Creative Video Intros with After Effects

2. Instructor Intro: - everyone Welcome back to another lesson in to create your own video intro course. - Last time we talked about what this course is all about, - how I'm going to be teaching it. - But before we delve into the class, - I want to give you more information about who I am. - A lot of you are probably coming from other classes, - so welcome back to one of my courses. - I'm glad to have you here. - That means that you enjoyed my other courses. - But for the rest of you, - if you're new to video school online or to the Philemon or way of teaching, - let me tell you a little bit about myself and how I teach. - So who am I? - I am a video creator. - I am an adventure traveler. - I'm an online entrepreneur, - I would say. - And I grew up in Los Angeles, - California, - for my whole life. - I went to school at Loyola Marymount University. - That's where I got my bachelor of arts in film and television production. - I also had a minor in business administration. - And those two things combined have created how I am today, - where I in very ambitious about creating my own projects, - video projects. - But I also like the idea of of being an entrepreneur, - coming up with new ideas, - websites, - those kind of things. - And so while at school I did a lot of great projects focused on video editing and - documentary making. - I was able to travel around the world during school, - studying abroad in Germany and, - you know, - hopping all over Europe, - making a documentary about cycling in Switzerland. - And then after that, - that was during my junior year. - During my senior year, - I did some traveling and service projects abroad in Mexico, - in India, - two great experiences. - My final thesis project came out of that service trip to India. - So I follow a small child who was malnourished, - and it was focusing on the problem of malnourishment in India. - And it was a great project. - Went on to win some awards and screen and some film festivals around the country on bond - school was amazing. - Then I graduated, - like most full tend to do when they go to college, - hopefully, - anyways, - and since then, - for the past three years, - I've been working professionally as a video editor and creator. - For the first year, - I worked at Participant Media, - which is in Beverly Hills. - They've done a lot of great documentaries such as An inconvenient, - Convenient Truth Food Inc waiting for Superman. - So I was creating online content for their website take part dot com. - So it was all short documentaries, - great kind of stuff. - I met lots of great people on inspiring people such as Davis Guggenheim on Oscar winning - documentarian, - and it was a great experience I. - Then, - after that year, - I moved down South Orange County, - where I got a job at Stanford College. - I was the first video person there, - and I built up an online library of over 100 and 50 videos. - And some of those videos were for promotional purposes and somewhere for educational - purposes, - where I was basically creating online content for their new online school. - That's where I found fell in love with online education and teaching. - I actually heard a few sites, - such as you to me and Skill feed and the books that are so big nowadays. - And I thought, - well, - maybe I could, - you know, - teach online as well. - I feel like I know a lot of things about video creation, - video production, - etcetera. - And so I did it. - So loss October as a man, - that was October of 2000 and 12. - I created my first course less than a year later. - I have over 15,000 students. - I've got over 18 courses and a thriving community on video school, - online dot com, - the website that it created to kind of promote my courses as well as give away a lot of - free content. - And so I love teaching, - and I just try to keep thinking of new courses that I would want to learn and teach them - the way that I would want to learn. - So, - as I mentioned now I teach and how do I teach? - Basically, - you'll notice that I'm very free flowing in my courses. - Some people complain that I beat around the bush where I just, - you know, - add a joke here, - a joke there, - or I like to introduce each lesson with a fun fact or housing going just because I feel - like if I always teach taking an online class, - I would like to have that personal connection with the teacher rather than just a - computerized voice reading off bullet points and just, - you know, - quickly teaching a class without any personality. - And so, - you know, - you might have to skip through the introduction of my course and get straight to the meat - of the each lesson, - and that's totally fine with me. - But I know that each lesson I like to spice it up with a little bit of my personality. - Um, - so thank you for joining this course. - I hope you enjoy it on Bond. - We're gonna basically dive into what's next on that's creating our video bumpers on the - next lesson. - I'm just going to be a quick run down of the programs we're gonna be using, - how we're going to use them and where you can get them because they are expensive. - And I have some options for you to get them for free or for cheap. - So thank you so much for watching this lesson. - Have you learned a little bit more about me and I can't wait to get to know you throughout - this course. - So if you ever have any questions, - please feel free to leave me a message on the course page or email me at video school - online dot com. - So thank you so much for watching on. - We'll see in the next lesson 3. Course Introduction: - Hey, - what's up, - guys? - This is Phil. - Happened back with another great course to create your own video intro course. - We're gonna be talking about motion graphics animation, - video bumpers, - which is what I use the term I use video bumper for the short little 5 12th clip in front - of companies promo video or their commercial or at the end of an advertisement or on - YouTube channels. - You see him a lot with the professional YouTube channel producers. - They have their own video intro. - And of course, - that started this video. - You saw them, - and you can see them playing now. - In this video, - you can see some examples of some great video bumpers. - And so what is a video intro and what is its purpose? - Well, - it's really one toe, - I would say 7 to 10 seconds clip, - UH, - a video that introduces your brand, - your company or whatever it is that encompasses your video. - So if you're a video channel on YouTube, - you have a channel name or brand name, - and you create a video bumper that goes along with that For me, - I'm video school online dot com. - That's my video brand, - and so I brand all my videos with that same video bumper. - The reason is for so that when people see that bumper, - they recognize the brand, - and they know that it is from that brand. - So you'll see that in advertisements all the time. - Or especially if you think of car commercials. - You have the classic logo, - whatever it is, - whether it's a fade or emotion graphic type thing at the end of a car commercial, - and it shows the logo of Audi or Chevrolet or Ford or whatever company it is. - And pretty much, - I would say, - 99% of companies have a bumper for their advertising's or further videos, - and they're relatively easy to make something that's nice and easy. - So how do you make one? - Well, - you have to learn the basics of motion graphics, - and I've taught a couple classes before on using after effects and a kinetic typography - class. - Both of those would be very useful for this class, - and so if you don't know how to use after effects, - which is the program will be using now and say, - Please check out my adobe after effects crash course and you'll learn all the basics that - you'll need to know in this class. - I will, - however, - be demonstrating how to create a bumper in this class from beginning to end so you might be - able to follow along if you're new to the program. - But I would highly suggest taking after vice course and also if you want the kinetic - typography course. - But those courses will give you an insight in how to use the program. - And so that's basically how we're going to be the program that we're gonna be using to make - our bumpers. - But the rest is up to you how you want to make it. - If you want toe, - have a little flying faded. - If you want to have some sort of three D, - effect will be going over all sorts of techniques that you can use to create your own video - bumper. - And, - of course, - I hope you have on idea in mind. - Or at least if you have a brand, - a website, - a company, - a YouTube channel, - you should start thinking of the assets that you will have to have to create your bumper. - So whether it's a logo font choice, - a color scheme, - just start thinking and brainstorming about what you imagine your bumper toe look like? - How will his course work? - Well, - first, - we're gonna talk more about the theory of the bumper or the video intro, - and I'm going to show you some of my favorite video bumpers. - This will give us a good platform toe leap off and start creating our own work. - I'm then going to show you a few bumpers that I've created in the past for companies such a - Z Ghirardelli chocolate on my own company, - video School online, - a documentary website called Doc 3 60 dot org's and another smaller company based in Santa - Cruz Pred Pool. - And so I've created bumpers with motion graphics for all these companies, - and they bury in the type and the scale of the project and how they look. - So it's I'm gonna break down each of those projects and basically recreate it and show you - on screen basically gonna switch over from this