow edge. - You can, - uh, - zoom into your work area by this bottom like gray bar, - and you can move it around by clicking the gray in the center and sliding it or increasing - the length of time by clicking the yellow edges. - Then you have your, - um, - your workplace where wherever you want it to be. - So say you have an animation in the first couple of seconds, - and you only want to pay attention to that. - Then you have it here to render out your footage, - Um, - to play it, - you can just press the space bar. - Um, - typically, - if you have a lot of animations or edits, - you are going to have to press, - um, - on a Mac control Zero is going to render it out, - and you can tell us run it out because it a little green barred appears above your rendered - out portion like that. - If you have a keyboard that has a number pad to the right side of your letters, - Ah, - you can press the zero on the number pad to Teoh, - render out and play your footage. - So again, - just pressing space bar. - It might work, - but typically you'll have to render it out by pressing control. - Zero toe actually play. - So it's a lot different than you know your regular video editor. - Adobe Premiere Pro Final Cut I movie. - It's not something where you just go Press play, - you know, - all the time. - You don't just put your your timer. - You're a little line at three seconds, - your marker at three seconds and press play. - Um, - you have to be very intentional about when you play and render it out because it takes a - lot of time in computer energy to in memory to render out your footage and play it for you - . - And, - you know, - you'll get the hang of it as we move forward with, - you know, - actually starting to enemy and do things in after effects. - These air still lessons just to get you, - you know, - prepared Teoh, - start your projects because after effects is such a rebut, - robust and, - um, - confusing program at the start. - But once you get the hang of it, - you're gonna love it, - and you're gonna be able to make some awesome stuff with it. - So that's all I want to talk to you for now about the timeline. - And finally, - we're gonna start getting into actually animating and doing what after effects does in the - next few lessons. - So if you enjoyed this one and if you have any questions, - you can always contact me at video school, - online dot com, - or just message me through the course page or in the comments section. - Thank you for watching and I'll see you next time. - Have a great one. 11. Keyframes: - Hey, - guys, - what's up? - This is Philip dinner, - and I'm back with another great lesson in the aftereffects course. - Today is actually the most important lesson that I'll ever share with you about working - with after effects, - and we're talking about key frames. - Key frames are the basis, - basically everything you do in after effects. - It's the basis of any motion, - any transition, - any ah, - rotation, - any anything that you do and after effects. - The Cree animation is done with key frames, - so pay attention. - So what is a key frame? - Well, - first we have to know what frames are, - and so in after effects or with any type of video that you work with. - It's broken down into frames and obviously back in the old days when they actually shot on - film, - each frame was an image that took and the you know you had 24 images 24 individual frames - per second, - and that was filmed and it created motion. - And still we break down our video into frames and digital form. - So you have a frame rate. - Whether it's 23.98 frames for a second or 60 we have frame rates, - and so now in after effects. - I'm going to show you when we zoom in onto our timeline. - You can tell that are our timeline is broken up into frames so we can see one frame to - frame. - Three frame for frame, - five frame. - So those airframes and so what's a key frame? - Or what's key framing? - Basically, - key framing is telling aftereffects were telling this layer for whatever layer you have. - So, - for example, - we have this text layer. - If we want to set a key frame for position, - we bring up position by pressing P and then we press the stop Watch over here and so right - there. - What we're telling after effects is we're saying at five frames we want our key frame title - to be in this position at 642.5 and 3 79.7 pixels. - And so that's all great and and good. - But then what do we do to create motion? - We have to go further in time so we'll go to 10 frames. - Then we will move this. - And as you can see now, - we have this line between the first position and the last position and in between our key - frame moves, - and this creates motion our text moves. - And that is the basic basics of key frames basically setting points in time and telling - you're layer to do something at those points in time. - So you can set a key frame for rotation at one point, - and then later you set another key frame for a different rotation. - If you increase rotation and that creates an animated rotation, - and so again to set a key frame, - you go on your timeline and you if you don't have any key frames first you just press the - stopwatch button, - and then you will notice that if you go ahead and ah Ford in time, - the stopwatch is already highlighted, - and if you press it again, - it will delete any of the key frames you have. - So you want to press this diamond over here at a remove key frame at current time, - and you can go ahead and you can move, - and when you move it, - it automatically makes another key frame. - So I'm gonna move again so it makes another key frame, - and now you see that at this key frame, - I want the text to be here same position here. - This key frame. - I want to be down there that this key frame I want to be appear. - And so it creates emotion across these key frames. - Like I said, - to delete you, - just click on them and press delete, - or you can copy and paste key frames to say I want all right, - my text to go from here to here and then back to here. - I can go forward in time, - select this key frame, - copy it just by pressing command C and command be on a Mac or control C control be on a PC - , - and then it goes from here to hear on back there. - So I'm going to spend a lot more time on this and going over all the different types of key - frame. - Ah, - animations. - You can dio in the next few lessons. - But for now, - I hope you understand what a key frame is. - It's basically setting a point in time. - Um, - a certain aspect of your function of your layer, - whether it's position, - rotation, - opacity, - um, - you know, - size, - any of you any of these things, - you can set key frames. - And of course, - we're gonna be doing that with effects. - And that's how we create different, - um, - animations. - So I hope you're excited. - I hope I explained that thoroughly enough, - and if you have any questions, - please let me know. - But otherwise all see in the next lessons when we'll be talking about types of animations - in after effects. - Thanks for watching, - and I'll see you next time. 12. Position Animations: - I think this is Phil Abner back with another great lesson in the aftereffects course. - Last time we learned about key frames and what they are today, - we're definitely going to look more into that subject. - And we're going to be animating position and creating a motion path with an object. - So I'm just going to go ahead and use my brick wall for an example. - So I'm remembering my brick wall in, - and then I'm just going to drop the size I press asked, - bring up scale and dropped down the size. - So say we want my brick wall to move from left to right. - We just wanted to go across the screen first. - We're going, - Teoh, - we're going to put our brick wall over to the left who are time over here on the left side - of our timeline on the start, - and we're gonna bring a position. - So press p to bring in position, - we're going to press the stop watch. - And after we pressed the stop watch, - we can move our brick wall wherever we want it. - Maybe we want to add the bottom. - So we're just gonna move it to the bottom left of our composition outside of the frame. - Then I'm going to go ahead 10 frames. - I'm going to move it across so you can see me moving it across the bottom. - I'm holding shift, - so it stays at the scene. - Ah, - on the same axis. - So now between these frames, - it moves across emotion. - So let's see, - I'm gonna run to that out and wow, - that is a fast moving brick. - So let's make this a little bit slower to do that, - we're going toe, - make it have more time between the two key frame. - So I'm just gonna take this key frame and drag it to 20 frames, - so that's a little bit better. - And maybe we just wanted to slowly, - you know, - go across the screen. - So May will make this three about three seconds. - So there you can see it going slowly across our screen. - So let's do another example. - So I'm gonna delete these key frames. - I'm going to increase the size of this pressing shift in increasing the size to keep the - aspects aspect. - Right? - May we want the brick wall to pop up from below and then pop up. - So I'm going to go to the end frame of our animation, - so we'll say one second impressed the stopwatch and go to the start and move it down. - And if you don't want to click and move down, - you can use the arrow keys on your keyboard, - and I'm gonna run the read out by pressing control. - Zero. - There we have our brick wall rising up. - That's pretty cool. - May we wanted a little bit faster, - so that's a cool animation right there. - One thing we can do to make our animations a little bit more natural, - I think I mentioned before is to turn on the motion blur. - So click this box next to, - uh, - with the three circles next to the title. - And if you don't see that option, - go ahead and click this toggle switches modes but in and you'll see it appear. - And make sure you have the three, - uh, - circles enabled Up here is well, - so I'll render this out and I'll show you what it looks like. - So that looks a little bit more like, - Ah, - a little bit more natural for motion because it's a little blurry as you saw right there, - what I did, - I could like multiple key frames move them together. - So there we have our wall entering frame. - So we want our wall to exit the frame at three seconds. - Well, - let me show you what you can do. - So you can't just move our wall off of the frame like that because let's see what happens - this way, - Uh, - see is slowly moving down. - It doesn't pause at the start. - And that's because we said a key frame right here for it to be at the top. - And then we said a key frame and we told to be at the bottom and in between its animating - it well, - we want to Dio is first delete this one key frame, - go to three seconds. - Set another key frame by pressing this diamond or clicking this key frame, - copying and pasting it and then going ahead and then moving this out of frame May we can - even move it up out of frame pressing shift and the keys You're up or down Key or left or - right key will move it a little bit further than if you're just pressing the arrow keys one - by one. - Okay, - so now let's see what this does. - So it goes up on, - it goes up out of frame. - So that's a good little animation. - So this could be a start of a title sequence. - You have it up, - then we animate some text on here. - So we'll do that. - I'll just show you simply how to do that. - So let's add some text. - Well, - say we'll call this. - Ah, - Well, - call us alley cats with a Z. - That's pretty cool. - We'll put this in the middle, - and I'm going to use my title action Safe to get it centered just about like that. - I see this plus sign there, - um, - to help me center it with the title action safe. - We'll take that off, - and I'm gonna edit this text a little bit. - First, - I want to make sure that it's centered. - Text alignment. - Gonna change the font to maybe cracked. - It is pretty cool for this This, - uh, - this animation. - And then I'm gonna change the color. - Something that is, - you know, - will stand out from the red background. - Maybe a light blue. - Something like this might work. - Um, - I mean, - that's a pretty ugly title. - I will be honest about that. - Let's just do a black something like this just straight up. - Black might be our best option for now. - Um and then we're going to animate this onto the screen. - So our brick comes up, - then we'll have our alley cats tattle come in from the side. - So this is our final position. - So I'm gonna go right about here, - bring a position, - said a key frame, - and then go back right after the brick wall comes up and move this off screen. - This way. - The left. - So it'll enter the screen left, - and then I'm gonna move thes two key frames for the brick wall a little bit further. - So we have more time in the alley. - Cats text. - I'm going, - Teoh. - Copy and paste this key frame. - Go a little bit further, - animal. - Move it to the right. - Going to enable commotion, - Blur for under it out and see how it goes. - I like cats. - There you go. - That's a pretty cool title sequence already. - Um, - you could even add, - you know, - maybe a little, - uh, - a little, - um subtitle Add more text popping up or something like that. - That would be cool, - but I think you get the idea for how to at it position. - I just want to show you one more thing, - though. - Um, - when we're talking about key frames and motion, - may we want something to move in more of a curve than straight line. - So I'm gonna make this text white so that we can see it. - I deleted are bricklayer. - So I'm gonna delete these key frames as well. - So may we want this text to kind of go from here up and then down. - So I'm gonna set to key frames one of the start right here and then one of the end over - here. - So now we have this animation that just goes from left, - right? - Well, - maybe we wanted to have a little arc, - so I'm gonna go right about in the middle of this. - So about two second, - 2.5 seconds and move this up. - So then we have this arc and you can see by the red dots there's this arc we can play - around with these little, - um, - bars right here that come off the side to make it more of a smooth arc. - And then let's see how it does it. - So there we have this curve and So that's how you create curves is by setting multiple key - frames and playing with those little bars that come across. - I can make it go down a little bit here, - maybe appear, - will make it go a little bit down as well. - So we'll see how this looks. - I don't know why you would do this, - but I'm just kind of showing you how you can move your text. - Maybe this is a bird flying in this guy or something instead of text flan across your - screen. - All right, - so that's it for now. - This is making an animation with key frames on in for position and path until next time, - have a great day. - We'll be talking about creating a pastie transition or a change in opacity using key frames - in the next lesson. - Have a great day and we'll see next time. 13. Opacity Animation: - Hey there. - Let's talk about Oh, - pastie and key frames. - So I have this square here, - and I'm going to quickly show you how to create a transition with key frames. - So I'm gonna bring it my opacity by clicking on this layer and pressing t And then I'm just - going to set a key frame at one second with 100% capacity and I'm going to go to zero - seconds and changes a pastie 20 So there you can see I've already created a fade. - It's gonna move this over that we can really see how this works. - There we have our square fading in. - I can copy this key frame and go a little bit further and copy this key frame. - And now we have a square that fades and fades out. - So let me show you a nice little effect you can affect. - You can do with some texts. - So here I'm going to write. - Um well, - say videos, - school online when the change the font to motor oil, - which is the fun I use for my title. - Keep it like that. - I'm going to duplicate this layer. - You can either select the layer and copy and pasting it. - Or you can just press command D with its selected or control de on a PC. - I'm gonna move it down. - I say, - Make make better videos and this top one. - I'm going to make all caps so I select it and press all caps down here. - No, - it's all caps and this one, - I'm going to make a little bit smaller and I'll just write, - Justify it. - So I put it, - not necessarily right. - Justify it in the paragraph settings, - but just align it with the right side of video school in line I. - So I'm going to go to one second and then select. - Both impressed t to bring up a pastie and then clicked the stopwatch and you can see that - creates a key frame for both layers. - You go back, - make sure I have both selected and press zero. - So now we have a fade or both. - I'm going to take this opacity for make better videos and move it to right when the first - big school online fades in. - And then at four seconds, - I'm going to select both set. - It's a key frame for 100% opacity. - Click this diamond over here on the left and then go to five seconds, - select both and set it at zero. - So now we have our title fade up. - The subtitle fade up and then they both fade out together. - So I'm gonna move both these layers. - Actually, - over here, - I'm actually moving the whole layer and not just the key frames so that there's a little - bit of black space in front school online Make better videos fade out. - So that's a nice kind of effect. - You conduce you with fades, - we can make these face longer by. - I can even select both of these key friends at the same time by selecting one and ah, - shift and dragging over the 2nd 1 pressing, - shifting, - dragging over the 2nd 1 and then dragging these over to the right so there's more time in - between the key frames. - You can speed up this fade out like so a n fade in and fade out cool. - So that's how you create an opacity transition in after effects with key frames. - Thanks for watching. - Next time we will be talking about animating scale, - have a great day and stay safe 14. Size Animation: - Hey, - guys, - let's talk about creating a change in scale or size with key frames. - We're continuing our after effects course, - and I'm teaching you the basics of basically everything that you're going to be using after - effects for and I lost do with key frames. - So we've talked about changing opacity. - We've changed about using key frames with position today. - Let's talk about scale, - and I have these three circles for you and all these things, - like these circles and the different text and all that stuff that I'm adding. - I'll go more in depth and future lessons about creating shapes and other things like that. - So don't worry about like, - how did you do that? - How did you get those colors that set? - Try? - I'll teach you that in the future. - Right now, - I just want to show you the basics and talk about scaled up. - So again, - we're going to go. - We're going to go toe two seconds. - And first I just want to show you how to go from zero to big, - um, - or to this size and is a great way to make shapes and text appears. - So I'm gonna go select all of them press s to bring up scale. - Said the timeframe timer. - Go back toe one, - and I'll set this scale at zero. - So if I render this out, - we have our circles appearing. - May we want this to go a little bit faster so we'll do it in double time. - There you have it appearing. - Maybe we want we want them one at a time. - So I'm gonna move this, - uh, - key frame of the 1st 2nd 3rd The 1st 1 will move to the start. - The last one moved after the 2nd 1 So maybe that's the start of our animation. - And then we have, - you know, - text pop up. - We'll show you that really quick. - Um, - we'll do one. - We'll increase the size of that text. - And so when you're playing with the size of text, - you don't set key frames with the font size. - Over here, - you do it with the scale, - just like we did these ones. - And so I'm going Teoh, - Um, - first, - I'm going to set the, - uh, - the anchor point using the pan behind tool to the center of this number so that it skills - from the center and not from the bottom and then I'm going to actually just copy and paste - this scale key frames from this one object and then paste it to my next object. - The number one and I copied and pasted those together. - So now you have one pop up and maybe I'll do this afterwards. - I'll do one no pop up after the three three, - um, - circles pop up. - So go 123 and the numbers will pop up. - I can I can repeat it. - 123 But I think you get the picture. - So that's pretty cool. - Um, - let me show you something that you can do to add a little bit of flow to your animations. - I'm gonna delete this one and bring its keep the scale function up. - And one thing that you'll see in animations is what I call a bounce. - And it's when something ah appears on screen and it has a little bit of a bounce to it. - And that could being with position or with scale, - and let me show you what I mean. - So here I go, - from 0 to 100 but sometimes people go from 0 to 110% and then back down to 100% and as a - little bit of a bounce to it. - So I'm going to go a few frames before this last key frame and set at 1 10 Let me show you - what that looks like. - So there it has a little bit of a bounce to it. - I want to increase the speed of this. - So I'm going to select these last two key frames and move them closer to the 1st 1 So there - you have a little bit of a bounce for this first circle, - and it gives it a little bit more flow. - So I'm gonna do the same with the 2nd 1 So there's that 1 10 Move them a little bit forward - . - This last one again said at 1 10 a few friends before the last key frame. - So it goes from 0 to 1 10 to 100. - No, - let's see what this looks like. - So now you see how it has, - like a subtle bounce to it, - and it just has makes it have a little bit more flow to it. - That's one thing you can do with with Ah, - your your animating techniques using key frames maybe we want to bounce out. - So we will set this key frame. - Copy and paste. - Go forward. - A few key frames copy and paste. - Select this 1st 10 and copy and paste. - And I could just copy and paste all these key friends go to this middle circle, - paste it forward, - then paste again. - Actually, - this last one is supposed to be zero. - It's last key frame for each one is supposed to be zero and then zero. - So it goes from 100 1 10 to 0. - So let's see what that looks like. - Bounces in, - bounces out. - That's a cool animation already. - I So I'm gonna leave these and show you another thing you can view with fall with size just - to add a little bit more quality to your videos. - So you have a background subtly increasing. - The size can really increase the quality. - So right now it's at 54%. - Just gonna set a scale key frame at the start. - Then at five seconds, - I'm going to increase this to just like 56 maybe 57 and now I'm going to render it out and - say, - I'd like some text going on right here. - Ah, - something some other animations. - Having the background doing a slight increase in scale. - It just adds a whole new dimension to it rather than just being a static background. - Boring. - This makes it. - You know, - I have a little bit more quality and a little bit. - It makes it a little bit more dynamic. - Of course, - Sometimes you need a static background and this, - you know, - you don't want your background to be changing size. - But if you know if it makes it look better, - this is a great technique to use. - So that is how you create a change in size with key frames. - I hope you enjoyed this lesson. - Next time we're gonna be talking about rotation. - So stick around for that one and have a great day. - Talk you later. - Bye. 15. Rotation Animation: - and guys. - Welcome back. - This is Phil, - Evan, - er with video school online dot com continuing our aftereffects course today, - we're gonna talk about adding a rotation change with key frames. - So basically, - we're going to be creating rotation. - So I have this letter X on my composition, - and I'm just going to bring up my rotation function. - So press are to bring that up, - and then I'm just gonna create this a slow rotation across five seconds. - So I'm gonna set the stopwatch here Good of five seconds, - and then we'll say will add 90 90 degrees, - so it's gonna rotate 90 degrees. - So there we have a slight rotation of the X. - Maybe we want something, - you know, - maybe we want. - We want the X to be just completely spinning, - so I'm going to increase it, - you know, - a few times so I can just actually, - with the rotation, - you see the zero X plus 0.0 degrees. - So zero acts means how many route full rotations and then plus how many degrees, - if you just do you know, - 10 X, - that's gonna do 10 rotations in five seconds. - So that's a pretty good spin right there. - so you can create a cool optical illusion like that. - Looks almost like there is a star in the middle of this X. - So there you can create a rotation that way. - So say you have an image of a wheel or something and you want to spend You can do it like - that. - Let me show you what you could do with some text. - So I'm gonna just say, - rotation decrease the size of this, - and then I'm gonna move the make this left justified. - So the anchor point is now on the left and actually gonna make this even bigger. - So say I want to basically rotate this off the screen into the screen. - I'm going to This is gonna be my final position. - So I'm going to at one second, - bring up the rotation pressing, - are set the key frame, - go back, - have a second and rotated to the left, - and we almost have it off screen. - But not quite. - So what weakened Dio is I'm actually going to delete this. - I'm going toe move this anger point even further away from the rotation text offscreen. - So when we add a rotation key frame so here we have zero rotation. - This is our final position, - and we rotated off screen. - It's off of the screen because it's anchored to that point right there. - So now we have this text coming in, - so that's kind of a cool thing you can do with text, - you know? - Imagine like having multiple of these rotating in and out saw. - I'll show you that quickly. - So I'm going to duplicate this, - But I'm going, - going to just take off this this rotation that we have already moved it up. - Aw, - duplicate it one more time. - I'm pressing command D to duplicate. - Ah, - this one, - actually. - So I'm gonna bring up the key frames for this one. - Suppress Our Another quick thing you can do is if you have a layer selected, - you compresses you on your keyboard, - and that brings up all the key frames that you've added to this layer. - So if you have multiple, - you know, - if you have rotation position Oh, - pastie key frames or more, - uh, - you can see all of them by pressing you. - So I'm going to copy and paste this. - I'm gonna go to one second 1.5 seconds and paste it to this. - This top rotation text. - I'm gonna go back toe one second, - and for this middle one, - I want to rotate the other way. - So I wanted to rotate the Argos from up top, - right, - and then rotates down. - So I want this to be the anchor point to be on the right side, - so I'm gonna take the pan behind. - Tool, - move this over to the right side. - Going to bring up our set the rotation here. - Actually, - I'm gonna move that to 1.5 seconds, - then rotate it 90 degrees US screen. - So now we'll have these kind of like slamming down. - So, - you know, - obviously you wouldn't use the text rotation, - But if you're creating music video are something like that, - this would be kind of cool. - So, - um, - let's see. - What can you say? - School is cool, - huh? - School is cool. - So that's kind of backwards, - but cool at school as well. - So I think you get the point. - How to add rotation. - Ah, - change the