Transcripts
1. Intro: Hello, everyone. Welcome
to this new class where we're going to
close on new features. Have you ever wanted
to learn how to create animated ads inside
Adobe After Effects? Well, even the right place. And I'm going to show
you how to do just that, how to create animated ads, using Adobe After Effects, and also how to export
them and how to use different formats
because there are many options for exporting and different things
to consider as well. You don't need to know
much about After Effects. I'll explain all the steps, everything step by step, but a little bit of knowledge
with After Effects helps. It's going to make it easier
for you because I won't be explaining every
single button in here, just how to get it done,
how to get this animation. So we don't spend hours
learning how to do it. So what you're looking for is to learn how to
create animated ads, animated I know, videos, or animated gifts in using Adobe After Effects
in the right place. And let me show you what we're actually going to work
on as an example. I hope you're going to enjoy this class and
learning how to create animated ads or animations
here in After Effects, this quick getting started here. We're going to work on
this animation for this, say, mobile ad for charging
electric vehicles. And I'm going to show you how
we can animate the images, how we can add some text,
how we can animate text. Also, how we can add some great text
animation presets to make text look better. Like, in this case, here, the text appears bit by bit letter by letter
from left to right. Which makes it look
more professional, more sophisticated, more
modern, different, just better. So how begin to enjoy it
and get your After Effects, get ready, and let's get started creating animated at using
Adobe After Effects.
2. Make Project, Import and Organise: Okay, so let's start by
making a project first. So if you open
after faxinalready, and then you may be on
the welcome screen, so you can just click
on New Project here. And let's just save
it straight away. So go file, Sus I'll
do a standard SDS to save it as in this case,
Afterx 2025 project. Just keep in mind that it doesn't really matter which
version of Afflex you're on whether you're on
25 or maybe 26 in future or 24, doesn't
really matter. And I'm going to save
it on our desktop. So on the desktop, I've
got this IVAd folder here. You guys have it
here. I'm going to call it IV ad as well, the same name. Okay. And we're going to
input the cont, and we'll just input
everything here. So typically, as
you probably know, you can't input the entire folder straightaway by
dropping and dropping, but we can do I you
can do an input. So I's going to
double click inside the project panel and
slide the folder, and we'll have
this input folder, button windows on the
mark you'll have input or choose folder
or choose button. You can put the
entire folder here. I will have all these
graphics which are attached in your acenda as well. Okay? So we have this
image for the background, which is full HD
already, 1920 by 1090. And what we'll be done
here is we'll have the car driving got
this car body image. Also got a C wheel image, so we can make the wheels spin. So have, cow wheel
twice to make it spin. As the car comes in,
we'll have this charger uppear against the
background as well. And then when the cast tops,
we'll have the cable appear, and then we'll have this
maybe mobile app as well. I will add some
text here as well. About this, un
assuly going to use this one or this one, Oh see. Okay. So let's so as we know
more about the content. Ready to set up a sequence. So in the next video, we're
going to set up a sequence. We'll talk about the
stdins briefly as well. If you're not aware about them, if you're new to After Effects. So keep it open. Maybe save it. So we do Control or command to save because
you never know, and other save won't work yet. And we'll continue
on the next video.
