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.