camera. - You're gonna follow me on screen as I go through after effects, - and we learn how to make those bumpers. - Then we're going to take a look at some new ideas, - and I'm going to give you a few examples of new bumpers. - And so I'm going to do some that involved motion graphics where you know, - things are moving, - more motion, - connect, - motion, - others. - I'm gonna do some faiths, - and then I'm gonna do some three D kind of effects transitions. - Teoh, - create a bumper. - And so, - through all those, - I'm gonna be showing it to you on aftereffects. - You're gonna be learning how to use the program, - but also and more importantly, - learning, - you know, - the theory and wire using these different effects for your video bumper. - And so hopefully, - by the end of this course, - you're gonna know pretty much all the techniques or transitions or anything you need to - know to create your own video bumper. - As always, - if you've ever taken a course for me before, - you can check out a video school online dot com. - I post a lot of great articles, - block posts, - podcast and free videos that have to do with video creation photography. - Just being creative video school online is my outlet to give you guys my knowledge in one - place. - So check out video school online dot com. - They've you so much for watching this lesson, - Andi, - In the next lesson, - I'm gonna be telling you a little bit more about myself so you can feel comfortable taking - this class for me. - Thanks for watching, - and we'll see next time. 4. Video Intro Samples: - Hey, - what's up? - This is Phil back with create your own video intro. - Today we're starting our section on the theory behind video bumpers, - and we're going to be looking at some samples, - so let's get right into it. - So let's stop watch some of my favorite samples that I found on YouTube today. - There's many different types. - Some are very simple. - I'm gonna talk about each one and just pay attention to all of them and use them as - inspiration to start thinking about what you want to do with the bumper. - One thing I want you to do after this lesson is to browse YouTube channels on your own to - find Mawr bumpers. - Basically, - what I did when finding these ones was I just typed in a company's name into YouTube on, - then usually ate their company. - Channel would pop up, - and then I usually on most their videos, - they had a bumper. - I've also tried before searching for like if I was, - for example, - looking for Apple Bumper. - Um, - I've looked up Apple Bumper or Apple Video bumper Apple video intro, - but sometimes easier just to go to their page and then see their bumper another way to find - bumpers. - Great bumpers is to look up advertisements, - especially old advertisements, - because Bumpers changed over the years. - And so, - if you want to see McDonald's you know, - bought up, - up, - up bumper, - you can just search for McDonald's advertisement and on YouTube, - and usually something will pop up. - So let's go ahead into YouTube and show you. - So here's three v Health and Fitness on YouTube. - This is a quick one, - actually. - I wanna show you d C shoes first, - because I thought this one, - it just goes to show that it doesn't really have to do anything. - But having a bumper is key. - So here's D. - C. - So that was the start of their video. - D. - C is a skate shoe brand. - Onda makes Kate a bunch of skate skateboards stuff, - and so they just have their logo and its just there, - and it's actually slightly growing, - just like super. - It's really hard to see, - but you can tell that it's growing, - and that lasts about 2.5 seconds. - And so just having your logo in the middle of your screen is a viable option for a bumper, - and it's something that I don't want you to, - uh, - you know, - stray away from because this is a great you know, - option for a brand that doesn't need too much motion graphics or anything too crazy. - And just have your lower there is nice. - It's a nice option. - All right. - So let's look at another, - more simple one. - This is micro Yapa. - Um, - I don't know exactly what this is, - but I just saw this bumper and thought it was a great example for something simple. - So let's check it out. - So again, - less than three seconds, - you have their this kind of, - like plug looks like a plug and it peace breaks off and then zooms in to the titles. - So basically zooms into the title of this this video. - And so again, - motion graphics. - A lot of motion in that one. - Here's another one for three v Health and Fitness channel. - So let me play this one. - Okay. - So that one is something that I could easily teach you to do in after effects. - Um, - may I will try to replicate this for you guys. - So you have their three basic words that represent their company. - Their their mission statement were is basically, - uh, - pop up on the screen, - the screen, - and then you have this kind of light source lens flare and their logo kind of pops up and - go back a little bit. - Their logo pops up and kind of flashes into the screen. - And then there's kind of a lens flare Film burn, - look that transitions into their video. - So that's a cool option and something I could easily teach you how to do. - Marvin, - Eric, - this is a friend of mine. - Hey, - actually created this online Siris of videos, - and they had a really awesome bumper created for them. - And this is this just goes to show that even if your video isn't the greatest quality or - whatever it is, - your the production value of your videos will go up. - It will skyrocket if you have a nice bumper. - So check this out in this bumper. - So this is their show, - Marvin. - Eric and they have always grab. - It's going violence, - watching Warren time I so super cool like kind of graphics going on, - you know, - their faces pop up. - He's like lines come across and, - you know, - revealed different photos and stuff, - and then at the end, - they have their logo pop onto the screen. - So again, - this is something I can teach you how to do, - um, - and a completely different type of bumper than the other ones that we've seen. - But this one, - you know, - then you get into the video, - and not that it's bad quality, - but it's just kind of standard video taping without professional lighting or anything like - that. - But the bumper was like super professional eso take part dot com is the company I used to - work forward actually created a bumper for them that they no longer are using. - But here's a new one for their take part live Siri's. - It's a super short like 77th in the world 77. - So there you have it. - Um, - you have the title of the show. - You have these shapes and over laid shadows kind of open up into the show itself. - So that's kind of a cool idea. - If you want kind of combined that the actual part of your show or your channeler video with - the bumper. - You know, - you just have this bumper kind of open up all these shapes. - You know, - this tea and everything about this represents. - Take part. - Yeah, - more shapes. - And then it just kind of opens up in the world. - So they show this at the start of every, - you know, - video for their live Siri's. - Okay, - let's check out this one. - Geek and sundry, - There you have it. - Super simple as well. - You have their logo rolling, - Got this nice shadow. - And again it's another bumper that I could teach you how to do on dso You guys ever see any - bumpers that you would? - You wonder how they're make made, - maybe send them to me and I can do a lesson on that. - I now I wanted to show you a couple from, - like, - major brands and show you what I mean. - Like, - what is the bumper? - So here's a Ford Escape commercial and you'll recognize their bumper at the end because I'm - mentioned before in the introduction, - of course. - But a bumper can go at the beginning or end of a video and a lot of time for advertisements - . - They go at the end. - Only Ford gives you EcoBoost fuel economy and a whole lot more with so many hands where you - went fuel efficient for the sky. - So there you have it. - You have the fuel efficient. - They're loathe famous Ford logo, - kind of right on the screen. - And then, - you know, - the shield kind of comes around and then their tagline go further and the rest of their - branding fades in. - So you see this on all of their commercials, - and this is another idea for a bumper is that it also is incorporated into the video itself - . - It's not its own bumper with, - like, - its own background. - You can put this on any video on any commercial like this one. - You know, - this could be a Ford seven. - Ford Escape could be a Ford Explorer commercial. - You know what, - the Ford Explorer driving down the street or whatever it is? - Um, - our work focus or whatever it is. - And but they use the same bumper on all over their car commercials. - And last one. - Here's one for McDonald's Canada YouTube page. - And so let's watch it. - Golden Arches Pictures presents 140 character films starring Okay, - so this is a little bit of a longer introduction, - but I just want you to see this first part again. - The actual bump part eso you have, - You know, - the circles of the red and yellow popping up. - And then the McDonald's and the famous arches pop up. - And, - of course, - you have the Canada Canadian maple leaf in the middle of their toe. - Make sure that, - you know this is McDonald's Canada. - So these are all great samples of of bumpers, - and, - um, - I really wanted toe, - you know, - take some time, - check out some other bumpers, - see what you like and start thinking about what kind of bumper you want to create. - It may might even help to sketch some things out. - Do a couple little