Crie e anime um logotipo 3D no Adobe After Effects com o plugin Element 3D, aprenda a desenhar gráficos em movimento | Elias Sarantopoulos | Skillshare
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Create and Animate a 3D Logo in Adobe After Effects with Element 3D Plugin, Learn Motion Graphics

teacher avatar Elias Sarantopoulos, Helping You Develop

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Introduction

      2:45

    • 2.

      Setting Up Composition

      3:34

    • 3.

      Loading Shapes

      1:06

    • 4.

      Extruding Base Shape

      2:47

    • 5.

      Extruding First Half Shape

      2:03

    • 6.

      Extruding Second Half Shape

      1:28

    • 7.

      Extruding Logo & Name

      3:16

    • 8.

      Creating Stars

      4:42

    • 9.

      Creating a Light Beam

      4:17

    • 10.

      Applying an Environment Map

      1:19

    • 11.

      Creating Normal Maps

      3:29

    • 12.

      Texturing Base Shape

      3:05

    • 13.

      Texturing First Half Shape

      1:29

    • 14.

      Tightening Things Up

      2:01

    • 15.

      After Effects Camera 1

      3:42

    • 16.

      After Effects Camera 2

      4:03

    • 17.

      After Effects Camera 3

      3:15

    • 18.

      Filling Up Background

      2:15

    • 19.

      Animating Lights

      1:56

    • 20.

      Animating the Environment

      3:07

    • 21.

      Ambient Occlusion

      1:23

    • 22.

      Trimming the Final Composition

      1:14

    • 23.

      Thank you!

      0:21

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About This Class

Class Overview: Create and Animate a 3D Logo in Adobe After Effects with Element 3D Plugin, Learn Motion Graphics

Motion graphics is a complex and unique art form that takes a lot of dedication and time to master, and Element 3D is one of the best 3D rendering plugins in After Effects creating motion graphics and visual effects! It is an incredibly versatile plugin that enables you to render and create your own work.

Upon completing the After Effects Motion Graphics course, you will have a firm knowledge and vision of how to create stunning 3D logo animations for your own projects, clients, and your portfolio.

In this 3D logo animation Adobe After Effects class, you’ll learn:

  • How to create a 3D logo animation.
  • How to generate custom normal maps from a pattern.
  • How to create 3D shapes from vector paths.
  • How to extrude vector paths coming from Adobe Illustrator.
  • How to create 3D Stars inside the Element 3D plugin using native tools.
  • How to create a Light Beam inside the Element 3D plugin using native tools.
  • How to apply texture maps.
  • Motion graphics After Effects how to animate in 3D space.
  • How to use multiple 3D cameras in After Effects.
  • After Effects rendering settings.
  • After Effects, improving the overall 3D animation.

Meet Your Teacher

Teacher Profile Image

Elias Sarantopoulos

Helping You Develop

Teacher

Born in Athens, Greece, Elias migrated to the US where he received his BA and MA degrees. He started his professional career in the mid-90s working for tech startups focusing on web technologies and being a part time faculty in various educational institutions. An educator over the past 28 years teaching in universities and social platforms, covering page layout, animation, vector and interaction design.

In 2016 he became a book author, writing the Church of Chora. The book is the most comprehensive interactive guide describing some of the oldest and finest surviving Byzantine mosaics and frescoes in the Church of the Holy Saviour in Chora, Istanbul, Turkey. A unique reader experience with the use of interactive maps, voice narrations, videos, references to the Bible describing e... See full profile

