Creating Glitch Animation in After Effects

1. 01. Introduction: In this course we will create a glitch text animation you can also use a logo instead of text And in the process, we'll learn different techniques that you can then use in your glitch animations First, we'll create a new composition with these parameters I will use this number of frames per second I will also use a frame resolution of 1920 by 1080 but you can use your own, like 4K if you want But for practice, for the first time, I recommend using the same settings that I have to make it easier for you to follow the course Click OK and the composition is created it also appears in the Project panel and opens in the Timeline panel Next, we need to create a logo or text, depending on what you want to animate In this main composition you can create either a text layer or you can insert your logo To import a logo, simply move the logo file to the Project panel by dragging it and then move it to the left side of the timeline panel Let’s delete the logo layer, since we will be using a text layer To create a text layer, select the text tool change the font and font size and other parameters in the Character panel click in the Composition window and write your text click in an empty space in the timeline panel or Composition window then, using the Selection Tool, you can move the text to the desired location in the Composition window, in our case, the center of the composition If necessary, you can adjust the text in the Character and Paragraph panels as well as change the text or logo transformation properties if necessary By the way, if we want to move the text exactly to the center of the composition it's easy to do using hotkeys First, let's move the anchor point of the layer to the center of the layer by pressing CTRL(CMD) + ALT(OPTION) + HOME And then move the layer to the center of the composition by pressing CTRL + HOME For convenience, let's move this layer into a separate composition by applying the pre-compose command to the selected layers Select the desired layers and apply the pre-compose command using the keys CTRL(CMD)+SHIFT+C We can change the name for the new composition Thus, the selected layers will move into the separate created composition And we will animate the composition layer itself without touching the layers that are in the pre-composition And since the logo and text layers themselves will not be animated we can always easily replace this logo and text at any time Simply delete the old layer with the text or logo in the pre-composition and create a new layer with the text or insert the logo If we move or change the transformation properties or apply effects to a pre-composition layer the changes will be applied to all layers within that pre-composition as if it were a single layer I often use pre-compositions, not only to make it easy to replace the logo or text but also to structure the project, and to separate the animation steps so that the project is easier to understand in the future I also use pre-compositions to group layers together For example, you can move layers into a pre-composition and then manage it as one layer But don't go overboard with pre-compositions, apply them only when needed The next step is to roughly place markers for animation timing We do this so that it was easy for us to understand the approximate timing of the animation and where the important keyframes will be located For example, where the logo animation will start, where the pause will start and where the logo disappearance animation will start For each of these stages, we'll set the timing using markers To put a marker in a composition, deselect all layers and press the * key so the marker appears for the composition and not for the layer if you had a layer selected, the marker would appear on the layer The marker can also be moved on the timeline For the marker, you can add a comment to do this, double-click on the marker and write a comment here I also change the colors for the marker to make it easier for me to navigate between them this is also useful when we have a lot of markers And click Ok to apply the changes So, this Appearance marker will show us the beginning of the appearance animation Let the duration of the appearance animation will be about two or two and a half seconds Next marker Pause will show us the beginning of the pause where the appearance animation is over We can make the color for the marker different The pause between the animation of appearance and disappearance is needed to give the viewer enough time to see the logo Another marker we put where the pause ends, and the Disappearance animation begins We will make the disappearance animation shorter than the appearance animation Since we do not need to give as much time to the disappearance animation of the logo as to the appearance animation The duration of the pause is also usually shorter than the appearance animation just need to give enough time for the viewer to see the logo and read the text but do not need to stretch the pause for too long so that the viewer does not get bored We set the markers approximately we can change the duration and timing of animations or pauses later in the process Glitch animation techniques, which we will study further in the course we can apply to animate the appearance, disappearance or for example, we can use them during a pause so that during the pause the logo is not completely static 2. 02. Beginning: In this course we will create a glitch text animation you can also use a logo instead of text And in the process, we'll learn different techniques that you can then use in your glitch animations First, we'll create a new composition with these parameters I will use this number of frames per second I will also use a frame resolution of 1920 by 1080 but you can use your own, like 4K if you want But for practice, for the first time, I recommend using the same settings that I have to make it easier for you to follow the course Click OK and the composition is created it also appears in the Project panel and opens in the Timeline panel Next, we need to create a logo or text, depending on what you want to animate In this main composition you can create either a text layer or you can insert your logo To import a logo, simply move the logo file to the Project panel by dragging it and then move it to the left side of the timeline panel Let’s delete the logo layer, since we will be using a text layer To create a text layer, select the text tool change the font and font size and other parameters in the Character panel click in the Composition window and write your text click in an empty space in the timeline panel or Composition window then, using the Selection Tool, you can move the text to the desired location in the Composition window, in our case, the center of the composition If necessary, you can adjust the text in the Character and Paragraph panels as well as change the text or logo transformation properties if necessary By the way, if we want to move the text exactly to the center of the composition it's easy to do using hotkeys First, let's move the anchor point of the layer to the center of the layer by pressing CTRL(CMD) + ALT(OPTION) + HOME And then move the layer to the center of the composition by pressing CTRL + HOME For convenience, let's move this layer into a separate composition by applying the pre-compose command to the selected layers Select the desired layers and apply the pre-compose command using the keys CTRL(CMD)+SHIFT+C We can change the name for the new composition Thus, the selected layers will move into the separate created composition And we will animate the composition layer itself without touching the layers that are in the pre-composition And since the logo and text layers themselves will not be animated we can always easily replace this logo and text at any time Simply delete the old layer with the text or logo in the pre-composition and create a new layer with the text or insert the logo If we move or change the transformation properties or apply effects to a pre-composition layer the changes will be applied to all layers within that pre-composition as if it were a single layer I often use pre-compositions, not only to make it easy to replace the logo or text but also to structure the project, and to separate the animation steps so that the project is easier to understand in the future I also use pre-compositions to group layers together For example, you can move layers into a pre-composition and then manage it as one layer But don't go overboard with pre-compositions, apply them only when needed The next step is to roughly place markers for animation timing We do this so that it was easy for us to understand the approximate timing of the animation and where the important keyframes will be located For example, where the logo animation will start, where the pause will start and where the logo disappearance animation will start For each of these stages, we'll set the timing using markers To put a marker in a composition, deselect all layers and press the * key so the marker appears for the composition and not for the layer if you had a layer selected, the marker would appear on the layer The marker can also be moved on the timeline For the marker, you can add a comment to do this, double-click on the marker and write a comment here I also change the colors for the marker to make it easier for me to navigate between them this is also useful when we have a lot of markers And click Ok to apply the changes So, this Appearance marker will show us the beginning of the appearance animation Let the duration of the appearance animation will be about two or two and a half seconds Next marker Pause will show us the beginning of the pause where the appearance animation is over We can make the color for the marker different The pause between the animation of appearance and disappearance is needed to give the viewer enough time to see the logo Another marker we put where the pause ends, and the Disappearance animation begins We will make the disappearance animation shorter than the appearance animation Since we do not need to give as much time to the disappearance animation of the logo as to the appearance animation The duration of the pause is also usually shorter than the appearance animation just need to give enough time for the viewer to see the logo and read the text but do not need to stretch the pause for too long so that the viewer does not get bored We set the markers approximately we can change the duration and timing of animations or pauses later in the process Glitch animation techniques, which we will study further in the course we can apply to animate the appearance, disappearance or for example, we can use them during a pause so that during the pause the logo is not completely static 3. 