rotation with key frames. - Have fun working with this. - I hope you're practicing this as you go long. - Um, - and if you have any questions, - please let me know. - I will see you guys next time. - Bye. 16. Easy Easy: - Hey, - guys, - I have a cool topic today, - uh, - continuing our animation animating with key frames lessons. - Today I want to talk about something called Key Frame assistant. - So, - basically, - up until now Ah, - when we're playing with key frames, - Um, - the speed of of things is basically Lanier. - It just goes from a to B at whatever speed you set your key frames to. - So, - for example, - have this position, - this speed text. - I'm going to have it go from off screen on screen with position key frames. - So it's a steady speed the whole time. - One thing we can do is use ah key frame assistant to change that. - So if you right click a key frame, - you'll see this key frame assistant, - um, - assistant, - uh, - option. - And you have this thing called Eazy e's and what is easy, - Easy mean? - It means that it will basically ease in two. - The second key frame what? - Whatever it is, - if it's position or if it's rotation or change in size or opacity, - it means it will kind of start off fast and then slow into this key frame. - So that is not a Nebraska stop. - And when you do click it, - you will see this kind of our of last figure. - So let me show you what this looks like. - So see how it kind of slowly comes in and let me make it a little bit faster so you can see - it. - Speak has slows to a stop there. - Um, - I'll turn on motion blur to make it sound a little seem a little bit more natural. - So there you can really tell that it slows to a stop. - Whereas if you didn't have this and you can, - you know, - have a Eazy E's on, - you can get rid of it by pressing command and clicking on the key frame itself. - It just comes in and kind of stops abruptly. - So it's a cool thing to use to make your your emotions a little bit more natural, - Um, - and and just your animations a little bit more natural and give it a little bit more flow. - So if you have this speed text coming in and then going out, - you can also use something called Easy, - easy in and easy Ease out. - And it basically means, - um, - that it's easing in on one side of the key frame so right click and at Easy, - easy in. - So he's in to this key frame, - and then it will also ease. - You can do ease out of this key frame if you don't want it. - Teas in on both sides of the key frame. - I know that's kind of confusing, - but, - um, - help you get it so it kind of eases in and then it slows. - Lee eases out. - Usually, - I just use Eazy E's cause it basically does the same thing saw do Eazy e's for both of - these eases in He's is out, - and you can use this for rotation opacity for any key frame that you have. - Um, - you can use the Eazy E's function, - so enjoy that. - Make your videos look awesome and until next time, - have a great day. 17. Shapes 101: - Hey, - guys, - it's Phil. - Back with another lesson in the after effects course, - we're moving onto a new section of topics we're talking about creating shapes. - Shapes are one of the backbones of after effects and creating motion graphics. - And so we're gonna go through all the different ways that you can create. - She shapes and all sorts of things that have to do with shapes, - masks and that sort of thing. - So let's get straight to it. - Make sure you're watching this in HD and in full screen. - So first we're gonna talk about creating a shape with the shape tool. - It's this tool appear. - It looks like a rectangle. - If you click and hold it, - you will see that has some different options. - The hockey is cute, - so if you press, - if you're on your pointer and you press Q in your honor keyboard, - the shape tool come up and you can scroll through these shapes by just pressing que I say, - Let's do it rectangle. - All you have to do is select the rectangle selector color and then click and drag. - That's basically how you create a basic shape. - Same goes for if you want a circle or, - you know, - polygon or really anything any of these shapes rectangle with rounded edges. - But there's a couple of things to keep in mind when you are creating your shape. - If you just click and drag, - you can make it whatever with and whatever height you want. - But if you want to make a habit symmetrical, - you click. - And while you're clicking, - hold the shift key down. - And that creates well, - obviously, - for a rectangle. - A symmetrical red rectangle is a square, - so that will create a perfect square, - for example, - for a circle. - Instead of doing an oval you press shift, - it locks it to a perfect circle, - so that's pretty cool. - Another thing you can dio is when holding debt when struck when clicking and dragging. - If you press shift and command, - it basically creates a circle from where you started clicking. - So we'll see here. - If you want a circle directly in the middle of your page, - I turn on your title action safe. - Put your ex your pointer right in the middle, - where there is this crosses crest. - Click it press command and shift on a Mac. - I believe it's control and shift on a PC and then drag out and you can see here. - Now I have a perfect circle starting from the middle of my screen that's perfectly in the - middle right now. - Say you want to change the color. - All you have to do is go back up to fill up here and choose a new color. - There you have it. - Another thing you can do with these shapes is actually just double click the shape right - here, - and it will fill the entire composition with that shape. - So, - for example, - for a circle, - it will create an oval as big as it can for star. - It would create a star at the ink Rias begins another can. - But I've never actually creative star of that way. - So it I guess it depends on what shape you're using. - So that is pretty much all you have to know. - Um, - another thing is, - if you don't want to create a perfect square from where you start clicking where you press - shift in control, - if you don't want a perfect square, - you can just press the command or control blood in depending on if you have a Mac or a B C - , - and see here I can create no all sorts of shapes that way, - and that's pretty much it, - um One thing to keep in mind, - though, - too, - is to create a more unique shape. - You can create a shape ones and then continue to create more shapes off of this if you want - . - And that's one way to Teoh. - Basically create interesting shapes and you'll see, - as I add shapes to this one layer all the shapes air coming up here down in our timeline, - and you can delete them if you want, - if you want to add different shapes or whatever, - so that is how you create some custom shapes with shape tool. - Next time, - we're gonna be talking about using the mass tool to create shapes, - which is actually the way I prefer to create shapes and you'll see why in future lessons. - But it gives you a lot more flexibility when, - ah, - creating motion and things like that. - All right, - Thanks for watching. - I hope you enjoyed this lesson and I'll see you next time 18. Working with Masks: - Hey guys, - let's talk about creating shapes with the mass tool, - and I suggest using the mass tool to create your shapes, - because in the future we'll talk about creating motion with the mass and changing shapes - with the mask. - Ah, - tool. - And it just gives you a lot more flexibility with with the mask rather than using the shape - tool. - And it's hard to explain now, - and it basically just takes practice and and seeing why, - and you'll see in the future. - But just trust me on that that topic. - I hope you guys are having a great day. - Um, - so let's get straight into it. - So to create a shape with a mass tool, - where you wanna go into one do is go up to layer new solid or press command. - Why? - If you're on a Mac, - it will ask you what what size and what color the size is basically automatically uses the - size of your composition, - so it's picking color like this nice kind of turquoise color, - and then you take these shaped tool. - But instead of creating a shape, - we're going to create a mask from this layer, - so make sure this layer is selected and then click and drag. - And so now we have a rectangle and it's, - you know, - you might be saying, - Why is that different than what we did before? - But it is different. - Ah, - we can customize it in different ways. - We can add, - uh, - points to it, - for example, - with the pen tool. - I'll go into this in the future more in the future, - but we can create custom shapes this way. - So this is a lot better for creating ah, - custom shapes, - I would say using the the mask tool so OK, - so we can delete that mass and I'll show you. - No, - basically, - you have the same options Creon circles or ovals, - and just like with the creating the shapes in the last lesson, - If you press shift while you're clicking and dragging, - you create a perfect circle. - If you press press command, - you will create a circle from the point where you clicked. - If you press command and shift while you have this layer selected, - so click command shift, - it will create a perfect circle from the center of your where you clicked and, - um, - same with if you click the shape to appear No, - we'll create a mask. - Masks shape out of that, - and that's pretty much it. - So just, - um, - like I showed you before. - If you create your shape and then you want to edit it, - you can use your point your just your selection tool and move it around or click inside the - shape and then move the corners or click the sides and move them around, - in or out. - If you click aside and and press shift and slide it back and forth, - it will lock it to this axis so it doesn't go up or down and create on non right angles. - You can also, - if you you uh, - let's see if you select the shape inside. - I'm tryingto you can select multiple corners by clicking and dragging like so and so - there's lots of ways to customize your shapes. - One thing you might want to do is change the anchor point to the center of your shape, - so just eyeballing it right now, - you can use it with the pan behind tool. - In this way, - if you change this the size of your shape, - um, - it or the rotation, - it rotates and has a change in size coming from this anchor point. - So that's how you create a shape with a mask. - And the next lesson I'm gonna show you how you can change the mask and edit the mask. - And it's one of the reasons why creating shapes with Mass is the best way to create a shape - . - I thanks for watching and I'll see you next time. - Bye. 19. Mask Edits: - Hey, - guys, - Thanks for joining me today. - I hope you guys air enjoying these lessons. - Please check out video school online dot com if you haven't already. - That is my personal site. - And that has tons of great free content for you guys. - I post Weekly blogged articles with tips and tricks and tutorials on all things about - making videos. - And I have a podcast for YouTube videos and I'm writing an e book right now. - At the time of this recording, - I still haven't finished it called The Diary of a Film Student. - So look forward to all that stuff and subscribe on video school online dot com to get 50% - off all of my online classes. - But let's get into the mast, - the mass tool. - So we're gonna create a new layer Press command. - Why? - To do that? - And then I'm gonna use my shape tool to create a nice circle. - So I click and hold down. - Command and shift. - Create this nice circle. - You'll see that this mask appears down here and there's all sorts of things that you can do - with it. - You can select this inverted mark right here at box right here and it will invert the shape - . - So you now you have, - ah, - circle within a square. - You can also do that by doing subtract right here. - And there's some other things that the, - um, - other I guess Trant transfer modes right here that you can play with two to the left of the - mask. - You will have a drop down triangle. - So go ahead and click that. - And here are the three options that I want to show to you. - So make sure you have it on add or subtract to see what I'm doing on. - I hope you're following along. - So if you click path, - this is basically means What is the mask path right here? - And you have I basically have your points and the line that connects those points mask - feather. - This is if you want to feather it out. - So go ahead. - You can increase the pixels and create a feather effect, - so that could be super interesting. - You can decrease the mass capacity or increase it. - You can do a mask expansion, - so decrease it or increase it. - And you know, - this is just if you want to find tune your mask. - So what are some practical applications of this. - Um, - for one, - you can create awesome vignettes this way. - So let me go ahead and delete this. - I'm going to create a new layer, - Mueller solid. - I'm gonna make it black to create urban yet that I'm just going to double click. - This are our circle shape, - our oval shape, - and it creates that switch to the sub twosome track. - Subtract. - So now you can see we already have the beginnings of our been yet gonna drop down the mast - menu. - You can also press mm under keyboard to bring it up. - Gonna increase this feathers. - Then I'm going to decrease the opacity. - And there you can see, - we already we have, - like, - a nice than yet Turn on and off for you to see. - So vignettes are nice toe. - Add to your videos to draw the attention of the viewer to the center of your video. - So that's one practical application of of using these mask at it effects. - Um, - let's do another shape and I'll show you what else you can dio all these things you can - edit by key frame. - And just like we've edited the the size position rotation before. - Um and we will go mawr into all of that stuff in the next few lessons. - But just know you can create key frames for each of these. - Each of these effects right here. - So those are the different ways to change and edit your mass. - I hope you enjoyed on go and create some cool snowball effects or something like that. - One thing I want to mention, - though to you too, - is to change the color of a mask. - It's a little bit different or of a solid. - You can't just go up and click this Phil Bunin. - Well, - you have to do is go to layer solid settings or press shift command. - Why, - you're on a Mac, - then you can create. - She was a new color just like that click. - Ok, - so that's kind of a cool little ball right there. - I have you enjoyed this lesson. - If you have any questions, - please let me know otherwise. - Have a great day and I'll see you next time. - Please 20. Using the Pen Tool: - guys. - Welcome to another lesson in the after effects course, - this is Phil. - Evan Air. - Thanks for watching. - Please be watching this in HD full screen to get the best viewing experience. - Last time we talked about Mask and we talked about the different ways you can edit the mask - today. - I want to talk to you about creating shapes with the pen tool. - So I'm going to start a new layer command. - Why we'll choose about like a yellow, - yellowish orange color like that is nice. - Okay. - Okay. - Wow, - That is bright. - So now I want to use my pen tool. - Hockey is G on a keyboard to bring that up, - and now all you have to do is basically click. - Make sure you have your layer selected or it will create. - Try to create a shape. - It's a select your yellow solid click click, - click, - click, - click whatever shape you want to make and then close your shape. - Now you have a cool shape. - That is pretty awesome. - It doesn't really. - It looks like a weird sort of lightning bowl. - Saw it could be someone's hair do, - I don't really know. - Press em to bring up the mask I can delete that. - So let's try something else. - So what you can do is click, - drag, - click and drag, - and this creates curves. - Click and drag clicking, - drag, - click and drag, - and after you click and drag, - you can change these little point. - These bars that come off each point you can play with those who affect the curve. - Go back, - click and drag and drag, - click and drag, - click and drag. - Now we have, - like an amoeba, - some sort of bacteria forming, - so that is pretty cool. - You can also, - um, - add more mass again. - Make sure you have your you were, - ah, - layers selected. - I'm gonna create another shape within this, - and this is really too basically create cutouts out of this shape so you can change this to - subtract, - create a shape within that shape. - That's pretty cool stuff. - Use your pen tool to create new mass, - um, - and create curves and just play around with it. - You're gonna have lots of fun if you're if you're just trying and that's all this takes is - practice practice practice. - So the Penta was another great way to create great shapes and after effects. - I hope you enjoyed this lesson until next time. - Have a great day and stay safe 21. Mask Animations 1: - Hey, - guys, - what's up? - This is Phil back with another lesson in the after effects course. - In the past few lessons we've been talking about how to create masks using the mask, - tool and pen tool. - Today, - I want to talk about learning how to animate these mass and create some cool motion effects - with them. - So let's get right into it. - So, - as you remember last time we were learning about how you use creating a new solid to create - a mask. - So I'm gonna go ahead and do that. - Let's create a nice blue solid right here like this. - We got the same size of our composition, - and that's perfect. - I'm going to take my rectangle tool, - and I'll just use that for an example and say We want to create some sort of bar that goes - across the screen. - Well, - first we have to create that bar, - so I'm just going to click and drag with shape tool to create this mask. - I'm doing about two there, - as you can see here, - down in the timeline, - the mass pops up, - so now we have a mask that we're gonna edit. - Like we said before, - you can edit this by using these transfer modes? - No, - you have, - add or subtract. - But today we're gonna keep it ad by pressing M m on your keyboard, - you get these mass properties that pop up first, - we want to make sure we click our mask and then we want to go to one second. - So if I say this is our final bar right here, - there's the size of the bar at the final point of the animation to ruin. - To click that stopwatch next to mask path, - I'm gonna click that, - and that creates a key frame at one second going to go back to about 1/4 of a second. - And now I'm going to edit this mask. - The way I'm gonna do this is going to use thes selection tool, - and I'm going to double click that edge of the mask. - And this brings up this sort of these editing options this bar around this box around the - mask that we can edit. - I'm just going to click the middle of this box on the right and move it all the way to the - left. - And so now our masked basically grows into this bar. - So let's render it out and see what it looks like. - So that's looking pretty good. - What I want to do is add a blurt motion blur effect so that it looks a little bit more - natural as it's coming out and maybe even increase the speed a little bit. - So maybe I'll move this first key frame to about half a second. - So the entire animation takes half a second rather than 3/4 of a second, - and something that, - like that looks really nice. - And then, - from here, - you know you can animate some text on, - makes him text text fate on or off, - or something like that. - And that is one example of how you would animate a mask. - Let's do another example. - So let's start a new layer. - So I press command Why I'm like he board for the hot key for that option will do a nice - magenta pink circle. - So I'm going to get my circle selection lips tool quinta. - Click in the middle and while holding command and shift drag out, - and I have a perfect circle coming in from the center of my composition. - Now we have this circle. - This time I want to animate the mass. - But enemy using the mask expansion function, - I'm gonna go toe one second, - click that stopwatch to set a key frame for their, - then go back to about half a second and then I'm going to decrease the mask expansion. - As you can see, - as I decrease the pixels, - the circle gets smaller and smaller. - So there I have a circle popping up into our composition. - And this one maybe make a little bit faster as well had motion blurred and make it look a - little bit more natural. - Now we have this cool circle happening. - And then remember last a few lessons ago, - I was talking about adding a little bit of bounce to your animations, - which creates a little bit more flow and makes it, - you know, - feel a little bit more natural. - Weaken do that. - So our final mask expansion point for this key frame. - As you can see a zero pixels, - we want to make it a little bit larger, - so we're going to make it about 15 pixels. - We'll try 25 pixels about two frames in front of our last key frame. - Now I will render this out and this circle kind of bounces in. - So now I'm going to edit this key frame. - Ah, - using key frame assistant and add Eazy e's absolutes to Eazy e's. - And this is kind of what we were doing when we were playing with the size, - uh, - animations in the side, - the size animations lesson. - But this way we're doing it with Mass. - So now we have this nice circle bouncing in and again, - you know this will be part of another animation. - You can add text going to cross or something like that, - or add more balls popping up. - Um, - you could use this mask as an image, - and that's something that we haven't talked about yet. - So, - you know, - mass shapes aren't just for doing solid colors. - Say you have an image. - So let's say this brick wall. - But we want a ball in the form of a brick wall, - so we select our lips tool, - and then we just click and drag and pulling shift to get a perfect circle. - Now we have a circle brick of bricks. - Then we can Anna at an animation that way. - So let's see what we can do here. - So say this is our starting mask will do. - Click that stopwatch go forward. - We'll edit this mask by clicking on If you click off of the layer and then you click the - layer bar down here in the timeline, - you can add it these individual points so we could make this ball Maybe stretch. - And I'm going to go forward a little bit and copy and paste this first key frame to make it - go back into our ball shape. - So that's, - you know, - just an animation showing you the different options for animating mass. - I mean, - eventually, - you could, - you know, - turn the circle into a square or something like that would be kind of cool. - Okay, - so I hope you learned a lot in this lesson. - Next time we're gonna be talking a little bit more advanced about mask animations, - and I'm gonna dig deeper into this topic, - so get ready for that. - And until next time, - have a great day 22. Mask Animations 2: - guys 11 or back with video school, - online dot com and another lesson in the after effects course. - Last time we were talking about basic mask animations. - Today we're going to get a little bit deeper into that topic. - I'm gonna show you some cool stuff on what you can do with a mask. - Animations. - So first, - let's bring in the sidewalk texture or bring in any texture that you want that you find - online. - I'm going to decrease the size of this like so. - And then I'm going to use the Ellipse tool to create a circle a perfect circle from the - inside. - So I'm going to I'm pressing command and shift to create a perfect circle. - Then I'm going to actually do another circle. - So I'm going to go from the center again. - Pressing command and shift on my Mac keyboard on a PC is controlling shift. - And now I have this inter mask. - And now for this mass to down here, - I'm going to say subtract so that it leaves this hole in the middle of this mask. - So what I wanna do is kind of create this circle, - expanding our yeah, - this empty circle expanding inside what looks like an oh, - that's expanding. - So first things first. - I want to, - um, - make my starting point for my animation. - I'm going toe like both mass impress an end to bring up my mass properties for mass to the - starting starting point is going to be really in the middle. - So I want to decrease the mask expansion until this is in the middle and the solid. - It's a solid circle, - so something like that is perfect. - Some Gunness create a key frame right there for this mass one. - I'm going to do the same thing, - so I'm going to start out at zero or at where there is no texture at all. - So there's nothing on the screen, - so something like that I'm going to go forward, - will go forward about half a second. - I'm going to increase the mass expansion for this first mask. - So this goes to about here where it is, - so I can actually just click type zero in for zero pixels that reaches the mask boundary. - And then for this 1st 1 I'm going Teoh actually increased to zero as well. - So let's look what this looks like. - See what this looks like right there. - So that's we got this mask expanding. - Maybe what I want to do is have the circle up here and then the inner mass kind of appears - so something like this. - That's kind of cool. - So the circle appears, - and then with the second mass, - it kind of makes the circle disappear. - So maybe I'll have this expand actually further out until there is no sphere left. - Something like that. - So several appears, - and it's gonna be part of another animation, - so going to make this second animation a little bit faster. - So I'm gonna move in this key frame. - I'm gonna make these two key frames in the middle. - Eazy E's on the right click Key frame assistant Eazy e's. - So maybe something like that is cool. - I'm going to duplicate this layer. - It's like both prez you to bring up the all the key frames on this bottom layer. - I'm just gonna move it a little bit. - So as this 1st 1 is disappearing, - the second animation is kind of appearing in the middle. - I'm going to change the color of this. - We'll talk more about effects. - But Aiken, - do Hugh appear in the effects been hue saturation. - Drag it onto this layer and just rotate the master. - Q. - May add this decrease of saturation, - the master lightness, - I guess, - since this this is basically a black and white image. - We're not going to get to change the hue that much, - but weaken, - click this color eyes but in and increase the saturation decrees, - the lightness. - So now we have this blue circle appearing. - So let's see what this looks like. - So that's kind of cool. - Okay, - make it a little bit earlier. - You see this a lot in, - um, - in Ah, - the motion graphics. - Nowadays, - it's a cool effect for some connect typography or just motion graphics, - you know, - shaped appearing or disappearing. - So that's kind of a cool effect. - And that's just I'm showing you how you can edit multiple masks within the same layer. - So that's the start of a cool animation. - I think they're watching, - and I hope you've enjoyed these lessons on ask animations. - If you have any questions, - please let me know. - You can contact me through the course page or through video school, - online dot com and next, - we're gonna be getting into some fun topics. - About three D in after effects. - So get look forward to those we'll talk to you guys later. - Have a great day. 23. Intro to 3D: - Hey, - guys, - this is Phil Ebony. - We're back with. - Another great lesson in the aftereffects course is an exciting section that we're getting - into cause we're going to start talking about three D in after effects, - and three D is a cool thing about after effects. - You can do a lot of cool three D animations with after effects. - Eso. - It's a lot of fun, - but it can be slightly confusing. - So get ready for some intense lessons. - Pay attention and, - as always, - watch in full screen and in HD to get the best viewing experience. - So first, - in this lesson, - I'm going to give you an introduction to what through the really means in after effects. - I'm going to show you by giving you an example, - using this dog PNG that I downloaded from Google. - So, - of course, - if you're using images from Google for your final projects, - um, - or any commercial projects, - you got to make sure that you get permission from the artists or that you purchase from a - an image site or something like that. - But for this tutorial, - or if you're just practicing, - go ahead and find a cool image online that you want to practice with so to turn on three D - , - All you have to do is click this cute this box underneath this three d cube and this turns - on three D layer. - As soon as you do that, - you can see that a couple options pop up underneath to format this image. - But first, - I want to go through three D position. - When you when you press p or bring a position underneath your layer, - you will notice that there is another option. - If this is off, - it goes away if this is on is back. - So before we just had the X axis and the Y axis, - And so, - by moving these, - these numbers are changing these figures. - You will be able to move your image throughout this composition via the X axis and the Y - axis. - So left, - right or up or down. - Now we have this new Z access access option which basically moves. - Fido are puppy backwards or forwards in space. - So you're actually creating, - you know, - a three D environment with this? - Um, - so let's put this back at zero, - for example. - So say I duplicate this flare and now I have fight a one will make him a little bit bigger - so we can represent in a little bit in differentiating him. - We have final one in front of fight Oh too. - But if you bring up the position function for both, - there's both on the 0.0 pixel on the Z axis. - So that's the same position on the Z axis. - But layer one, - Fido is just in front of on top of layer to, - but it doesn't really mean in the space of this composition. - He's in front and just means the layer is on top of the layer down here, - so whatever's on top will appear on top. - But even so, - say Fido to our small puppy is on top, - but we move him back in Z space. - He is now behind Fido number two. - And so that is how you can see how, - uh, - this three D space is working. - So if you move these carry our puppies back, - they will be further away from us in three D space or closer to us that you want to go to - in the negative pixels. - So that is three D for position. - I'm going to get rid of this are dot fighter number two put him back at on the normal Z - axis 0.0 pixel. - Now let's talk about rotation. - Cause rotation brings up a lot of three D options as well. - So before we just had Z rotation, - which was basically moving left or right, - rotating like kind of like a clock hand. - Now we have Y rotation, - which will rotate Fido on the Y Axis four. - We have X rotation, - which will rotate fight on the X axis. - So, - as you can probably tell, - this is brings up a whole new ball game in terms of animating with after effects and all - the different options for animations that you can create. - So those are the basics of of three D, - um, - in terms of just layers three D. - You can, - of course, - add cameras and do all sorts of other things with three D and in after effects. - And we're gonna be talking that about that in the future. - But for this lesson, - I just wanted you to understand the basics. - What happens when you click this three D enabled layer button right here? - The cube to the right of the motion blur so you can edit both the position and the rotation - . - And in the next lesson, - we're gonna be talking about animating these these options and create some cool effects - with three D. - Thanks for watching, - and I'll see you next time. 24. 