doodles, - Not anything fancy. - Just duel it out if there's any motion. - Just so you have a better idea? - Because if you don't have an idea before you get into after effects and start working on it - , - it's gonna take a lot longer than if you do have an idea of exactly what you want and just - go and create it, - because after effects allows you to do basically anything you want. - So if you have the idea, - you can most likely do it in after effects. - Thanks for watching. - Check out video school online dot com for more great stuff. - Please subscribe and check out the waves, - podcasts and everything there. - Thanks for watching, - and we'll see you next time 5. Video Intro Theory - Getting Started: - Hey, - everyone, - welcome back to create your own video intro with Phil Avenue. - Today we're talking about the basic theory behind creating a video intro Why you should do - it, - What you should be thinking about while you do it and what assets you need to create your - own video intro. - Let's get right into it. - So why number? - Why do you want a video intro? - Well, - there's a couple reasons One you want to begin if you haven't already done so to create an - identity around your brand. - As I mentioned before, - whether this is a YouTube channel uh, - an online school, - uh, - car company, - uh, - brick and mortar store. - Whatever it is that you you are part of, - you have to create that identity that has to become, - you know, - recognizable. - And once you start, - once you put your bumper on a lot of videos and all of your productions, - it will become recognizable. - No, - this logo here on the right is not a bumper, - but I think 80% of the world would recognize what this is, - and it's the apple logo is not, - You know, - it's not an apple. - You eat. - It's an apple that makes the iPhone and iPad pad and I Mac, - and you know it's crazy how this symbol has become So UM, - you know so much a part of the apple identity. - And so you want to create that. - And if you do have a company and you've created a logo in the past, - you know what how important it is to have a good logo and having a good bumper. - Is Justus important? - Because the way that things are going now, - more, - more people are going to be searching for you on YouTube or online. - And when they go to your website, - they want to see videos, - and more and more people will find you through video content, - whether that's on YouTube or on another page or on TV or in the movies or whatever. - They're gonna be finding your business or your brand through video, - and you want to have a nice bumper to introduce them to. - Your brand is a few things that you need for your bumper. - The basics anyways, - one. - You need your logo so hopefully you already have a logo and a high resolution logo. - Nowadays, - every video must, - I say, - must be HD quality or you know you are out of the ballgame. - Um, - you need to have an HD quality video bumper and that that means you need a high quality - logo. - And so pixel wise. - You know, - if there's a bumper that around logo that's at least 1000 pickle pixels by 1000 pixels, - that should work fine audio. - You can find a lot of great audio jingles on a website called Audio jungle dot com or dot - net Rather audio jungle dot net. - And when you go there, - go to this logos and I dents basically this short for identify IRS page, - and then you can, - you know, - search through popularity rating. - We'll see it search through sales. - This is the most sold one. - You can hear it audio jungle, - so they have different length and everything that's on 17 seconds. - But if you want something shorter, - you can find something shorter. - So say this one. - Yeah, - and you hear like the background water audio watermark. - That, - of course, - won't be on it when you purchase it. - Let's listen to another one. - You jump. - Oh, - you're jungle. - So as you can see for 45 bucks, - this is a great deal to purchase, - Um, - a piece of audio that you can use for your your bumper. - So remember that audio jungle dot net. - So you don't necessarily need a piece of audio specifically for your bumper. - But I think it's nice to have that sort of jingle that, - you know, - when people remember your video or your brand, - they'll hear that jingle as well. - A See the bumper. - You know, - if you think of the greatest all time greatest, - uh, - daytime commercials, - you'll hear you know the jingles of the carpet cleaning company or whatever it is the law - firms or whatever a company of this you can remember those jingles. - You also need any additional text or shapes that you want a part of your your bumper. - And what do I mean by that? - When the examples we saw last time some of them had, - you know, - the tagline or just a couple of words that represent your company? - And if you need those, - uh, - you know, - have the If you want those in your bumper, - just make sure you know what words that you want and lastly, - just have an idea of what you want your bumper to look like I keep mentioning this, - and I will continue to mention it until we're done with your bumper. - But you need to have an idea for what you want your bumper toe look like. - And so use the samples that I showed you last time and samples that you found on your own - as inspiration. - Some things to think about when you're coming up with your idea for a bumper are what are - your company? - Colors? - A rear on the right. - You see Red Bull's bright royal blue, - blue, - red and white and yellow thes are colors that if I were to create a Red Bull bumper, - I would use those colors. - I would have some sort of bumper with the bulls, - like crashing their heads together and then Red Bull like coming out from the background or - something like that. - Um, - but yes, - so use your company colors. - You wanna have a consistent brand identity across not only your logo, - your website colors whatever content you produce, - but also in your video intro. - If you have a company fought, - always use that in your bumper as well, - and then just kind of think about what your company's style or vibe is, - while you're seeing these cool bumpers that I show you online, - you might get tempted. - Teoh, - get something super flashy, - you know, - with lots of colors and effects and things like that. - But if that's not what your company is all about, - if that's not the vibe of your company money, - I would suggest going more simple. - As you can see with my video school online bumper, - I went super simple there, - the colors, - you know, - I picked those colors, - the greys of the blacks and the whites, - um, - as part of my brand identity, - and I stuffed with them for my bumper. - And, - um, - I just kept with with a simple style. - And I hope that you, - you know, - appreciate you know it, - even if you have to sit through it every video and get annoyed at that. - But it, - you know, - reinforces the brand that I use. - Teoh create these videos, - and so if you're an action sports company, - maybe you do need lots of motion, - cool sand effects and things like that. - But if you're, - uh, - I don't know lawn maintenance company, - maybe you need something a little bit softer. - So that's just think about your company. - Think about your vibe and put that together with your bumper and then just start thinking - about what type of bumper you want. - Do you want your text on your logo to move in? - And what I mean by that I just mean to like horizontally move are moving from the side or - the top of the screen? - Do you want some sort of fade? - Reveal? - Do you want some sort of special fact, - like flames bursting and then your logo's revealed are like something like that. - Lightning strikes and reveals your logo? - Or do you want a combination of these things? - And I know you're not going to know exactly what you want yet, - especially because I haven't even shown you what I'm capable of teaching you on what you're - capable of doing with after effects. - And so in the next sections, - I think you're gonna start to, - you know, - see what you can do with the moves and the fades, - because when you think about moving, - fade right now, - I might think you might think there's nothing cool that you can do. - But, - for example, - my logo, - the video school online logo that's completely all moves on, - move reveals, - and so you can create some cool stuff with just simple moves like that. - And I'm gonna be teaching all about that in the next few lessons. - So your homework is to pull together all of your assets, - your higher as logo, - your audio file if you want from audio jungle dot net Or, - if you have something created already any text or shapes or whatever else you want on on - your bumper and just put them in a folder in your documents and just keep them there and - have them ready for future use. - Very important, - though, - my last note for the lesson today is to spend some time on this. - Um, - don't rush it. - You want to create something that will last. - So why am I telling you this is because, - as a young video creator, - I was always changing my mind about things, - and I would grieve bumpers for companies that I wanted to start and things like that. - But then a few months later, - I would want to change it because the times have changed because I had seen new video - bumpers that inspired me and I wanted to create something else and companies do this as - well. - You know, - cos rebrand themselves every couple years or so and some, - even more than that. - But some lesson that. - And I think if you want to create a bumper of video intro that will last, - you gotta simplify. - Think about this. - Think about something that will last. - What will make you happy in the long run