Level: Intermediate

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Transcripts

1. Introduction: Hi, everyone, and inside my recording studio. I want to welcome you to this motion graphics course, animating a three D logo in after effect, using the very powerful element three D plug in. Now, whether you're working with a client or pursuing your own project or completing a school assignment, these training videos will give you the skills needed and understanding how to work inside the element three D environment for the logo creation. You will learn how to create three D shapes from vectors and primitives and how to create and apply custom textures to three D models. From there on, you will animate the three D logo inside after effect using multiple cameras and how to better utilize the element three D plug in for the optimum funnel effects. I am your host, Elias Sarnaps, and I've been an educator over the past 30 years, teaching animation, page layouts, and vector graphics. We'll begin the motion graphics course by crafting three D shapes from vector paths, coming from Adobe Illustrator. Well design a custom star and L light beam using elements three D, primitive models. In addition, we'll use the free service, the Noma map online to produce custom textures for some of the surfaces. After completing the three D logo, any site after effects, we'll add multiple cameras, animating the position, the point of interest, and orientation properties for dynamic angles. And finally, to optimize the final composition, we'll use the powerful element three D plug in and animate its environment and lighting. Oh 2. Setting Up Composition: All right, everyone, let's go ahead and start this off inside AB trafect by creating a new composition. I'll give you a name of log animation from the preset dropdown menu I'll choose 1920 by 1080. I'll set the frame rate to 30 frames per second, four smooer animation. Right now, the duration is set to 40 seconds, but I will trim this out at the very end. Once the animation is completed, then click Okay. So I'll go ahead and start creating the element, that will be extruded inside the element three D plugin. For that, under the later menu, I'll create my first solid. I'll give your name of base shape, I click, make comp size, and then click. For the base shape and looking sites on the illustrator, I've got this vector badge containing three separate shapes. I select the base one. Shall copy this into the clipboard, head back to after ft, and then paste that in. For the next shape, I will create a new slit. This time, I'll use the keyboard shortcuts, I'll give a name of first half. I'll click. Here's the first half. I'll cap this into the clipboards, then pan. For the next shape, again, I will create a new solid using the keyboard shortcuts. I'll give a name of second half. I'll click. Here it is, here's the second half. I'll copy this. En paste that in. I also have a logo, so I'll create a new solid for that. I'll read the logo back on a Doble illustrator. Here's my logo, so I will mark you select those two shapes with the selection tool. I'll copy them into the clipboards. Add paste that in. I also have some texts. So go ahead and grab the type tool. Click once for point type, and type my name, that will be Pix Alias Under the layer menu, and inside the chance form. I'm also going to center the C point in the layer content and inside the Align panel. I will align this horizontally and ally in relation to the composition. That won't really change anything since all the elements will be parts of the plug in is just good housekeeping. The last solid, at least for now, that will be for the elements plug in. Once again, I'm creating solids, give it a name of elements three D, and then click. So I've got everything in order, now I'm ready to go to the next step and start extruding shapes. But the stuff will get to save our work like so. 3. Loading Shapes: In order to load all of these shape layers into the element three d plug in, no need to have them visible, so I would tog of the visibility. We just need to have the element three d layer selected and visible. Under the effect menu, and inside the video copilot, I'll bring up the element three d, and to load those shape layers, we can do this inside, the custom layers, and inside the custom text and masks. Now, all of these path layers will represent a shape layer. So I will set the path layer one to the base shape, the second one to the first half. The third one to the second half, the fourth one to the logo, and the fifth one to the name like so, and let's not forget to save our work. 4. Extruding Base Shape: To get inside the element three D environment. All I have to do is click on the scene setup. Once inside, since I need to start extruding shapes, I will click on the trade button, and here is the base shape being the very first one on the list. I double click, to rename this to base shape and then press enter return on the keyboard. Is on my presets. The Bevels and physical. I'll apply one of the Bevel presets of my choice. That will be the gold rim. So we'll click and drag this up, run on top of the layer and release. That looks great. It's