3. Composite Car: Continuing from the
previous video, we'll set up our new
composition here. So I'm going to keep something in the folder selected
or the folder selected, so the comp will appear inside. And we can either use the
new composition button at the bottom of
your project panel or in your composition panel because we haven't made
any compositions yet. We can do new composition
here. I will give you a name. So I'm going to call it IV art. This is also going to
become the name of the video when you
export it by default. You can obviously change it, but it will be just a default here. As for the satins, if this is going to be
safe for social media, full HD is going to be perfect. So 1920 by 20 is perfect. Full HD, four K may be too much, and we can also export
it bigger anyway. And also the content isn't
too big here right now. Okay. And for the prime, 24 is perfect for the web. 25, 29 and seven are
used for broadcasting. If you want to know more
about this stuff here, watch the introduction class
about Adobe After Effects, green animation to
be After Effects. We'll just focus on
this animation here and we'll set it to be
say 10 seconds, 10 seconds will be enough. And I'll click Okay here. It's a new comp, and we're just going to drop the
background here to our comp. So if you drop it
to the timeline, so it's right in the
cent automatically. We won't be doing anything
with the background, so I would lock it here. So lock this layer, and we're just going to composite
the layers here as well. So if we add the car body, this time we're going
to drag it into our Composite panel here. Anyway, for now, doesn't
matter where right now. I'll add the car
wheel twice as well. So I have two of them. Let's just focus on
the car for now. I'm going to zoom in a bit closer here so I can
see this better. I was going to put them well, with the wheels where
they're supposed to go. So this will go here. And this wheel goes here. I think that's what do for now. We can also do is you can select both wheels with the
shift key and you can use the align panel to align them by the top or bottom edges
or the vertical center. So they'll be
vertically aligned. You don't have to wait
manually. Horizontally, we need to align them manually. That's the way it's
going to go, okay? And so we have separate layers for all these here for the wheels and for
the cup body as well. I'm going to zoom out
back to fit mode. You can see the entire
video framing here. And we're going to add
some more content. We start animating on
the next video as well. So for now, just
make sure you drop the car in here
anywhere you want, doesn't matter where right now. Don't resize it. Just
leave it as it is. Drop the car body
and the wheel twice, and then position them
where it's supposed to go and we'll continue
in our next video. I'm going to save
again just to be on the safe side before autosavee starts working, and
then keep it open. I will continue on
the next video.
4. Composite car, charger and cable: Now that you've got a card here, we'll start animating it. So initially, we're going to
put the car off the screen. Now it's going to
help if you lock your background layer
because if you locked it, then you can just
simply click and drag around the card to
highlight the entire cart. Now what we may want to
do just before we start animating is out
Composite the layers, how they're going
to work together. So what I'm going to do
here is I'm going to add the charger into
this composition here or make it smaller
because it's too big. It's just too big. Let's say maybe about this
size, somewhere on the side. Also going to add a cable in here because this will connect. The car will connect through
the cable to the charger. Now, the charger and the cable are about the
same size to start with. That's we make it smaller. We may want to make
them smaller together, so you keep the
same size for them. If you resize the charger already like I have, no problem. Here's what we can do.
I'll select the charger. I'll have look in the
property s panel. I would check the
scale. I've got 66%. Let's say I'll do
60. Here we go. 60%. Okay? Now we can
select the cable. I would do the same
60% for scale in here. Now I'll put them
together. So I'm going to zooming closer. The cable goes in
here with the car. Again, we'll click and drag around to highlight all of this, and this will
connect here, there. I think it is all
now a little bit too high because we can see this background
behind. No problem. We'll just highlight everything, and we'll move it
whatever you want it to be when it's
going to stop. L, let's hear, for example. Y. So now we can start
animating the car. We'll animate the car first. The car is going to
come in. Then we'll animate the charger because the charger will come
in from the other side, so we're not going
to animate them together, not at the same time. And then after the car stops, we'll have the cable up here. So this is a good
starting point to start animating this project,
this composition. Keep the car what it is
right now because it's going to make it easier
for you to animate it. So leave it as it is.
And the next video, we're going to start
animating the car.