03. Glitch Animation Techniques: The most important feature of the glitch animation is that we use random numbers. Randomness and distortion are your main weapons in glitch animation. You can animate the most common properties, such as transform properties like position, scale, opacity, by applying random values. You can use normal linear or smooth keyframe interpolation but you can also use hold interpolation, which we'll talk more about later. How do we animate the scale? Very simply, we can create two keyframes, the first will be at 0 and the second at 100 so we achieve an appearance effect But also, we can make the first keyframe in any other value, for example 300 And then just trim the beginning of the layer so that the in-point of the layer is later than this keyframe so that we get the animation of the appearance The fact that the layer appears abruptly and not smoothly is good for us because it is a glitch animation and the abrupt change of property values suits the glitch animation But since we are going to use the opacity property to animate the appearance of the layer let's undo the action and reset the layer's in-point to the default Let's go to Graph Editor We will use the speed graph with this graph we can change the speed of the animation in keyframes Select the key frames Let's apply the Easy Ease command by pressing F9. By default, all keyframes are in the Linear interpolation mode in this mode the speed of the keyframes is constant. When we apply the Easy Ease command the speed will smoothly increase from zero and decrease to zero. I mentioned earlier that we can use both linear keyframes and smoothed keyframes In glitch animations, you can safely use both types of keyframes depending on the situation For example, you can use linear keyframes when you don't want a smooth increase or decrease in speed But you can also use smoothed keyframes to make a sharp change in the value of a property If we make a curve in the speed graph like this the speed of the animation at the beginning of the animation will start sharply at the highest speed and by the end of the animation the speed will decrease smoothly. Then we animate the position so that the layer takes a random position, every certain number of frames. The method we are using now for the Position property you can apply to any other property, and effect properties as well That is, you can animate a property where the value of the property changes randomly after every certain number of frames The distance between keyframes can be any depending on how fast you want the animation to be the smaller the distance between the keyframes, the faster the animation In such cases, I do not recommend making the distance between the keyframes too big Since the keyframes are in linear interpolation we see a transition between keyframes which means we see an animation of the value changing from one keyframe to the next To make the value changes on the keyframes sudden, in other words so that the position changes value only when the time indicator reaches that keyframe we will use Hold interpolation. When keyframes are in this interpolation, the property value from the previous keyframe does not change until the time indicator reaches the new keyframe and the value changes only when the time indicator reaches the new keyframe in the Hold interpolation. And there is no smooth transition between keyframes. You can make the distance between keyframes about the same as in our case in the position property, or random in other words, place each next keyframe at a random/different distance from the previous one, without following a special rule. The opacity property is very useful for animating the appearance or disappearance of a layer we can also create a flicker animation using this property. In order to animate the appearance of the layer, we just create two key frames, the first will be at value 0 at this value the layer will not be visible the second at value 100, where the layer will be fully visible. Then, to create the flickering animation, we can just copy these two keyframes and paste them further down the timeline, at about the same distance. The value of the first keyframe will always be 0 the value of the last keyframe will always be 100. If we invert the animation where the value of the first keyframe is 100 and the value of the last keyframe is 0, then it's a disappearing animation. Also, we can make the first and the last keyframe have a value of 100 then we can use this animation anywhere to add a flickering animation. To increase or decrease the distance between keyframes we can select keyframes and hold down ALT and drag the last keyframe By increasing the distance between keyframes we decrease the speed of the animation by decreasing the distance we increase the speed. Right now, there is a smooth transition between keyframes So, we convert the keyframes to Hold interpolation. When keyframes are in Hold interpolation you can also place keyframes either closer to each other then the animation will be faster, or away from each other then the animation will be slower, it will look like we reduced the FPS You can also copy keyframes and place them in random places on the timeline to add animation in other places and you can also then change the values in the copied keyframes we'll explore this in more detail with the example of mask and effect animation later in the course. In glitch animation we can also use expressions there are several useful expressions that are used in glitch animations. Our layer properties are already animated using keyframes although we can also apply expressions to those properties but what if we want to animate those properties separately using expressions? We can use the null object for such cases since they are already animated with keyframes so we will use the null object. Null objects are convenient layers for controlling other layers. They are not visually displayed but we can link one or more layers to it through the Parent tab and by controlling the Rotation, Scale, Position of the null object all the linked layers will follow it. To create an expression, we press ALT and click on the clock icon next to the property. The field for the expression, for that property, appears to the right of the property. Here we can write any expression and the value of the property will be animated or will take any value that was given by the expression. The Wiggle expression creates a wiggle animation for the property on which we applied it I often use this expression to add chaotic movements for a property we write the expression wiggle then in brackets specify two values for it the first is the frequency, which means how often the values will change during the wiggle the second is the amplitude which means how much the values of the property will change during the wiggle Let's try different values for wiggle to see what results we get If we want to reduce the frame rate for the animation of a particular expression in our case wiggle, we can add the Posterize Time expression above the existing expression We add the Posterize Time expression above the existing expression This expression will change the frame rate of the animation in parentheses, we specify the number of frames per second reducing the value, we reduce the frame rate. In glitch animations it is not uncommon to reduce the frame rate for animation Expressions use Java Script so we can use Single-line Comment to disable the line of code in an expression and then the commented line will no longer apply. We can also disable or enable expression by clicking on this icon. With the Random expression, we can create a random change in the value of a property within the specified values. This expression is often used to animate a property so that the property takes a random value every frame That is, after applying the expression, on each next frame the value of the property will be random within the limits of the values we specified in parentheses In parentheses, we specify the minimum value and then the maximum value that the property can take. We can't apply a Random expression to properties that have multiple values for example, in our case, the Scale and Position property has two values an X-axis value and a Y-axis value in which case if we apply a Random expression it will generate an error. We need to apply random expression separately for each axis separately for the X axis and separately for the Y axis. To do this, for convenience, let's start by creating two variables separately for the X-axis and the Y-axis we'll call the X-axis variable X and we can set it to any value. The variable for the Y-axis we call Y and we can also set this variable to any value. When a property has multiple values, we use square brackets in which we specify the values for each axis from left to right, separated by commas. Since we already created variables in advance with the values we want, instead of values, we can just specify the names of these variables. Both axes will take the values we specified in the expression. Now, to apply a Random expression to a particular axis, we write a Random expression for that variable. In order to see the graph created by the expression, we need to enable this icon. We can see a graph that shows the random values the property takes If we want one Random expression to apply to both axes at once we can simply remove the Y variable and apply the value of the X variable to both axes. We can also apply the expression Posterize Time Don't forget to put a semicolon at the end of the line. So in some cases by combining the expression random and posterizeTime we can replace the animation we created manually by using keyframes with random values and Hold interpolation Next we'll look at how we can use masks in glitch animations Let's start by moving the layers into a separate pre-composition to make it easier to apply masks to a single pre-composition layer Next, let's create separate folders in the Project panel and move the elements into separate folders to make the project more structured. What can we use masks for in general? With masks, we can hide or show parts of a layer. With masks we can also animate the appearance or disappearance of the layer if we set keyframes in one of which the layer is completely hidden with the mask, and in the other keyframe it is shown. Now let's look at how to create and edit masks To create shape masks, you need to select one of the shape tools, or Pen Tool then select the layer where you want to create the mask and draw the mask with the selected tool in the Composition window. The mask appears in the layer's parameters group where you can adjust the different properties of the mask and also invert it. To transform a mask, you need to select the desired mask and then press CTRL + T and you can transform the mask in the Composition window. Or you can also double-click on the mask outline and transform the mask We can also edit the mask path in the Composition window If you select a point on the mask contour