3D Animations 1: - Hey, - guys, - welcome back to another lesson in the after effects course today. - Let's talk about animating rotation and how this is a great way to introduce different - items in your composition. - So we have our happy right here right now, - and we're going to introduce him using the Y rotation animation to start out with. - So right here at one second, - we're just going to set a an ending key frame for the UAE rotation, - then half a second before we're going to rotate him counterclockwise. - Nine theories. - So even at 90 degrees you can still see part of him. - Offense, - sliver toe. - So to get rid of that, - because let's render this out and I'll show you what it looks like. - So that's the basic animation. - Pretty cool introduction of Fido. - But we can still see this sliver before, - So what I want to do is go to this first key frame and then drag this layer in so we don't - see it until that very first key frame. - So there you have a nice clean animation of photo period so we can do the same thing with - the ex access rotation. - One second we will set an end key frame by clicking the stop Watch over there. - Now we'll go back to half a second and will rotate about negative 90. - You can do whatever you want. - Negative 45 Negative 50 however much you want. - Here we have Fido appearing like that. - You can add motion blur, - toe the rotation as well, - toe. - Make it look a little bit more natural. - So that's kind of cool fight of popping up that way. - Another option is to move the anchor by using the pan behind tool. - So I'm gonna select the pan by behind Tool. - It's like the anchor and move it down to the bottom. - In this way, - when we rotate the X axis, - he'll actually be popping up from the bottom of him rather than from just turning from - inside of him. - So let's set a key frame right there at one second and then back half a second earlier, - we will rotate him backwards about negative 90. - We'll see what this looks like now if I was kind of popping up and it is a cool effect, - like having them pop up from the ground, - basically and the same thing for if we want to rotate him. - Ah, - with the y axis. - And, - uh, - maybe we'll move the anchor point using the pan behind tool to the very left of him, - a Y rotation key frame at one second. - And then we will go back to half a second and rotate him backwards. - So about negative 90 maybe even a little bit further with doing negative 100. - So there we have Fido popping in from the left side, - and they will move him with the moon tool over to the left side of our composition. - So it looks like he's just popping in from the left side of the composition. - So those are all cool ways that you can animate the rotation of Fido. - Let's do a quick example of how this would look animating text because a lot of you, - I mean, - commercials nowadays use this effect. - I watched whenever I watch TV. - I, - um, - always find commercials using this kind of transition to introduce or to exit text. - So I'm gonna move the anchor point with the pan behind tool to the very top center of this - . - So it's above the top of the text. - I'm going to select this three D enabled and motion blur press are to bring up the rotation - at one second. - I'm going to set a Y rotation key frame half a second. - I'm going to swing it backwards. - But really, - you're increasing the degrees to 90 and I'm going to just slide the end of this this layer - so that it starts just at 90 seconds or half a second. - Rather so now we have the tax falling down. - Maybe we want it a little bit faster, - says something like that. - Sometimes you also see where this text kind of comes down and swings back and forth. - So say we'll do that so instead will go up to about 40. - Want negative 41 degrees, - then go forward a little bit. - Won't go back to 30 on kind of slowly decrease how this this swings up to negative 11 on - May be back to zero. - Will select all these key frames. - Use key frame assistant to add Eazy E's. - We'll see how this looks, - so we have to play with the timing, - but you get the point of the text kind of slowly zooming in, - so I'm gonna move these key frames a little bit so it kind of slowly swings into place. - Something like this. - Maybe a little bit more even simply like that. - There you have our text swinging in, - and maybe you have this and then I will duplicate this layer by selecting it and pressing - command d I'll move it down below on. - And you know, - whatever you want. - You know that part? - Whatever your text is, - I'm just using sample text Right now. - I'm going to move it to the center, - and then I'm going to decrease the size of this text a little bit. - Actually, - I'm going to change the scale down here. - Her anchor point is over to the right of it. - So I'm going to change that to right above the center of our text. - Just move it to the center of the composition, - press you to see all these key frames. - So I wanted to come down after the TV commercial text comes down. - So we'll see what this looks like. - Something like that is really cool. - And I'm sure you've seen this if you watch any TV at all. - So these air some really cool animations that you can do using the three D animations in - after effects. - So that's what you can do with rotation. - Next, - I'm going to show you some cool things you can do with editing three D position. - Thanks for watching. - If you have any questions, - please let me know. - But until next time, - have a great day. 25. 3D Animations 2: - Hey, - guys. - Back with another tutorial on three D animations. - This time we're talking about the position. - We have our dog back, - so I want to show you a cool way to introduce our dog. - So we gotta make sure that or three D is enabled. - So go ahead and click that box right there. - Say, - this is our final position. - I'm going to just turn on the key frame for position right there. - I'm gonna go back. - I'm going to basically move our dog in space closer to the camera. - So close that he actually goes behind the camera. - You can see I'm basically moving, - moving, - moving him. - And finally, - he pops behind the virtual camera. - That is our composition. - I'm going to make the second key frame Izzie's and that won't see how this looks. - That's super fast. - I'm gonna make this a little bit slower, - but you have your dog popping in from behind camera. - This is a great way to animate logos flying in from the back of of the camera. - Um, - you see that a lot Or just text. - In general, - you can also do it the opposite. - So instead of zooming in from behind weaken. - Basically, - zoom in. - And you know this You can you use this do the same animation using a change in size - animation. - But, - uh, - using the three D just gives you a little bit more flexibility and more options. - So to make it fully disappear, - it you have to put him way back. - So what I'm gonna do is actually using the opacity transition. - So Presti, - to bring him opacity, - press you to bring him both, - Uh, - all the key frames. - I'm gonna move this opacity key frame at 100 to about here within turn it to zero. - So basically fades in from the distance. - There you have vital kind of flying in from the distance as a cool. - Another cool way to introduce text or a logo or you know, - anything. - Um, - if you're you know, - if you have different objects or different blocks of text, - um, - that's a cool animation to use. - So that is position. - Let me show another one involving position and rotation animation. - So here I added this text. - As you can probably guess, - we're going to do a Star Wars on text animation. - You know, - if you ever seen Star Wars, - the famous way that the text flies in. - So I out of this text block the way that I did that Just show you is if you have your text - tool, - you can just click and drag and create a box. - Then when you type in here automatically, - stay stays within the framework of that box. - So let me turn on this layer back so you can see it. - So first I want to rotate this so I'm going to rotate this on the X axis. - So that's a little bit. - You know, - it looks like it's flying in from the distance. - It looks a little bit three d and then I'm going to set, - uh, - position key frames. - So let's see what position we have to actually changed to make it look. - I gets flying in so we can also do is, - um, - you'll see these arrows is blue, - green and Red arrow pop up in the center when you have three D on, - let me undo. - So now you can see that and you can basically move. - He's different options, - so if you move, - you'll see that a little X appears on next to your malice. - And that's if you want to change the X Axis z? - No. - Back and forward. - Um and then why move up and down? - It's over This, - in fact, - actually, - we're using a why animation. - So we'll start, - Say, - Well, - just start this about right there. - Then that will be our end spot, - and then move this forward, - and then we will move this composition with using the Y axis, - be on the screen, - and you can. - What you can do is once you have that, - why and you're clicking, - you can press shift and it will move it further. - So something like that I'm gonna move this to the very start of our composition, - and this is probably going to move really fast, - but you'll get the point. - So there we have our own star wars looking animation, - the tech flying into the distance and star was it actually has a little bit more of an - angle, - and it just kind of slowly fades into the distance. - Um, - and it doesn't really go above the top of the composition, - but you get the point, - um, - of how you can create some cool animations with the rotation and the position, - because I wasn't just actually editing the Y axis of this layer. - As you can see as I move forward, - it was editing both the Y and Z axis. - What? - The numbers change now here. - So those are cool too cool to more cool animations for you guys to try out. - I hope you are practicing as you go along with these lessons and we're going to do some - more three D work in the next few lessons. - So I hope you're enjoying this and learning a lot. - Have a great day and stay safe. 26. 3D Animation - The Dog House: - Hello, - everyone. - A hope you are enjoying these lessons so far, - and especially in this section where we're talking about three D animations in after - effects. - Say, - I want to show you us, - You know, - basically the basics of creating an animation, - Um, - but basically creating an environment. - And that's something that you'll be doing in after faxes, - just creating environments, - actually creating scenes. - People actually create full animations using after effects. - And so, - for this is a good example of that. - So using our dog as our subject, - I want to create a scene with this dog and his house. - So I downloaded a few objects from online. - We have this doghouse, - we have this grass, - and we're going to be creating some, - uh, - new objects as well. - So first, - um, - let's edit this doghouse because this will be kind of the basic the basis of our animation - . - I'm gonna put it below. - But we're also going to be editing the three D options as well. - So I'm gonna click that on the dog house. - I'm going to increase the size summers click and increase the size of this. - It might get a little pixelated. - Actually, - I'm going Teoh decrease the size. - I'm gonna show you a cool thing you can do because I don't want that taking up the entire - frame. - As you can see, - If I was increasing it too much, - it starts increased the entire frame. - Now I'm going to create a new shape to kind of continue this grass along the whole way. - So I'm going to use the pen tool. - Phil, - I'm going to, - uh, - use this eyedropper right here. - Click this grass color and I'm going to start and ah, - shape over here and just basically create shape that continues his grass. - And it's not perfect. - There is a little bit of line you can see right here, - but it's hard. - It's really hard to see, - and I'm just gonna move it a little bit. - And if I spent more time, - I can, - you know, - really get it to match perfectly. - You just just eye dropper to get the color right next to it. - Oops. - That's not what I want to do on. - Let me just bright enough this grass a little bit. - And now that looks like a better match for this grass. - And now we have this, - you know, - dog house with Hill. - Your grass? - No. - I'm gonna put this grass at the bottom to give more texture. - And I'm just going to duplicate this layer, - Move it over, - and I'm going to put this green shape layer down below it duplicate this layer again over. - So now we have this kind of grass texture in this front with her dog. - Actually, - with both these great all this grass, - I'm gonna bring a position. - I'm gonna move it closer to the camera. - So at negative 100 and it's good to remember where that Issa negative 100 for this she - player and the dog house. - I'm going to do positive 100. - And as we see when we do, - that basically changes the position of these two. - So we have toe to fix that and maybe increased the size as well. - So scale there's the scale. - And then just move this around again, - just like that. - Now, - with their dog, - we want him to be sitting in between. - So his position is at zero, - which is between what is now, - uh, - this doghouse and shape and the grass texture said perfect. - Whoever dog sitting on the grass between the front grass layer and the back player. - Now we want to create a sky. - So let's create a new layer solid, - and we'll just make it blue. - Kind of a light blue sky color. - Something like that. - We'll just put this behind. - And I'm not gonna make this three D because if I make this three d and I add some - animations or at a camera, - um, - we're gonna have to worry about the sky basically becoming too small or big. - So, - for example, - it's I'll show you what this would be like. - So if we did animations, - a rotation animation or of ham remove Um, - basically, - this sky wouldn't cover the entire composition. - But if it's not in three D automatically will cover the entire composition. - No matter what, - let's create a couple clouds. - So, - Larry, - new, - solid do white. - And then I'm just gonna use the Ellipse tool to create a cloud shape. - So I'm gonna do a couple mass within the shape, - something like that. - Then I'm going to select all the MASS president m increase the feathering to get this soft - looking cloud. - Then I'm going to for this below the shape layer, - turn on three D put this at. - So we have our cloud here. - So I'm gonna put this about at who's a little bit of 1000. - Maybe I will duplicate it. - Another one over here That maybe 2000. - Yeah, - that one will be 2000. - I say we want to add bright son. - You can do that. - Something do layer new solid and then make this orange orangey yellow This and then I'm - going to use this lips tool to create a circle that I'm going to use the pen tool to create - some cool sun rays making the sun's rays like this. - Make sure I close this the masked like that. - There we have cool, - son. - I'm going to make this three d But this below you're white layer our cloud layer and all - these layers you can rename, - which would be helpful. - So you know, - you can press selected layer presenter cloud one cloud to etcetera And I like keeping my - layers in the order of three D space. - So, - um, - for example, - I like having my son behind my clouds. - So I want to make this at something like 2500 sets behind everything. - So now I ever our sun in the sky. - We have our dogs so this is cool. - Start having animation. - So let's do a little bit of animating just to show you what we can dio. - So our dog will have him kind of walk across the screen so we'll start over here position - and I'll do seven key frames for Z rotation and I'll press you to bring up just the the - position. - Anzi rotation, - key frames. - The end of this five seconds will have Fine. - I'll be over here and then in between, - and we'll set a key frame for rotation as well right there. - But in between, - we'll just kind of rotate him back and forth a little bit so that you can see him and I'm - bouncing along like so. - So now it's rented that out. - See what that looks like. - This is very basic bite. - You get the point of what you can do with after backs and maybe make this a little bit - faster. - So I select all and press option while I click and drag. - It basically moves all the key frames in faster to make it faster, - they have it. - Move that to the start of the composition. - And then now let's just anime our son a little bit. - So our son will basically start here in the end point that at the start of the composition - that keeping the end point will be about here. - Then let's go to the middle of this animation and we'll just move the sun up a little bit, - something like that. - And then we'll set a Z rotation as well. - Keep dreaming the start, - press you to bring up all the key frames, - and at the end, - we'll just have it rotates slightly. - That looks like the sun is turning. - Let's see what that looks like. - So there we have a dog coming in. - Now let's just move this cloud slightly as well. - So these two clouds, - it's like both set key frames for position. - Go ahead. - In the the animation, - this cloud will just move to the left of this cloud will move to the right like that. - And here we have a nice little animation of our dog on screen. - So there you have it, - or you got a lot more detail on that. - Birds flying around, - um, - change the color of the sky, - Uh, - for example, - we can add a ramp effect to the sky. - Just search ramp looking drag and drop it on this and select two colors up here. - So you have the start of the ramp will select a light blue maybe a little bit more sky blue - color The end will do a little bit darker blue, - so it kind of looks a little bit more natural. - Something like that. - You add a ramp to the sun are, - you know, - blur out the sun a little bit, - maybe one at a fast blur effect search fast bowler drag and drop it on. - Increase blurriness to maybe like 50 like that. - And now the sun has a little bit more texture to it looks a little bit more like how the - sun would look in an animation like this. - Cool Guys, - I hope you're enjoying this lesson and learn a lot of what you can do with after effects. - There's so much that you can dio This is just the beginning. - But we've basically created this environment in three D space, - and, - uh, - you guys should be proud. - So thank you for watching this lesson. - If you have any questions about this lesson, - or any previous lessons. - Or if you have any comments or concerns, - please let me know. - I'm always trying to improve my classes. - And if you guys give me feedback that will help me. - I definitely want to hear it from you. - Thank you for watching. - And I'll see you next time. - Bye. 27. Using the 3D Camera 1: - guys, - What's up? - This is Phil back with another lesson, - the aftereffects course. - Today we are continuing our dive into three dimensional video editing. - And one cool thing the after effects allows us to do is actually put a camera into our - composition so that we can actually create camera moves as if this was an actual video - shoot and you were shooting on a three dimensional set. - So let me show you exactly what that means. - First, - we're going to go upto layer new camera, - and then you get this dialog box with all sorts of options. - And I have some custom options for different lenses that you know you can use. - And each one has a different, - um, - built different depth of field, - so things will be more and focus than others. - Um, - depending on where they are in the space of the three d space of the composition, - some are more resumed in lessened in f stops are different. - I mean, - totally, - completely customizable eso. - Let's just do a standard 24 or will do 35 millimeter lens and then press OK. - When you add that to your your composition, - it will show up down here in the timeline as another. - Later, - if you drop down the menu and you you will see that there is the transform tools and the - camera options, - the camera options, - these air what we just kind of went through and picked. - But you can customize them here as well. - And then the transform is pretty much similar to other. - You know, - the standard, - Ah, - transform tools from a not normal layer. - So you have your position, - your X y and Z rotation. - But you also have orientation and point of interest. - So point of in interest is more where the camera is pointing and position is where the - camera is set. - So, - um, - let's take a look at how these changing these values will affect this composition. - You gotta make sure, - though, - that your layers are in three D. - So make sure this cube is checked and because, - if not, - the camera will not affect those layers. - So, - for example, - let's go point of interest. - Um, - and if you will notice point of interest, - um will move up or down or left or right. - That's basically as if you were, - um, - panning the camera to the left or right or up or down, - similarly, - is the position. - So you're moving the camera in or out, - Um, - and by moving it in or out, - you also get some rotation from this camera. - So it's kind of tricky understanding all the different movements of these different options - right here. - So the Z rotation. - So see, - this is the Z position of the camera, - and by moving it, - you will zoom in or out. - But for the accident, - why you're basically moving the camera down? - And so it's creating this effect that looks like the text is rotating. - It's as if you were, - um, - the text was on one level, - and then you just move the camera down another level, - and it's like if you're looking at from below or from above and same with the the - exposition Now it's like if you're looking at at it from over toward its the right or over - towards the left. - So, - um, - that is the position function. - Let's go through the rotation. - So rotation will basically rotate the, - um camera in a different way, - in the position as basically rotating. - It's similar toe. - It's more like rotating the composition so you can rotate left or right, - Um, - you know, - around in a circle. - And this is just a cool way to add motion to your compositions. - Um, - orientation again is another option for, - um, - rotating the camera in your environment. - So let's go ahead and actually look at this in our practice that we did last time. - We have this three decomposition, - so let's go layer new camera, - and this will allow us to see more of the inaction and what it really means. - So it's good to their transform tools for a position. - For example, - we zoom in and it actually is zooms in as if you were on camera, - on set and zooming into. - This is not just doubling the size of this composition. - It's actually moving things forward in a natural way. - You know you can you can see here as your rotate. - It's not just rotating the entire, - um, - composition in a flat manner, - but the clouds air dipping down behind the doghouse as you rotate upper upwards or - downwards to how the sun peeks up underneath the clouds or over the clouds. - As you do that. - See, - now that the sun is about level with the clouds. - If you rotate it more, - more or less. - The sun is above the clouds. - It just looks a lot more natural that way. - Same with rotation. - No similar. - And see, - here we have. - The blue background is not in three D, - so it does not change with the camera. - But if we turn this on, - then while first you would have to make sure this this the skies behind everything. - So we'll put it behind everything. - Put it at like I think 2600 will be put it behind everything and then the size we'll put - right here. - That looks fine. - But then when we rotate the camera, - the sky