and not just for the next few weeks? - Um, - and you know, - just take your time with it, - because the last thing you want to do is create a bumper. - You know, - with this course, - and then a few months later, - have to redo it. - I want you to come up with a bumper for your videos that you'll be happy with. - That will last a long time, - and you know that you won't have to change or spend any more time on. - You just have to pay still on your videos, - and that's it. - So spend some time on. - It has always visit video school online dot com for more tips, - tricks, - tutorials, - videos, - podcasts, - articles and more. - Thank you for watching this lesson. - Next time we're gonna dive straight into some of the bumpers that I've created and start - working in after effects. - So thanks so much. - We'll talk to you next time. - Bye. 6. What software?: - everyone. - Welcome back to the create your own video intro. - Of course. - I hope you have a great day. - And today I'm gonna talk about the programs that were going to be using in this course. - So what program they're going to be using While the bulk of this part of this course is - going to take place using adobe after effects, - I'm going to be using the new creative cloud version of this program, - which is was released in June of 2013. - So if you have that version, - great. - But if you don't have, - don't be after effects to that Sisi creative cloud. - Don't worry about it. - Because if you're using CS six CS five, - CS four, - CS three, - all the programs basically do the same thing, - and you could do pretty much anything. - I do now with my version if you if you're using an older version, - so don't worry about that. - Also, - be talking about photo shop, - which is a great program to kind of build the assets of your your video intro. - So I'll be using Don't be Photoshopped as well. - And again that one all trying to use the latest version CC Um But again, - if you have another version, - don't worry about that. - If I end up using that in the course, - if you're using Apple Motion, - you can use that program to create great video bumpers. - But I prefer Adobe after effects just the way that it works in the ease of use and I when I - add it professionally, - I do a lot of work with Adobe Premiere Pro, - and I like how it will be premiering. - Adobe Aftereffects works together, - and so that's why these after effects instead of motion. - But that's not to say that you can't use motion. - You can also use video editing software such as Adobe, - Premiere Pro or Final Cut Pro seven or Final Cut Pro X. - You can actually create some really cool bumpers using those tools, - so I'll be using Adobe Premiere Pro along with after effects to create some my bumpers. - Because when I add music and sound effects and other things, - I like to use Adobe Premiere Pro rather than trying to edit that stuff in after effects. - So I will also be using Adobe after effects are Adobe Premiere Pro. - How do you get these programs if you don't already have them. - I know they're really expensive now with the new Adobe Creative Cloud model. - It's a subscription model, - which kind of I'm not a huge fan of it, - because you have to pay a monthly fee to use their programs, - but you can get it for free for 30 days at adobe dot com slash downloads. - So if you're just testing this out or if you want it even, - just try to get your bumpers done. - In the next 30 days, - you can actually download Aftereffects Premiere Pro Photo Shop any of the Adobe software - for 30 days and use it for free on bond. - There's no sort of watermarks or no gimmicks to you get the full version of the program for - free for 30 days. - That's what I do a lot of time with the programs when I want to test them out. - But I'm not sure I don't want to commit to purchasing them. - But of course, - now, - with Creative Cloud, - you pay the monthly fee and you can get all the any program and only program with your feet - so you pay. - It's if you have a 12 month subscription, - you pay $50 a month and that you're able to download Photoshopped after effects and premier - pro all within that subscription. - One idea to get a cheaper version is if you're a student Warren educator, - you can get the subscription for only 1999 a month instead of $50 a month, - so I'm not exactly sure how it works now. - But since you actually are students of mine and taking online courses, - you might be able to get the Adobe products for $20 a month, - which is a lot less than you know 30. - That's $30 less a month, - then the normal price, - so you can try to do that as well. - So that's it. - We're gonna diving into some of the bumpers that I've created in the past in the next - section of this course. - So get excited for that. - I'll be behind the screens for those those lessons. - So for now, - so long. - I'll see you at the end of the course, - but you'll hear me throughout the next few sections. - Thanks for watching and have a great day 7. The Video School Online Intro: - Hey, - what's up, - everyone? - This is Phil Evan here back with a new lesson in the create your own video intro course. - I'm really excited because they were actually going to dive into after effects and start - learning that program. - Start learning the basics of using after effects and the basics of motion graphics so that - you can create your own great video intro. - And the way that this is going to work is I'm going to basically recreate some of the - bumpers that I've created in the past in this section and go step by step and tell you how - to do it. - So that's a first I want to show you the bumper. - The 1st 1 we're doing is when you just saw the video school online bumper and let's just - take a look at that and see how it looks again just to refresh our brains s. - So we have the audio beats, - and that, - basically, - is the track that moves this bumper along with each beat and new motion happens. - You have half of the V pop up, - the other half inverts, - it's shrinks and then it basically video school in line comes out of the V I So let's get - straight into after effects. - Okay, - So I opened up after effects Creative cloud, - and the first thing I'm going to do is actually import this bumper because I couldn't find - the audio. - It must be on another hard drive. - And I'm just going to steal this audio. - And I can actually use this in my timeline as a great reference tool when you're creating - something that can refer back to it and you'll see that. - But first, - I'm going to create a new composition down here with this icon. - Make sure your settings are correct. - Whatever you want it to be. - I like HD TV. - 10 80 29 97 This is pretty good for all of my standard videos. - So I'll call this, - uh, - video school online bumper radio 10 seconds down here. - That's good. - Background color Black. - Perfect. - So now we have our composition appear going to make this fit up to 100%. - I'm going to drag this bumper onto our timeline, - So now we have our bumper on our timeline. - If we want to play this through, - you'll notice that in after effects, - if you just press the space bar. - It plays, - but it doesn't play audio, - so you'll have to do one of two things if you have a keyboard with the number pad on the - right side. - So like basically all the numbers on the right side and the big zero on the bottom, - you can press the zero, - and it will render out your effects area. - So this work area, - you see that I'm dragging in and out. - It will render out this area. - So if I press zero, - you notice that it rendered it out. - That mean makes his bar green above it, - and that means it's rendered. - And then it will play with music. - And then, - if you just keep, - if you just president, - it'll keep looping and playing over and over. - You can also press control zero if you don't have a keyboard with the number pet on the - right side, - if you're just using a laptop or something, - control zero will render it out like it did before. - So we'll see, - render and then play. - And so that's a good thing to know how to do. - And the first thing I wanted to teach you because so many people come to me and ask me how - to play after effects videos with audio eso. - Let's dive into this first have to create this white background. - I'm going to double click this rectangle tool, - and it creates a shape the same size as my composition. - This fill color appear in the top. - I'm going to change, - too, - right, - so that if it is the same as my original bumper, - I can look back to my original bumper by either clicking off this eyeball here so it makes - this layer invisible or sell. - Owing this bottom layer here and that will is what we'll be doing in the future. - When we have a lot of different layers, - we won't have toe keep clicking this eyeball over and over and over. - We can just click this solo button and see our bottom layer. - So there, - you know, - I was pretty sure that my original bumper I had a pure white background and not an off - white, - but now I know for sure. - Okay, - then I'm going to add my V in the center, - so I'm going to type B. - But as you can see, - it was looks like it's invisible, - but that's because it's white So I'm gonna change this to a black for now, - but you'll notice that this be in the original bumper is not perfect. - Black. - It's kind of on off black grey, - and we'll change that color in a second. - Okay, - so then I'm going to increase the size of this V. - And first thing I'm gonna do is basically change the anchor point. - So select this pan behind tool president Y on your keyboard. - Select this little circle with lines coming out of it and move it about to the center of - your V, - And then when you increase