with the Selection Tool or the Pen Tool, you can move the points separately. Now let's talk about the properties of the mask The Mask Feather property allows you to blur the mask borders. The Mask Opacity property allows you to decrease or increase the opacity of a particular mask. The Mask Expansion property allows you to increase or decrease the size of the mask. You can create more than one mask on a single layer, so you can hide or show different parts of a layer with these masks Just select the layer and create a new mask Each new mask will appear in the Masks group as a separate mask with its own properties You can customize each mask individually with the help of the mask properties If the contours of the masks intersect, you can set how they will behave when they intersect Add is the default mode, just adds the current mask to the layer. Subtract allows you to subtract the intersected area from the masks above. The Intersect mode leaves only the intersected area of the masks above visible. None disables the mask. We can transform each mask individually, select the mask press CTRL+T and transform in the Composition window. Let's transform them so that the entire layer is visible. Now let's look at how to use mask animation in glitch animations We can use masks to animate the appearance and disappearance of a layer but we can also use masks to add a distortion animation to a layer We'll look at how to create appearance animations using masks Remember that when we animate the appearance of the layer we want the layer in the first keyframe not to be visible, in the last keyframe it is fully visible In the disappearance animation, it is the opposite in the first keyframe the layer is completely visible and in the last keyframe it is completely invisible To animate the masks, we will use the Mask Path property. Create keyframes for this property further from the beginning of the composition these will be the final keyframes of the appearance animation where the layer is already fully visible. I press the U key to display only those properties that have keyframes. Let's go back to the beginning of the composition and now move all the masks farther away from the layer using transformation, so that the layer is not visible. To clearly see our animation, let me temporarily move the key frames forward and now we see the animation of the appearance of the layer. But that's not all. Now let's move the keyframes back to the beginning and convert the keyframes to Hold interpolation. And create new keyframes between the two keyframes for the masks in each keyframe showing or hiding random parts of the layer. By doing this, we turn our linear animation, where there were only two key frames into a more random and chaotic animation that is more suited to glitch animation Set the distance between the keyframes. Depending on what result you want to get, you can adjust the distance between the keyframes You can make the animation faster in some places by making the distance between keyframes smaller and longer in some places by making the distance between keyframes larger After a short pause, after the appearance animation, we can add an additional animation. This will be a layer distortion animation. Just randomly move the masks to show or hide parts of the layer randomly. Again, in each keyframe we will show or hide random parts of the layer. Set the distance between the keyframes. In the last keyframe the layer should be completely visible. So, we add random distortion animations in this place using masks Since this is a distortion animation that we have added to the layer, which does not serve as an appearing or disappearing animation before the first keyframe and after the last keyframe the layer should be fully displayed We can also simply copy an existing animation by selecting key frames copying them, and pasting them elsewhere on the timeline. If we want to change this copied animation to make them different we can simply change the values on the keyframes, or delete some keyframes and create new ones in their place. If we select all the masks, and press CTRL + T, we can transform them together. So we don't just copy and paste the same animation but we change the duplicated animation so that they are different thus making the overall animation more interesting Note that the animation did not go beyond the Pause marker. If we work with the appearance animation we need the keyframes to stand roughly within the appearance animation Of course, this rule is not strict but approximate and you can create and move the keyframes to other places if you think it is necessary These markers simply show us the approximate location and duration of the appearance animation, pause and disappearance animation I will make a pre-compose of this layer to keep the project organized and to move the animation of the masks into the pre-composition. Be sure to check the Move all attributes into the new composition checkbox here so that the effects and masks applied to the layer will move into the new composition. We see that the masks have moved to the new composition. If you want to tweak something in the mask animation you can always open this composition with masks. We can always duplicate an existing layer that has an animation and either move it a little further away from the previous layer or trim its duration and place it in a random place on the timeline to add the animation in a new random place. This is called adding an offset for animation When, between animations there is an offset these animations do not happen at the same moment and there is an offset in time between them We can move keyframes of different properties or layers farther apart by adding an offset between keyframes or animations Or we can move entire layers, duplicates, pre-compositions, adjustment layers with effects and add an offset in time between them We can also trim layers if we want the animation of the duplicate to be only a certain amount of time As always, I will move these layers into a separate pre-composition to make it easier for us to study other topics, in the next lessons 4. 04. Effects 1: We have looked at how we can create glitch animation (abrupt animation with Hold interpolation and random property values in each keyframe) chaotic movements (chaotic animation with random property values created using expressions) Now let's talk about how to create distortions and noise for a layer using effects We can apply effects to the logo layer itself but it's best to apply effects to a separate adjustment layer The adjustment layer applies the effects applied to it to all layers below it In other words, if we apply an effect to an adjustment layer that effect will be applied to all the layers below that adjustment layer Let's look at the effects that we can use the effects that we'll look at will help you apply other effects that we won't cover in this course Wave Warp You can use different effects, but let's look at the most useful ones The first effect we'll explore is Wave Warp This effect distorts the layer in the form of waves And these waves are animated if we play the composition, we will see the animation of waves We can change the type of waves, width, height, direction of the waves, phase Let's see how changing these properties will affect our layer If we change the speed of the waves, it will affect the animation the higher the value the faster animation speed if we reduce the value to 0, there will be no animation Let's rename the adjustment layer so that we know what effects are applied to it Let's temporarily disable the null-object expressions we applied earlier Now we can clearly see that reducing the speed to 0 disables the animation Let's change the values of the properties a bit to get the desired result of layer distortion Now let's talk about how to use effects in glitch animations Animating Properties First, we can animate the effect properties just as we animated the masks or transformation properties with regular keyframes, but also with keyframes in Hold interpolation, or expressions We can animate different properties of the effect To animate a property put keyframes on the properties that we want to animate show the animated properties by pressing U Move the keyframes to where we want the animation to be We put the new keyframes at some distance from the previous ones and we can change the value of the properties on the new keyframes There is no rule which value we should choose for keyframes you can do it randomly or try to achieve a certain look Toggle Hold Interpolation We use this interpolation to make the animation abrupt We convert the keyframes to Hold interpolation We can create several keyframes with different values with some distance between each other By repeating this action, we can make an animation of a random change of the property How many keyframes we create depends on how long we want the animation to last Also, by increasing or decreasing the distance between the keyframes in this interpolation we can control the FPS of the animation You can put the keyframes either closer to each other then the animation will be faster or away from each other, then the animation will be slower it will look like we reduced the FPS Trim the Layer To make the adjustment layer and the effects applied to it apply only to a certain amount of time we can trim the adjustment layer Move the layer on the timeline Then we can move the adjustment layer randomly on the timeline or to a specific area where we want the animation to be In my case, I will move it to about the beginning of the composition since I use the animation of these effects to make the animation the animation of the appearance of the logo more interesting and to add additional distortion animation to the appearance animation Duplicate We can also simply duplicate the adjustment layer if you want to use the effect more than once For a duplicated layer, you can change the animation to be different from the previous layer so they don't look exactly the same or to achieve a different look To do this you can add or remove keyframes change the values of keyframes change the duration of the layer move the layer to another place on the timeline where you want the animation to be Change the Values Or we can simply remove the animation from the properties of the effect change the values of the effect properties in order to achieve the desired result move the layer to the desired location and just trim the layer to make it the desired duration and that will be enough That is, we can do without animating the properties we can just trim the layer as needed and then the effects will affect only within the duration of the adjustment layer We can create as many duplicates as we want and we can simply change their properties values and animation to make them different from other layers meaning to make the effect look different from the previous effects or to get another