disappears as well. - So that is why we put our sky as a non three d layer. - And so, - let's see, - Point of interests again is kind of changing. - The point of where the camera is pointed at you can zoom out, - and all these things are animate, - animate to the bowl. - I just made up a word right now, - but you can animate any of these options. - Um, - so, - for example, - we can zoom in, - so it's put a key frame there for position. - Go to the end of the composition and zoom in and we render this out and we have a camera - move while the dog is moving as well on the sun and everything. - So that looks even more, - you know, - dynamic. - And this is way better than if you didn't have a camera. - You would have to take each layered individually, - zoom in or increase the size to make it look like it was zooming in. - But now we just have this camera that we can basically do whatever we want with. - We can even add sort of a rotation to it and see what type of rotation we want. - Want maybe to the left or right? - Yeah, - so something like this. - So said the wire. - It will just set both rotations there and then over here will rotate it left. - So check this out. - So it's kind of like a pan and zoom the whole time the same time. - So that is pretty cool and can see where you can start. - Teoh. - You can start to see this animation coming alive. - Cool wall. - This is like I said at the start and very packed, - packed episode tutorial. - So I hope you learned a lot if you have any questions. - Please let me know. - Um, - but until next time, - have a great day and keep trucking it. - Ah, - do keep practicing. - And I am sure you're getting a lot better at your aftereffects by now. 28. Using the 3D Camera 2: - Hey, - guys, - what's up? - This is Phil Evan er, - with another lesson in the three d camera section. - Last time you could probably tell it was really crazy. - And it's kind of difficult to explain all the different positions and rotations and - orientations and transformations of the three D camera this lesson. - I'm gonna teach you away. - Easier way to add a three D camera and to edit it. - It may sound a little bit confusing at the start, - but once you get the hang of it, - it'll be a lot easier. - So right here with our text again, - we're going to add a new layer in camera, - just like we did last time. - You can choose whatever settings in line, - and then well, - we want to do is go layer new. - No object. - What is a Noel object? - A null object is basically an imaginary object that you place into your your, - um, - composition. - It's similar to an adjustment layer in the sense that isn't physically or digitally. - It doesn't appear in your your composition. - It is represented by this red box right here that appears, - but is not really, - um, - on the composition. - So if you render this out. - You won't see this red box. - But what it is there to do is, - um Well, - it's basically the easiest way to explain is to show by example what we're going to do is - make this a three d and all objects, - so that makes it even more confusing. - Is this imaginary object that is now a three dimensional imaginary object? - And then we're going to parent this camera to this no object. - And so I don't think we really dive that deep into parenting, - but basically parenting. - If you use this, - you can use this drop down menu. - Or you can use this to really tool to just click and drag and drop it on one of these - layers. - And so this means whatever I do to the null object, - the camera one, - uh, - it happens to the camera one as well. - So let me show you in a better example. - So let's do a new layer solid. - I'm just going to create a circle going to duplicate this layer and move it over. - I mean, - duplicate it, - and then I'm going to change the color of this by going going through the settings, - changing the color so Now we have a purple object. - So now we have 32 balls right here. - I'm gonna make the rest of these layers invisible. - So right now, - if I bring a position of the yellow ball, - if I move it, - nothing happens to the purple ball. - But if I parent this young purple ball to the yellow ball So you see here it says now it's - parented to layer to yellow. - Solid three. - Now, - if I moved the yellow ball, - it also moves the purple ball. - So whatever I do to yellow, - well, - it will happen to the purple. - So if I increased size, - it will. - Anger is the size of the purple ball. - If I rotate it, - you rotate with. - So you get the idea now. - So now we have a three D camera text. - We have a null object in a camera. - So if we bring up the transformation tools under no, - you'll see similar Teoh the camera. - But not exactly. - But these air actually, - um, - more similar to the transform tools of any regular layer. - Actually, - they are the exact scene, - same as a normal layer. - So you have your standard anchor point position, - scale, - rotation, - a pastie, - etcetera. - So now we can have a little bit more control of our camera in a unique way. - So using the position, - we can increase or decrease the size by zooming in or zooming out. - Um, - by moving the position up or down. - It's like a basically a It's not a tilt up of the camera. - It's like, - Ah, - the raising of Ah can't camera as if with a jib arm. - You guys probably don't know what that is unless you're really into film. - But it's basically a big tripod like arm that raises or lowers or go side to side so you - can create some like sweeps or Dolly moves with that, - um, - with rotation, - you can rotate, - um, - things as well, - just like you can with, - um, - with the rotation transformed tools of any layer. - But now this will affect the entire composition. - Same with orientation. - Ah, - this is another way to rotate tool, - rotate your cameras. - Well, - an anchor point in position are similar. - Um, - where it kind of moves up or down as well. - Ah, - And so basically, - um, - what I use is I usually only edit the position and the rotation of this so um, - let's put this into practice and put it in this composition like we did last time. - So we're gonna say new camera, - We can his name it camera one new their new no object gonna make this no object. - Three D parent camera to TUNEL Object one. - Now I can bring it the position. - And here we can, - you know, - again, - enemy that set key friends for here at the start of composition, - then Zuman. - And you may be wondering why I'm doing this rather than what I showed you last episode. - You know, - you conduce either method. - I just find this one a little bit bit more intuitive. - Um, - because in the camera camera mode, - if I didn't have the no, - no object if I was just editing the camera, - show you if I bring a P and I, - um, - change the why it's basically a camera tilt here. - I can do a camera raise or lower, - so you'll need both eventually. - But right now, - I like having this option to kind of slide in or slide out. - So we'll show you that as well. - So maybe we'll slide in from the left side and it will be a kind of zoom in and a dahling - move. - So there you have this animation of the camera and create your own kind of dolly. - Move in and zoom in as well and 10 at it. - The rotation of this as well, - just kind of put this back to center. - We'll bring up the rotation and kind. - So we'll start out right here of this key frame at the story. - No and like normal. - So that's a kind of cool camera move as well. - So as you can start to see, - these are becoming very dynamic and interesting effects. - And there's so much more to learn and do. - But all it really takes is practice a practice. - Continue practicing with the camera. - Continue practicing with the Newell objects. - And if you have any questions, - please feel free to ask me, - Um, - but for now, - I trust that you'll be able to, - you know, - just practice this stuff on your own, - and that's all it takes. - I mean, - I took a class on this stuff, - but I really only learned the basics, - not even as much as I'm teaching you now and then. - I just practiced on my own, - so that's really all it takes. - Thank you for watching, - and I'll see you guys next time 29. Layer Styles: Drop Shadow: - Hey, - guys, - Welcome to a awesome and awesome lesson. - An awesome Siris of lessons. - And I'm really happy to have you here. - Thank you for taking this course in this section. - We're gonna be talking about layer styles and eso we're going to be talking about drop - shadows, - glows, - devils and bosses, - all sorts of things like that. - I've created this really simple composition with a few shapes just so that we can play - around with them and show you all this different layer styles. - So, - first, - how do you get to the layer styles you click on a layer? - Actually, - you right, - click on a layer and there is a layer styles option. - Then you see, - there will be lots of options. - So for this lesson, - we're just going to go over a drop shadow. - So adding a drop shadow gives you this natural or this standard drop shadow. - I'm going to do that to my blue circle, - actually, - right. - Click layer styles drop shadow. - So down here below you see that drop shot of pops up under layer styles and there's you - dropped on the its many, - and you have lots more options. - So you have a past you so you can make it lighter or darker. - I usually usually like lightening it up. - Maybe around 35 or 50% makes it look a little bit more natural. - You can change the angle so it can go like on the top right top. - Left any side of this circle, - you can change the distance from the actual layer. - The spread, - which um, - is kind of like the softness and the size, - which really increases the softness. - And, - um, - yeah, - basically at it that way on. - That's how you add a drop shadow. - You can change the color of it if you want. - I've never really played with Jean and the color of drop Shadows, - but that's a cool idea. - And, - yeah, - so this is how you would add a drop shadow for text. - So you just write your text shadow and sometimes, - like if you have a lighter text on a lighter background, - it's hard to see, - but you can always add a drop shadow. - Top shadows aren't your always your best friends. - Sometimes they can make your images look a little bit cheesy or outdated, - but it's something to keep in mind when you are adding when you're editing your - aftereffects projects something like this dropping the capacity. - Something like that. - My look nice. - Cool. - So that's drop shadow. - Next time we're gonna be talking about inner shadows. 30. Layer Style: Inner Shadows: - Hey, - guys, - let's talk about adding an inner shadow, - another one of our layer style options. - So let's just go ahead and right click are Green Square will go to layer styles and click - in your shadow. - So there you see this inner shadow it makes it kind of gives three dimensions to this image - . - It makes the square look like it's indented in this blue circle. - Let's ah, - drop down this inner shadow menu so we can see more, - um, - options. - And I'm going to actually make this 100% so we can see what exactly is going on. - Please. - There you see, - our shadow is inside rather than outside of our square. - Like the drop shadow you can drop the opacity. - Change the color, - James the angle if you want. - In shoes the distance from the square corner, - choose the size, - the choke and all sorts of things. - You could make it more noisy or less noisy. - So say we want something like that. - So, - Alex, - nice, - um, - got this kind of subtle in her shadow. - One thing we can do with their layer styles is copy and paste them to another object. - So I just select in her shadow. - Copy. - I just press command, - seeing on my Mac control. - See, - on your PC in command be will drop the shadow on this circle. - So there, - you see that this is looking a little bit more three dimensional. - I'm gonna do the same to my text, - but you can see the size for my Texas. - Not right. - I'm going to go down the layer styles struck down. - All these menus change the size. - Something like that. - Maybe even a little bit less distance. - I'll just put it three. - Something like that. - Something like that looks nice. - So there you can really see that. - Um, - you know, - the three dimensional, - um, - nous of this composition is really coming out. - It looks like there's multiple layers and levels, - so that is the inner shadow. - Hope you enjoy this lesson and we'll see you next time. 31. Glow: - Hey, - guys, - let's talk about another layer style glow. - So we have both of inner glow and outer glow. - So if I right click my text or whatever layer I want to add a glow to you can select out or - glow. - This is very subtle. - I'm gonna make this 100% so we can see it better. - So then we go down to her options and you'll see all sorts of options such as changing the - color, - the size, - etcetera. - So I'm gonna at first increase the size so we can see it a little bit better. - And maybe I'm gonna change it to something a little bit darker May as more orange to the - glow case of that adds more close orange. - I really want to be seen on Put the past yet 100% um, - for the technique, - you can change from softer, - too precise, - as you can see precise. - It really showed. - You can see the letters, - the shape of the letters in the glow where software is more just like a a subtle glow. - Um, - around the letters spread will, - um, - basically feather or not. - Feather it so you can have no feather or lots of feather or no feather. - Um, - and there's all sorts of other options that you can use, - but those are the main ones, - um, - for you to play around with, - and so that's the outer glow. - And take that off. - We can do an inner glow, - so I'm going to right click and click in our glow. - Okay, - So if we have, - this is in her shadow, - meant to do in Arklow and a glow See it? - So now we have inner glow on the inside edge of our letters again, - I'm going to increase the size so we can see it better. - So this might be more you do something on a shape or something like that rather than a - rather than letters. - But this does give kind of an interesting effect. - Let's just do something completely random. - Was do like a blue glow can, - um, - change the choke, - different things like that. - We cannot drink the capacity, - of course. - And so this gives you kind of neon. - You can do something like this to create, - like a neon look. - Insurance of the color of our text. - Uh, - has, - you know, - cool effects like this. - Something like that. - And, - of course, - all these things are a key frame friendly. - So you can change the size of the choke just by by selecting the key frames on going - forward and then changing them. - Let's just play around with this. - I'm just gonna go through all these, - change them a little bit, - and I want the size to be that because I want to still be able to see what we're doing. - Okay, - so I'm just gonna run their this out. - You can see there that it kind of changes. - Glad to that. - If I make this black, - you'll be able to tell our darker you'll be able to see better. - So from that to that. - So something that you can do is a cool effect for, - um, - you know, - adding to text and I cool music videos, - something like that. - Cool. - Well, - thank you for watching. - I hope you've enjoyed this lesson about the inner and the outer glow, - and I'll see next time 32. Emboss: - Hey, - guys, - let's talk about another layer style called bevel. - And in Boss, - you probably seen this effect even, - you know, - way back when you know, - just using Power Point or Microsoft Word. - They even have some Babylon and boss effects. - The right click layer styles bevel in. - Boss, - you're getting good at this. - I'm sure you can see this subtle kind of curve to the edge of my letters Now all and do - that radio under you Radio up went too far. - So there, - you see, - this becomes a little bit more three d as well. - So this is another option. - If you dropped on the bevel and boss, - um, - you'll have all sorts of options you can change from an inner to outer bevel. - Um, - in Boss Pillon, - Boss, - I mean, - there's all sorts. - So I use this pillow and boss When I was creating a candy bar in after effects for Garrod - Ellie graphic I created a you know, - just a basic bar with some brown and I put the Gary Daily logo and I used a pillow and boss - on it, - so it created this nice kind of effect. - Let's go back to outer bevel or inner bevel. - Rather, - you can change the depth. - You can change the size, - um, - of these things to make it look a little bit more curvy again. - Soften it up, - make it less of a dramatic curve. - You can change, - you know the angle of it. - So it's coming from the left or another side of the text or whatever. - Later, - you put this on and you can change the colors of them, - boss. - So you have this, - you know, - greenish and boss or whatever you want. - Um, - you know, - changed the altitude and the angle as I mentioned, - um, - so, - yeah, - lots of options for you to use the bevel and emboss effect. - So I hope you enjoyed this one. - Play around with it. - That's how you're gonna learn and how you're going to get to know when you should use this - just by looking at it, - seeing when it fits. - Thanks for watching. - And I'll see you next time 33. Overlays: - guys, - let's talk about another layer style overlays that there's a couple that when you're gonna - look at. - So if you right, - click your layer goto layer style. - First you have a color overlay, - and this will come in handy when you just want to quickly change the color of an object you - know for text. - You can just go to your character window and change the color that way, - but for you know, - an object or image or something that's already pre made. - This is a great option for changes in color, - so you have to go down to your layer styles. - Color overlay. - Then you can just basically change it to whatever color you want and it will change. - You can decrease the opacity if you want, - so let me show you this on an image. - So let's take this awesome image of me at Disneyland. - It's pretty embarrassing, - actually, - but I hope you enjoy it. - You trying to get the sword out of the stone talents decrease the size a little bit more so - you can see my complete reaction to this. - So now I'm going to right click layer stall do color overlay. - So say I want it to look a little bit blue. - We'll do that. - She was a blue color and then drop the opacity. - So this has a blue tent to it, - Something like that. - So you can do that, - Or you can just do, - you know, - a black this will drop the opacity it or make it just darker. - Um, - so let's look at so I'm gonna take off this and then I'm going to look at my overland and - take up the color overlay. - We can do a, - uh, - later stop radiant overlay. - So as a greedy in to your image or your whatever layer you have, - you can add it the Grady int by selecting at itg radiant. - Then you click this color on the edge Looks like this one and change it to whatever color - you want. - And I will make a the great answer those colors. - So go ahead and add it. - It's like the color stop on, - and the next one on the right on something like that might look nice on a dark background. - So I'm going to just change the color of this background just like that, - okay? - And this has lots more options as Well, - you can change the angle. - You can reverse it. - You can align it with layer or not, - Um, - rating. - Smoothness if you want to be, - um, - more dramatic or not, - um, - the scale of it. - So there's all sorts of other options as well for this. - So play around with it. - Have you enjoyed this lesson about overlays and I will see you next time. 34. Stroke: - Okay, - guys, - let's talk about our last layers style. - This is gonna be a stroke. - So also in your for your text, - you can add a stroke easily by going to this option down, - hear clicking this box around it. - Um, - when you're choosing color, - you can add a stroke here and then make the pixels bigger or not. - But let's I'm gonna show you how you do it with a layer style first. - So you right click layer style, - but a stroke. - See their ads. - This red stroke automatically dropped on this drug menu. - Change the color to whatever you want. - Increase the size, - the capacity, - the position if you want on the outside of the attacks on the inside are just in the center - . - You can join the blend mode as well, - so that's great for the text. - You can also do it to images, - so I have this image of me at Disneyland, - so it's right. - Click their style stroke and then delete is overlay from the last one. - Now we have this sort of framing of my image. - So let's pick something like a gold ish color. - I guess I look good. - Increase the size so while it's a big stroke, - something like that drop the size of this. - Now we have a frame around our image, - so it's strokes are a great way to do that to any sort of layer. - Thank you for watching, - and I hope you've enjoyed these lessons about layer styles. - Have a great one, - and if you have any questions, - please feel free to contact me on the course page or through video school online dot com, - right. 35. Fractal Noise: - guys back with another lesson and the aftereffects course, - we're going through some of our special effects in presets. - Um, - that I want to show you in particular. - I mean, - there are so many in our effects and presets window. - If you don't see that, - bring it up. - Go under window effects on process. - You'll have this list of effects today. - I want to talk about the fact all noise effect, - which is a great effect for creating billowy clouds, - frothy phone, - all sorts of purposes. - I've used it for creating clouds. - I've used it before, - creating starry skies. - I've used it for, - um, - trading frothy beer foam. - So I've used it for all the different things. - So let's go ahead and start a new composition. - I want to show you a fractal. - We'll call it fractal noise. - Let's make this 10 seconds. - I don't just dropped on this size. - Uh, - it renders easily going to add a new layer and skin new layer solid will just make it Ah, - green or blue. - I don't think it really matters, - because once we add our fractal noise effect, - which we get by typing in fractal noise, - it was fractal clicking and dragging it over. - It gets rid of the blue. - Now it's just this billowy cloud. - I'll put this on full quality, - so you can see. - So this creates kind of like this smoky miss. - And then it brings up all the different options in your effect, - Editor, - over here on the left. - So if you don't see that go, - we have this effect controls tab so you can see there's different types of fractal. - Um, - so you have, - like, - a dynamic. - So this is more cloudy, - billowy. - You have what they call more smeary and all these things, - you know, - they'll come up for different purposes. - Turbulent basic, - for example. - Let's just try. - You know, - this dynamic, - progressive, - if we're going to use it for a cloud, - you also have the noise type again. - Block Lanier, - which is nice. - Soft Lanier spleen. - Explain is nice for clouds. - Um, - you can invert. - The colors are basically this creates more of, - you know, - it almost looks like water. - Um, - which is kind of a nice effect as well. - And then contrast. - You can add more contrast or less contrast and make it brighter or darker. - So less contrast, - me brightening up a little bit. - I want that bright. - Something like that, - um Down here. - Transform. - You have different transformation tools as well, - rotating and all these things that key frame a ble. - So you can, - you know, - change the rotation throughout the composition or the rotation, - all sorts of things. - Complexity. - You know, - you can make it more complex or less complex. - Um, - an evolution as well can create motion. - And that's the one I use for motion. - So say we want this cloud to kind of be transforming as time goes on, - we set a key frame for evolution at the start, - and at the end, - we will say a key frame by just well, - type in one so that it goes around 3 60 degrees. - The evolution phase and I'll run to the South so you can see. - And if you can see that it's running it slowly is moving and growing. - So it's really it's a really cool effect. - So this, - you know, - is the start of our cloud. - Um, - then So, - for example, - if we are going to use clubs, - make clouds, - let's just take our lips tool and create a mask kind of it. - I'm just gonna make a few circles on this. - I'm going to select all my mass press f to bring up the mask feather, - and I'm going to feather it out. - When we feather it out, - it gets this blue tint around it. - And that's because I saw setting her solid color is blue, - so I'm going to go upto layer sold settings. - Make that white. - So now we have this cloud that you know is transforming through the sky. - So that's really cool. - You know, - it's better than just ah, - still proof of of colors. - And like a white color, - this one is actually dynamic and moving. - Hey, - we want to add blue layer, - but we needs it The act as the sky just select a light blue. - I think this well, - put it the knees and as you can see that our cloud has this dark, - dark colors in it, - so has the blacks in it. - And that's just part of fractal noise. - So we're gonna going to have to play with, - um, - are transfer mode. - So we're gonna click this toggle, - switches nodes and go to something like I think multiply will be good to see that does the - opposite effect that I want lighten will be, - you know, - makes it really poofy. - Gets rid of all the darkness. - Screen is good, - makes it really light. - Gets rid of all the black You can scroll through these by pressing on a Mac keyboard shift - and the plus or minus. - Keep buttons. - You'll see like overlays. - Good, - hard light. - There's some different ones that will work for our purpose of getting rid of this darkness - within the cloud. - If you If you don't like that anyways, - so we'll go with something like overlay Now would be good. - So it's really light right here. - But if we make our background a little bit darker, - darker, - you will be able to tell. - See this our cloud a little bit better. - It's just like that. - But even that, - then our overlay might not be the best best option. - Maybe our screen would be the best option. - That cloud. - So like I'm doing here, - you just have to play around with your different options and come up with something that - looks great. - And this could be a start. - The start of a really great animation of the cloud, - you know, - sun popping up or something like that. - And it's all done with the fractal noise effect. - There's lots of options for the fractal noise effects will play around. - If you have any questions about it, - please let me know otherwise I will see you in the next lesson. 