5. Animate Car: I think we're ready to
start animating the car. Now, the reason why
we keep in the car, what it is right now is because it's going to be easier when we start
animating the movement. We'll focus on the
movement of the car first, and we'll animate the car, body, and car wheels together. So in your timeline, if you move your CTI to when you want the car and just
them out here first, move your CTI in your timeline to when you want
the car to stop. I'm thinking maybe 2
seconds, maybe, 2.5, maybe. Let's try 2.5 first. So I'll
move the CTI to 2.5 seconds. They will select the car
body and car wheel layers, all three layers together. And just to make it
easier and quicker, if you go to your
property spanel, click on the stop
patch for position here to set the kitten
for these three layers. When you do that for
the properties panel, these properties will appear in your timeline automatically, and only these properties
will appear, nothing else. So it's nice and tidy. You also get a new key from
here, which is perfect. Now, move your CTI
to the beginning, and in the composition panel, we'll move the car and the
wheels off the screen, so click and drag or
hold the shipped key to make sure they move
in a straight line and put the screen here. And I will preview
with the spacebd. Okay, that's a bit too slow. So we may want to
make it faster, but just before we do
that because the car is coming in and it stops,
it starts off the screen. Because it's going to stop here, we should make it slow down before it stops to make
this look more natural, to make it look more realistic. Because the cast
starts off the screen, we're not going to
anything at the beginning because we don't see it start. So just on the end on these three keyframes,
we'll highlight them, and we'll right click on any of them and using kem assistant, we'll add ease in. This is going to
make this animation slow down before it stops. That is now before we start
tweaking the position of the key frames before we make the animation faster or slower. Supply easy in fast. Let's preview the
speed may be okay, but most importantly, when
you play the animation, notice how the car is slowing
down before it stops. So I think the animation
should be a bit faster. No problem. I'm going to
move the CTI to 2 seconds. I'll move the keyframes
to 2 seconds. The reason I'm moving
the CTI first is because now I can see exactly what
it is at exactly 2 seconds. I can move the keyframes
to 2 seconds right there. Did I will preview again to make sure that
we have the animation. I think this looks good. So
let's make the wheels spin. So move your CTI back
to the beginning. Let's deselect the
car body layer. Let's just deselect everything. I will select both car wheel
layers for the shift key. And then the property s panel, we click on a stopwatch for rotation to add
rotation keyframe. And if you look in timeline, you'll see position
rotation properties with the keyframes in here. When you animate rotation, you don't change anything
at the beginning. We'll leave it as it is. We're not changing the value. We're going to move
the CTI to where the icing FM is where
the cast stops. Keep both Chellayer selected. I will add some rotation. You can do it in a timeline. You can do it in a
property panel if you prefer. It's the same. We'll be changing
the value of the X because this is the
number of full circles. Doesn't look like it's
an X, but if I go here, there we go to ADX. Because the car is
moving to the left, the wheels need to
rotate counterclockwise, which means we need a
negative value here. Because the car
moves for 2 seconds, maybe you can start
with minus two. This will make the wheels
rotate once every second. Then we'll preview, I
will say if you like it. So it's going to preview. This is too slow. No problem. We'll just move the CTI
back to the second kim. You can use one of
these triangles here. Let's do minus four. Again, keep both car wheels selected, so they both change, and
we'll preview again. That's better. In doesn't look right right now is the wheels seem to spin for a little bit longer
when the car stops. That's normal. That's because we applied easing on the
movement of the car. So because we applied easing here on these
position key frames, we should do the same easing on these keyframes here
to keep it consistent. So basically, all the
keyframes here at 2 seconds will need to have exactly the same easing
applied which was easing. And now, when the car stops, the wheels stop
rotating as well. Perfect. So again,
privy animation, see if you're happy with
the animation there. So you want to play
it a few times. And if you like it, then in the next video, we'll
animate the Charger.