desired result we can move it to where we want it to be and we can also change the duration of the layer to control how long the effect lasts Again, there is no specific rule about what property values to choose we can either select the values so as to achieve a certain result or randomly, so that the values fit our animation and composition In each duplicate I can just change the properties and animation to get a different result Time Expression You can animate the properties using keyframes or you can also use the Time expression The Time expression allows you to animate the increase or decrease of the property value without keyframes Time takes the current time at which the time indicator is located and then we can multiply it by a certain value, and the larger this value is the faster the animation We can also add the expression Posterize Time to reduce the frame rate of our animation We can also duplicate the effects themselves on the adjustment layer and combine them If we like the result of the animation, we can move on to the next step Now let's decide the position and duration of the layer on the timeline You can add another duplicate in a different location on the timeline You can always adjust the property values, the animation the position of the layer on the timeline, or the duration of the layer if you don't like something Now let's continue to study the effects Turbulent Displace We can also duplicate the adjustment layer and apply other effects Let's duplicate the adjustment layer and apply to it the next effect that we will look at namely Turbulent Displace Let's also rename the name of the adjustment layer to make it clear what it's responsible for Let's move the adjustment layer forward to see how this effect works This effect creates displacements on the layer We can change the type of displacement, the amount the size the horizontal and vertical offset the complexity affects the details, the more the value, the more details We can also change the Evolution and Random Seed Depending on the chosen values for the properties, we can achieve different results Most often Offset, Evolution, Random Seed properties are used for animation For their animation we can use keyframes or the expression Time To animate the Offset only vertically with the expression, that is, to animate only the second value we must apply the Time expression only to the Y-axis value to do this we specify the value for the X-axis in square brackets unchanged and for the Y-axis we apply the Time expression Next, we'll adjust the position and duration of the adjustment layer to determine where the effect will be applied and how long it will be applied Magnify Let's duplicate the adjustment layer and apply the Magnify effect This effect creates a magnifier effect We can adjust various properties, such as shape horizontal and vertical position with the Center property intensity with Magnification, size, feather, opacity, and so on We can animate different properties but let's animate Center using keyframes and Hold interpolation Once we set up the effect as we want we just animate the changes of position of this effect in different places Just put the position of the Center property in different places on each keyframe Convert keyframes to Hold interpolation Next, we'll adjust the distance between keyframes by selecting the keyframes and moving the last keyframe with the Alt key pressed Next, we'll adjust the position and duration of the adjustment layer to determine where the effect will be applied and how long it will be applied We can play the composition several times to see if we like the result or not if we are not happy with the result we can always change the duration of the adjustment layer its position, the value of the effect properties or keyframes CC Block Load Let's duplicate the adjustment layer and apply the CC Block Load effect With it, we can achieve a pixelation effect We can apply the effects in certain parts of the timeline without animating them with keyframes or expressions To do this, we can simply adjust the effect as needed and then crop the adjustment layer as needed and put it in the desired place on the timeline and the effect will be applied only within the duration of the adjustment layer In this way we can add random distortions for a layer at a certain point in time CC Scale Wipe Let's duplicate the adjustment layer and apply the CC Scale Wipe effect We can use it to stretch the layer We can adjust the stretch intensity with the Stretch property the position with the Center property, and the direction with the Direction property We can duplicate the effect and combine the two effects for example, to make the stretch on both sides To do that, we make the values of the Stretch and Direction properties of the second duplicate opposite We can also not animate the properties, but simply place the adjustment layer in the desired location on the timeline and trim the layer in the desired way We can also duplicate the same adjustment layer and place it elsewhere After playing a composition, if we don't like something, we can always adjust it Let's duplicate the adjustment layer and apply the Offset effect This effect allows us to shift the layer horizontally and vertically When the layer is moved out of the frame, it appears on the opposite side of the frame We can animate the Shift Center To property Let's animate it along the Y axis only We can use keyframes but it's easier to just use the Time expression In the expression for the X-axis, we leave the value at 690 for the Y-axis we multiply time by a large value so that the animation speed is fast enough And then we can just reduce the frame rate with Posterize Time We can also duplicate the same adjustment layer and place it elsewhere on the timeline After a few plays of the animation, if we're not satisfied with it, we can always adjust it Block Dissolve Let's duplicate the adjustment layer and apply the Block Dissolve effect This effect is from the Transitions group With the Transition Completion property of it we can animate the transition, or the appearance and disappearance of the layer With the help of the other properties, we can adjust the appearance of the effect Let's make the Block Width property take a random value from 100 to 200 using the expression Random For the appearing animation we animate the Transition Completion from 100 to 0 for the disappearing animation we can do the opposite When Transition Completion is at 100 it makes the layer invisible but since the adjustment layer is cropped this effect ceases to affect as soon as the time indicator is outside this adjustment layer Now let's just put the adjustment layer in the right place Card Wipe Let's duplicate the adjustment layer and apply the Card Wipe effect Another effect from the Transition group We can change the Transition Completion Transition Width decrease or increase the number of rows and columns we can change the Flip Axis or make it random and we can change the order with Flip Order We can randomize with Random Seed Let's make the following values for the properties Then we animate the Random Seed with the time expression Let's decrease the frame rate for the expression with Posterize Time Now let's just put the adjustment layer in the right place and trim it in the right way We can also duplicate the same adjustment layer and place it elsewhere on the timeline But don't forget to select for the Back Layer property the same layer on which the effect is applied Trim and move the duplicate on the timeline to the desired location Posterize Time Let's apply the Posterize Time effect to the entire duration of the composition by duplicating the adjustment layer and increasing its duration to the beginning and the end of the timeline The Posterize Time effect will change the frame rate of the animation for all the layers below this adjustment layer Mosaic Let's duplicate the adjustment layer and apply the Mosaic effect With this effect we can achieve a mosaic or pixelated effect Let's trim and place the layer in the right place Note that we place adjustment layers and keyframes within the Appearance animation, up to the Pause marker since we use these effects to create a distortion animation within the appearance animation 5. 05. Displacement Map: Let's look at how to create distortions with Displacement Map This effect is often used to create glitch animations For this effect to work properly, it needs a displacement map A displacement map can be an image, or a layer that we create Let's create a separate composition in which we create a displacement map First, let's look at how the Displacement Map effect works I'll create two rectangular shapes, top and bottom with their borders touching each other exactly in the center of the composition and I'll use a grid to position the shapes more precisely To make it easier to understand, we will use black and white colors The top shape will be white, and the bottom shape will be black We need to move the displacement map into the composition where we will use the Displacement Map effect The layer with the displacement map can be turned off Now in the Displacement Map effect we need to select our Displacement Map layer which will make the effect work Next, for the displacement to work we need to increase either the horizontal displacement or the vertical displacement, or both The layer is displaced by a color value from 0 to 255 The white color value is 255 the uppermost part in the color selection panel the black color value is 0 the lowest part in the color selection panel A color value of 255 (white in our case) displaces the image to the left that is, it will be the maximum positive displacement and a color value of 0 (black in our case) displaces it to the right that is, it is the maximum negative displacement At the same time the value of the horizontal displacement property itself is positive if we make it negative then the whole displacement is inverted Let's take a look at how this works for a vertical displacement To do this, we create a displacement map of two vertical rectangular shapes The color 255 (white in our case) displaces the image upward which is the maximum positive displacement and the color 0 (black in our case) displaces it downward which is the maximum negative displacement At the same time, the value of the vertical displacement property itself is positive We can also make a negative value for both properties then the displacement will be inverted Let's turn on the layers with horizontal rectangles and talk about the Invert effect We can also invert colors using the Invert effect We inverted the colors themselves, not the displacement If we want to invert the effect, we need to change the value for the effect properties If we make the value of these properties negative, we invert the displacement We can use the Tint effect to recolor the black and white colors Let's make them grayer