36. Lighting Effects: - Hey, - guys. - Welcome to a great lesson in the aftereffects courses is Philip dinner from video school - online dot com. - If you haven't already, - check out video school online dot com for lots of free articles, - podcast videos and mawr to help you make better videos. - But let's get into our topic tonight, - which is lighting in after effects. - Lighting after vice has a lot of different options for adding lights to our compositions, - and you can do a lot of things with them. - Basically, - if you're creating three D environments, - you can light different objects like it's basically like creating a set in virtual reality - . - Um, - or you could just use it toe light to T videos or compositions in interesting ways. - So let me show you how to do that. - So first I have this image of this rabbit that I photographed in Joshua Tree, - California when I was camping there recently, - and so I just laid this photo into our composition. - Before we add lights, - we have to make sure that whatever layers we want affected by the lights are turned onto - three D. - So they're three D layers, - so click that cube right there, - then go upto layer new light and you'll get this dialog box with the options for the lights - and you can name it whatever you want. - And then there's different, - uh, - types of lights spot parallel point, - an Ambien. - Um, - basically, - let's start off with the spot and ah, - we'll go through the rest later, - but the spot is the main when you're going to be using, - um, - ambient will basically add light to the entire composition at once in an even way. - But a spot parallel and point have some interesting ah forms of the light. - You can change the color of the light, - but for now, - I'm just going to use ah, - white weight light. - You can change the intensity and all these things you can change later. - So I'm just gonna leave all of these and we can see what it looks like. - So there you have our spotlight, - and when you add it, - it it comes down here to our timeline. - And as you probably could guess, - you can key frame any of these options. - So the intensity of the color you know, - the angle, - all of those things. - One thing to notice is this light that is added in our composition, - this isn't actually going to be seen in our composition if we export it. - But is there for us to easily edit while while editing in after effects So we can kind of - click this light and move it around. - So there is the positioning of it. - So this green, - blue and red arrows these air for positioning it so you can move it, - you know, - left right along the X access up or down, - or with the Z axis, - you can move it back further away or closer to our composition. - There is also the point of interest. - So this is, - um, - basically where it is pointing, - and that's this little blue dot with the line connected to the to the to the light. - And you can get to that through the transform tools down here. - You see this point of interest as well as the the ah position and all the rotation as well - , - so you can change it that way. - If you don't want to just click within your composition. - Also, - let's look at the different things you can do with light well, - such as cone angle. - You can make it wider or more narrow. - You can make it more or less feathered. - You can change the the the fall off to be, - um, - more of a squared or smooth fall off. - You can also change the radius of of it all, - um, - in the fall of distance, - Um, - and you can turn shadows on. - We'll talk about that another time, - and these other options have to do with the shadows as well. - So the main things you want look at are the cone angle, - which is how wide your or big your light is actually. - And, - um, - the cone feathering and the intensity as well, - because you can turn down the intensity if you want. - You can even go above 100 minutes. - Which starts to, - um, - make whatever the images or the subject of our light. - It starts to overexpose it if it goes over 100%. - So one cool thing that I like to do is just set up compositions, - um, - it with cool, - unique lighting. - So let's try something. - Try to do something like that. - I'll show you, - um, - some cool lighting setups. - So say we just want this bunny on the side of our composition lit up so weaken, - you know, - put our put our light up in the middle up above, - and then put the point of interests, - you know, - right where our rabbit is. - And this is pretty cool. - Um, - you know, - lighting. - Maybe we wanna have text over here on the right or something like that. - We can't animate the point of interest, - so we'll go into the transform tools will set a key frame right there. - That's where we want the light to end up. - So we'll move that to about one second, - then we'll move it. - Maybe over here. - So it looks like it's searching at the start of our composition. - And then what we're going to do, - as was in our light options, - we're going to keep from the intensity. - So about halfway through this movement, - So at one second or half a second, - we'll have the intensity be 100%. - But at the start, - we'll just keep it at Well, - lower it to zero. - That kind of appears. - Now let's runners out and see what this looks like. - So there you have it are light kind of scanning the ground and finding our rabbit, - So that's pretty cool. - Um or if you don't, - you know, - if you're not necessarily adding lights with motion, - you can just have a cool, - um, - set up. - Let's change the intensity to 100. - And, - you know, - you just have cool lighting throughout the entire composition, - so maybe you want sort of some sort of been yet ing. - So let's, - um sometimes it helps to decrease the size of your composition, - that going over to this 100% you can make it 50% so you can see more and move the light - into more unique places. - So maybe we want the light to be Damrell coming from below something like this. - Then we can decrease the cone angle, - just play around with it. - So, - you know, - you get the idea. - It's again something you just have to play around with, - um, - and figure out what lighting set up you want. - I hope you're enjoying these lessons. - If you have any questions about, - um, - the lighting in after effects, - please let me know. - But for now, - I'm just gonna let you play with it. - But let me quickly show you the other lights so we can change this light. - So, - for example, - let me just make this a little bit bigger. - We'll put this out 100%. - I'm just gonna change it to parallel, - So this is basically very wide light. - So it has different. - Um, - this is kind of a different effect in the spotlight. - You can choose the point, - which is, - um, - also similar to parallel. - It's whiter than the spot light. - It's when you can change the the with. - But by changing the radius, - then you have ambient, - which is basically just, - uh complete, - like it affects the entire composition. - Um, - and it's just for adding, - you know, - making your composition a little bit brighter. - Say you want one reason you would do this is say, - you want the whole thing lit up, - but you also want a spotlight on our rabbit, - so you wanna be be able to see everything, - but you want the rabbit to be the main thing that you see. - Then you can add a second light will shine the spotlight down on a rabbit, - something like that. - And there, - unlike before, - where we didn't have the ambient light or it was just the spot lit. - Grab it. - Now you can see the rest of the composition, - but you can also. - But you you're high. - The rabbit is highlighted. - You can turn down the ambience or not turn it up. - But of course, - you have to be careful, - because when you're adding multiple lights together, - you can get things to parts of your composition to be overexposed. - As you can see here, - it's getting too bright because it's adding both lights together, - so we'll turn that down. - So as you can probably tell, - there's lots of things you gonna do with lights and there's lots to learn, - but it really takes playing around with them and just practicing. - So get to it and let me know if you have any questions. - Thanks for watching and have a great day. 37. Text Effects: - uh, - everyone, - welcome back to a new lesson in a new section. - We're talking about some preset effects that aftereffects comes with, - and I'm just gonna go through some of my favorites and show you how they work. - Basically, - all the effects kind of work the same where you just applying them to a layer and then you - you can edit them, - tweak them, - adjust, - but some arm or preset. - And today I'm going to be talking about some preset text effects. - So first, - I'm going to write out a sentence just to give you an idea. - So these are some preset text effects. - So back in action. - So we have These are some crease that text effects in your effects and presets. - You'll notice this animation presets drop down menu going and drop that down and there is a - text option. - Now, - these are tons of three like three D non three D text effects. - Let me just show you basically a couple of them and you'll get the idea and you couldn't go - through the rest Decoder fade in. - This is a really cool one. - So you just click drag and drop it onto our text as you can see our text disappears. - If you present you while you have your layer selected, - you will notice that there are now two key frames and that those are automatic key frames - set by the preset effect. - If I render this out, - you'll see what is basically going on with this animation, - so you'll see that it's kind of popping in like a Dakota is going searching through the - letters. - And when it finds the right one, - it pops up. - So it's taking a little bit time to load and play, - but you'll get the idea really cool effect. - I've used this when I was making sort of how to commercial for some police company that had - some new software. - So pretty cool to get rid of an animation effect. - You want to make sure that you go under and delete the animator. - So you didn't have toe clothes, - close the layer and then reopen it to see the animator. - Just delete that. - Okay, - I'm going to make this quality half, - so maybe it renders a little bit faster next time. - All right, - So now let's do, - uh, - well, - try this pop buzzwords. - As you can see, - we got some key frames coming up. - So now this one is going to pop some buzz words every 15 seconds or 15 frames. - And so let's see if we have some. - You have more options. - You can change the path you can. - I believe you should be able trains of texts. - Well, - uh, - I see. - So, - yeah, - you can change the you ca nbae sickly change the text by just going and in and changing it - when you change it. - A word. - A new text pops up on your key frame down here, - so let's watch this Render it out. - Hello? - Wait. - I guess so you you get the picture. - Okay, - let me dio another one. - So here is some text. - Let me make it a little bigger so you can see it better. - I was do something a little bit more smooth. - Slow fade on. - Click my layer. - Press you to see the key frames under it out. - So this one, - it just makes this nice slow fade on so that those are some enemy in, - um, - options. - There's tons more up here, - as you can see. - Let's do an anime out one just to show you what that is. - So you stretch out each word so again you can see the key frames and can increase or - decrease the length of the key frames to make it slower. - Faster. - So there you have it, - the text flying away, - stretching away. - Okay, - then you have all sorts of other texts options. - So let's do this pulsing strokes under filling stroke. - We'll see here it kind of balances. - So all these effects are kind of good for, - um, - music videos or motion graphics or connect topography. - Something like that. - Look under organic. - So let's try this boot chewing gum. - I haven't even looked at all of these honestly, - Um, - because there's just so many so crazy effects. - So these are all things that you could build out on your own, - using stretching and change in size and opacity and all sorts of things like that. - But these precepts of facts and make it so easy. - Teoh add cool effects. - I use a lot of the anime in anime out. - Let's just look at the three D text to show what that looks like. - We'll do a three D flip and rotate in rotate acts, - so that's pretty cool. - Awesome. - I will. - I hope you get the gist of that three text preset effects under text under animation - Presets in your effects and presets for presets Folder Thank you for watching and have a - great day. 38. Stabilization: - Hey, - everyone, - let's talk about another advanced technique you can use after effects, - for we're gonna stabilize some footage something that most amateur and most professional - filmmakers have to deal with on a constant basis. - Shaky footage and aftereffects gonna help you. - So, - for example, - in San Francisco, - I took the shot of these sea lions out, - um, - in the harbor, - I said, - Let's take a look at it. - As you can see, - it's shaking up and down. - You know, - you got these night the nice motion of the sea lions sitting on the doc. - But it's shaky, - and that's kind of annoying. - It just looked. - Makes me look amateur, - but I'm gonna make myself look like a pro now. - So I brought it into my aftereffects composition, - and I put it into a new composition. - As you can see here, - it's still shaky. - Easy solution. - Make sure that your tracker windows open, - just like we were using to track motion. - Then you just click this stabilize motion, - but in it's going to analyze it and basically do it automatically. - And I already did this. - I'm gonna show you, - um, - what it looks like after analyzes, - and it'll take a couple minutes, - it'll go frame by frame. - And basically, - how it does it is that it tracks certain points and it will smooth it out by moving this - video up and down or rotating it so that it looks like it's still so let me show you. - Whereas guys. - So here is the analyse footage and it'll run her out. - And there you have it nice and smooth. - No up and down shaking motion a little bit. - Bit of a nice till up and down. - And let me show you the original again. - Lots of up and down shaking. - No, - Bueno, - this is boy, - No perfecto. - And you know, - you can change these settings. - You could make it more smooth or less move. - So I'm gonna make it. - Let's see what happens when I do 127%. - Smooth this and render it out. - Um, - you can change how it how it, - um smooth with the framing. - I in here, - you know, - 127%. - It looks even smoother. - So it's really awesome. - So you could change this to stabilize only in stabilize crop stabilized, - synthesized edges, - stabilized crop auto scales. - The automatic one that it it chooses, - and it's probably the best. - I would say you could, - uh, - do different methods as well. - You can use position, - scale, - rotation, - and this does a good job as well. - So let's render it out and see what it looks like. - So again, - almost identical. - But for different shots, - you're gonna have to play around with the different options. - Um, - and see here the the result. - You can choose smooth motion or no emotion. - Sorry for the dogs and the sirens in the background. - But basically, - um, - you know, - there's so many different options, - this one, - there's no motion. - You don't see any up or down motion of the camera so that if you want that kind of shot, - you can get that kind of shot. - But this stabilized motion option is a great tool toe have, - and we're gonna use it, - I assure you, - if you're making lots of videos, - so thank you for watching. - I'll let you stop listening to my crazy neighbour dogs and I'll see you next time 39. Creating a Starfield: - Hey, - everyone, - welcome back to another awesome lesson. - We're going to go over another effect called Sisi Starburst, - And this is a great way to create a ah star field or creating an a warp speed effect going - through stars. - So let's go get into it. - Started new composition called stars going to add a new layer solid. - We're just gonna make it white. - Okay, - Okay, - Then we said the cc starburst to it. - And as you can see, - it's got these. - Uh, - they look more like balls, - but we can change that. - And if we render it out, - you can see you're kind of going through this star field again. - Like all effects, - we have some options up here. - In our effect control panel, - you have a scatter which will make you know, - if you increase the scatter, - there will be more or less stars, - the speed of which you're traveling through these stars. - You can affect that too. - If you choose zero, - then it means it's just still, - which is something you might want. - The phase also will affect, - um, - different movement of the stars so you can keep frame that to create movement if you want a - swell grid spacing. - This will increase or decrease the size of your stars. - So if you want really big ones or small inns, - if you want more like a star field, - something like that might might be, - well, - better one. - And then you can also decrease the size as well, - so it might be hard for you to see. - But, - um, - hopefully you're watching this in HD, - but with a grid spacing of one and the size of 33.0, - you get this really nice looking star field and rendering it out. - It's actually hard for even meet it T. - O. - C. - Because just this preview, - even though it's full quality previewing the these very small particles, - it doesn't show up in the preview as well. - So you just have toe look at it when it's still like this. - Um, - but again, - you can set some key frames if you want, - with the phase said a key frame at the start and just rotate a little bit. - Then, - as you scroll through this, - you can see that there's a movement, - um, - in thes stars. - That one is really fast that we don't want that much movements. - I'm gonna get rid of this last key frame going to the end, - and I'll just increase it by a few a few degrees rather than full phase rotations. - And still, - this is rotating really fast. - That might not be the best way to create motion. - You might want to just, - um, - play with the size or the rotation. - That's another great thing to do. - Is using rotation to add a little bit to your composition? - Starcom Composition. - Um, - and it'll slowly rotate, - and that looks really nice as well. - So stars are a great background. - Um, - like I say all the time. - If you are using after effects for a while and you're doing projects, - um, - and creative projects, - at some point you're going to need to create a star field. - So cc starburst is one of the best ways to do that. - If you have any questions, - please let me know otherwise. - Have a great day and we'll see next time 40. Tracking Motion 1: - Hey, - guys, - Welcome to an awesome lesson in the after effects course. - This is Phil. - Revenue from video school online dot com. - Thank you for joining. - I hope you're having a great day. - I am having a terrific day. - I actually have a full time job at the moment. - And I was able to go in early to work and leave early. - So it's a nice, - sunny day year in seven California, - wherever you are. - I hope you are enjoying it. - The weather is heating up here right now in spring. - Of course, - you could be watching or listening to this at any time of the year at any point in the - world, - so it might be winter, - and you might be Snowden right now. - So either way, - I hope you're having a great day today. - We're gonna talk about motion tracking something that is an awesome tool that aftereffects - is after. - Effects is an awesome tool for motion tracking. - Um, - and so I have this clip right here. - I'm going to bring it up from San Francisco way. - Have this bus. - We have this bus going by the Golden Gate Bridge. - Watch it one more time. - So say this is an ad for the tour. - Both company and they want to track this bus and maybe add a little bit of, - uh, - text or something above this bus. - Well, - I'm gonna show you how you do that. - So I import it into my after fact. - Actually, - I'll just show you exactly how I do that. - Click drag, - drop, - rename, - pressing, - enter present sanfran. - But I'm gonna drop this into a new composition by just clicking and dragging it over this - create a new composition, - but in you have to make sure that your tracker is opens down here in the right corner. - Um, - so make sure you go upto window tracker and then I'm just going to, - uh um short of my work area to about five seconds to about where this bus is, - or maybe four seconds. - This clip is only gonna be four seconds long because I don't only want to track it until - the buses right there. - Obviously, - if this was a real issue, - I would have had a better shot of the bus going across the bridge in with, - with it being clearer. - And so I hope this is gonna work. - But see, - it's very foggy. - It's, - um, - not too detailed. - And we got these poles sticking up, - so we're going to see how the tracker works. - But I'm gonna bet you that is gonna work. - Great. - So the next thing you want to do is add a new Noel object. - And if you remember from Arthur three D Camera Lesson, - a Newell object is an imaginary object that we're just gonna place into our our composition - and why we're going to do that is because when we track our emotion, - basically, - um, - well, - set a point on our bus. - Then across time, - it will track it as it goes down the highway, - and it will set a key frame for each of those points, - and you'll see when I do this in a second. - But then you have to do something with those points. - You can either apply them to a layer such as attacks text box or an icon that you want - flying over this bus or we're doing whatever or you can apply it to a null object and the - null object you can. - Then you can then parent a Tet, - a layer of text, - or an object to your Newell object so that's a lot of information. - And I'm sure you're very, - very confused. - So let me just show you what I'm doing. - So first you have to go to your tracker down here and I'm going to click track motion That - brings up this new box and has this little track point option right here. - So I'm going to you see, - there's a plus sign two and two squares. - The inner square is basically the object that you want to track. - You want to put the point exactly where on the specific object you want to track and then - the square box around whatever else is moving, - and then this outer box kind of it. - It serves to, - um basically digest whatever information is going on outside of this box and determine - whether it needs to move this track point or not. - So let me show you. - So you click and move and you can see a creates zoomed in version for you. - So I'm gonna put it over this The bus you can see here. - I'm just gonna put it over the top of our bus because that that is easily seen throughout - our video piece, - something that I'm gonna make this a little bit smaller. - The bigger the boxes, - the more time it's going to take surrender. - I'm gonna edit Target down here and it brings up this motion Target box Layer No. - Four. - Yes, - I wanted to the target to be no floor. - Then what you want to do is analyze, - and I just use usually press this analyzed forward. - You can do analyze one frame forward at a time, - but I just do analyze forward this play button and we'll see what it does. - And as you can see, - it's moving with the bus right now as the time goes by. - So it's gonna keep analyzing and trust that bus as it goes down along the Golden Gate - Bridge. - So let's keep going, - going, - going. - And, - as you can see here, - the wind is blowing in the trees. - It was a very windy day when I went to San Francisco. - I actually went to the Golden Gate Bridge twice, - two days in a row, - and both days it was foggy and I stay. - You know, - you still couldn't see anything. - Um, - so it was kind of a bummer, - but I'm going to be moving up there soon, - so I'll be able to get good views of that. - So there you have it. - You see all these track points, - they appear up here in your viewer. - And also, - if you drop down this menu and dropped on motion trackers and then tracker one and then - track 10.1, - you can see that it has created key frames for all these points. - And basically it's tracking the motion I'm going to then do apply, - press apply, - and that's gonna bring up this option. - And it says apply dimension to X and Y, - and that's gonna apply it to the Noel object. - So it's gonna basically copy these key frames to the no object. - And so the no object is going toe move along with this tracker. - Obviously, - that's all imaginary right now. - But then you can dio um, - you can either just do the X and y axis trackers or just accidentally, - so it'll only go across, - but it won't go up and down with the bus or y only it will only go up and down, - but no, - not across the composition do X and y so now are no object has a position. - Key frames on it and it goes across as it goes across the bridge. - The null object you can see here. - This red square, - although it's imaginary, - is represented by this red square. - It goes across the bridge. - All right, - so that is a lot of information. - And that's how you track motion. - But then what do you do with this? - Well, - I'm gonna wait and show you in the next lesson because I want you guys to take a little - deep breath. - Re watch this episode if you need Teoh and then just get a snack, - you know, - take a break, - take some deep breaths, - and then come back and watch the next lesson. - Have you? - I hope you've enjoyed this one. - I really have, - and I'll see you next time. 41. Tracking Motion 2: - Hey, - guys, - this is Philemon or back with the follow up s episode tutorial to arch motion tracking - tutorial. - So this is part two. - If you haven't seen part one, - please watch Part one. - So, - in last episode we tracked this bus going across the Golden Gate Bridge, - and we applied the motion tracker to our Noel object. - So what do we do now? - Well, - if you're making, - why do you track motion? - While one thing is to apply a lot of effects to an object. - So say this was a bus that was, - you know, - in better view going across the frame. - What? - One thing you would be able to do is maybe, - you know, - add some people sitting in the bus or add someone you know, - if you tracked someone's head, - you can add a hat or something. - So it's basically by motion tracking your ableto add some effects to something. - Um, - because otherwise you would have to put, - you know, - say you wanted to put a hat on one of these guys heads. - You would have toe frame by frame, - move it as the bus goes along, - and that would take too much time. - Motion tracking automatically does that for you. - So for us, - we're just gonna I'm just gonna show you a couple quick examples of what you can do. - First, - you can do, - like a text layer and have that track over the bridge, - so? - Well, - um, - maybe that's so going along with our previous job. - Where making ah, - uh, - an ad for this and for the bus tour bus company. - So we just wanna have this tour bus tours daily, - you know, - type going over. - So a career new don't like that. - Oh, - just scroll through some of these a while. - That's super cool. - Um, - okay. - So Franklin Gothic six with a lot of letters beneath it were behind it. - I don't exactly what this one is. - I'm just gonna put that right there. - Then I'll add a little bit of stroke. - Maybe just toe add something a little bit more, - making a little bit more interesting, - and we'll make the stroke a little bit bigger down here. - No, - that big. - Ah, - a three pixels. - Something like that, - I. - Then what we wanna do is make sure we place it wherever we want it over the bus or under - the bus. - May we can put it under the bus I like over the buffet bus is easier to see in the fog up - here. - There. - Then we're gonna parent it to know for, - So you can use this twirly gig thing. - Or you can just drop down this menu right here under parent. - And then if you don't see that, - make sure you press toggle switches modes, - um, - but actually used to see that otherwise anyways, - and now it is parented to the knoll. - So as it goes down, - it goes across. - So let's render this out and I'll show you what it does, - so it's rendering. - So, - as you can see, - you can already see what is gonna do. - It's going to basically move our text across bridge as the bus goes away. - So it's a little bit jerky. - Um, - but it gives you the effect of this text following this bus so we can do you know another - thing. - We can add a new layer solid, - and we'll make it, - you know, - maybe this bright orange. - Then I'm just gonna take my pen tool and create a quick object. - Okay, - I'm