6. Animate Charger: In the last video,
we animated the car, so the car is coming in,
the wheels are spinning, and then the car stops. Now it's time to animate the charger in a
very similar way. And like we did with the car, I think the best thing
to do would be to animate the charger
backwards in a way, starting from the
end of the animation because we place the
chargers going to stop. So if we move the CTI 1 second forward
after the car stops, so moving it from 2
seconds to 3 seconds. And we select the charger. We'll go to the
properties panel, and we'll click on
Stopwatch for position to set a key frame and to
start the animation. Now we'll move the CTI back
1 second to 2 seconds. And now we're ready
to move the charge of the screen just
before you move it. If you move it,
say, for example, just a little bit like maybe here because going to travel
a very short distance, it's going to
animate very slowly. If you move it further, because it's got a longer
distance to travel, it's going to animate faster. So this is the moment
where we're going to just play with it and we'll see what kind of
effect you want to achieve and want it to
be faster or slower. So I think we don't want
it to animate too slowly. So probably move the
Ct move the charger, maybe here first, and then previo animation and
see what this looks like. Oh, I forgot one move in. The charge, you should
actually limate at the same time as they can
not after. No problem. We just highlight
these two key frames together and move them now. Okay? And I'll save you again. Okay, I think the
charger moves Well, I'm thinking the charger
moves a little bit too slow. But before we start tweaking it, I'm going to apply easing
on the second charge, a keyframe quid on the car because I know the charger
doesn't move, obviously. We're just trying to simulate the effect where we panning
with the background. But the charger or the background should slow
down before it stops as well. So if you disike the keyframes and just on the second one, we'll apply easy
ease in as well. Then we'll preview again, and
then we decide if we want this animation to be faster or slower to one for the Charger. So let's just
preview first. Okay. I think the charger
moves a little bit too fast because it looks like
it starts much sooner. So I'll go back to the
previous keyframe, can use this lock
pointing triangle. And if we move it a bit closer
to our composition window, it's going to move a bit more slowly, and it will
preview again. We can also tweak
it later if we want to I will still a bit too fast. So I'll go back to the first
key frame and I'll put it right off the screen and
preview again. That's better. Also, if you wanted to
move a bit more slowly, the charger, we can move the first key from a
bit further to the left. So I'm going to move
it maybe a little bit, like one, two, three or five, maybe six frames, which will be a quarter of
a second and PV once more. That's better. I
like that. Mm hm. So that's the car and
the charger animating. We'll animate the cable
in the next video, and we're going to do a different kind of
animation this time. We're not going to make it move because we don't want
the cable to move in here. So keep it open, go
to safe as usual, and then we'll do the
cable in the next video.
7. Animate Cable: This video, we made
the charger move animate as the car is
coming in here like this. Now after the car stops and
after the charger stops, we'll make the cable appear. We'll just make the
animation. We'll just do the opacity animation. We also give it a
tiny bit of a delay. So after the animation stops, so say after 2 seconds or whatever your
second keyframes are. If you move your CTI
half a second forward, somewhere to 2.5 seconds, that's where we start animating the cable. So select the cable. We go to the properties panel, or click on the
opacity stopwatch and here in the
properties panel, we change the opacity
value to zero as well. To make the cable invisible. That's not visible here yet. That will move our
CTI 1 second forward, 1 second will be enough. And back in the property
panel or in your timeline, we change the opacity to 100. I will preview. The cable smoothly appears
after the car has stopped. I think this will be
fine for the cable, but you can just preview it, tweak it if you want
to check if it's animating fast
enough or the need? Should it be faster or slower? I think this looks okay. So I think I'm going to
leave it as it is here. And the next video will add the mobile app sign
because I want to animate, obviously, let's say this is an ad about maybe a mobile app. Keep it open, and next video will animate the mobile
app or mobile phone.
8. Animate Mobile App: We have the, the
charger and the cable, we'll add this image of
the mobile phone, the app, mobile app dot Pinge and then we'll decide what
we want to do with it. So if we drop this into our composition
anywhere here for now, because of what this
image looks like, we'll just have it in the bottom right
corner in this case. So you can just use the
align panel and align it to the right and to
the bottom here. Also, should decide about the size before you
start animating it. For example, if this animation
is about a mobile ad, mobile app, the image of the mobile phone
should be quite big. So I wouldn't make it small. If this animation
is about the car, then we can make
this image smaller. Let's say this is
about mobile app, this plug mobile app, which is a great
app where you can access near charging points
to charge your electric car. So I'm going to keep
it decis it is. And as for the animation, we could animate opacity. It is very popular
for most animations. However, there's a bit of a challenge we have here if
we don't animate opacity. I'll show what I mean, if we just try to start changing