a great beginning. And looking inside that, we've got two bevel copies. But we can also see under the extrusion, Bevel copies is set to two. I'll go ahead and target each one of them and make some changes. For the first bevel copy, I'll set the extrusion to one and then press the Tapi on the keyboard to move down the list of settings. I'll set the bevel size to 1.4. Three and disable the Bavel baste Lx so. For the second bevel copy, I'll set the extrusion to one, the expand edge to zero, the bevel sized two, the bevel depth to zero, and the z of set to one. I'm also going to disable the bevel back side. What is important here is to enable the bevel outline like so. Now that gives me space for an additional bevel copy, which eventually I will apply texture to it. Back on the base shape layer, I'll set the bevel copies to three, and temporarily, I will toggle of the visibility, just focus on the third bevel. I'll make some changes here. I'll set the extrusion to zero and go down the list and set the z of set to 1.3, and basically that moves it forward to a tad. L et's see the whole shape that looks great for now, but I will circle back and apply a texture to it. 5. Extruding First Half Shape: For the next shape to be extruded, once again, I'll go ahead and click on the extra button. Here it is the extruder model. A double click. I'll give it a name of first half, and then press and to return. Now, since this is a different shape to be extruded, Under the extrusion custom path, I'll change this to the custom path two. Here it is. I can move this on the Z axis, so we can see it like so. Once again, is on my presets and Bevel presets, I'll choose a preset on my choice. That will be the soft metal preset. I'll click and drag this up right on top of the layer and release. Looking inside, we've got two bevel copies. So we target the first bevel copy. Set the extrusion to one. The bevel size to zero, No need to have any bevel curve, and I'm also going to disable the bevel back sides like so. For the second bevel copy, I'll set the extrusion to 1.6. I will zero out the expand edges. Bevel size will set to one. I will zero out the bevel depth. Also zero out the z offset. I will disable the Bevel back side, but what is important here is to enable the Bevel outline, like so. All right so I'm going to move this up just a bit here. Maybe bring it backwards on the Z. For now, it looks fine, but I will circle back and apply a texture to it as well. 6. Extruding Second Half Shape: Moving forward to the last part of the badge. Once again, click on the extrude button. Here's the extrusion model. I'll double click to rename this two second half. Under the extion and custom path, I will assign the custom path. Here it is. Let's go ahead, align this up. As sits from the perspective view to the left view, and I will push this out on the z. And then on the y, Then I'll switch to the front view. Position it around here back on the left view, that looks good, and then back on the perspective view, like so. Since I only have one bevel copy here, the only thing that I'm going to change, it will be just to increase a little bit the bevel size. I'm just going to scrub this just a tad. They go something along those lines. As for the material, I'll click on the presets, physical presets, and I will apply just the chrome preset. L. 7. Extruding Logo & Name: I. Following the completion of the bats, what comes next is the logo and the name. Click on the extrude button, double click t in the extrusion model to logo. Under the extrusion and custom path, I will assign the custom path four. Now, when I move this on the Zs, you can see this is a quite large model in relation to the rest. When I score down a bit, under the transformation, I will scrab this to the left and scale it down to perhaps something percent. That looks good. I'm just going to position this a little bit down on the y axis temporarily, and then back on the extrude button, and double click to name this two pixel lias. I'll click and for the extruion custom path, I will assign the custom path five. I'll bring this on the C. Score down a bit, scrab this to the left. And scale it down to 30 something percent and move this up on the y axis. Now, both of these extrusions here, we'll have a bevel preset assigned to them. So assign presets, the bevel presets. I'll use the Custm bevel presets. We'll click and drag this right on top of the name and right on top of the logo. I'll zoom in a bit here, so we can see the changes that I'm going to make. So for the shine light, the first bevel copy, I'll increase the extrusion to 1.3, and for the second bevel copy, I'll reduce the extrion to 0.15. I'll do the same for the logo here. For the shiny lights, 1.3 and the shining 2.15. That looks good. Go ahead and position them correctly. Instead of the perspective view, I'll switch to the left view, instead of shaded, I'll switch to the wire frame. That will be easier for me to align things up. On the Z, I'm going to bring this. Keep zooming in to be able to see everything lining up. And I'll do the same for the name here. Like so. Then I'll switch to the front view and shade it. I'll bring this up on the y and