the size, - see, - I'm gonna have to do that again after I make making the right size. - But then if I increase the scale or change the position or rotation of this down in our - timeline, - so if I press s it brings up scale, - it will increase from the anchor point. - But see if I move it down here, - where it Woz and I changed the scale, - it increases from the bottom. - So I want to make sure that the anchor point is in the center of this. - First, - let me get it to about the right size, - something like that going to move the anchor point to the center and then I want to just - make sure that this whole letter is centered on our screen make this 100 percent. - Actually, - first degrees the size a little bit. - I like keeping my things at 100%. - Just I don't know if it's a no CD thing, - but But before I start actually editing them down here, - turn on title action safe and move your V to the center of your screen says I like that. - And so now RB is pretty much perfectly centered. - But we want to make sure that this is the right color. - Turn off title action safe. - I'm going to turn off this white background layer that I see the be behind us. - I'm actually gonna move this off to the side a little bit. - There, - you can see that it's a little too big, - so I'm going toe decrease the size a little bit. - Something like that. - It doesn't have to be perfect for now. - And then I'm gonna change the color using this eyedropper tool and just click on the gray - of the other B, - move it back to about where it. - Waas, - turn on my white background. - Okay, - so now I have to split this V into I'm gonna do that using this rectangle mass tool. - So before I use the rectangle to create an actual background. - But if you have a layer selected and you're using the rectangle tool, - it's actually a mask. - So see how it click and drag. - I can create a mask around any of my objects, - and so I'm going to create it and make it just about the size of half of my V. - All right, - so now I have half might be And I want that to appear on that first audio beat. - So let me play through this audio and then deposit when the beat hits so somewhere right - around there, - they play, - so that's pretty good. - You know, - I confesses later, - but you get the picture. - All right. - Now on the second audio be I have to have another that other side of the V basically pop up - , - so there's two ways I can do it. - I can either duplicate this layer by doing this, - looking at the mask, - press em to bring up this mask option on here, - and then invert it by clicking this at this check box down there for inverted. - The problem is, - now we have this little slight white line, - and that happens when you have to up objects that are the same that you mask and invert one - of them. - So I'm gonna have to move this mask slightly over. - So I'm gonna press click on the mask layer and then press right on my keyboard or left - rather then the mass slightly overlap by one pixel. - So then if I drag this layer over, - it will start on the second beat so played out. - So there we have, - you know, - the start of our bumper. - I'm going to make this layer invisible. - Another way to do it is to use key frames into key frame this mask position, - So mask path. - So if I set a key frame right here and then I go over one frame, - I did that by pressing command and the right arrow key and then changing this mass to here - so that the whole thing shows and see what it looks like s so it's basically the same idea - . - Just, - you know, - there's actually a motion in this one frame. - You can't see it cause it's too fast. - But if this key frame was out here, - you would see the motion of the mass growing. - But since it's one frame, - it just moves so quickly you could do this kind of thing with the mosque expansion, - even mass capacity. - So we'll just use that way because then it, - you know, - leaves our time like a little bit cleaner with less layers. - So here we have our object. - So on this third, - um, - be basically it's supposed toe invert the colors, - so we need it at a new background. - So I'm just going to actually reading this background one back around one white. - I'm gonna name this V one gray. - I'm going to duplicate this background layer by pressing command D moving in on top of the - view one gray and moving it on the timeline. - So it just appears on this beat. - Then I want to actually change the feel of this to this grace. - I'm going to take the eyedropper and click this gray. - So now when I move this over, - you'll see that this background it is the same color as that gravy. - I'm now going to duplicate this V one renamed these so back into Grey, - the two white that I'm just gonna move this so it lines up with this as well. - There's when I don't need the mask. - So I'm just going to leave the mask and then I'm going to change the color over here. - The character palette, - toe white. - Let's play through so far and then on our last on the next be we have it. - Shrink says, - Let's shrink it up. - So I'm going toe press command shift D to split this layer and then I'm just going to - shrink this size something like this. - And make sure that centered still. - So move it down a little bit, - Okay? - So let me just decrease our effects. - Work area. - So then, - at this next beat, - the video school online text kind of comes out of the V. - So I'm going to duplicate this layer so that we have the same sized layer. - I'm just going to type out video school online. - Actually, - I'm just gonna do idiosyncratic online because I already have the V, - and it's going to end up being next to it, - but I'm going to start it over on this side of the V. - So something like right here. - I'm gonna line it up with the right side of the V. - Then I'm going to create a mask. - Actually, - first, - I'm going to put it in the middle of screen so I can see the whole thing. - I'm going to create a mask around it, - and then I'm going to move the whole layer over, - line it up with the edge of the V. - I'm gonna slept my mask and then move the mask over it so that the mask is completely on - the right side of the text. - Then I'm going to set a couple key frames for all of these these layers. - So press p with both selected and hit this time timer right there. - Stopwatch to set a key frame for position. - Then we're gonna go ahead a few frames. - I'm going to move this V over on all these things. - I'm my tweak later, - depending on size and everything. - And then with this V with the video school in line, - I'm going to first. - Actually, - I'm gonna bring up the mask path and set a key frame and start. - It's gonna stay like that. - That I'm going to go to the end and move the key frame or the mass all the way over so that - you can see the whole video school online. - And I'm gonna move the video school, - online text or video school online, - over. - And as you can see, - it's not centered. - So I'm just gonna, - you know, - keep moving until its center and then move this V back a little bit. - Something like this. - This is more centered. - Something like that s Now, - let's play this out and see what we did way have the basic motion, - but it doesn't look the same as this one. - For one, - the text isn't the right color, - so let's change that up. - So I'm not gonna solo this, - but I am going to make the rest of these invisible. - Except for the video school online. - I'm gonna move this down just slightly just so I can see it for a second. - So the school should be this other Grace. - I'm just gonna select those letters, - just highlight them and then select the colors of the original version. - Okay, - Now I'm gonna move this back to the original Sot plate placement that it really matters, - Then turn on all these eyeballs. - Okay, - so that's not the only thing that didn't look right. - Another thing was that in our original version, - we had motion Blur turned on. - So I'm gonna turn on motion blurt right here and then check motion blur for these two - Larry's because of that, - the main one that have motion. - And it's gonna create this sort of blurriness that looks a little bit more natural to the - human eye for motion. - So it's played out, - See lagging after. - That's maybe it's a little too fast. - So if I press you a couple times on a layer, - it will bring up all the key frames. - So I select all the key frames, - moving a little bit a little too slow, - so make it a little bit faster. - One thing I'm gonna do while they're selected, - I'm going to, - right click them, - do key frame assistant and do Eazy E's That will kind of slow it down at the end, - so that starts out fast, - but then slows down at the end. - And actually, - I couldn't do Eazy E's here as well, - so it starts out slow. - It's a little bit more natural the main movies up a frame. - So So it matches up with audio perfectly. - I said. - Now let's watch our bumper. - Let's render it out and see how it looks, - Okay? - I mean, - I think that's pretty much as close as we'll get right now to this original one. - You can just add a quick fade to the end. - One way to do that is to, - um, - slept all of our layers, - Presti, - to bring up a pass it e and then go for set a key frame and go forward. - How much you want? - And then set, - um, - though pastie 20 That's one way to fade out. - Just you can see this background image in the background there. - Um, - but when you do that, - you'll notice that you see the bottom V and everything. - So actually, - what we want to do is get rid of thes lower layers that we don't need anymore. - So these two layers I'm just gonna press command shift d not gonna change of D and just - delete. - So then it fades out and you don't see the background. - Another way you can add a fade is so let's get rid of all these key frames, - um, - is by adding a black layer so at a black solid, - and then do the reverse. - So a pastie I'm gonna set Nike Freeman 100 moving ahead and then starting out. - But it zero. - So it kind of the black fades on that actually creates fade out for your video. - Eso. - That's for this lesson. - I hope you've learned a lot and enjoyed it. - And you know, - these lessons are a little bit longer than my typical lessons, - but I'm going through with you go whole entire process of creating these bumpers. - And so this was a simple one, - but it still take some time, - but you can see you know that it's not too hard. - It's basically it's basic stuff once you know after effects. - And that's just learning how to use those basic techniques the right way. - Thank you so much for watching. - If you have any questions, - please let me know otherwise I'll see you in the next lesson. 