the opacity on this image, look what happens in here. When it starts to fade in, this line in the background between green and white just
doesn't look quite right. And if we make the
animation fast, unless we make it
very, very fast, the line will still show. I think what we'll do in this
case, with this background, at least, is we'll make this image sliding
off the screen here. So we can actually,
in this case, we can do normal animation, not backwards like
we're doing before. So we can start by
moving this image of the screen just off
the screen here. Remember, we can hold the shift key to make it
move in a straight line. How the mobile applier
select it will go to the property spanel
if you click on the position stopwatch
to set a key frame. Oh, I know I didn't mention
any for the CTI. No problem. Because if you look
in your timeline, you can just move the keyframe wherever
you want it to go. My keyframe actually appears just over half a second
after the last animation, but maybe we'll just make
it animate straightaway. So we can just easily move the keyframe and
move it back here. And as you move the keyframe, if you hold shift,
that will make it snap to the keyframe
automatically. Okay, so that's the start. So move the CTI 1
second forward here. I will just move
the mobile app onto the screen on mobile
phone screen. I like doing things on an
easy way and a quick way. I don't like to
complicate things. So I'm going to use
the align panel and I'll just align it to the edge right hand side to the right edge of the
composition panel here. This will make this mobile app just come in and stop
right on the edge. And if we preview this
animation, this looks good. However, because this
image moves and stops, we should know
what we should do, we should apply es in on the second keyframe to make
it slow down before it stops. So on the second keyframe
here on the timeline, going to right click, Keyframe
assistant, easy es in. I will preview the
animation again, and then we decide if we want
it to be faster or slower. So we just preview it again. I think speedwise looks good, looks okay. So think is good. That's about the image
image animations, images animation. What we'll be doing next is
we'll be animating some text. We'll have some text here
and we'll animate it, and to make it
look nice, I mean, the animation will add an
animation precedor to it as well to make it look more
sophisticated, more modern. Now you know how
to animate images. Okay? So let's keep it open, and in the next video,
we'll add some text. I will add some nice
animations to it.
9. Add Headlines and Subheadlines: This is what we've got so
far within our animation. Okay. So now, after all the animation stops
here, we'll add some text. So we're going to use
the type tool here. Text, I was thinking about
adding two blocks of text, headline and subheadline. So first, some headline
here on the top. Let's say maybe the name
of the app in this case, say plug S App, maybe. Now, if you want to add two text blocks because we want them to animate
independently, we need to switch back
to selection tool, then type to again and I'll click at another
block of text here. So let's say download our free mobile app to find
the nearest charging point. Let's switch back
to selection tool. This should be cent
lied within itself, but also on the page.
The same for this one. I want it to be
cent aligned within its box and also center
align on the page. And this is going
to be a headline, so it needs to be bigger. Also, we can change the fonts. You can use any font
on your system here. So I'm going to go for say Leto, and it's maybe actually a thicker one for the
headline, like a regular. This would be to
maybe also regular because if we animating text it's going to look better when
it's a bit thicker, but we can try light. You can always change it later. This should definitely
be bigger as well. They can change the font size. Actually, there's a drop down there just to make it wider, the panel and use the drop
down to make it say bigger when adding text and
when customizing the text properties like
font size and font style. It's going to help if you have a look on it in
the maximize mode. So if we double
click on the name of the Composite panel here, this will take you
to maximize mode. You can see this
bigger and better. Something in this
could be a bit bigger. This could be a bit bigger
as well, maybe another size. So we're going to
double the name of the panel again to exit
maximize mode here. So this one will go 48-60, and this is going to go 36-48. Stay in the center,
make sure you got space for the mobile
app as well here. And we'll make them animate one after the
other one by one. But we're going to do just
normal opacity animation. We're actually going to apply an animation preset to
make it look better, to make it look nicer. You know. By the way, when you
customize your text, if you're new to After Effects, if you new to using
text in After Effects. In your property spanal, you find everything you need
for your text properties. So go to your phone
size, phone style. You can change the
color as well, you can have a stroke on a text if you want to on this one. Not even on this one, no. They just don't look good. But if you do all, you
can have a stroke, maybe no film, for example. And the more, you can
make it all caps. You know, if you want to find
out more about this, again, just check my intro course about cred animations
inside Adobe After Effects. That's all in detail
in there, okay. But now I just have
this text in here. We place it in the top
center of the composition. We center line it. And in the next video, I'm going to show
you how we can apply text Animation
Presets to make it look animated better,
nice, more sophisticated. So keep it open, and I'll see you back in the next video for text animations and
text animation presets.