going to actually duplicate this. - I'm gonna bring up mask across Mm again. - And I'm going first. - Change the solid settings all ago. - Layer solid settings and change the color too light yellow. - She'll make it a different color to give it more contrast on light. - Bluish green. - I'm going to bring up mask expansion, - dropped the mask expansion. - So it's kind of like a marker on a map. - So that's super quick. - I'm going to parent this blue to the yellow so that it stays with the yellow. - Whatever. - I do that to the yellow object. - I'm gonna make this smaller. - Then I'm gonna go back on the timeline. - I'm gonna put this. - Maybe I'll rotate it around something like this. - Maybe it would be better for was an aero or something. - And then I'm going to parent. - It apparent the yellow to no object. - Four. - Maybe it might be smart to rename no logic for two tracker or something like that. - And so now we have this object following the bus. - So you get the idea there. - Cool. - Well, - I hope you learn a lot from this lesson and, - you know, - go crazy with it. - Um, - it's a cool way to add text to things. - You know, - you've probably seen videos where the Texas following a person walking or something like - that. - So this is a cool way to do that. - Thank you for watching. - If you have it in questions, - please let me know in the course page or on video school online dot com. - Thank you for watching, - and I'll see you next time. 42. CC Page Turn: - Hey, - guys, - it's Phil back with another awesome lesson in the after effects course today I'm gonna show - you an effect that I really like on one that I'm sure you're going toe like as well. - It's called CC page turn. - So, - um, - if you look in your effects and presets panel, - if you just type and page, - it will come up. - And basically it will simulate a book page being turned or a she or something like that. - So you can do this to you can add this to complete compositions. - Two images to, - um, - basically any sort of layer that you have. - So here I got this awesome picture of myself at Disneyland. - Uh, - enjoy this one and you can see me. - I had rotated using are to bring in rotation rooting at 90 degrees, - bring up size to decrease the size to something like How about like that 34. - So I take C c page turn, - drop it onto my layer, - Then up here in my effects control, - you'll see some options pop up and you'll see that it starts the effect at this kind of, - um, - motion. - You can see the bottom of my photo about to be turned. - Uh, - there's lots of different controls that you can have up here. - Um, - and let's go through them. - So on the top, - full position. - If you click this little icon right here and then you drag your mouse over here, - it brings up this big cross. - Then you can click and you'll see this little circle with a cross. - A cross it. - If you drag us around, - you will notice This is the actual animation of your page turn. - So if you have it completely down below are at the bottom of your image, - there is no page turn on. - You can see that as you move it up across your composition, - your image turns flips. - And this is basically how we're going to create the animation. - We're going to a key frame this the full position. - Um and, - um, - animated that way. - But first, - let's look at these other ones, - like full direction. - You can, - um, - change the full direction to, - you know, - fold from the left or the right side for the topper bottom corner from directly below, - or something like that. - So that might be kind of cool if it was from the bottom. - Um, - and yes. - So I think you get the point right there. - You might have to move the position just to get a better view of what this will look like. - So, - see, - I move that down here and now I can really tell that the fold starts from the bottom right - hand corner. - Okay, - Fold radius. - This is basically how big the fold is. - So if I really increase this toe like 2 32 you'll see that it is smaller. - And so as it folds up, - the fold will be smaller. - Then, - if it was this smaller number, - actually, - you can change the light direction. - This basically creates the lighting on the back side of the fold. - Um, - so I'll show you this the lighting direction, - you'll see kind of changes with that. - And, - um, - the back page right here. - You'll notice you can have none. - No back page. - Or it will be the, - um your image or your layer, - but reversed on the backside. - And you can change the opacity to like 100%. - Or you can even change the color of the the color of the back page. - So say I want that to be white. - You can do that and change the back page to none. - It's in there. - I have a white back, - the render front and back page, - back page or front page. - This will allow you to just see what the front page or the back page or both pages. - And then Now let's create this animation. - So first we want our say. - We do want this coming from the bottom right. - We set our full direction, - are radius, - and that's everything else. - We take this circle with the dot and the circle with the tea or crossing in it and put it - down near the bottom right corner so there's no turn. - Then we'll see. - Click this stop wash next to fold position. - Click on your layer down here. - In the timeline, - impress you and you'll see that this key frame comes up and go forward. - However long you want. - Make sure you have. - You can click on this full of position and this circle with a cross will pop up. - Then just drag it until wherever you want it to end. - Some just gonna drag it until it goes off screen completely. - So when you render this out and show you what it looks like there you can see my paper, - my photo flying away with a cool effect like that I've created. - I've used this effect to create, - like a calendar flipping by with different sheets, - you know, - with the months or the days flipping over. - I mean, - there's all sorts of things that you can use this for if you want to create an animated - book. - And when I paid, - turn the page, - that's a really cool effect. - So I hope you understood everything I went through. - Um, - let me know if you have any questions or or you have contact me through video school, - online dot com or through the course page. - Thank you for watching and have a great day. 43. Transfer Modes: - Hey, - everybody, - welcome to a quick lesson on transfer modes in after effects. - This is something that I use a lot when I'm editing in after effects. - Basically, - if you have layers, - you'll be able to see if you use this toggle switches modes button at the bottom of this - mode. - This blending mode, - um, - options. - So they're called transfer or blending modes. - And if you've used photo shop you've probably seen is before and basically is different - ways that your layers are basically seen on top of each other. - So let let me put another layer on top of our rabbit. - Here, - let me find an image of another image. - I mean, - let's go into my photos really quick. - Just fine. - One really quick of this Joshua tree. - This is good. - So let me put this Joshua tree over our bunny, - and you can see here if I change this from normal to multiply, - you can see our bunny through the sky, - so lighter colors are kind of, - um, - there's more. - See through. - I use, - uh, - lightened. - You know, - it's a different version or different ah style, - where the dark colors and my Joshua tree image are now invisible or transparent. - You can scroll through these on a Mac. - If you're you press the shift and the plus or minus buttons just like so and you can see - them. - It's scrolling through is you have lightened um, - overlay, - which is a cool one softly in your hard light, - all sorts of of different modes. - Um, - one cool mode is the women Get to it stencil, - which lets see Stencil aapa I'm gonna have to use another. - Um, - let me get get a shape or let's get some texts going and I'll show you how that works. - So let me just rabbit is put that over our rabbit and by changes to stencil. - Now our image is seen through the text and you can do this with shapes or different, - you know, - images or icons or whatever. - Texas, - Obviously. - So let me show you this with shapes. - I'm just going to the new layer solid. - We'll make it like a blue up until this use the mass tool to create a bar across. - And now if I just scroll through the transfer moods, - you get some cool effects. - So you have this. - Some of them are very similar. - It or exactly the same. - Um, - and you just have got have to kind of play with them, - um, - so that you can get to know what they do. - And then once you know what they do, - like you'll know, - like Okay, - well, - I I definitely want on overlay here. - A soft in the near or whatever. - Um, - so you can use them. - You can do multiple. - Um, - you can have multiple layers with different transfer modes. - So let's try overland. - This or something like that may well, - I create a mass so that it's like the image is only down at the bottom. - You know, - whatever you want, - you can create some cool effects with the layer modes or transfer modes rather or blend - modes, - and that is again under toggle switches modes. - And then just under this mode, - drop down menu to play around with that, - have fun, - and I'll see you next time 44. Working with Premiere Pro: - Hey, - guys, - let's get into some advanced topics things that you might not be using in the near future - if you're just starting out, - but things that you should keep in mind for in the future when you are doing more advanced - projects. - Uh, - for this lesson, - we're going to be talking about how you work with aftereffects and premier and how you can - work with them together. - Basically, - since they're both Adobe programs, - they can kind of talk to each other in a digital sense, - and it's a great way Teoh toe work. - The workflow is is really great. - Um, - when doing so rather than having to export Ah, - quick time movie from after fax than import than into Premiere Pro. - You can basically just bring in composition and have it be live within Adobe Premiere Pro. - So if you edit it in after effects, - it will update in Adobe Premiere Pro without you having to do anything. - So how do you do that? - So if you're in Adobe Premiere Pro, - you can go up to file Adobe Dynamic Link and then do new aftereffects composition, - and that will open up a new composition within after effects. - But we're going coming from after effects. - So if we have a project in after effects that we want to bring into Adobe Premiere Pro, - what we can do is just click and select the the composition in your project folder. - I have it clicked and and I'm holding it. - Click. - Then you can tab over to Adobe Premiere Pro So there's a little tricky on a Mac you press - command tab on a PC. - You would do control Tab and I will tab over to Adobe Premiere Pro. - Then you just drop it in. - Adobe Premiere Pros Project Viewer Now we have this adobe dynamic linked after banks - composition within heart and Premier Pro. - So you can drop this down onto our composition or you can drop it and start a new - composition with it so it will open up in a second as it works. - OK, - so there we have it in Adobe Premiere Pro. - We can render it out. - Watch it, - etcetera. - Let's say we want to add something in after effects. - We can just easily go back toe aftereffects. - We'll add our title whatever you want to call it, - whatever effect you you have, - you know, - if you need a change. - Stopped something changed the timing. - And then when you go back to a deal, - be Premiere Pro, - it will automatically update pretty awesome. - Um, - say, - for example, - you want to create. - Here's another way to create a new composition. - A new aftereffects project from Adobe Premiere Pro. - You can go new I item. - You can really do any of these, - but I usually do black video. - I'll put it down my timeline and then set it for however long. - I want my, - my, - uh, - aftereffects composition to be right, - click. - And then if you go down down below, - it'll say replace of after effects composition and it will open up a new composition in - after effects and say we at our text or whatever text, - text, - text changing color so you can see it. - Tex text. - Okay, - and then we go back to Adobe Premiere Pro, - and it shows up in our composition. - So is alive and easy to edit. - And you don't have to export and re export and import and reimport Thank you for watching - and have a great day. - Let me know if you have any questions right 45. Working with Photoshop: - Hey, - guys, - Welcome to in advance topic in after effects. - Today we're gonna talk about how you can you use photo shop and after effects together. - So I'm just gonna start a quick composition. - We'll just call this photo shop and say you want to create an object or, - you know, - even just like a ah text layout or title design or something like that. - But you work with Photoshopped better, - or you already have a Photoshopped file or a project that you wanna work on in photo shop - while you work on it in after effects. - Well, - it's really easy to do that in after effects. - If you go up to file new and then adobe Photoshopped file you, - it will ask you where you want to save it. - We'll just call this, - um, - test, - and then it will open up photo shop, - and it will open up a file that is the exact size of your composition, - which is really great because it's way easier than trying to figure out what the size of - your composition is on going back and in putting the pixels or things like that. - Um, - this automatically does it. - So now we can go into Photoshopped, - which who knows, - maybe you're a little bit more familiar with We can create our our, - you know, - shapes or textures or layers or compositions or whatever we want. - And then basically, - when you're done with your composition, - so say, - let's let me just give you a practical example of what this would look like. - So I'm just gonna move that down there, - OK, - so I'm gonna take some black circles and quickly Oh, - I'm creating new layer Italy, - this other one now take my shaped tool. - And of course, - if you don't know how to use the photo shop, - then you're gonna have to learn out of you use photo shop, - um, - Korean new layer another circle. - And I'm going to create too Mickey years. - So now we have a Mickey Mouse, - and maybe for you, - it was easier that created in put a shop in, - then after effects. - When we save this and we go back to our aftereffects project and you will see test is here - in our project folder and now you can just bring in your you're Photoshopped Project. - Say you need to make changes than we will. - We can do that You know, - you can, - um, - on the nose or whatever you want. - Um, - and then at a couple eyes, - these this does not look like thank you at all, - but you get the point. - Save it again, - then go back to our after effects. - Make sure we save it on. - Go back to her aftereffects. - Then we should be able to right click our test right here in the product file. - Do reload footage and it will update it to whatever. - The latest version is that you you saved. - And it's a great way. - Ah, - to work with Photoshopped and aftereffects together. - You don't have to save out the Photoshopped file and then import and then re save another P - and G or J Peg or whatever it is. - You can just work within Photoshopped and after fights at the same time. - Thank you for watching. - I hope you enjoyed this lesson and we'll see you next time 46. Pre-Compositions: - Hey, - guys, - this is Philip dinner with video school online dot com, - and we're back with another great lesson in after effects, - talking about another, - more advanced topic called Pre composing. - So, - as you know, - we're working in compositions and a pre composition means it's basically working with - compositions with in compositions. - So in after effects we have all our layers, - but we can actually add other compositions into our timeline. - So, - for example, - we have this three camera composition. - We could just bring this write in to our our timeline. - And then from here we can just go ahead and double click it, - click it to edit this composition. - Whatever we did due to that composition will appear in are other composition, - so it's basically layers of compositions. - But to pre compose means, - we can select certain parts of a composition and turn it into a its own composition. - And I think the best way to do it is to, - uh, - show you how you do it. - So whatever, - um, - parts you want to pre compose, - for example, - in this composition would be great to pre compose these three layers of grass in the front - as one image. - So we can select the layers right click and then click pre composed. - I will ask you to name You are a pre composition and it will also ask you to move all - attributes into the new composition. - Yes, - you want that you can have it open automatically or not. - And we'll do that so it opens automatically. - And now we have this composition with just our grass. - If we want to go back to our other composition now, - our grasses all in one layer. - This really cleans it up rather than having three layers of grass Now just one layer we can - color coordinate this. - Make it green. - So you know that's the grass, - etcetera. - We can also do that with the clouds. - For example. - Another way to pre composes by pressing command shift. - See on a Mac or control shift see on a PC will do clouds. - Now we have a composition with just clouds. - Say we can also pre compose all of this into a competition and we'll call this the dog - house animation. - And why would we do that? - So we'll go back to our practice now. - We can, - you know, - do something interesting with this composition. - we can put it in, - make it smaller and maybe at a new layer solid will do a new maybe something a little bit - ghoulish beige orange, - something like this. - Put it underneath our dog house. - Now it can decrease the size. - We can add a drop shot. - Oh, - by right, - clicking layer style, - drop shadow or whatever you want. - Then we can add text up above. - This is your story. - Whatever you want. - You know, - maybe title your composition black. - And now our doghouse composition is in this little box, - so it's kind of cool. - You're gonna add all sorts of other effects if you want, - but that is what pre composing is and what pre composition is. - And it's just a basic way. - Two or more advanced way to organize your footage and your layers. - Thank you for watching. - And please, - please, - please let me know if you have any questions. - Otherwise, - have a great day and I'll see you next time 47. Freeze Frames: - Hey, - everyone, - this is Philip near back with another awesome lesson and section inthe e aftereffects - course. - Should they were going to be starting to talk about time and what that means in after - effects and how we can control time and after fact? - Sounds pretty cool, - huh? - Well, - let's get straight into it. - These are gonna be some quick lessons. - So you because the top topics are rather simple. - So we were using this SANFRAN footage to look into stabilization and some other effects, - and we're also going to do the same for time. - I just drop that down into a new competition. - All this Nate rename is Composition by pressing, - enter and rename yet time. - So I know what this is all about. - So we have our timeline down here, - and, - um, - you'll come into certain times where you have a video footage and you just want to create a - freeze frame from it. - That's what What we're gonna be learning in this lesson. - It's really simple. - You just right? - Click on your layer, - you go to time appear and then freeze frame. - This creates a freeze frame from wherever your time pointer Waas. - Let me undo that So we want. - Ah, - different time. - Freeze! - Frame something. - Maybe. - Were the bus is right about here? - It's pretty good. - What's freeze frame that we're gonna read? - Right? - Click Good a time. - Freeze frame. - There you have. - This increases key frame right here. - That is a freeze frame key frame. - You can also get to this option by going upto layer time. - Freeze frame. - Cool. - Well, - that is the freeze frame option. - You can also do this with compositions, - for example. - Um, - let me bring in one of our compositions. - Say we have. - So we have our doghouse animation right here, - and we want to freeze frame it. - Uh, - right at the start. - Right there. - We can right click. - Quick time, - then go. - Freeze frame And it freezes this Kump position to this freeze frame. - Cool. - That's freeze frame. - Next, - we're gonna talk about time stretching and time reversal. - We'll see then 48. Stretch & Reverse: - Hey, - so let's talk about time reversal and times stretch. - So this is another aftereffects lesson. - Philip near here with video school online dot com. - Check it out. - So we have our SANFRAN footage of the bus going across the Golden Gate Bridge similar to - last time. - You can just right click SANFRAN are layer whatever layer you want to add this effect too. - Go to time and then choose your option from this menu. - Or you can go up to layer as long as you're layer is selected down here in the timeline, - go to time and we will do time stretch. - You'll come up with this options menu where you have a stretch factor of 100 which it - starts at. - It's basically a percentage and, - um, - then you just type in your number. - Whatever you want to be, - say 1 50 that will stretch it out to 100 for 50%. - Or you can do, - um, - change the time of it. - So say you want this clip to be, - um, - sped up, - you know, - five seconds, - you can do that and it changed it to 51% of the time. - So then you select okay, - you'll see that it short in this clip. - Let's just play it and you'll see that it is sped up. - That's rendering right now and again. - Time remapping or stretching time, - Um, - or squeezing time, - which is what we're doing right now is gonna come up if you're using after effects. - So let's watch this Get the beach ball Death for a little pit. - Sorry about that. - Um, - okay. - It's rendering kind of fat, - funky ring out. - As you can see, - everything's moving really fast all through the opposite. - I'm gonna under that right click go up to time, - Time Stretch and I'm gonna make it super slow. - And of course, - it really depends on how good of a camera you get. - What you were shooting at. - What frame rate? - What settings? - Um, - it depends on that. - How good your footage is going to turn out depends on it. - Um, - so you can't just stretch everything by 5000% and I think it's gonna turn out fine because - it's gonna be choppy. - It's gonna look jumpy and right here, - even at 300% it's trying to do it as fluid as possible, - but still choppy. - The bus gonna Jeter's along. - So when you're shooting your video and if you know you're gonna want to do it in in slow - motion and make sure you're shooting at, - ah, - fast frame rate Um, - at 59 97 or 60 I is a good frame rate Teoh to shoot at and, - um rather than 24 or 23 98 whatever you're using, - Um, - and also, - you know, - the best camera you can get. - Basically, - if you're shooting slo mo, - so that is time stretch. - I hope you understand that time reverse layer. - This is a simple way to basically reverse. - Your footage may go backwards, - and this is another cool effect. - So as you can tell, - it's taken a while to surrender. - So I'm just gonna drop down this quality menu down toe third, - and that will make allowed to render a little bit faster. - As you can see when you're adding these, - you know high quality effects, - such as time playing with time. - It takes a long time to render, - so it's not easy stuff right here. - I'll just play it so you get an idea, - so it's kind of hard to tell, - but these people are walking backwards up here, - which went, - is long backwards. - The wind is going this way, - but the leaves of the tree are blowing that way. - So that's kind of a cool effect, - actually. - Right there. - Cool. - So that is time, - stretch and time reversal. - Next, - we're gonna talk about time remapping that will close out this section on playing with time - and after effects. - Have a great day, - guys. 49. Time ReMapping: - Hello and welcome to another lesson in the after effects course today. - Let's talk about time remapping. - This is the most customizable way that you can edit time in after effects. - For this EPS episode or tutorial, - I brought in a new piece of footage from a bakery, - one of the most famous big grease in San Francisco, - right down in the WARF, - where you can watch these bakers, - you know, - make these beautiful pieces of art basis. - That's what they are. - They make these animals shaped out of our. - It is pieces of Brad she shaped in the like animals. - And so what is time room mapping? - Basically, - you get to it through layer time enabled time remapping or just right clicking your layer, - going up to time and selecting enable timer mapping. - And you will see that as this effect time remap and as a key frame at the start and at the - end of your clip. - And so what is time remapping? - It's basically it gives you the ability to edit time and speed with key frames with your - foot for your footage. - So basically right here, - there's a key frame for the start of this clip and here there is a key frame for the end of - the clip. - And let's just dive right into it. - Say, - I said a key frame right here, - then this whole thing is gonna going to still play at normal speed. - So let me render out a little bit more so you can see. - So it's kind of fast and sorry for the shaky footage. - So it is just typical speed. - If I move this though forward, - what does that do? - It takes the time between here where this key frame was this one second and I move it to - two seconds. - It makes that one second last two seconds. - So basically it makes this longer, - so it slows down this. - But what does that do to the rest of this? - So I had a key frame at one second and I moved it to two seconds. - So this four seconds between one second and five seconds now has become three seconds. - So it's going to speed that up. - So before this key frame now is stretched and after is ah sped up. - So let's just play this slow motion. - Now ask motion. - Um, - so what can you do with this? - Um, - well, - one thing you can do is, - um, - before you set this key frame, - you can delete this last key frame. - Actually, - don't want to that because that means makes it a It makes it, - um Ah, - freeze frame at this very 1st 1 What you want to do is say you want to set just a portion - of this in slow motion and have the rest be and standard speed. - So we'll say at 1.5 seconds will set a key frame and then from 1.5 seconds to 2.5 seconds, - we want that to be slow motion. - So we'll set a key from there. - Now we want to stretch this spot, - but we don't want to squeeze this area because if we just moved this, - you know, - half a second Well, - yeah, - there's gonna be slower, - but this is going to be faster over here. - So what we want to do is select both of these key frames those second to and click and drag - them about half a second. - So now this area between 1.5 seconds and three seconds will be slowed down. - But the rest will be normal speed. - So that was slow down. - Normal speed. - Normal. - Slow down. - No. - So this is a kind of a cool effective you, - you know, - watch action, - sports, - or you know, - any sports in general. - They have the shots where someone does a trick that jump off skate ramp, - and then they slow it down for the trick. - But then they speed it up for the rest of the shot. - You know, - you see this in music videos all the time as well, - or in sports where you know he's going fast motion and then he or she is going fast motion - . - And then when they do the touchdown or whatever, - they slow it down. - And that's how they get. - That effect is called timer map, - and I believe you can actually find it. - I actually can't find it in the effects minutes Onley under going to right, - click in your layer, - selecting time and enabled timer mapping or going upto layer time enabled time remapping - Cool. - I hope you enjoy this lesson and you put it to get used. - Please let me know if you have any questions about this section on timing and ah, - if not, - I'll see in the next lesson. - Have a great day 50. Linear & Radial Transitions: - Hey, - everyone, - welcome to another lesson. - Today we're going to talk about radial and linear wipes. - They're really cool effects that make it really easy to do some cool wipes and transitions - . - So let's get straight into it. - I'm going to start a new at a new layer solid like this. - Ah, - something like this blue here that I'm going to make a circle using that lifts tool and I'm - going to make it is perfectly center from the middle by clicking command and shift and - dragging. - So now we have this circle and, - um, - this is affect an effect that I use a lot. - Um, - let's first do a radio wipe so we have maybe type in radio wipe under transition. - You have radio white. - So once you add this, - you have some options up here in the effects control panel and you'll see that there is a - transition complete star angle wipe center. - Ah, - the wipe option. - You can choose between clockwise kind of clockwise or both, - and there's feathering and I'll show you as I increase. - Um, - the percentage of the transition completion. - You see that this circle is being wiped and so we can set key frames and the start. - And then as you bring up key frames, - you can press you on the keyboard to see all the key friends down here in your timeline and - one second walls set it to 100%. - And there you have a cool radial white, - you know, - weaken reverse thes key frames so that the wife makes the circle appear. - We can change it. - Teoh, - uh, - counterclockwise. - We'll see what that looks like. - So it's just the opposite. - We can add some feathering to it, - and you can do this to any, - um, - layer so you can do to shapes, - photos, - compositions, - really any layer that you want. - So there's some feathering if you want. - Um, - you can change the wipes center. - So by clicking this ah, - little icon next to the numbers right here and then moving around the composition you can, - like, - set it down in the bottom corner of your your ah, - circle or whatever. - Um, - and I'll see what this looks like. - Absolutely do that. - So you see, - it's coming from a little bit messed up over here, - but is coming now from the bottom, - right? - It's wiping up. - So, - um, - I like having the wipes come from the center. - But maybe you need It's a white from another part of it. - Um, - so that is the radial wipe. - Let me delete that. - I'm going to show you the Lanier wipe your wipe. - So again under transition. - Okay, - so it's basically the same premise. - You have a transition completion percentage, - the wipe angle and feathering. - And as you white more have more transition completion, - more of your layer disappears, - so we'll set a key frame here, - go up half a second or so, - turning to 100 and so you'll see that. - You know, - that's a nice transition as well, - and something you can use on, - you know, - text layers on anything. - You'll see that right here. - The transition completion is actually 19% but 19% of our shape is not completed or there's - not. - It's still 100% there. - So what is act? - This percentage actually has to do with is the percentage of the composition, - so 19% you know, - maybe about right here, - this is 50% no, - 75%. - So once we get to, - you know, - more like 33 or so right around here. - This if we break this composition into through thirds, - which I'll do with the proportional grid. - So this is, - you know, - about 1 30 Have 12 blocks or 123 blocks. - 123 and then 120 1/3 is about right there. - Exactly. - Um, - so just be aware of that when you are setting your transition completion, - uh, - key frames. - So those are the transition completion or the linear wipes and the radio wipes. - I hope you enjoy those. - Play around, - Have fun. - Let me know if you have any questions and until next time, - have a great day. 51. Lower Third Practice 1: - Hey, - guys, - welcome to a fun lesson in the after effects course, - this is Phil 11 with video school online dot com. - So I'm gonna try to show you an example of a title sequence or a lower third basically - using all the techniques we've learned. - And this is just to show you how far you've come and how much you really know and what you - can do with all your knowledge. - So first, - let's set up our lower third and then we're gonna create some motion out of it. - So I'm gonna start a new layer solid, - and we'll make it something like a lighter. - Let's do a lighter red. - Maybe let's do something like this. - Um Then we're gonna take our masking tool and create a bar down here in the lower third - area. - So now we have one bar, - and now we're gonna add some text to it. - So this is one. - Is that my name? - Lebanon Air. - And I'm just gonna put it right there. - I'm gonna increase the size a little bit. - Then I'm going to add another bar. - So I'm going to on a new solid and change the color and get kind of a greenish. - Okay, - now I'm gonna put this underneath the red so I can see where I want to mask it. - Using the mass tool again. - I'm going to create a little bar. - I want to make sure that I have this green Larry selected. - Then I just want to create a little mask. - Something like this. - I'm going to just move it up, - right? - So it's underneath our red bar, - and here I'm going to add some text describing who I am, - So I'm just going to duplicate that layer. - A press command d decrease the size, - I'll say video creator and instructor. - So that text it's hard to see that text with the light background. - So I'm gonna make it black. - So something like this we're not line both with or the bottom text with the top text. - So it's left justified the P and the B matchup. - Okay, - so this is pretty good now. - So first things first, - I want to parent my layers. - So I'm going to put this video creator layer next to my green layer. - I'm going apparent this layer to the green layer eating this little swirly thing, - dragging and dropping it and I did the same with the Philip dinner. - So now whatever I do with this layer, - so if I move it or what not, - it affects the text as well treats it as one. - So maybe first, - let's just try something like where the each bar will pop out. - So this is our final resting stop. - I would call for our text, - so I'm going to set a position key frame for both these color bars. - I brought a P using pressing P on the keyboard to bring up P the position function. - So now I said a key frame there that I'm going to go back half a few frames, - I'm going to move them off. - So first I'm gonna move the top are until it's completely off. - And I'm going to move the bottom bar until it's completely off. - So right now, - if I render this out, - let's see what it looks like. - So they both come out at the same time. - I want this bottom one to come out after the top one. - So I'm just gonna move these key frames to where, - right to start, - right? - When the top one comes out and ends its motion. - So job her video creator. - Maybe I will add some motion blur to these and turn on motion blur up here and see what - that looks like. - Alex, - a little bit more natural. - Might want to move these key frames and a little bit to speed up this little motion - animation. - So that's pretty cool. - And we did that with all the techniques that we've learned in this course, - Let's add a little bit more to this. - So maybe we want, - um, - the text to we don't want it to come out with the bar, - but we wanted to up here after the bar has come out. - So I'm going to actually make these not parent. - These text layer is not parented too the bars. - So let me just like dog press you to bring up the key frames. - So right after this pink bar comes out, - we want our text to appear. - I'm going to make the this tax three d. - I'm going to change the anchor 0.2 above it in the center, - and I'm gonna bring up rotation, - and then I'm going to set a an ex rotation key frame and move it a few frames forward. - And then I'm going to rotate this text up and back and you can see it's going up and back - right about there that I'm going to click and drag this layer so it only starts when the - rotation animation starts. - So let's see what this looks like. - So that's you get the point. - The bar comes out, - Phil Havner pops down. - Now I want are bottom text to kind of maybe have a linear trans transition in so linear - fates. - Let's do linear fate white click and drag that and drop that onto video Creator. - I'm going, - Teoh said it at. - So if I I do it this direction, - it's going to come in from the right. - I wanted to come in from the left, - so the wipe angle is 90 degrees. - I'm going to make it to 70. - So it's coming in from the left. - So let me changed, - said a key frame for a transition completion. - And then I will go forward a few frames and we will now make it 0%. - So that was a little bit too fast. - So maybe actually I know what I want to know. - I wanted to start from after a video creator and then just wipe in instructor. - So I'm gonna delete this. - The key frames I'm going to said that transition completion to right after video. - Creators of 70% said that key frame, - I'm gonna go forward and do zero so it wipes in instructor, - so that's pretty cool. - But I also want to add a little bit of motion to this, - the video creator part. - So I will. - Let's just add a three D rotation as well, - so we will keep the the anchor point on the left. - We'll use a why, - um, - rotation. - So I will. - That will be the ending point. - I'll go back as soon as the Green bar appears and I will rotate this backwards. - That kind of looks like it's coming from behind, - and I'm also going to click and drag this layer. - So it appears as soon as the first rotation key frame appears. - So I don't know if I like that rotation in, - but you get the point and you of you know how many things you really truly know and what - you can really do with after effects. - Let me just make that instructor wipe a little bit slower, - so something like that's kind of cool. - Have you enjoyed this lesson? - If you have any questions about this one, - or about any other techniques in after effects, - please let me know otherwise. - Have a great day and I'll see you next time. 52. Motion Graphics Practice: - Hey, - guys, - this is Philemon or with a fun lesson coming at you guys. - We're practicing our skills that we've learned in after effects. - And I created this cool little motion graphic. - It could be a bumper for ah, - riel Or just, - uh, - you know, - I'm just showing you what you can do, - but check it out. - So you have this photo and this title kind of appearing for my buddy Check Who's a - photographer. - So there's a few things going on. - You have the wiping of the different images. - There's multiple layers of the image that the outer layer and the camera layer and we have - this circle and then the text. - So let's go from the start and I'll show you how we're gonna do this. - So start new composition. - Just name it. - Name it full comp. - Okay, - then we're going to import, - um, - this image, - some just going to drop it in. - And as you can see, - it's really big, - so I'm gonna make it about 20%. - Then I'm going to turn on the title action safe guide, - and I'm going to get this ah lens right in the center so that the lens itself is at the - center of the image auras center as possible that I'm going to take my pan behind tool and - move that to the center of the composition as well. - All right, - then I'm going to take my shaped tool, - which will be a mask and starting from the center, - I'm going to click press command and shift. - If you're on a, - um, - Mac or command, - I think control and shift. - If you're on a PC and drag out until you have a mask around our lens, - you can move it up or down by clicking on the mask and using the arrow keys if you need to - . - Perfect this. - So something like this is good. - A little bit a couple more frames. - Okay, - so that's good. - Then I'm going to duplicate this layer, - so I just duplicated it by present command E that I'm going to delete this mask. - So now we have our lens mask and the bottom ask, - which is the full picture. - I'm thing going, - going to add a new layer solid. - We're gonna just make this, - um, - maybe like a brown, - like I had it kind to match the background. - Maybe I'll do some sort of green. - Similar toe the green in the background right there. - So something a little bit darker. - Something like that might look good. - I like using colors from the videos and the photos that I'm using. - I'm going to put this below these two images, - I So I'm gonna turn off the tattle action safe so I can see better moon at a radio wipe to - our middle air. - So this is the back layer, - not just the lens. - This is the full picture. - So I'm just gonna rename this full pick. - We'll name this lens. - This is background. - All right, - so, - full pick. - Now we have this radio wipe. - I'm going to set some key frame. - So Well, - start the transition. - Completion at zero. - Press you to bring up the key friends down here. - And at one second we will go to 100%. - So right now we have this. - So the rail wipe is wiping away the image. - So then we want the So I'm just going to move it forward a little bit, - so we have a few frames of the full picture before it starts toe wipe away. - Then we want this. - Um, - let's see Let's go back to our other composition and see what this looks like. - I got this. - Then we have this title popping up, - so we have to create this title. - So I'm just gonna, - in this composition, - take my text tool, - click in the middle, - and then we'll type his name. - Our whoever is name you want. - I'm using Geo Sands Light. - I'm gonna make this regular and I'll make this about like that. - 36 Fun right there is good. - I'm going duplicate command D and bring this down below and all. - I've been a photographer going to drop this font to 30. - I'm going to make it the medium metallic so style goingto kind of center, - these two with the lens move the photographer text up. - I'm just using shift and the arrow keys to move them up and down. - Then we had this line going through the middle, - so I'm going to go new layer solid. - Make it white going, - Teoh, - Put it beneath this our text. - I'm going to drop the opacity so I can kind of see what I'm masking out for the line. - So I'm going to take my rectangle tool and this click and drag. - It might be good to zoom in on this. - I'm just going to click and drag from the edge of the sea over to the edge of the D. - Make this really skinny about the same thickness as the text itself. - We'll go back to 100%. - Ah, - make opacity 100%. - We'll see how this looks. - So if I take away, - that looks pretty good. - I'm just gonna move it up a little bit. - Eso now I want to pre compose this title. - So it's one composition. - So I select all look up to layer and pre compose. - We'll call this title text. - So now we have this composition and you can at you can edit these things if you want, - like, - add a little bit more space between the text and the line, - something like that might look a little bit better ice. - And now we have this in our composition and I'm going to just copy this radio wipe to our - text layer. - The way I do that is select these key frames. - Go to a few frames after this one completes, - go to my text and paste just using command be so now this we'll radio wipe out. - Actually, - I want this to start as soon as this other one end. - So it looks like the radio wipe is continuing and revealing the text right after it makes - the picture disappear. - So something like that, - we might even it might look better if it does it at the same time. - So let's check this out. - Except what we want. - Is it Teoh up here? - So I'm going to swap these key frames to move. - These key frames are around, - so that is appearing and not disappearing. - And I wanted to go the same direction as the other radio wipe. - So all changes up here, - the white to counter clockwise. - So something like that looks good. - Then we'll have the Cirque the lens wipe away. - So I'm going to again copy and paste and either one of these radio wipes to the lens. - Well, - this time I wanted to go the opposite way, - so I'm going to choose counterclockwise, - so it kind of goes backwards. - Something like that. - I'm going to make, - um, - these key frames in the middle. - I'm going to go down and use key frame assistant and Eazy e's so it kind of slows it down - as ends the wipe. - And then as it begins, - the next wipe it kind slows into it looks a little bit more natural. - So this is looking good. - So far, - Last thing we have to do is add the circle around our text. - So I'm going to go ahead and start a new solid again. - Then I'm going to put this beneath our lens so I can see how big I want it. - Then I'm going to take the lips tool and from the center again, - Ah, - press command shift or click and then command and shift going to do one mask. - But I'm also going to do another mask. - So I'm going to do to Mass for this layer, - and one is going to be a little bit smaller than the first mask. - So now if I go here after the lens wipes away, - you can see that's just a white solid, - the mass to which is the inner mask, - the smaller one. - I'm going to change this ad to subtract, - so it's just a circle, - and it looks like this Texas a little bit. - Um, - it's not centered vertically, - so I'm just going here to the pre composition just by double clicking this composition, - reflecting all the text and just having down once clicking down shift and down So that - looks better. - So then we want this circle to appear as this other, - um, - as the lens is disappearing. - So we will copy and paste this, - uh, - lens radio wipe to our solid. - All right, - Sohn. - And now it is disappearing. - We wanted to reappear, - so we'll go, - um, - clockwise. - And we'll swap these key frames So that's appearing and not disappearing. - And I want to get rid of this easy. - So I'm just going to press command, - click. - And for this 1st 1 right click, - keep from Assistant Eazy e's. - So let's see what this looks like and see what we have to do. - Do it. - So that's kind of cool, - but you can't really see the start of this circle appearing because this because the other - , - because the lens is covering it, - so may well, - just go here and increase the size. - So bring upscale. - The pressing s all just type in 102 So it's a little bit bigger, - maybe move it up a little bit, - so that it's directly around perfectly around our lens. - Render it out by pressing control. - Zero. - So that is pretty cool. - It's pretty close to what we did before. - I like it a little bit better than actually. - What I want, - though, - is see right here where this, - um, - circle starts. - It is past the start of the, - um, - the lens right here. - You can see on these two things to align, - so I'm going to change the star angle until it aligns. - So I'm going to go. - Maybe, - like, - negative seven. - Something like that. - Yeah. - Looks like Navy of seven. - I mean, - like the seven point three looks about perfect. - So now the circle radio wipe starts where the lens radio wipe ends. - Cool. - Let's see, - I'm going to show you one more thing that we can do to add a little bit of flair to this. - All right, - so we're gonna add make these all three d. - So I'm gonna click toggle switches mode. - Make sure we have the cube three D enabled three D option. - We're gonna make all the layers three D, - except for the background going to then add a new layer camera and a new layer no going to - parent the camera to the knoll, - make the No. - Three d bring a position said a key frame at the start, - and then I'm going to go to the end. - I'm going to zoom in 1 15 so we'll have a little zoom as this animation is going going - along. - So rendering it out, - let's see what this looks like. - So maybe I wanted a little bit more subtle, - so I'll make this like 107 split, - the difference rendered out. - So that's pretty cool. - We can add some lights if we want new layer, - earth, - layer, - new light on a justice spot light just like that. - And this is just going to effect. - This isn't going to affect the background, - except we can make it affect the background. - That might look better. - So let me take this light off really quick. - So I'm gonna just hit the eyeball over there and make sure that the green background is on - the screen the whole time. - Yes, - it is. - All right. - So now I'm gonna hit this light, - and then I'm going to just play with it a little bit, - so I'm gonna move it back in the Z space, - so it's a little bit further from our composition. - I'm going to go under our settings, - twirl that down like options and increase the cone angle a little bit closer. - And guess so something like that might look cool. - So dollars Ford and the Star You got this nice even yet, - so I'll render this out. - So you know this Nisman yet from the lighting. - This could even be how we close out this animation. - So it stays up a little bit, - and then we shut the cone angle off, - so I refuse frames, - basically shut it off. - So we want this. - The the point of interest to be exactly the center of this competition. - Let's see what this looks like. - Great. - A wipe radio White zoom. - So that's kind of cool. - I think it's cool. - Do you think it's cool? - I think it's cool. - That's good. - May play with the position of this landing. - May put it like right in the middle. - Something like this that's one toe look like it's when it's closing out. - I wanted to look like it's closing into the center. - Yeah, - that'll be good. - So let's run her out then. - I will let you guys go. - Thank you for watching. - I really appreciate it. - And I hope you just enjoy me fiddling around with this. - I always love watching people, - do they their work. - And so I hope you enjoy this as well. - Super cool. - I like it. - I hope you like it to, - ah, - one thing. - You'll notice these lines around the edge from this light. - This just happens and after effects One way that you can kind of, - uh, - change this or fix that. - Going to go up to new adjustment layer that I'm going to and you'll see this adjustment - layer appear. - And whatever you do to the adjustment layer, - it will adjust whatever is beneath it in the timeline, - it's all do fast blur fast bowler. - We'll click and drop this onto our adjustment layer. - We'll make it super blurry. - Something like that. - Then, - um, - set, - create a mask. - Something like this. - You know, - what I can do is just double click this and then do subtract So the middle is in focus and - the outer edge is not in focus. - The helps a little bit with these lines and the fate that been yet ing itself if you want - that look. - But you see right there, - it's not that good. - So I need to feather this out. - So I'm gonna select this mask press F, - increase this feathering. - So that looks kind of cool in itself anyways. - Maybe a little bit less like 83 pixels. - All right, - There you have it. - The final composition rendering out check. - Oldfield photographer. - That would be appreciates that this he doesn't even know I'm doing this for him. - His name is out there. - Go check him out. - The photographer, - filmmaker, - commercial director does lots of cool stuff. - All right, - this is Phil from video school in line. - I hope you've enjoyed this lesson and I'll see you guys next time. - Bye. 53. Space Scene Project: - Hello and welcome to one of the most exciting lessons in this course. - We're going to be creating an awesome space scene with after effects and I'm gonna show you - from a to B A to Z how to do it. - So this is what it's gonna look like We're gonna have our earth zooming in with the moon, - rotating around it once. - I mean, - we can do as many times as we want with the stars twinkling in the background, - So let us begin. - So first we're going to start a new composition, - will call the star Field, - and we're going to use what we learned earlier with the CC star for Burst Effect. - So I'm gonna just create new solid. - We'll call this stars. - I'm going to add cc starburst to it. - I'm going. - Teoh basically changed this so that they start smaller. - Good spacing go to to about it will do if size 50 I'm also going to add a fractal noise - effect. - The reason I'm going to do that is this is a great way to create twinkling stars. - So if we set in a key frame and the start for evolution and at the end and then just rotate - a little bit. - We can have some twinkling stars. - First, - we want to change the speed of RCC. - Starburst to zero. - So this isn't not zooming through. - It's the space time continuum. - So here you can kind of see that the stars are twinkling and we can make it a little bit - faster. - So I'm going to go to this last key frame and rotate it even more evolution. - And it's really it's hard for you to see, - I'm sure. - But these stars are twinkling as you go through this. - So there we have our star field. - I'm going, - Teoh. - So I'm going to next. - We want to create this the animation of the Earth and the moon. - So I'm going to start a new composition Earth and Moon. - We call Earth and Moon, - too. - I downloaded a couple images online of the Earth. - You can find a ton of great images for free use from NASA. - Um, - they have I think all of their images are public domain. - But make sure you double check that. - So I just put this earth in the middle of our composition like so Then I'm gonna put our - mood in decrease the size and maybe maybe increased the size of the earth a little bit. - And so the moon will put at 7%. - So that looks about right. - First, - I wanna increase the brightness of this moon. - So I'm just used a quick brightness and contrast effect added to our moon so that we can - brighten it up a little bit. - So it looks more along the lines of the earth. - May well add a little bit more contrast to our earth. - You could look a little bit more dynamic. - Okay, - so basically, - what we're going to want to do is make this moon spin around this earth, - and the way we do that is by using three D positioning. - So bring up. - First, - we want to use toggle switches to bring up our three d enable three D option Click on that - cube and press P to bring up our position function. - And this is the easiest way to create Ah, - the object and object rotating around another object. - So first we want to set our key frank first key frame. - So we're just gonna set it at the very middle of our earth or as close to possible as it - We're gonna set a key frame there. - Then you have to determine how long you want each rotation to be. - So say we want the full rotation to be four seconds. - We will go to two seconds. - And actually, - before we do that, - we want to go back to where our keep first key frame is. - And we want our moon to be in front of our earth in three D space. - So we're going to make this lazy, - um, - the Z positioning and negative 100. - Let me just show you something really cool that you can dio um, - you can shoot, - use this camera tool, - I'm clicking the camera and first you have to add a camera to it. - Just gonna add a camera so that we can actually rotate our composition. - You can see where the moon is in in terms of positioning in Z space, - Teoh to our earth. - So as you can see, - it's still flat art are images still flat? - But