the logo down on the y axis. Like so, then switch to the perspective view. Things are looking great. Like so. 8. Creating Stars: Next, we have the creation of a star three d model, and since we don't have one to use, I'll show you how to create one. So I'll click on the Create button and then create a cylinder model. Here it is. I'll go ahead and temporarily toggle off the visibility of the rest of the layers and just concentrate on the cylinder model. Under the cylinder and the options, I'll change the size from to three No need to have any smoothing, and I reduce the chain fur segments from 321. As you can see, that gives me a sharp angle edge. Now for this to start looking more of a star, I also need to increase the chain fur to let's say 0.5 or so. There we go, skid. Now, re click and duplicate this model. The O that I'm going to change on the duplicate model, is to change is orientation on the y axis, and I'll set this one to 60 degrees. All right. Now, go ahead and create a new group folder and double click rename this to Star and return, and then shift elects to cylinder models and just bring them inside the folder. For the folder and only in the folder, I'll change the orientation on the x axis to 90 degrees on the y axis to 30 degrees. And I'm also going to scale this only on the y axis, which means I need to disable the lock icon, and I'll set the scale on the y axis numerically two 30%. And here's the star. It looks great. Now, here I've got two choices. I can either keep that what I just created or export it and use it for any other project. And that's what I'm going to do. I'm going to go for the second choice. So I'm going to click here. And under the utilities for the group exports, I will export this as an OBJ file. I'll click to generate. I'll save this inside my objects folder as star, and then click to save. Back on the scene setup, Temporarily, I will toggle of the visibility of the star, and I need to make sure that I am inside the group folder. I'll go to the import and then import the star OBJ file, and then click to open. As for the import preferences, I'll keep everything as is and then click Ok. Here's the star looks great. No need to have that anymore. I can just delete that because I've got the three D model, and I will toggle on the visibility of the rest of the layers here. And concentrate on the star, which means this one I'm going to bring this out on the Z axis and scale it down quite a bit. I'm going to scrub this to the left and maybe bring this down to, let's say 40% or so. I'll switch from the perspective view to the front view. Positioning around here, let's say, next to the logo. I'll switch to the left view. Here it is. I quite a bit here and just bring this on the Z. Right there. That skits. I need to duplicate or click duplicate this model, switch to the front view, position it to the other sides, something along those lines. For both of these, I'm also going to apply material that will be the gold brings up here right on top, and this one too. Things are looking like so. 9. Creating a Light Beam: The next three d model will be a light beam, and since I don't have it in my disposal, I'll create one. I'll click on the Create button. Once again, I'll create another single dar model. Since I will be creating a light beam, that means I need to scale this down quite a bit. Under the transformation, I will scale this one non uniformly. I would disable the lock icon sets the x scale to 5%, and the Z scale also to 5%. Now, this right here hides in the back, so I'm just going to bring this out on the z and rotate its orientation to 90 degrees. I'm also going to bring this up on the white ad. And actually, this is going to be the middle one. I'll re click duplicate this model, double click and we name this to left, and also need to scale this down quite a bit. For the scale on the x, I will up this to 8% on the y to 6%, and on the z also to 8%. From the perspective view, I'll switch to the front view, and on the x, I'm going to move this to the side. I click duplicate this model, double click and rename this right on the x, I'll bring this to the right side. L Back on perspective, things are looking good. Now I want the light beam to actually be as a one entity, which means, I will create another group folder. I double click on it, give it a name of light beam. And then shift select these and bring them inside the folder. All right. First, I'll go ahead and apply material to the middle one here. So in the physical, I will apply the bright light and zooming as you can see, this is quite illuminating a lot, so I'll scroll down and under the illumination, I'll decrease its intensity to let's say 170 something percent. You see that looks so much better. For the left and right, I'll change the diffuse color to black. For the reflectivity, I'll change the color to a light gray. And then click. I'm also going to increase ease intensity 200%. I also want to change how the light bounces to the surface. It's a little bit too harsh here. In this case, I will reduce the glossiness. Non glossiness determines which areas of the surface are more glossy, and which areas are less glossy. I'm going to reduce