by reducing the contrast We see that the lower the contrast and the closer the color value is to 128 the lower the displacement is And at a color value of 128 (in our case it is gray), there is no displacement at all If we make the top color white (color value 255) and leave the bottom color gray (color value 128) we see that now the top part of the layer is displaced by white color while the bottom part is not displaced because the color value is 128 The more we move the color value down or up from the center closer to 0 or 255, the stronger the displacement will be But even using colors other than achromatic, white or black or gray, our Displacement Map will work Since the effect displaces the layer due to the color values The color values range from 0 to 255 Let's duplicate the Tint and disable the previous Tint effect Let's recolor white as blue and black as red We see the displacement still works We can change the channel that will affect which values from the image or layer the displacement map takes If we use green, the displacement at the border between the two colors will stop working because we don't have green in the displacement map We can use blue, and the displacement starts working again The blue color that is in our displacement map makes it work If we choose red the red color that is in the displacement map makes it work Also, we can, for example, select Luminance which will take the luminance values from the image or layer Let's reset the values of the effect properties And now let's talk about how to create displacement maps for glitch animations using Fractal Noise Create a duplicate of the composition with the displacement map add it to the bottom of the composition as a layer, turn it off and delete all the layers in the composition Next, for the Displacement Map effect, choose a new displacement map Let's create a displacement map with Fractal Noise Create a solid layer and apply Fractal Noise to it Fractal Noise creates black and white noise which we can use for our displacement map effect We can choose the type of fractal We can choose the type of noise let's use the Block type We can invert the noise We can increase or decrease contrast brightness We can change the transformation properties We can scale, and we can scale separately in width and height if we turn off Uniform Scaling We can move the noise horizontally or vertically The Complexity property allows you to increase or decrease the number of details We can change Evolution We can also change the randomness with Random Seed Now let's adjust the effect as follows, so that we have a lot of rectangles Now let's go back to the Displacement Map effect We have already selected our Fractal Noise as the Displacement Map Now if we change the horizontal or vertical displacement values we will see the result of how our displacement map works At any time, we can change the settings on our displacement map (Fractal Noise) For example, to increase the Complexity property and have those changes applied to our layer We can change any property in Fractal Noise We can animate the displacement properties in the Displacement Map effect itself And we can also animate the Fractal Noise itself Most often the Evolution, Random Seed, Offset Turbulence properties are animated We can animate with keyframes or with expressions for example the Time expression And now if we play the main composition, we can see how our animation works We can animate Random Seed with it we can make the animation more random and not smooth as in the case of Evolution That is, thus we can use animated displacement maps We can also animate the horizontal and vertical displacement properties in the Displacement Map effect itself using keyframes and Hold interpolation or expressions In our case, we will use keyframes and Hold interpolation We create keyframes with different values at a certain distance from each other Let's see how they work Now we convert them to Hold interpolation By the way, with the Posterize Time effect that we'll apply below the Fractal Noise effect we can change the frame rate of this Fractal Noise animation Let's decrease the frame rate Now we can either trim the adjustment layer with Displacement Map and put it in the needed place on the timeline But if we don't want to trim the layer then we need to put additional keyframes at the beginning and end of the animation at 0 so that the animation doesn't apply beyond these keyframes That is, the animation will start only when the indicator reaches the keyframes That way, in the future, if we want to add a displacement animation elsewhere we can simply copy the keyframes to other places on the timeline without having to duplicate and move the adjustment layer Let's also adjust the distance between the keyframes Let's play the animation once and adjust the animation so that we like the result I put the keyframes within the appearance animation as I use this displacement animation for the appearance animation Next, let's create another displacement map that is different from this one Let's duplicate the composition with Displacement Map 2 paste the duplicate into the main composition and disable the layer Open the composition Reset all properties to their default values Disable the expressions press E twice to reveal all the properties with expressions disable them by pressing ALT and clicking the icon with the clock Press E twice to hide the properties again Now let's adjust Fractal Noise differently than last time and see the results Let's choose the Block type Let's make thin lines by increasing the horizontal scale and decreasing the vertical scale Let's go back to the main composition and apply Displacement Map to the layer itself We can apply effects to the layer itself and then, since the layer is not an adjustment layer the effect will only work on the layer to which it is applied We select the needed displacement map and see the result We can change the horizontal displacement Let's go to our displacement map and animate the Offset Turbulence on the Y axis, leaving the X value at 960, and for the Y value we add the expression time*500 We can also change and animate Offset Turbulence separately for Sub Let's turn off the expression temporarily this is the main noise, and the Sub noise Let's turn the expression on Let's animate Offset Turbulence for Sub on the Y-axis by leaving the X-axis value at 0 and adding the expression time*500 to the Y-axis value Thus, we animated the motion of the noise only vertically Depending on how we change the values, the result changes We can also animate horizontal and vertical displacement using keyframes and Hold interpolation Since we cannot crop the layer since it is the base layer and not an adjustment layer we have to make the first and the last keyframes to be 0 And then after every certain number of frames we change the property values by adding keyframes so that we are happy with the result The number of keyframes depends on how long we want the animation to last The last keyframes should be set to 0 so that the animation does not continue after those keyframes Play the animation several times and correct the animation to our liking Next, let's talk about how to create colored displacement maps with Fractal Noise Let's duplicate the composition with Displacement Map Open the composition and change the Fractal Noise values With the Tritone effect we can recolor our Fractal Noise using three colors not just two colors as with the Tint effect Let's change the scale in width and height And now we can change the color separately for Highlights, Midtones, and Shadows Let's duplicate the layer and choose black for Midtones and Shadows, leaving only Highlights in color Let's change the scale in width and height Let's turn on this button so that the blending mode column appears We can choose how this layer will be blended with the layers below it If we choose the Add and Screen modes the black colors of this layer will disappear and only the areas with colors that are not black will remain At the same time, these colors will be blended with the below layers in the selected blending mode. We can change the color for Highlights 6. 06. Morph and Disappearance Animation: Let's look at how we can create a morphing/transition animation of a logo or text from one to the other using glitch animation techniques First, let's move the disappearance marker so that we have room for the transition/morphing animation Let's move this marker forward about the same distance as it was between the Pause and disappearance markers Approximately in the middle between the two markers or a little before the middle, add a new marker, which we'll call Morph This marker will help us navigate to where we want to create the transition/morphing animation from one logo to another On the frame where the marker is we will trim the layers so that one layer ends there and the other begins Then we simply add a glitch animation to this transition between the two layers Now duplicate the composition of the logo and replace the text there This will be the composition with the second logo Align the anchor point to the center of the layer and the layer in the center of the composition Let's return to the main composition Trim the original layer on the Morph marker with the Alt + ] hotkeys Let's trim it more precisely with the mouse The animation that was inside this layer will not be trimmed because this animation was before the Pause marker and there is no more animation in this place of the timeline There is no animation after the Pause marker so we can safely trim the layer in this place Let's insert a duplicate of the Logo composition with the new text Let's trim the beginning of the layer on the Morph marker with the Alt + [ hotkeys Now we have this kind of change of one layer to another on the Morph marker But just an abrupt transition like this is boring, so we'll add glitch animations to the transition For example you can animate the transformation properties at the moment of transition Let's animate the transition of one layer to another using the Opacity property Let's animate it for the original layer Let's put the keyframe at 0 in the place where the layers are trimmed Create a second keyframe at 100 a bit further away Then we can just copy the keyframes and paste them before and after the two keyframes, about the same distance from each other The first keyframe will be a little bit before where the layer is trimmed the last keyframe will be a little bit past where the layer is trimmed Now let's convert the keyframes to Hold interpolation We'll delete the first keyframe that was at 0 because the first and last keyframes should be at 100 in order for the layer to be visible outside the animation Then we just copy the Opacity animation and paste it for the second layer The transition animation is ready If we want to make the animation slower we can increase the distance between the