10. Text Animation Presets: In the last lesson, we
edit some text into our composition with the
headline and sub headline. Now we're ready to
start animating it. But instead of doing a normal
standard opacity animation, where you make it appear the
entire layer one by one, or do something a bit fancie. Well, apply a text animation
preset to the text. With text Animation Presets, one of the great
features about them is they make your text
animate in a certain way. Like slide in or drop down
or appear out of a blur, and they appear letter
by letter word by word, which makes them look better,
more sophisticated, okay? You can find them
in the facts and Presets panel inside the first fold the Animation
Presets, if you open it, and then if you open
text, and, for example, we'll open Animate In, which has a whole bunch of
animation presets here. There's quite a lot
of them in here. Okay? With these
animation presets, we can't preview
them before applying them in here inside
After Effects. But well, some of them will
tell you what they do. Just before we
start like we have typewriter Animation
Presets, for example, or fade up characters
or lines or words, where text will fade up or
fade in letter by letter, line by line, word by word. Before we start applying them, they'll start at the
potion of your CTI. Let's start by moving our
CTI After everything else, stops animating We'll
give it half a second, so say 5 seconds. Yeah. And we're just going to simply drop the
animation preset onto text. Now before we start applying it, because they all different
Animation Presets and they work in
different ways as well. What's going to be easier
for now if you haven't worked for them before
is if you apply one, preview it, then undo,
apply another one. Review, undo, apply another one, because it's just
easier than trying to work out how to find it, how to delete it. Okay. So I'm going to
take this fade up characters and I'll just rug it and drop it onto
this headline here, release, and then preview you can see what
this looks like. It's quite cool. We stop do
control that command set. And let's say fade up words. So I the text up
here word by word, plug, share and then up. Which actually quite nice. Okay? Undo. I'll show
you also a typewriter, which does exactly what it says. The text appears it's being
typed on a typewriter. Which might do what
you want, okay? So I want pick something here. But also quite a
nice one as well is the Espresso I chart just to
show you a couple more here. This one is quite nice, where the text is going to start chaning and
reveal your final text. Ms? Not for this one, but I see this sometimes in some action films where they show where
something happens, like the name of the city. Okay? And just to show
you one more here, which is quite cool as well, is the opacity slicker
in this one here. You may have seen it
in some films. Good. But again, not for this
one, something you undo. And you also have this
drop in by character. If you like it, so can
decide which one you like. The text just drops
down from above. So undo. And I'm going
to keep it quite simple, just looking more interesting. I think the fade up
characters is great. So with the CTI at say
5 seconds in this case, after everything else
stopped animating, or drag and drop fade up
characters onto this layer in the Composite panel will preview as well
into safe meantime. See? Okay. What we'll do is
we'll move the CTI to where this
animation stops when the text is fully
revealed. Mine is here. So mine takes about
2 seconds, okay? That's maybe a
little bit too long for such a short
text. No problem. If you select the layer
in your timeline here, you can use the letter U
to reveal the key frames. So you can see what
the keyframes are. And if you want to
make it faster, we can just move one of the keyframes closer
to the other one. I'll make this animation
maybe 1.5 second and preview again. That's better. For consistency, we should apply the same nuption
preset on another layer. So if we move the CTI to
where this animation stops, we select the other layer,
the other text layer, I will apply the same nomption preset in the same
way with dragon drop it Because this text
is much longer, it's going to be fast as well. So I may need to move the key
from further to the right, the second one. But
let's preview first. I mean, I quite like it, but
maybe it's a bit too fast. So inflate the layer, press you, reveal the keyframes. And if you want to
you can make it slower by moving the second
keyframe to the right. So maybe a little bit slower. I'll move the second keyframe, half a second forward to 9
seconds. No preview gain. Have image animations and
text animations here as well. At don't normally have sound, but you could input sound
here and drop it on a timeline to have it play in the background if you wanted to. Let's focus on this on
animating images and texts. Let's say this will do for now. And I'm going to keep this comp 1 second
longer 10 seconds. That's fine. And
in the next video, we're going to
have a look at how we can actually publish it, how we can export
it from here s.