that, let's say, 70%. That looks so much better. I'll change from the perspective view to the left view. I target the light beam, and let me go ahead and zoom in a bit here. Bring this in on the Z on the y, and position it somewhere in between. There we go. Like so. 10. Applying an Environment Map: Before I start applying textur maps, to bring up reflections and refractions bouncing from the three D models, first, I need to add an environment map. In this case, I will click on the environment button to select load an environment map. I'll click on that, and that brings me in the materials and environment folder with plenty of photos to choose from. In this case inside the environment folder, I'll choose the studio environment map, click to open, and then click Okay. So you can see as I rotate, reflections and refractions bouncing are more pronounced. In the event you would like to find your environment map, I recommend doing a search for equirectangular photos and a lot of results will populate. Equi rectangular projected photos have the full 360 by 180 degrees view, which is two to one ratio. 11. Creating Normal Maps: I. For generating custom noma maps that I'm sharing with you in the exercise folder is using the nmap online in the browser. What are normal maps? They store information about a surface in the form of a texture image and can simulate the appearance of surface detail such as bumps or scratches without creating high detailed polygons. All right so inside the noma map online. The far left, we have the standard height map, which is a gray scale texture where the brightness of a pixel represent its height, and that is relative to its surface. Since I will be using just the black and white pattern, Mal go with height map. So I'll click one to load the black and white pattern. Here it is inside my images folder. I'll click to open, and on the right side, we have the three D representation of that. I can rotate. I can zoom out. I can zoom in. I can also change the three d representation from cube to plane since I will be using a flat surface for applying my textures. And in the middle, we got the options to control how the texture maps are generated, starting with the normal map, which creates depth and it's used for pop maps. For example, we can adjust the strength we can make it very weak or very strong, and we can see those changes taking place inside the three d representation or inside the normal map window. In this case, I will leave the strength to its default value which is 2.5. Here I can adjust and change the level of the Noma map as it gets applied, and here I can adjust how sharp it is or how blurred it is. I'm going to leave this back to default value. This is just fine for me. Next, we have the displacement map, which brings out the details that is used to deform the axle mesh. I set its contrast to one. Then next, we have the ambient conclusion. That creates an extra bit of depth for shading. I will lap the strength to one and also make it very sharp. Last, we have the specular map which tells us which parts of a model should be shining or glassy. At the very bottom here, we can download each of these maps, or we can use the choice to download all of these textile maps. But before I do that, I'm also going to change the extension from PN to JPEG, and then click to download all the textile maps. 12. Texturing Base Shape: Before I start applying textures to some of the three D models. First, I will load them up inside the element three D. Inside the project panel, double click to load from images folder, the dots, the Noma map, and the specular map, then click to imports. I will bring those inside the timeline, then toggle off the visibility. In order for me to load those up inside the element three D. Under the custom layers, custom texture maps, I will load the dots. The normal map and the specular map. Then click on the scene setup. So the first texture to loads, that will be inside the base shape and the third bevel copy. Scroll down the I get to the textures, and the first texto map will be the normal bump, which basically creates a bump on the surface, and we'll be able to see that right here. So click on that, and since I have already loaded those texto maps into the element three D, all I have to do is click on the Dot down menu, and then choose, for example, the inimal map, here it is, and then click Okay. All right. So for us to be able to see some reflections and refractions, some additional changes. For example, I'll change the diffuse color, which is the color that an object reflects, I'll choose black. Then for the reflection, I use like a teal color and up its intensity to 20%. For the refraction, which is the bending of light, one passes at an angle from one medium to another. I'll use like a blue color like a light blue color, and also up its intensity to 20%. Things are getting better. But some more changes. For example, I break the intensity of the normal bump down to 50%. I don't want this to be so pronounced. But I am going to load another textural map for the glossiness, which is how shiny or smooth the surface is, so that will be the specular map. So that will be before and