8. Ghirardelli Bumper: - Hey, - what's up? - This is Phil, - back with video school online dot com and to create your own video intro course. - Today we're going to look at another bumper that I've created in the past and recreate it. - That's when we're gonna be looking at this Gary Deli bumper. - I worked with a company that was hard hired by Gary, - really to make some videos, - and they wanted to update an old bumper. - And so here's what I created. - This one doesn't have any audio. - They put in audio later. - So I was just basing it off of their notes, - their thoughts. - They said they wanted something clean, - something classy, - something you know, - with their logo thought contained motion and was eye catching. - But not, - you know, - to fancy not to style eyes just clean, - simple. - And so that's what I went with this and before I actually had this tax right here, - Gary Deli and then the chocolate below, - fading in. - But they wanted a version with a little bit more emotion, - so I gave him this one. - And so, - as you can see here, - you know, - the logo just kind of fades in from behind the camera. - You know parts of this, - um, - this, - uh, - background, - you know, - kind of fade in. - And there's some problems with it and that I still want to change and fix up, - like, - for example, - right here. - I didn't clean this up enough. - You see this brown bar? - You're a lawyer. - You don't see this Bram bar. - And then here you see this brown bar kind of like poppin, - you know, - I needed at I should add a fade to that when you're watching it, - you know, - you don't notice it, - but things like that, - you know, - as an editor, - you gotta be perfectionistic and then up here. - I really like how this works with everything kind of fading in and, - you know, - the banner is going across, - and finally, - moments of timeless pleasure pops up at the bottom. - So let's get straight into the after effects project. - So I actually have the old aftereffects project up here that I can use for reference that - will help me a lot, - but we're going to come do is completely from scratch. - So first I want I'm going to create a new folder. - Just so I have everything organized. - I'm gonna call this new bumper gonna create new composition. - Well, - just Yeah, - 1920 by 10. - 80. - That's good. - 10 seconds. - Ghirardelli bumper New. - Okay, - so then we want to import our assets. - And one thing about this is that the way that the logo was given to me, - They gave me, - uh, - on SPG version or an E. - P s version of it, - and I had to break it down into different layers. - And so you might have to do something like this if you want. - Add all this kind of motion. - So see how I have different layers. - I basically exported different layers of this, - and you might have to do the same. - So I'm going to import all of these logo layers into new bumper. - First link. - First, - I'm gonna create a white background in my compositions. - Double click that shaped tool up there, - make it white. - And then I'm going to basically put all of my layers down onto the timeline and decrease - the size so that they're all there. - And so the order of this isn't right when you import them or just drag a munch onto the - timeline. - So I have to reverse the orders. - Just drag all of these up so that they're in the right order. - Okay, - so So now we have our entire Gary daily logo, - and then we're gonna have to add that, - uh, - that bottom part, - the moments of timeless pleasure down here. - So that's, - uh, - that will be adding later. - Eso Now we have our logo. - Now we just have to kind of start adding the motion to it and the fade. - Basically, - we're gonna do the zoom at the very end. - But for now, - we're just going to start with different emotions. - So let's look at the bumper how it works. - So the first thing is, - you know, - you have this base layer. - Basically, - there's a mask that's making it fade onto the screen as it, - you know, - zooms back onto the screen. - And then you have this This bottom part basically popped down from it. - So let's go to our new bumper. - I'm gonna make the rest of these things disappear, - except for our base layer. - All right, - so basically, - we just have this and we have to create, - um, - two versions of this one is going to be just the top part, - and one is just gonna be the bottom part. - It's kind of similar to what we did, - um, - with the masking of the video school online bumper. - So I'm gonna take this pen tool, - actually, - and basically create a mask around our lovely base. - So this get around it, - and then where it's right about here, - I'm going to go in and zoom into it. - So I get really nice close view of it continuing my using my pen tool. - Okay. - And I can, - like, - change all these this stuff later, - but, - um, - I want to try to make it hurt. - So I'm pressing age to use this hand tool which can basically move the entire composition - across across your screen. - Okay, - so then I have this. - Now, - continue. - I'm gonna zoom out, - get up to 100% just, - you know, - make sure that you have your your Masco around the entire thing. - Okay, - So now I'm going to duplicate this and then, - like we did last time, - I'm going to invert this other one and also like we did last time, - I'm going to select my mask and press up on the arrow key so that there isn't that white - line in between the two layers. - So now we have two letters. - One contains the top one contains the bottom for this layer. - The way that this was revealed, - we had some sort of rectangle mask like this and it was basically revealing the entire - thing. - Except, - you see, - when I did that, - it makes the rest disappear. - So I'm going to look at this mass right here. - It's press em to bring up our masks and I'm going Teoh, - basically, - subtract this top one, - see what this does. - Subtract. - OK, - so it's all playing around with these different things. - Um, - so I'm going to invert this bottom math, - too. - So see these settings. - So basically, - I'm this top mask I want to get rid of. - Make sure that adds, - so that the bottom part is still gone. - The bottom one. - I want it to subtract everything inside first and then inverted, - because if I just do, - subtract or add, - you'll get this bottom piece or you'll still have this top piece. - I want to subtract and then invert. - You'll see what you'll kind of see what I'm I'm doing here in a second. - So I'm going to bring up the mass properties down here twirl down this arrow, - increase the feathering quite a bit. - And then across time, - I'm going to basically increase this max, - so we'll start out. - You know, - something like this, - I'm gonna press stopwatch on the mass path. - Then I'm gonna go ahead. - I'm just going to click on this layer down here so that I can edit these lines individually - . - I'm just gonna move it out all the way until we have our entire logo backdrop. - Something like that. - So now if I play this out, - you'll see it kind of fade onto the screen. - Something like that. - I might have to go a little bit slower. - Colleges increase the distance between the key frames. - A sign like that. - Then right about here. - I want this other part of the logo to pop down this part, - so I'm going to basically create emotion transition. - So I'm going to set one key frame for the position here. - So press p to bring a position, - go backwards and move it up above the bottom of this base. - So see how there's the edge of the base. - I want to be above it, - and then I'm going. - I'm going to create another I'm actually gonna put this below this base, - and then I'm going to create another mask. - So I'm going to create another mask using the rectangle tool and his mask around this logo - itself. - Like so. - And then I'm going to actually go down here and set a key frame for this second massive - press em and then clicked the stopwatch. - Their press you to bring up all my key frames, - go back to my first key frame, - and then I'm going to move my mask down so that it's not on this on this anymore. - But first I want to subtract this. - We find the right settings, - subtract, - inverted. - And so again, - we have this nice motion of this coming down. - But you can see here it's a little bit off because there's a space in between the layers - right there. - So there's a little bit of emotion in the math that I don't want. - So I have to move this mask up closer to the edge of this logo base. - So there you have that. - So let's play it out again. - It's, - you know, - just takes practice. - And even though I've already done this, - you can tell that um I'm just kind of figuring it out again. - I did this a while ago, - and I don't remember exactly what I did. - But there you have