11. Export Your Ad as MP4: Okay, it's time to
export our animated ad. There are two main options
here for exporting. We can export it as a video if it's going
to be not just an ad, but, I mean, it could be like social media post, for example. Or we can also export
as animated gift. So, have a look at
these two options. Let's start the video first. So the composition is selected. If you go to the file menu and then export and
add to render cue, this will export directly
from After Effects. This opens rondo Q panel at the bottom of
your screen here. By default, you'll see
these settings here. I says best settings
for endo settings, h 264 match render stings, 15 megabits per second
for output module. This is going to
create a perfect video for us here in MP4 format,
which can play on everything. So if you click on what it says, not yet specified output two. We can choose what you want to call it, what
do you want to save it. By default, it's going to use the name of your composition, and it goes to the
location where you have your project,
which is perfect. And it creates an MP4
Fon here, so click Save. But it's ED at the MP4. And on the right hand side, we'll click on the
Render button. This is going to create a high quality compressed
video in MP4 format, which is perfect for everything. MP4, especially using this H 264 codec,
works on every device. So it's always going
to work for everyone. So if we have a look at this
video here in our folder, that's our MP4, it's only
2.7 megabytes for full HD. Okay. And if I double
click to play it, it's going to play just fine. And you have good
quality here as well. When you export it as MP4, you can also customize the
quality of the bit rate here. I want to show you this as well before we do Animated GIF. So if you go back to our
timeline to our IAT, we'll add it to ran the Q again. So file, export,
add to ran the Q. And if you want to say customize the
quality, for example, if you go to drop down
next to output module, there are three
different presets for MP4 files with different
bitrate settings. If you create specifically
for social media, where people will access
them on the mobile devices, 5 megabytes/second will be just fine if you want to
reduce the file size. If you want higher quality, you can go for 40
megabytes/second. This wouldn't do
anything for us in here because of the con
we're working with. But if you videos,
if they big videos, maybe if the content is
four K, for example, then 40 megabits per
second would be better, but 15 megabits per second
is just fine in here, okay? Also, if you exporting, say, and you want to
export it maybe smaller. What you can do is when
you ran the queue, you can sell it to
Adobe median coda. So when you click
on Q in ME button, this will launch
Adobe median coda. A medium coder will give
you many more options. We have a bunch of preset in median coda for
different resolutions. So here it's going to
load in this que panel. It may take a moment
before it loads. So patient should use
the same H 264 codec. And on the preset drop down, we have lots of
different presets. So for example, I could do, say, YouTube 720 YouTube
four K, for example. Me. Here you can choose where you
want to save it, where you want to call it. I'm going to click
on this link to change the name so it's easy at four K. So which one
switch or click Save. And you can click on this
green Play button in the top right corner to render to export this video
using median coda. You will have median
Coda because it comes with Creative
Cloud for free. So click on this render button. You get a preview at the bottom
here and a progress bar. And when it's done, you get a green tick here on
the right hand side, and you'll be able to
access this new video, this new file in here. We can actually
click on this link. We can see what this
four version looks like. So four version
is this one here. If I to open it. Well, quality wise will be the same because we just
using images here, and they looked
good to start with. But this is a much
bigger animation. This is in four k format. This is 38 40 by 21 60. Okay, so if you want going
back to Aftereffects, what if you want
to export as say, animated gift, for example, going back to our comp here? Well, let me show you
this in the next video.