after. All right. A thing I can do is actually up the environment multiplier, and that will increase the intensity of the environment and on my end. I'll increase that to 300%, like so. 13. Texturing First Half Shape: For the second text to map, I will apply this inside the first half and specifically for the first above a copy. I'll scroll down till I get to the textures and for the normal bump. F the dot menu, I'll choose the dots pattern and then click Okay. Once again, for us to be able to see more reflexes and refractions, some additional changes are needed. First, I will reduce the effectiveness of the normal bump down to 25%. I don't want this to be so pronounced. Under the basic settings and diffuse color, I change that to black. For the reflection, I use the blue color and then up its intensity to 100%. For the refraction, I use like a yellow color and up its intensity to 70%. For both of these to be more pronounced, I'm also good to increase the environment multiplier to 300%. As I rotate, I can see the reflections and refractions bouncing from the surface. 14. Tightening Things Up: Before I move on to the animation parts, I would like to have dense geometry for the three D models, which means I need to set the tessellation from high to extreme. Start it with my name. I'll score down a bit till I get to the tessellation, and under the Path resolution from high to extreme, and I'll do that for the rest of the three D models. Like so. For both of the stars and on the surface, I'll up the environment multiplier to 300%, and 300%. Last thing, I'll make sure that everything lines up and there are no gaps between models. For example, when I zoomed here, I can see, the name does have a gap, target this and on the Z, I'm going to bring this in till it starts cut th There we go. I believe I do have a gap for the second half. I'll switch from the perspective view to the left view, and use wire frame to be able to see better. Target the second half Zoom and a bit, and I'm looking right here. Is a slope going to bring this in till it cuts off right there. For both of the stars, I'll do the same. I'll shift select, bring those into the Z. And the logo as well, O Z, I'll bring this in like so, and then back on the perspective view, and everything's ready for the animation parts. 15. After Effects Camera 1: Now it's time to start animating the three D logo, and I'll start this by creating a new camera layer. The timeline selected and under the layer menu, I create a new camera layer. For the type of camera, I choose a two node camera. Now two node camera has a point of interest and orients around that point, which makes it more flexible. For the lens preset and from the dropped donum, I'll choose the 24 millimeter wide angle lens, and then click Okay. So for the camera one, I'm just going to animate the point of interest and the position in this case, I'll use the keyboard shortcut to only show the properties with key frames. So I'll start this with a position and on the z axis. I'm just going to zoom in quite a bit here for the x axis, it's going to have a nice angle. And on the y, something along those lines. As for the point of interest, I'm just going to bring this up on the y and center it right there. These are the two first key frames. I'm going to zoom it into the timeline, and I specifically want to jump onto the third second. Couple of ways we can do this right here inside the time display. Just going to click once, and then enter the number three, then press enter return, and that will jump to the third second or I can just bring this all the way to the beginning. And then use the keyboard shortcuts and go forward ten frames at a time. Tira reads the third second. Both ways work just fine. So for the resting position, I'm just going to have a different angle here on the position on the x on the white statt I'm going to zoom out a bit. As for the point of interest. I'm just going to bring this right here at the center. En press the space on the keyboard for the ram pre, that looks pretty good. The only thing that I would like to change is actually the color of the reflection. So Inside the effect controls and the element three D. I'll click on the scene setup. I believe this is the second half. And for the chrome texture here, and inside the reflectivity, I'll change the color to a color of my choice. I'm also going to reduce its intensity to, let's say 30%, and then click Okay. Go ahead and do another ram preview by pressing the space by on the keyboard. So I like what I see. I'm just going to go ahead and keep that. 16. After Effects Camera 2: Moving forward, I'll add another camera layer into the timeline. So I'll click to select that. Under the laying menu, I create a new camera layer. For the camera settings and options, I'll keep everything as this, then click. Now I want the camera to to start from the last two key frames of the camera one. With the camera one selected, I'll use the keyboard shortcut to only show properties with key frames and to be precise and go right here on the exact two keyframes. I'll use the keyboard shortcut to go back to the previous visible key frames like so. I'll select the camera