keyframes To do this we select the keyframes hold down Alt and click on the last keyframe and drag the mouse to the right We can use other transformation properties as well not just the opacity property Simply at the moment of the transition, morphing, create random values for example, for the position property where the first keyframe will have a default value and be before the Morph marker the last keyframe will have a default value and be after the Morph marker and between these keyframes will be a random position of the logo layer We can then convert the keyframes to Hold interpolation and copy them to the second logo layer keeping the position of the keyframes the same for both logos We can also add distortions at the moment of transition using effects For example, Displacement Map Let's duplicate it and move the keyframes to the moment of transition We can use other displacement maps for it We can create a new animation Delete old keyframes Next, just create keyframes for horizontal and vertical displacement at the transition point The first and the last keyframes will be 0 because the layer is not trimmed so for the animation to be only in the right place in our case in the moment of transition, morph we need the first and last keyframes to be 0 so there will be no animation outside of these keyframes Then we create keyframes between the two keyframes with different values We can adjust the distance between the keyframes and the position of the keyframes We can also convert keyframes to Hold interpolation You can also use other effects in the moment of transition We can just duplicate them, move them to the Morph marker And that will be enough Since this is a Card Wipe, we have to re-select the Back Layer for the duplicate we have to select the same layer on which the effect was applied We can put any effects in the moment of transition, morph thus adding glitch animation to the moment of transition making it more interesting If we have duplicated existing layers with effects for the transition in order to make the duplicate different from the original we can change its property values values in keyframes amount and position of keyframes we can also change the layer position to adjust when the layer will start and the layer duration to adjust how long the effect will last In our case I won't use any other effects Displacement Map is enough since I don't want to overdo the animation in the moment of transition We can adjust the distance between the keyframes and the position of the keyframes so that we like the animation Now let's create a Disappearance animation We will create an animation on the Disappearance marker Disappearance can be animated using the masks we learned earlier On the second layer with the logo, we create three masks so that they cover the layer, so that the layer is completely visible Next, on the Disappearance marker we create keyframes for the Mask Path property for all three masks Of course you can use any number of masks Or you can use other properties or effects to animate the disappearance of the layer A little further, we create keyframes in which we move all three masks away so that the layer is not visible Now between these keyframes we will create random mask positions so that they show only parts of the layer The keyframes will be at a certain distance from each other Let's convert the keyframes to Hold interpolation We can edit the distance between keyframes if we want to make the animation faster or slower we can also change the number of keyframes if we want the animation to last longer or shorter Again, we can add various distortions to the disappearance animation Let's add a displacement map animation for the disappearance animation Let's just copy the existing keyframes on the morph animation marker and paste them in at the moment of the disappearing animation Again, we can edit the distance between keyframes we can change the number of keyframes But we can also change the position of the keyframes if we want the animation to start earlier or later or for example to fit with the other animations Again, we can simply increase the number of keyframes or decrease the number of keyframes or change the distance between keyframes to make the animation longer Also, we can change the values of properties and keyframes to make the animation a bit different from the one we copied Here the first keyframe can have a value other than 0 because the previous keyframe was at 0 we remember that when keyframes are in hold interpolation the value of the previous keyframe is kept until the time indicator reaches the new keyframe We can duplicate the Displacement Map effect And since we will only use this duplicate for the disappearance animation I will remove all other keyframes that are not at the disappearance moment We can choose another Displacement Map for the duplicate Let's temporarily remove the animation from the first displacement map at the moment of Disappearance Let's add new keyframes for the duplicate at value 0 which will be before the other keyframes so that the value of the properties will be 0 before the start of this animation Let's animate the first displacement map by adding new keyframes with random values at the moment of Disappearance This way we can use several Displacement Map effects at the same time If you don't want to duplicate the effects, you can also duplicate the adjustment layer itself We can add other effects at the moment of disappearance For example, the Offset effect We duplicate an existing layer with Offset and just put it on the moment of Disappearance We can also change the position of the layer if we want the animation to start earlier or later or for example to fit with other animations We can also change the duration of the layer if we want the animation to last longer or shorter We can adjust the position of the keyframes so that all the animations don't start at the same time, so that there is some offset between animations Always play animation and if you need to apply the necessary adjustments For example, you can change the position of keyframes or layers change the values of properties and keyframes change the number of keyframes change the distance between keyframes or the duration of a layer Let's turn on the wiggle and random expressions on our null object which we disabled earlier But the second text is not animated because we have only linked the first text to the null object We need to move the null object to the main composition so that we can link both layers with the text to the null object Let's disable the expressions again Let's remove the linking of the layer to the null object Let's cut the layer and paste it into the main composition above the layer with the second text Now we can link both layers to the null object and turn on the expressions 7. 07. RGB Split: Now let's create an RGB Split To do this, you just need to split the layer into three channels Red, Green, Blue First, let's select all the layers and move them to the pre-composition Next, let's duplicate our pre-composition layer three times for each individual channel Red, Green, Blue For duplicates we can change the blending mode to Add or Screen For convenience, let's change the label color for the duplicate layers so that we know which layer belongs to which channel Next, we apply the Shift Channels effect to the duplicate layer This layer should refer to the Red channel so in the effect we turn off the other channels except Red We do the same for the other layers disabling all other channels except the one to which this layer will belong Now we need to trim the duplicate layers The RGB Split effect will be applied only within the duration of these layers To see the effect, we need to move the duplicate layers by position each separately, with different values To make the position shift animated we can apply the wiggle expression for each position individually Now this effect works as it should be We can duplicate these layers again for example to add an RGB Split to another place on the timeline We can change the wiggle values to make the position shift larger or smaller or to change the frequency of the movement By trimming the layers, we determine how long the RGB Split will last Basically, you can just add these duplicates wherever you want on your timeline and change the length of the layer depending on how long you want the RGB Split to be You can also animate duplicates in any way you want, with keyframes or expressions But most often I use the expression wiggle with position Let's make a pre-composition of layers 8. 08. Elements: Sometimes there are other elements in our design besides the logo and text In that case, we can animate those elements using glitch animation techniques But also, we can add different design elements ourselves to our logo or text or to the composition For example, shapes, different noises, and so on And we can use these elements to make our animation more interesting In this lesson I'll show you how to make these elements and how you can use them in our glitch animation We can add all kinds of random elements and shapes to our composition First, we need to create the shapes themselves To do this, we create a new empty shape layer Then we create a new empty group We select the group and add the shape we need inside it Again, we select the group and inside the group we add either a Fill or a Stroke or both, depending on what we want to use for the shape In our case we will only use the Stroke, so I will remove the Fill We can change the width of the stroke and the color Let's rename the layer We created a rectangle We can duplicate the layer rename it expand the properties, remove Rectangle Path 1, and just add Ellipse instead The Ellipse should be above because the hierarchy goes from top to bottom and Stroke will be applied on paths that are above it By the way we can change properties of the shape for example for a rectangle we can change size and rounding Now let's create a Plus To do this, let's turn on the Rectangle layer to use its boundaries as a reference point to use its boundaries as a reference point Let's also turn on Proportional Grid to align the lines to the center of the composition Make sure that no layers are selected Select the Pen Tool and draw a vertical line in the center from the top edge of the rectangle to the bottom edge of the rectangle We do it so that the elements are about the same size For this shape, we do a 5 pixel width stroke and turn off the fill You can turn off the Proportional Grid Since we used the Pen Tool, we created a Path like this If we select Path 1 and press CTRL+T a transform box will appear and we can use it to transform our Path, also rotate it Let's undo the actions Now we can just duplicate our Path 1 by pressing CTRL+D select the duplicate, press CTRL+T to transform and then rotate it by 90 by holding down Shift Let's rename the layer Create a Cross To do