it has some three D space to it. - So our moon and and earth aren't three d. - But our composition is in three. - So then we're going to go to two seconds and halfway through our composition. - Where should the movie? - Well, - it should be about the same position but behind the earth now. - So now we're just going to make this 100. - So now if we take our camera, - we will see that are moon is behind the camera. - And from 02 seconds, - the moon just go straight back. - So now we want it to go around rather than just straight through. - So if I rented this out, - you will see that it's just going straight through. - But now we want to rotate around. - So at one second we're going to move our moon. - I'm just using my shift and the arrow keys to the outside of our earth. - And so there we have from zero. - As we go along time it goes up and out, - and then it goes back around. - And so let me runner this out. - So we have the start of our rotation around Earth and I like doing kind of at a tilted axis - rather than just straight around as a little bit. - It just makes it a little bit more dynamic. - And then we go to three seconds and do the same thing but opposite. - So we're going to go out and down to the left. - Sure, - something like that. - So now we have most of our animation done already. - And if we take our camera again, - we can see how this is working. - And you can see the path of our moon. - These er moon starts, - it goes around, - I continues. - So then we wanted to end up at the starting point again. - So we're gonna go three or four seconds in this copy and paste this first key frame to - complete the full rotation. - So there you have the full rotation of our composition. - We can look at it from above and see it's actually not a perfect ah circle. - So what we can do is go to these different key frames and kind of move them. - So we want to make this zero. - So it's along along the lines of the earth. - Right here on this key frame will make it zero as well. - So it goes from disease based negative 100 in front of the earth to 5th 0 with earth on the - side, - then 100 behind the earth, - zero to the left of the earth, - then in front of the earth again. - Now let's render this and make sure it looks nice, - and it sure does. - One thing we can do is select all of our key frames, - right? - Click them who? - Two key frame interpolation and this temporal interpolation and affects how a property - changes over time. - In the timeline, - Lanier means that it just goes straight from one key frame to the next, - and there's no physically curve to it. - There's no smoothness to it, - so we're gonna change this to continuous busy a click. - OK, - so now it makes these curves a little bit more round, - as you can see. - So if I took this off, - it's looking at it from above. - And let's select all these key frames. - Go to keep frame interpellation, - continuous, - busier. - It makes them a little bit more around, - and you can even change the roundness of these by making it stretch. - Stretching out. - These points make it more of a a circle around or more really like an oval around our earth - . - So this is actually the back of our earth, - so we want to go to the front. - That's a now let's run her it out. - You know, - we have our earth spinning around our moon. - So how do we haven't continue to spin? - We'll just copy and paste these last four key frames. - Goto five seconds. - Paste them go to nine seconds, - Paceman. - This means that this will allow to just continue to spin for more than one rotation. - Okay, - so now we have our earth and moon. - Let's go back to our star field. - Having created Goto our project, - we're going to drop in our earth and moon to composition just right there like that. - So now our earth and moon are in our star field. - So that's really cruel like that. - Now it's just add a little bit of a zoom to this. - So we're just going to use scale. - You can use a three D cameras Well, - but scale is perfectly fine as well. - So we just increase the percentage 115 216% by the end of this. - And there you have it this night. - Zoom in on our earth. - We got the moon rotating. - Maybe what we want to do is at the very end, - zoomed past the earth. - So, - he said, - are keeping minutes, - seven seconds. - I just moved it then right here. - We just wanna zoom past it. - Maybe, - actually, - what I want to first is said position, - key frame right here so that we have a position and scale rotate scale, - key frame at seven seconds, - then eight seconds with us increase the size. - So it looks like resuming past and then move out of the way. - So the camera's going to the side of our earth and not right through it. - There we have our earth coming in at a slowly, - then zooms over to the side. - I think we still see our moon rotating. - That's pretty cool. - Of course, - the quality of these images you'll have to use different, - larger size composition so that the quality is good for the earth and the moon. - But you get the idea. - Me, - Even if we just believe these actually move this position key frame to the start of our - composition with our other skill. - Keep ringing. - And we just delete the other ones. - You know, - here we have our camera zooming through space. - So that is a basic basic, - um, - the fact that you can do using some basic layers from three D positioning and some star - Cool, - Cool star pre effect preset. - Thank you for watching and have a great day. - And if you have any questions, - please let me know otherwise I'll see you next time. 54. Color Correction: - Hey, - guys, - welcome to another lesson in the after effects course. - This is Philip Inner. - Thanks for joining in today. - Be sure to check out video school online dot com When you have some free time, - you can sign up for my mailing lists and get 50% off all of my online courses. - So today I want to talk to you about color correction and what options you have in after - effects to color. - Correct your footage. - You actually have a lot, - and they do a lot of powerful things after effects Isn't my favorite, - um, - program for color correcting. - I like to use Apple's final cut pro or final cut studios color to color. - Correct my footage. - Um, - but if you have some special needs, - after effects has some great options for you. - So I have this footage from San Francisco up in by the war for of you know, - just the the Worf with appear and some see lines sleeping on the the Bay and ah, - Doc and everything so pretty cool shot and let's see what we can do with some color - correction. - So in your effects and presets tab, - you have a whole color correction folder down here. - There's a lot of things, - but let me show you the ones that I like. - So 111 that I use quickly toe add brightness and contrast is the brightness and contrast - filter. - So it's super easy, - quick options. - You can, - you know, - Brian of your footage, - Adam, - or contrast. - So if I want something super contrast, - he's, - um, - Aiken do that. - As you can see there, - it really changes how my image looks. - So that's brightness and contrast. - Curves is another one where you can add some contrast with an s curve. - So it basically gives you this curve. - You can change the channel to RGB red, - green, - blue or alfa. - And then you just just click along this line and drag to create an s curve or whatever Taba - curve you want. - But typically a nice s curve adds more mawr. - Ah, - contrast you Congar oh, - into red. - And if you want to boost the reds a little bit you know you can do that. - We'll go into the green Will may will drop the greens on the blues will add Add more blues - We want to really make this psychedelic day at the beach. - So that's what curves does. - Levels is another one that, - you know, - does something similar. - It's just a different style. - Um, - has this bar slider basically that you can click these little triangles of the ends of this - bar, - drive them in and you're basically crushing the colors, - crushing the blacks, - making the black starker, - making the lights lighter again, - adding contrast. - You can also just do that by in putting numbers down here are clicking and dragging these - numbers down here. - So that is another option for you guys for contrast, - hue and saturation. - This is a good one. - If you wanna add some saturation to your footage, - though, - say we want to add some color. - Wow, - that is not what I want. - Um, - and you have to be careful. - As you see, - if you add too much saturation, - it can get distorted. - But, - um, - this is nice. - I often find to find myself wanting to use this Master Hugh. - Ah, - just to change the hue of a, - um image, - not necessarily video. - I don't think you really ever want to be playing with the hue of, - ah video image, - but for icons or different shapes or things like that. - You know, - just playing with the hue to, - um, - get it to be the right color is a good thing to dio I This photo filter is something I like - a lot. - This is similar to in photo shop. - They have it, - and it basically gives you some different filters that they preset for you. - So you have some more warming filters, - cooling filters, - and then some different colors. - See, - Pia, - um And so, - as you see, - once it's added it as a little bit of warmth to the image you can increase the what they - call density. - Um, - just in creeds increase its strength. - Um, - there's also this preserve luminosity, - which preserves the brightness of it. - So if you want something, - you know, - if you need something to warm up your your footage or cool it down, - this is a good filter. - Tohave We want to really cool it down. - You could do something like that. - I tend to usually warm up my my images just a little bit. - Maybe something like that that will give me, - you know, - a nice sunset. - Just show you that on and off. - I'm just gonna build a little bit upon this. - So there's also all sorts of other ones exposure. - You know, - this is basically going to play with your exposure. - So another one too right in or dark in your footage. - Um, - so I'm just going to take this brightness and contrast a little bit of contrast may - brighten it up a little bit so you can see a little bit more of this, - Doc. - So with both those, - this is what it looks like and without, - you know, - that's what it looks like. - So, - as you can see here, - it's already looking a little bit better. - Or at least it has a feeling to it. - There's all sorts of other filters. - You know, - You can add a black and white filter that just makes everything black and white. - Um, - there's color, - but balance filters that basically you can increase the saturation of certain colors, - changing the balance of the colors. - You know, - if you want to make all the darks really red and all the lights really blew, - you can do that. - So I'm gonna leave you with that. - Um, - 10. - Let me just tell you one more tent is another one that you can do. - So you can, - uh, - choose different colors to tend to. - So if you want ah, - all your whites to be a reddish, - you can do that. - All your blacks, - maybe all my blacks to be bluish. - So this is something you can get. - Ah, - you can get a really cool effect with this tends effect and can change the percentage that - amounted. - 10. - So, - Alex kind of cool, - actually. - So those are some color correction options. - Play around with those. - Um, - if you have any questions, - please let me know otherwise. - Have a great day. 55. Exporting from After Effects: - Hey, - guys, - welcome to another lesson in our after effects course, - this one we're gonna be talking about exporting. - So you are done with your composition. - You've created your animation, - and now you want to do something with it. - Whether you want to export it and take it to another video editing software like Final Cut - Pro or Adobe Premiere, - you'll need to know the right settings to do that with, - um, - or you want to post it on YouTube. - Well, - let's talk about exporting so it's different than other programs because there's not. - You don't just go to file export and then click your settings. - You actually have to go to composition add to render queue, - and this is basically the same thing as exporting. - Once you do that, - it will add it to your render queue tab, - which is down here in the bottom of your screen, - and you'll see it right here. - So there are different settings you want to use. - Um, - first, - if you click this best settings, - um, - option, - it should be best resolution should be full. - And that's pretty much all you want. - Teoh do there. - If you want to change the frame, - what you can do that. - But really, - where you get into settings is where it says lossless. - That's what it comes up with at the start. - That's the automatic setting that it will have set for you to export as UM, - and losses means it's full quality, - full quick time quality. - And, - ah, - when you click lossless, - you get this little output module settings. - Um, - box pop up. - You'll see different options. - Format you can choose, - you know between Quick time and Paige Flash, - you can just do a P and G sequins. - You do just the audio, - etcetera. - So I all quick time is pretty much my go to video output. - You'll have different channels. - Typically, - you just want Teoh RGB depth. - Millions of colors color pre multiplied. - Um added, - That's totally fine. - But there is this format options, - but in ah, - here you'll find the Kodak, - and this is where you want to change it. - Depending on what your purpose is, - animation will give you perfect, - full quality. - It's great quality for using for exporting and bringing into another project. - The problem is, - the false eyes is huge, - so you're you know your projects will be in the gigabytes but here you can have. - You can see that there's all sorts of options. - So h 264 This is. - If you want to export to YouTube, - you'll just click h 264 Um, - or there's all different ones. - So say we want to go to YouTube. - Will just click HD 64 Click OK, - if you have audio, - you want to make sure that you click this audio output option, - and again you can change the format. - You know a sea or whatever you want. - Usually just leave as un compressed impress. - Okay, - clicking this output to star field dot Mobi clicking the Star Field Doctor movie. - This will allow you to choose where you want to save it to, - so you just go through your documents and find where you want to save it. - To click, - type in the right title, - click save and then you click. - Render it will render out. - You will see a yellow bark. - Go through a lot to show you what it looks like, - and your your composition there will be previewed as it goes through. - So if you want, - you can watch it and make sure that every frame is rendered properly. - Um, - And so as you can see, - you have this yellow bar coming across, - and it is rendering. - That is how you render an export your movie. - So basically the things to remember are when you click on the lossless down here, - that's where you can go to format and choose what settings you want. - If you want full quality, - just leave it an animation. - If you want something a little bit more compressed, - but still at high, - practically perfect quality. - Choose H 264 Make sure the quality bar is set to 100%. - It's like that where you want to save it and then press, - render, - and I'll show you. - We have this looks so it will give you that little Belene. - Now, - I'm just gonna go into my files, - find where it saved this isn't Star Field. - OK, - double click that open it and review it in quick time. - There we have our full 40 composition. - Cool. - I think that's pretty awesome. - Guys, - I hope you do too. - Thank you for watching this episode on exporting. - If you have any questions, - please let me know otherwise I will see you next time 56. Exporting from After Effects with a Transparent Background: - Hey guys, - how's it going? - I hope very well. - I just want to show you a quick way to export your videos with the transparent background. - So say you have this composition that you built with the earth and the moon when the moon - rotating around the earth and you don't have the stars put in the background yet and you - don't really have anything in the background yet you can tell that by toddling transparency - grid on her off. - You can tell that there's nothing in the background and you want to just export the moon - and the earth and then maybe bring that into color corrected or do something else with it - before adding a background. - We can export without a background by going up to composition and to render queue. - And this is you know, - you do this a lot when you're exporting titles or lower thirds or things like that. - You'll see our last export up here. - You want to click on lossless, - you want to go up to video output and then select RGB plus Alfa. - So that means that it will export. - It has transparent. - Make sure you're for my options, - our animation. - If it's if it's 8 to 64 it won't. - The background will just be black. - And if you have audio, - audio is liked. - Okay? - And render. - Once you render it out, - you will be able to bring it into another program with a transparent background. - Thanks for watching. - I hope this helps. - And if you have any questions, - please let me know. - I have a great day. 57. Getting a Motion Graphics Job - Tips: - Hey, - what's up? - This is Phil. - I'm glad you made it through this course, - and I hope you have learned a lot. - And I hope you're putting what you've learned into practice. - And today I want to give you a fun lesson, - something that might be the most important lesson. - Um, - and something that's a little bit different than the previous lessons today. - I'm just gonna talk to you and give you advice about how to get a job with the skills that - I've taught you. - So let's get into how to get a job. - I have three tips. - I'm getting a job, - and I'm going to try to be. - As you know, - let at least I'm gonna throw out the least amount of cliches as possible. - But sometimes cliches rain true. - And that's why they're cliches. - So bear with me. - Welcome to my casa. - Um, - I'm glad that you're here with me. - And just to preface this so you know, - You know, - I'm not just talking out my butt and giving you, - you know, - just what reasons that aren't gonna work. - I honestly you know, - I have I get jobs as a motion graphics artist. - I didn't go into after effects. - I didn't learn after effects in school. - I didn't, - you know, - learn it professionally. - I just practiced and I, - you know, - looked up tutorials online, - like you learned from me. - And over the the years I started, - you know, - getting a hand, - hang on it I started create my own stuff, - and I've started to get jobs because of it. - I've got many jobs just because of my aftereffects skills. - Um, - and not because of my video editing. - Not because who? - I know just because of, - you know, - the work I've done. - And so those all all these things, - you know, - go in tow. - The three reasons. - Three tips I have for you on getting a job with your after effects skill. - So tip number one make cool stuff. - I can't emphasize this more than just yelling at you. - Make cool stuff. - Seriously, - everything starts with what you make the first. - You know, - the first thing someone's gonna see about you is you know, - the stuff that you've made, - they're gonna wonder What have you made? - They're gonna wanna see what you've made. - So start making cool stuff and it doesn't have to be, - You know, - you don't have to wait around trying to find a job, - to make something. - Just think of something. - Just create a project on your own and make cool things. - I know a ton of people who, - you know, - make commercials or motion graphics for, - like, - companies like Nike or whoever. - But it's just for fun, - and it's just to show off their skills. - So start making cool stuff. - You're never gonna get anywhere if you don't start making cool stuff. - Um, - so start making cool motion graphics titles, - uh, - animations. - Anything with the skills that I've taught you in this class number to show off your cool - stuff. - And the best way to do this is to have a website of your own, - so create your own website at the very least, - start of Emiel account or a YouTube account. - I prefer you video for more creative work that I do so video is really great because it's - free. - It has a community of like minded individuals, - whereas YouTube, - you know, - is for the masses. - Anybody goes and everyone goes to YouTube toe watch videos, - and you have a lot of trolls who just, - you know, - say bad things about your videos and make you feel bad. - Um, - but video is a group of artists. - Is a group of, - you know, - people who want to see art. - And so if you show off your if you're creating great pieces of art motion graphics, - videos, - titles, - whatever. - Maybe it was a great place to post your videos, - but also you want to start a website so that when someone asks you like, - What do you do? - Or when you're trying to find a job, - you can point people in that direction, - and also you want people to be able to search your name and ghoul and have your website pop - up. - I can't tell you the amount of times I've looked. - You know, - I have filmmaker friends or people. - You know, - I've seen I've heard about so and so making a video. - And then I look up their name and there's no website or there's a website and there's no - links to the videos or their videos aren't embedded in the website. - And how do you expect to find a job or land a job if you don't have a professional looking - website and you know your videos on their samples of your work and a real a real is very - important. - Video Real is a compilation of all of your videos that you've created. - So the best parts try to keep it under to the through three minutes because people's - attention spans are really shortened. - How Today's unfortunately so around two minutes is a good mark, - even, - you know, - 1 30 to 2 minutes. - Um so creative video riel, - even if your website is just ah, - home page with their name and information and your video riel, - that is better than nothing. - Um, - and that might even work better than having a bunch of crap on there as well. - Um, - so stay professional, - keep it clean, - keep it simple, - create your cool stuff and show offered cool stuff on your site and posted on Facebook - posted on your social media. - Send it out to your friends and family. - Tell people about it because the more views, - the better. - And who knows who is going to see who is going to see your your work? - Let me tell you a little bit of story, - a little story about that, - and it relates because I got one of my motion graphics jobs because of creating stuff, - and someone just saw it. - So I was working for participant media at the time. - They've done a lot of great documentaries Inconvenient Truth Food Inc. - Waiting for Superman, - Tons of Great Award winning documentaries, - and I was working for their website take part dot com. - There were doing a series of videos on the occupy movement, - and, - um, - I was just working there full time at the time as an editor, - and I was dabbling in after effects. - So they asked me if I could create some cool titles and little graphics and, - you know, - charts and figures infographic type things for the video. - So I did that, - and I was actually on a contract for them for a year. - And so my contract ended, - and so I was trying to figure out what I was gonna do next and then, - like documentary production company who was doing who was working on a future length - documentary, - saw the occupy videos and saw the graphics and was like, - way cool. - This guy is pretty good. - Can we get in contact with him? - And they contacted me. - Um, - they asked me to do a little sample and idle sample graphic for them, - and they hired me on the spot. - And so I got to work on a feature length documentary into graphics for them. - So I'm proof of you know, - the ability to just put your stuff out there, - have people see it and get hired. - You know it's not gonna happen to everyone. - And I'm not promising you that you're gonna get a drop that way. - Most jobs take a little bit more footwork, - but the second most important thing after creating stuff is to show it off, - and you do that by Korean website. - If you don't know how to create a website, - take my Blue Host and WordPress course. - You'll learn how to Teoh start website. - Um, - and it's a great resource for you guys. - Number three. - And this is where the cliches began because it is who you know that's gonna get you a job. - You know, - it is partly what you know, - and it's partly who you know. - But it's not only that, - it's partly it's not who you know, - it's who knows you. - And so you can know all these great people and have contacts in the film industry or - incorporations. - I need videos. - But if they don't know you, - if they don't know that you make graphic design. - If you don't make motion graphics animations, - you don't know how to use after effects. - And they're not going to think of you when they're making their video products. - So make contact with people. - This goes with, - you know, - the previous one. - Show off your cool stuff, - tell people about it and just be, - you know, - a front about what you do and your skills when you're talking to people. - I mean, - I don't know how many times you get asked. - So what do you do? - What do you do? - What? - Your job, - What do you do for a living? - But I get that asked. - I get asked that, - you know, - multiple times a week, - and it's kind of annoying question, - cause it's very surface. - Um, - it's very surfacing question. - And you know, - my job isn't necessarily what I do, - but it is a great opportunity. - Teoh, - you know, - tell people that you know I love to make videos that make the world a better place. - You know, - I started this company video school online dot com. - I, - uh, - make motion. - I made motion graphics for the school documentary that I just did. - And you know, - this starts a conversation and hopefully, - uh, - people will start to know you as the motion graphics person. - So if you're you know, - if you're really serious about finding a job, - though, - um, - you can't just wait for those conversations to come to you. - You have toe make those conversations happen. - So email anyone, - you know, - that's in the film industry or in the video business and just let say, - Hey, - what's up? - How's it going? - Tell them, - you know, - look what I've been learning. - Show them your website with the real on it and just make contact and so that they have in - their brain in their mind that you know how to make motion graphics. - Um and yeah, - I just finding a job is not easy. - I know that, - um, - but having the skills, - uh, - as in after effects motion graphic artist is a great thing to have because not too many - people actually know it. - There are way more video editors out there. - There are way more cinematographers. - Other. - If you're trying to get the video business, - that is, - um there's way more people doing it directing, - trying to produce being a graphic artist. - You know, - it's a very niche skill set. - So if you're good at it, - you're going to get hired. - So practice makes perfect cliche. - Um, - it is who you know, - collusion number two. - And, - um, - I can't think of any more cliches except good night. - And good luck. - Thank you for watching. - If you have any questions or want to chat one on one. - I'm always available to, - you know, - talk to you more about my experience, - give you some tips, - hopefully help you out and get you out the door into the world of video making with your - new skills. - Thank you for watching. - Have a great day and I'll see you next time.