12. Export Your Ad as Animated GIF: In the last video, we exported our composition as
a video MP4 format, which is perfect for share with other people who
upload it online. But you have another option
where you can export your composition
as animated gift, which is still
available sort of here. Just keep in mind that GIF gives you a lower quality
compared to MP4, and GIF doesn't
deal very well with gradients, but it's an op. So if you want to export
this animatic gift, you load your composition. So you just click
on your composition panel or click on the timeline. Now for Animated GIF,
you would need to send it to median code because
artist can't do animatic gifts. To use File export, and add to Adobe B median
code Q in this case. And in median coda
here. Just maximize it. Again, the video will load or your comp will
load into here, and you change the
format to animated gift. Then you can choose if gift it's supposed to
have transparency or not. We don't have any
transparency here. So Animated GIF match source. Now, make sure you
choose animated gift, not gift because you
want it to be animated. Then here you can choose
what you want to call it, what you want to
save it as well. Something to put it right next
to the videos here because normally medium coda
makes a folder when you export not safe here. I'll just click the under
button in here as well. And you get a preview
at the bottom of your screen with
your Animated GIF, and you get a progress by again. When it's finished,
you get this GIF file. Gift typically is going
to be bigger than MP4 because GIF is lossless. We MP4 lossy so when it's done, if we have a look at
these files here, give is 16.5
megabytes, MP4 is 2.7. The same composition,
the same resolution, the same duration, and
GIF will look okay. But it won't look as
good as the video. Just look at the windows on the car or look on the
mobile app as well. However, GIF will
play automatically, and it will look as well. Video doesn't look. Video
video will stop at the end. So if you want something
that's going to play automatically on the loop, and the user can't stop it, then I to gift is an
interesting option. Here. Now, there's one
more thing I wanted to tell you and show you about animated gifts and
exposed Animated gifts. So this will be an extra
bonus in the next video. So I'll see you next video.
13. Export as Animated GIF and Background Issue: Welcome back to this
bonus video here. A expotinsGif, okay?
So here's an idea. Just something to keep in mind
when you're going to work with animations animated
banners as well. Now, this may change
because this has to do more with medium coda than
actual After Effects, but something you
should be aware of. So let's say, in
this animation here, I'm going let's say you will
hide the background layer. He was going to hide it. And now we'll have this
Composite background color. We also have this transparency. So if you turn transparency
on, you can see transparency. You can see this animation
against transparency. Let's say one the transparency, where we put it on top
of something else. So if you want to do Animated
GIF, again, medium coda. So file, export, add to
Adobe medium coda Q, I got this animated gif, the same options as before, which is going to enable
transparency here. Now, when we export it, have a look in this
encoding panel here. We have a preview. Remember, we have this
transparent background in our composition, okay? So if we click on
this render button, you see this gray
background instead in here. You want to see the
checkerboard, okay? I'll show exactly what happens here when this is
finished exporting. We're going to re import it or input it
into After Effects. So you can see
exactly what's going on when it's finished, we'll go back into
After Effects. I'm going to double click to
input this animated gif Oh, it's in the fold, I think. That's the gift we
just done on here. So import it. I'm going to turn this
background layer back. Actually, I'm going
to able to raspie you can see the background color. So drop this animated gift here. Now, it's got the same
black background, okay for now, and I'm going
to hide the other layers. I'll keep just the
background, okay? So when we play this. It looks the same. Looks normal, okay? Slice the transparency on here. But it's checkerboard,
right in here. But just keep in mind
that, for example, what I wanted to show you here is if I set it to
medium code again, I'm going to undo, undo. So say this has our
black background. Or let's actually change
the background color to something different. Let's say do a nice light blue. If we send it to me in Coda, because we want to
do animated gift. And we have no transparency because we want to have our
blue background in there. Have a look at the
preview window here. Now, there's no blue background. Your composition background
color will not appear in your animated gift when you
export it from medium code. So if you want to have
a blue background, you just need to have a layer
of the blue background, like an image layer or
like a shape layer, okay? Just a bit to keep
in mind with gifts, specifically. Here you go.
14. Thank You: Hey, welcome back for the
last time. You made it. You've accomplished this course, this short course on creating animated animated ads
inside Adobe After Effects. I hope you enjoyed it. If you want to know more,
just let me know. If you have any questions,
just let me know. I'll be happy to help.
I hope you enjoyed it. Enjoyed creating our
animated ads for mobile app here and enjoy
explore the features, get more practice, do more. And have fun as well. So I hope you enjoyed
watching this with me, and I hope to see you on
some other courses here, maybe some more
afterefax courses or maybe other courses as well. So thank you for watching.
I'm Mark Mulatrik and see you another, thank you for watching.
Bye bye for now.
Marek Mularczyk