this nice pop down logo reveal I'm gonna increase this time so that it - comes down a little bit slower. - Okay, - now we have that part of it. - So let's go back to our bumper, - actually, - instead of that cause it's gonna take time to render. - I'm just gonna go to our quick time and basically play through this. - If it will play eso we have the bottom pop down the size of this base, - fade in, - and then we'll worry about the stuff at the top. - Later. - We're going to have this Gary deli pop up and then the chocolate pop down. - All right, - So swirl down these arrows, - twirled them up rather so that they go away. - All right, - So now, - Gary Delhi, - we want to pop up after the end of this fate on. - So let's like this layer was going Teoh, - actually, - um, - yeah, - Well, - pot will just set it right there and create a position. - Keep ring again. - We're going to create a mask just around this blue box. - So this entire blue box like so then we're going to press M and set the mass path key frame - prize you to bring up both key frames. - So this is our final position. - So I'm going to move these key frames forward a few frames and then basically move the gear - deli down below this bar of gold bar for then click the mask and move it above the bar. - So this this is a way that I create a lot of transition, - so I'm gonna render this out so we can see what it looks like. - So there you have our Gary Deli popping up. - We're gonna do the same thing with the chocolates. - I'm gonna move this down so it's closer to our other layer, - and I'm just gonna make it read to that. - You can tell what later I'm working on. - All right, - so we're gonna do the same thing. - Go to the end. - Press p said a position key frame. - Go up to the shape tool, - create a mask along the this gold bar, - press em to bring up mass path. - Said the key frame press you twice to bring up both key frames. - go back and then basically moved this up above the gold line. - Click the mask. - Move this down below the gold line are lined up with the goal line. - So now we have chocolate coming down. - Like so. - So now you see, - carried Ellie chocolate pops up. - So now we have done that, - and then the rest of the stuff kind of are just some fancy fades on. - So first, - let's do this. - Founded in 18 52 Banner S O. - C. - Which layer that is found in 18. - 52 when I turn all these on so that we can kind of see what they look like founded in 18 52 - and then see what is. - That's the arch. - That's that our text we should have on the Eagle founded in. - Okay, - so we have kind of the text and then the background of this founded in. - So we have the banner, - and then we have the blue text. - And so in here, - we see that kind of both fade in at the same time, - So we're gonna do the same to both. - So we're just going to select one of these. - I'm going to throw up these things. - And now with this one's like, - I'm gonna change this Teoh aqua so we know what we're doing. - And I'll change this one toe aqua as well. - So we know we're doing the same thing that I'm going to just create sort of, - ah, - unique mask around this. - So clicking and dragging increase rounded edges to our masks. - So now that was for the blue text underneath. - And actually, - I'm going to just move, - very affect the other great background first, - because that one is easier to see. - So let me actually zoom in. - You can see this better. - All right, - so then I'm gonna bring up press F, - and that brings up mask feathering. - I'm just going to increase feathering a little bit, - like so I'm gonna press mm a couple times, - and we want this to fade in so we can do this using mask expansion. - So see out that kind of increases and decreases the mask size, - so I'm gonna decrease it all the way until it's off the screen at a key frame and go ahead - and increase this just like so until it's all on the screen. - And this one, - you know, - it takes a little bit of time. - It's a nice, - slow fate, - so I'm gonna make it really far. - So now we have this nice sort of fade on of this banner. - But we wanted to do the same thing on this other layer. - The logo text foundation 18 52 the blue tax behind. - So I just copied and pasted it. - So now it should both come on at the same time. - So let's render it out and play it. - So, - actually, - I should be rendering us out at about 1/3 of quality, - just so it renders faster. - So there you have it, - and it might be a little bit too, - too fast. - I'm gonna select both of these. - Larry's press you to bring up the key frame aims and just increase the distance between the - key frames. - All right, - so now let's look at our quick time again. - So we have this founded in banner popping up, - and we have the same sort of effect with the Eagle. - So now we just have this kind of eagle outline. - We're gonna do the same thing. - So eagle outline will change the color to orange that we're just going to kind of create a - little interesting mask in the middle like this. - Okay, - press feather f to bring out the feathering, - increase the feathering and then an M to bring a mask expansion. - So we want this to start and end a little bit after the founded in 18. - 50 to 1. - So I'm just gonna start a little bit later. - Press mask, - expansion time, - stopwatch decrease until all the eagle is off and then go a little bit afterwards after the - founded in 18 52 and expand it the whole way. - So something like that. - So pretty simple stuff you can see that I'm doing. - And I'm rendering, - uh out so that we can watch it again. - It's always good to just keep watching it. - See, - you know, - the timing and everything else. - And so there we have our eagle wings being faded onto our logo. - So it just adds a little bit of detail to this. - I think it's moving at two similar apace as the other ones. - So I'm just gonna move it a little bit later and expanded a little bit more. - Okay, - so now we have this text, - the San Francisco text, - and then this brown arch our thing, - Um, - so we're going to do another mass transition, - But instead of just fading in from the center, - we're going to do that kind of arc. - Look. - So with this selected the logo, - um, - the San Francisco part. - I'm gonna make this another color, - so we can scion, - that's a little bit too close. - So let's do sandstone. - Yeah, - about dark, - dark green. - So then we're going to start the mask down here, - actually. - Actually, - first I'm going to do a mask around the entire thing. - This will work better. - So just set a couple key frames. - Kind of create a mask around the arc. - Just kind of try to follow as much as possible. - Okay, - so now we have our final basic mask. - I'm gonna press m for mass path, - okay. - And then I'm going to basically go through this and move these points so that it kind of - fades on. - So let's see. - So I'm gonna move here, - slept layer, - you press vita usar pointer and not the mass tool. - It just kind of move it up and change. - You know, - you might have to move these mass points a little bit or delete them. - Even so, - there we have something like that that I'm gonna move a little bit more an equal amount of - space more and then move it over even more. - I can also delete some of these mass points using the Pent will delete Vertex Tool. - So I'm going to believe that one. - Okay. - Um, - actually, - I'm getting that warning, - So WCC is a little bit different, - so I'm just going to actually move these points, - keep moving them. - I know it's a little bit hard to see. - Okay, - so I'm gonna go a little bit more, - move them all, - so keep moving them. - So we have about 1/3 of the ark left something like this. - Kind of zoom in a little bit, - so I can see. - Okay. - And then go a little bit more and maybe take them all down to the bottom. - I'm sure there's actually an easier way to do this, - so if you guys know, - But this is kind of like how I just created it. - Do something like that until it's completely off. - Now, - if we scrub through this time line, - you can see that it kind of goes across like that. - But we want to add a feather to this so that it looks a little bit more natural and matches - with the rest of our bumper. - So just like that, - 40 pixels or so? - So now we have this art going across. - All right, - So I think we can do the same thing with the brown. - So if we press you to bring up the the mask in there, - keep rooms that we copy this mask and add it to the brown, - it should be about the same. - It should work. - Sometimes it I have to adjust it because the size but something like this will work. - And let's render it out and see what it looks like. - Okay, - so we have the brown following the blue a little bit, - and that's fine. - I kind of like that rather than having it go at the same time. - Okay, - So there you have this art going across, - and I think we need to expand the time a little bit of this. - So I'm gonna select all these key friends and while holding option, - click one of them and drag and see how that basically increases the timing of all of them - without, - um having to individually move them. - Basically, - do you have to click the last one or the 1st 1 and then just drag while holding option? - That's a good way to increase the time of something that has a multiple or multiple, - uh, - key frames. - So there you have that. - Okay, - So I pressed command all than just s s to drop. - Make sure all these twirly things are up. - Ah, - this are will just do a fade a slight fade in at the end right around here. - So I'm just gonna do a T capacity 100% move it forward and then change it zero to have a - pastie fade. - All right, - So now you'll notice, - though, - that we need to to fade this