to, and then I'll trim the layers point by using the keyboard shortcut. So for the camera two, first, I'll animate the point of interest and the position. Once again, I use the keyboard circut to show the properties with key frames. I'll start with the position and the Z. I'm just going to bring this on the Z axis Zooming quite a bit. For the position on the x, I have a nice angle here and on the y as well. As for the point of interest, I will focus on the name here. And on this as well, two kind of centered, like so. So in this case, I'll jump another 3 seconds to six altogether, so inside the time display I press the letter six on the keyboards and then press and to return, and I'm right here on the sixth second. For the arresting position, I'll start, let's say, with the z here, the z axis on the Zoom. I just want to have a little bit of a zoom. Not too much. It's almost the same. I'll change the y a bit and definitely change this to the other side. Like so. All right, that looks good, about the point of interest. I reduce that because I'm aiming to just to see the name and center this something along those lines. Let's see. I'm going to press a space on the keyboards. I can see the name that looks good. All right. There you go. Another thing I can do is actually on the camera two. And for the orientation, I'm just going to change the overall orientation to 30 degrees or so, just to have another angle here. P the space bar. There you go to see that. That looks pretty good. So I'm going to press the letter G on the keyboard for the previous keyframe. And I'm also going to zoom out here because I would like to be able to see the name. All right. And there you go. So press the space part. I can still see the name, like so, and I'll keep that. 17. After Effects Camera 3: All right. One more camera layer to add, and that will be for the logos resting position. With a timeline selected, I'll use a keyboard circut to add a camera layer. For the camera settings and options, I'll keep everything as is. And then click. As I did with the camera two, I'll do the same with the camera three. I would like to have the camera three begin where the camera two ends. We'll click to select Camera two, and then press the letter U on the keyboard to show the properties with keyframes and to pre precise and move the timeline indicator right here on the sixth second. I'll use the keyboard shortcut to go to the previous visible keyframe. I select camera three, and then trim the layers in point using the keyboard shortcut, like so. For the camera three, I'll animate the point of interest, the position and the orientation. I'll start this with a position. I'll zoom in quite a bit. Let's see around here. I'll change the position on the x axis. I have a nice angle here, and a bit on the y. There we go. For the point of interest, actually, I'm going to leave this as is. I won't touch anything. I'm going to move forward another 3 seconds. That will take me two or 9 seconds. Right here in the display, I'm just going to enter number nine, and then press enter return. For the resting position, I pretty m have the same value for the position on the x and the y as I have for the point of interest, so that will be 960. And that will be 540. But the Zoom is going to be different, to be able to see the whole logo like so. The excud, but I'm also going to animate the orientation. This case, I'll press the letter J on the keyboard to go to the previous visible keyframe, and I'll set the orientation keyframe on the z to 300 degrees, and then press the letter K on the keyboard to go to the next visible keyframe and set the orientation on the Z back to zero degrees. Let's see how that works. When I press a space bar. There we go, now we have a nice and resting position for the entire logo. I like resting so I'm just going to keep that. 18. Filling Up Background: Animating the logo has been completed. But as you can see a background is completely empty. In this case, inside the project panel, double click two Import from the Fotos folder, the optical flares and the stars files that I'm sharing with you inside the Exercise folder, and then click two Import. To keep things organized with the two videos selected, so I'll click and drag those right on top of the new folder icon and rename this two videos like so. So the optical flares, I will click and drag that right on top of the element three D, and the stars, I'll bring this under the element D. And well, the next question is, well, we cannot see anything since the optical flares is sitting right atop of the element three D. So in this case, what I'm going to do is change its blend modes. So R click into the columns and bring up the modes, and then change its blend mode from normal to lighten, all it does, it looks at both layers that would be the element three D and the optical flaers itself and keeps the higher light values and removes the dark color. That's what it does. When I scrub this, it looks great. But look at the background, I can see that the stars is a bit pronounced. Click select that and reduce its opacity. I'll use the keyboard shortcut, which is the letter T on the keyboards and reduce its opacity