this, we can simply duplicate Plus rename it and rotate it 45 degrees To create a triangle, we can duplicate Rectangle and rename it Let's turn on the Proportional Grid Next, convert the Path to a Bezier so that it can be edited with the Pen Tool Choose Pen Tool, create a point on top of the Rectangle, exactly in the center Select the top two side points separately and delete them by pressing Delete We can move the upper point up or down with Shift held if we want to make the triangle higher or lower We can turn off the Proportional Grid We can use Fractal Noise on the shapes The convenience is that we can also easily adjust the size of the shape whenever we need it Let's create a rectangle shape Let's use the Fill for the shape Let's also change the size of the shape Next, let's apply Fractal Noise to the shape Let's set it up as follows So by creating shapes and applying Fractal Noise to them we can create elements with noise Depending on which values of the properties you choose, the result will be different You can have an idea in your mind and you can use the techniques I show you in your ideas or you can use these elements as an attempt to find out what would work best with your animation Also, if you have a complete design you can try adding different animation elements to your design depending on what you think is best for your case We can leave it just Fractal Noise like this, and for example change the blending mode of the layer to Screen But we can also apply the Vegas effect We apply it below the Fractal Noise effect so that Vegas is applied to Fractal Noise With Vegas we can create lines like this around the elements Change the Blend Mode to Transparent to hide Fractal Noise and leave only Vegas itself We can also change the color of the segments and the number of segments Now we can animate different Fractal Noise properties like Offset Turbulence, Evolution or Random Seed Or we can leave it without animation But we can also animate the position of the layer We can animate its position manually by creating keyframes with random positions and then converting the keyframes to Hold interpolation Or we can use the Random expression If we want the layer to move randomly through the entire frame of the composition we need to use the values of width and height of the composition In our case, the width of the composition is 1920 and the height is 1080 pixels When the layer, or more precisely its anchor point, is exactly on the left side of the frame, the X position is 0 When the layer, or to be more precise its anchor point is exactly on the right part of the frame the X position is equal to the width of the composition in our case it is 1920 When the layer, or to be more precise its anchor point is exactly at the top of the frame the Y position is equal to the value 0 When the layer, or more precisely its anchor point is exactly at the bottom of the frame the Y position is equal to the height of the composition in our case it is 1080 Now we create a Random expression separately for the X-axis and the Y-axis For each of them, we first create variables with names x and y to make it more convenient So, for the X-axis, the minimum value of the Random expression will be 0 and the maximum will be 1920 which means that the layer will move randomly from the left side of the frame to the right side of the frame Don't forget to put a semicolon after the line in the expression For the Y axis the minimum value of Random expression will be 0 and the maximum value will be 1080 which means that the layer will move randomly from the top of the frame to the bottom of the frame Now we need to put the content of the variables on the x-axis and the y-axis, in square brackets We can also add an expression Posterize Time to reduce the frame rate of the animation If we duplicate a layer each duplicate will have a random position and animation Let's remove the duplicates will now show you how you can create a grid using the Venetian Blinds effect Let's duplicate the existing rectangle shape and rename it Let's remove the expression of the position property Press P to reveal the position property of the selected layer Hold down ALT and click on the clock icon to delete the expression Delete the applied effects Let's change the size of the shape Next, apply the Venetian Blinds effect to the layer We can change the Transition Completion, the direction, the width Let's adjust the properties of the effect as follows We have created lines To create a grid, we need to duplicate the effect and we need to make the direction value of the duplicate with a difference of 90 degrees from the original Now let's create a grid from a shape, for example from an ellipse Let's duplicate an existing shape with an ellipse Let's rename the layer Replace Stroke with Fill Reduce the size to make it look like a dot Then select Contents and add Repeater below the group with the shape Repeater repeats the shapes above it We can change the number of copies the offset and the transform properties, which will shift the copies relative to the previous copy Let's shift the copies at the X position by 20 pixels Let's duplicate the Repeater If we use another Repeater below an existing Repeater we can create copies of the existing Repeater We move the new Repeater by the Y position If we need, we can change other properties of the Repeater as well If we want to replace the shape in the grid, it is very easy to do so We just duplicate the layer with Repeater Delete the group with the shape Copy another group with the shape from another layer Paste the group above the Repeater If we are not satisfied with the size of the shape we can change the scale in the properties of the transform group We see that the Stroke also changes with the scale because the Stroke is inside the group for which we change the Scale So, let's move Stroke out of the group and put it below the group because Stroke will be applied to the paths that are above it The changes of the transform properties do not affect the elements outside of the group Let's also change the Stroke Width If you don't want to change the Scale you can also select the paths you want by pressing CTRL+T and transform them in the Composition window After that we can change the Repeater properties if needed Let's duplicate the layer We can easily make Cross just by rotating the shape group by 45 degrees We rotate the group because we want to rotate the shape individually, not the whole layer After that we can change the Repeater properties if needed Now let's talk about how we can use these elements We can place them randomly or not randomly on the frame of the composition We can also use them as accents for the logo or text The first way We just trim the layer like we did with the adjustment layer The length of the layer will determine how long the element will stay in the frame Next, we place the element in the right place on the timeline where we want the element to appear We can place them randomly on the timeline Or we can place it during the glitch animation In other words, we can move the element to where there are keyframes and animation so we can make the existing animation more interesting by adding elements and shapes We can also place them on the timeline so as to accentuate the logo or text In other words, we can move the element to where the logo is animated, or to where there is a logo on the timeline and in the Composition window elements also are next to the logo as if to accentuate the logo itself, or its animation Next, we place the element in the right place in the Composition window where we want the element to appear We can do this at random, either to accentuate the glitch effects which means that we can move the element in the Composition window to where there are distortions and other glitch animations Or to accentuate the logo and text We can change the Transform properties of elements if we want We can simply duplicate an element and put it somewhere else in the timeline and in the Composition window We can do this several times We can use different shapes In our case we place elements randomly in the timeline But we use a couple of not strict rules The first is that the elements don't appear at the same time The layers are placed with some offset between each other on the timeline We can place them randomly, or just one after the other with some offset The second is that they should be evenly distributed across the frame In other words, that they do not appear in the same place Thirdly, we use elements during the glitch animation in our case during the appearance animation so the animation looks more interesting Since the position of this element is already animated by the Random expression we can simply crop it as desired on the timeline We can make it of any length depending on how long we want the element to stay in the frame And also place it at the right place on the timeline in our case it's during the appearance animation We can extend the layer and put it in a different place on the timeline It's OK if the layers intersect on the timeline because it's the visual result that's important to us Also, since our elements are already animated in position randomly we do not have to change their position in the frame We do the same thing with grid layers as we did with shape layers We trim the layers The duration of the layer will determine how long the layer will stay in the frame We place the layers at random positions on the timeline But all elements appear within the animation in our case within the animation of appearance We place the layer in a random place in the Composition window But so that this element does not appear at the same time in the same place with another element Distribute elements on the frame approximately evenly so that all elements appear in different places of the frame I'm showing you the techniques that I use to create not quite but random animation but if you have an idea, you can use these techniques in your idea or you can use these techniques to animate the elements in your design, composition The second way to use elements Let's use our elements to accentuate the text during the morphing animation We can animate the properties using Hold interpolation For example, let's make the square change position around the corners of the text We create 4 keyframes, for each text corner but so that the position changes not clockwise but crosswise The distance between the keyframes is about the same Convert the keyframes to Hold interpolation Trim the layer depending on what part of the layer you want to appear in the composition In our case, trim the layer from the first keyframe to the last so that the layer does not appear outside of the keyframes Now let's animate the Opacity so that the layer disappears between changes of position Set the keyframes of the Opacity to 100 in the same places as the keyframes of the position Convert the keyframes to Hold