to, let's say 30 something percent, and press the space behind the keyboards for another ram preview that looks great, so go ahead and keep that. 19. Animating Lights: As I mentioned earlier, I'm also going to animate the elements three D lighting. That will be inside lighting, additional lighting, and then rotation. I'll make sure that I scrub the curd time dedicated to the very beginning and add a couple of keyframes on the x and the y and selecting the element three D, and use the keyboard shortcut to show properties with key frames. For the x rotation lighting, I'll scrub this. He the light right here. And I scrub this reflects the logo right here and there. That's on the x and on the y. I scrub this still affects the stars. I press the letter K on the keyboard to go to the next the visible keyframe. Set the x rotation to right there so it bounces right behind the name. As for the y, Perhaps here, but I'm not sure sure because first, I want to up the overall brightness, that will be brightness multiplier. I'm going to go for 300%. That means I need to change the water rotation just to tad. Perhaps here. I'll scrub the curt indicated to the very beginning. Press the space power on the keyboard for the ram preview, environment animates, lights animates, things are looking great. I like what I see, so I'll keep that. 20. Animating the Environment: To continue improving upon the overall logo animation and make things more interesting. I'll animate the elements three D environment and lighting to give more variation. First, I'll animate the environment. So inside the timeline, I'll click to select the element three D layer inside the effects controls. That will be under the render settings under the physical environment and the rotate environments. Now, before I go ahead and add some key frames. First, I need to make sure that the cur time decator is at the very beginning of the timeline. And now I'll add a key frame for the rotation and the y rotation. To be able to see those key frames with the element three d layers selected, I'll use the keyboard shortcut to show properties with key frames. Now, the timeline is quite crowded. So at the bottom of it, I'll go ahead and collapse the transfer controls and the layer switches. I'll go ahead and stretch this out to be able to see the values for the rotation and the y rotation. These are the two key frames, the first ones. And that will animate till the ninth second. That will be where the camera three ends I selected. Use a keyboard circut to show properties with key frames, and then press the letter key twice to go to the next visible keyframe at the very end of the ninth second. We are here add two more keyframes. I'll scrub the croye dedicated to the very beginning. And then change the x rotation environment degrees two. Well, I can do this this way, so we can see the changes. All right. So I'm going to set mine 230 degrees. And for the y rotation, I'll do the opposite -30 degrees. Now, all of these values change depending your colors, your reflections, the environments, and so on. So that's the beginning of the timeline. I press the latter key twice to go to the last visible keyframes and then change only the rotation to to be somewhere around here at the very center. I will scribe the current indicated to the very beginning and the press the space bar on the keyboard to look at the animation and how the environment rotates. That looks good. I'll keep that. I like so. 21. Ambient Occlusion: Before I render out the entire composition, there is one option to enable, and that will be the ambient occlusion, which is used to simulate soft shading without casting shadows. Still under the render settings, here it is the ambient o For the mode, I'll choose red trace, and then I will enable it, but before that, let me go ahead and scrub this tat to be able to see its effect right there. So this mode basically calculates the ambient occlusion more accurately to get shading in all small areas. The thing is, the intensity is quite high, and in addition, I'm going to change this color to a color of my choice. I'll click and reduce its intensity to 0.3. Like so. I'll scrab this and then press the space on the keyboard phot and preview. Things are looking great, the environment, the lighting animate, and soft shadows have been added. 22. Trimming the Final Composition: To render the entire composition. First, I need to trim the animation. So I'll go ahead and scrub the current time dedicated two past the 9 seconds. Let's see around the end of the optical flares or stars layer. Let's say around here, and then press the on a keyboard to set the end of the work area to the current time, and then reclck to comp to work area. Then under the Composition menu, I'll add this to the render. For the, I'll click on that, and I'll set the format 28 to 64. I'll click Okay, and all I have to do is specify the output, and then render this out. 23. Thank you!: Thank you, so very much for spending time with me. Understanding how to use the very powerful video co pilot plug in inside After effect. Reach out. If you have any questions or or feedback about the course, it will be a great help to hear from you.