interpolation Then put additional keyframes for Opacity between existing keyframes at 0 Convert the keyframes to Hold interpolation Let's animate the Plus in the same way but so that it takes the opposite position from the square First, we just copy the keyframes from the position and opacity properties of the square and paste them to the Plus layer We see that the Plus repeats the position of the square To mirror it, we need to rotate the layer by 180 degrees But since the anchor point of the layer is in the center of the layer we can't rotate the layer itself So, let's create a null object which will stand in the center of the composition by default We link to the null object the layer that we want to mirror and rotate the null object by 180 degrees so the layer that is attached to it will be rotated by 180 degrees relative to the position of the null object that is, relative to the center of the composition We can remove the null object Let's trim the layer and place it a little further away from the layer with the square so that the layers do not appear at the same time that is, they are not animated in sync Let's add Cross and Circle elements in the center of the text Duplicate the existing Cross layer Let's copy the existing opacity animation to this layer Move the layer to the center of the composition Let's reset the Scale property to its default values Increase the Scale for the group Move the Stroke out of the group and put it below the group so that the Scale of the group doesn't affect the Stroke Trim the layer from the first keyframe to the last one Let's make Cross appear a bit before the second text and the other two elements Let's turn on Circle layer Add an animation of opacity from 100 to 0 Copy the keyframes and paste them a bit further so that the spacing between the keyframes is about the same Let's convert the keyframes to Hold interpolation Four keyframes are enough because we want the Circle animation to end before the Plus animation The Circle layer will be placed slightly before the Plus layer so that there is a small offset between them so that they won't be animated at the same time Increase the size of Circle so that it is about the same size as Plus In my composition I already know how I will arrange the objects so I rarely correct something as you see but you may find that you won't always like the animation so you have to try different ideas or techniques to choose what fits best Sometimes you can revise your animation and do it all over again sometimes you just need to correct keyframes, properties or layer positions for example Of course, it's easier if you already have a design ready before you move on to animation If your design only has a logo or text you can think of ways to make the animation more interesting For example, add different shapes, elements and so on Or you can think about how to create a more complex animation, with different effects Or you can create a minimalistic animation It all depends on the project you're working on These are just basic tips, but I hope they will be useful to you 9. 09. Effects 2: Let's talk about backgrounds. We can create different backgrounds The first thing we need to do is to create a layer with a background with a solid color or a gradient Then we can add different noises, elements, and distortions to the background To create a background, we can create a solid layer with the size of the composition and move it to the very bottom Next, if we want to change the color, we can apply the Fill effect If we want to apply a gradient, we can use the Gradient Ramp effect If we select the effect, there will be two points in the Composition window that are responsible for the two colors We can move them in the Composition window or with the Start of Ramp and End of Ramp properties Also, we can change the colors with the Start Color and End Color properties Let's undo the actions to return the default values Let's make End Color black Start Color dark purple and move the color for Start a little higher We can use Fractal Noise as background noise Since we already have a ready-made Fractal Noise in our Displacement Map compositions, let's use one of them Just move it above the BG layer Select the blending mode Screen or Add And we can reduce the opacity of the layer to make it less noticeable We can also animate the Opacity by using the random expression for example so that the Opacity takes a random value between 0 and 2 We can also decrease the frame rate of the animation by using the posterizeTime expression Let's reset the Opacity value for the layer to its default value And let's try another Fractal Noise Let's change the blending mode for the new layer to Add and make the blending mode for this layer to Normal Let's cut the expression and paste it to a new layer We can also apply Displacement Map on Fractal Noise let's use Displacement Map 3 as Displacement Map We can reduce the opacity property so that the layer is less visible Let's turn on the expression We can adjust the values in the expression Random if we want to make the noise more noticeable We can use different elements and noises in our composition and by changing their opacity and blending mode we can adjust their intensity and how they blend with the rest of the layers Using Fractal Noise and Displacement Map we can create different noises I will show you how to use them in different variations Using Fractal Noise, we can create different noises in our composition We create a solid layer with the size of the composition Apply the Fractal Noise effect to the layer We can change the blending mode if we want, this way the layers below will be visible Let's try to create horizontal lines with Fractal Noise To do this, increase the width and decrease the height Decrease the Complexity to have less detail in the lines And to reduce the number of lines, decrease the Brightness value We can also increase the contrast if we want more contrast between white and black Let's make the blending mode Add or Screen so that the black color from Fractal Noise disappears and the white color stays We can animate the Random Seed Let's animate it with the expression time*100 and add posterizeTime to reduce the frame rate If we want to make the lines less visible, decrease the opacity of the layer Let's create lines distorted with the displacement map Let's duplicate the solid layer Let's reset the opacity value to the default Let's also reset the effect properties to their default values Let's increase the contrast By reducing the brightness, we can always reduce the amount of white noise Let's create lines, but thicker this time We can change the color with Tint Let's change the color for the white areas only We add a Displacement Map To reduce the number of lines we reduce the Brightness We remove the expression from the Random property We add a Displacement Map 4 to the composition which we will use as a displacement map for our Fractal Noise Temporarily increase the Brightness to increase the number of lines so you can see the result of the displacement map Increase the horizontal displacement and vertical displacement Let's animate the vertical movement of the lines with the Offset Turbulence property using the time expression and add posterizeTime to reduce the frame rate We decrease the Brightness We can trim a layer to reduce the duration of a layer with lines We can duplicate the layer and move it on the timeline to add lines to another place in the composition We can add lines at the moment of the morph (transition) Let's create small random elements with Fractal Noise and Displacement Map Simply duplicate the layer with Fractal Noise and Displacement Map Remove the Tint effect Temporarily disable the Displacement Map Change the Fractal Noise values to get this result Let's decrease the number of elements. To do it, decrease the Brightness Remove posterizeTime from the expression Let's turn on Displacement Map Increase the horizontal and vertical displacement Trim the layer to reduce the duration duplicate the layer and place on the timeline where we want these elements to be Now let's talk about how we can use different effects to make the look more interesting We can use color correction or any other effects that we can use to make the look more interesting Let's look at some of them Create an adjustment layer above the other layers The Glow effect creates a glow We can change the radius, the intensity, and other properties of the glow Let's put the adjustment layer below the Fractal Noise layers so the effect won't be applied to the layers above the adjustment layer Let's duplicate the layer Let's apply the Add Grain effect We can add graininess to our composition By the way, we can apply the same effect several times either with the same or with different settings To do this, we either duplicate the adjustment layer with the effect or the effect itself For Add Grain in Viewing Mode we select Final Output so that the effect is applied to the entire composition Then we can change the intensity and other properties Let's duplicate the layer Apply the Noise effect We can use it to create noise We can make the noise colorless by unchecking the Use Color Noise checkbox and we can adjust the amount of noise with the Amount of Noise property By the way, both the Noise and Add Grain effects are animated Duplicate the layer Apply the Camera Lens Blur effect With it we can blur the composition Increase temporarily the Blur Radius Also, we can change the shape of the blur in the effect But apart from this we can use blur maps Let's create a separate composition for the blur map Let's create a solid layer Let's apply a black and white gradient With the help of the black and white areas we can determine which part of the image is blurred and which is not Move the blur map to the main composition Let's turn it off Select the blur map in the effect You can see that the white areas are blurred, and the black areas are not The smoother the transition between black and white, the smoother the transition in the blur We can use the radial gradient and for example make the edges of the composition blurred and the center of the composition not blurred We can invert the blur map Let's remove the gradient effect Apply the fill effect Choose the black color We select the solid layer And by double clicking on the ellipse tool we will create an ellipse mask on the whole layer Next, in the effect in Composting Options we will apply the effect only to the mask Let's blur the edges of the mask so that the transition in the blur is smooth Thus, we created a blur on the edges of the composition And in the center of the composition there is no blur Let's return the Blur Radius to a smaller value, for example 5 We can add this layer at the moment of the disappearance animation to make it more interesting This concludes the course I hope you have found it very useful and that you have learned a lot!