in like this bumper is so have it come through the back - basically of the screen. - We have all the motion of it. - Practically perfect. - Except where we don't have moments of timeless pleasure yet. - Um, - so to do that fade kind of thing, - the zoom fade, - we're gonna select all these and pre composing. - So you pretty composed. - I'm going to do this. - Gary Deli. - New logo. - Pretty calm. - And what this That basically does. - It moves all the attributes into a new composition, - and it makes it be one composition or one layer. - So if I open this up, - you can have the secret. - You see the original composition and you can affect at all these things. - But in the bumper composition, - the top level composition, - it's just one thing. - And I can now do that Zoom in without having to do it to each individual layer. - I can do it all at once. - And so I'm gonna turn on this three D layer and press position that gives us this other - this third, - um, - basic way to edit this. - Um, - without the three d layer, - you can move up and down right toe left, - for example. - One thing you notice, - though, - is that my background is maybe I want to take this background, - cut it and paste it into this layer in this composition. - So now if I turn out this on and, - you know, - move things, - you can move it in Z space. - So I'm gonna do that. - So I'm gonna put it basically right here with it starts set the key frame go forward. - You know, - a few seconds and put it on to the screen I'm going to. - Then also, - add a transition, - Presti a pastie transition and then go back here and put zero. - So it kind of fades on as well. - And there you have this nice zoom in and it's a little bit fast, - so I'm going to zoom in in a little bit slower, - and then maybe Zimet and even so, - it's a little bit smaller and then actually moved bump it up a little bit so that we can - have the moments of timeless pleasure Poppin s. - So now we have this nice fade in all our, - you know, - text popping up, - popping down our arc and our eagle kind of expanding and all these things, - the timing of everything I'll tweak. - But you get the basic point. - And the last thing we want to do is add the moments of timeless pleasure. - Okay, - I want to go to our original one because I'm not actually sure if that was part of the logo - or if I recreated it with text. - Basically, - So we have this moments. - Okay, - so they gave me another basic, - um, - basically another logo piece that I used for this and see which one was it? - It was GCC logo. - Seem like a So I'm just going to actually use that one down here in our new compositions. - It was another love. - It is the original logo not broken up. - And then I'm just gonna create a mask around the moments of timeless pleasure, - and then just decrease the size go to the end of this move, - decrease the size of this. - So that kind of matches up with the size of our logo and then, - you know, - at the very animal want this to start toe basically move up into place. - So set a position key for him here. - This is its final spot. - Go forward and just move it down to the bottom of the composition. - So it's not seen. - I could do it a little bit later. - I'm not sure what the original one was like, - Okay. - And you'll notice that a couple of things this move with this thing copping down is a - little too soon. - So I'm just gonna go in here, - this one, - go to that layer with logo base. - Which one was that? - Not that one. - This bottom one first you to bring up the key frames and move it over just slightly. - Like so and now you should be able to Seymour of that motion. - And that's what you can do with all of these layers. - You can go in and basically edit them. - Um, - I do it a little bit sooner. - I would definitely slow this whole thing down a little bit. - It's wave faster there than the other one and made this moment of time. - This pleasure should just pop up at the end. - Something like this. - Another thing we can do to smooth out a little bit is basically writes like this last key - frame to an easy ease and same with this one for the moments of timeless pleasure Eazy e's - and that slows it down at the end of the move. - So something like that, - and again, - I think it's still too fast. - I'm just gonna move these things over a little bit, - all right? - I could keep tweaking this and try to get it perfect, - but I think you get the idea of all the different techniques that I used to create this - bumper. - You know, - we have the fades of all these things that mask fades. - We have the mass transitions where I hid something like the text and then it pops up or - this bottom layer. - Um, - there's different opacity fades just toe fading like this are you? - Don't even notice that this are gets faded in right there we used the Eazy e's function, - all sorts of different things. - I hope you enjoy this lesson. - Thanks for bearing with me as I somewhat struggled. - Teoh Redo this one. - It's a tough one. - It's not easy. - Um but I hope you got inspired to create your own bumper someone like this, - or using the techniques that I use in this one. - Thank you so much for watching If you have any questions. - If I went through anything too quickly, - please let me know. - I'll explain further in detail. - So have a great one. - And I'll see next. - Next time. - Bye. 9. The DOC360 Intro: - everyone. - Welcome back to video school. - Online dot coms create your own video intro Today we have a fun insure that I'm going to - recreate for you. - Show you how to do it. - This was a dock 3 60 dot org's insurer that I created for a Web site that does travel - documentaries. - Let's first check it out. - Awesome. - Awesome documented or intro and company. - So let's watch it. - Okay, - so I'm gonna play it again with the music really down low. - And as you can see from here, - you know, - this is a very cinematic intro, - something that the other ones weren't quite like. - The other ones were more typographical in motion graphics. - But this is more you know, - about using three D space and using effects toe make an actual virtual reality in this - intro. - So we have this earth spinning up and the stars twinkling in the background. - We have the logo of doctors 60 come around the earth, - and then it fades off to the right with the actual logo full logo of the company, - and then the sun is revealed in the background. - So I'm gonna show you how to do all of these things in after effects. - So I have the old project up just for a reference. - But I'm going to go ahead and start a new composition. - Say, - New dock 3 60 We have the same settings is before, - so I don't need to go through that. - Then I'm gonna bring in a couple assets, - so let's see, - we have another We I broke down the logo into a couple different options, - so here it's really hard to see, - but this is just the d with the streaks around the around the horizontal and vertical - access streets. - I'll just put it here so that you can see it. - That's what I'm talking about. - So we have that and we have the doctor re 60 just the lines which will be using in the - future on. - And then we have the Earth Planet. - So this is, - uh, - the spinning earth. - And this, - uh, - was actually purchased online at video hive dot net. - I think it's video I dot net and so you can actually go and find a lot of great, - you know, - assets for your video bumpers. - They're so you need a spinning globe. - You can use that. - All right, - so the first thing we want to do is create this background the backdrop of the twinkling - stars. - Eso Let's go ahead and do that. - I'm gonna press command. - Why? - To bring up the solid solid settings and create new solid. - I'm gonna call this stars and then press. - OK, - so now this is just a black background. - I'm also going to create just a black background for, - uh, - for future use. - You will see why I did that. - So for the stars, - I'm going to add Thean effect fractal noise And then I'm also going to add CC starburst - these air just preset effects that are come with aftereffects. - I'm going to change some of these settings, - so pay attention. - Contrast. - I'm going to boost up to around 3 50 That just makes them a little bit more whiter and - brightness. - I'm going to decrease something like negative 50 and then for under Sisi Starburst. - Right now it's actually a starburst where you're going through space going through the - stars. - That's because the speed to set to one, - I'm gonna set it to zero. - So now the speed is just zero. - Just stay there size. - I'm going to decrease as well scatter, - I might decrease a little bit so that there's more within the space because I'm decreasing - the size of the stars, - and I think that's about it for that. - So now we have this nice sort of, - uh, - star background. - The reason why I added this black background is because without the black background, - the stars actually are black dots. - So we add the black backdrop and they become light stars. - Eso then we want to make them in twinkle across this entire composition. - So for fractal noise under evolution, - I'm going to set key frames for the evolution. - So one there and I can press you to bring up that key frame. - Then at the end of this composition, - I'm just gonna go, - you know, - forward rotation or two of this dial. - And now you can see, - as I described to you, - this the stars are actually twinkling, - so that will be a nice effect for our composition. - Then we want Teoh, - add our son. - So the son is I'm kind of going backwards, - like from the bottom layer to the top layer. - So we have our son in the background. - So this is another effect that using a new layer solid, - so just create a layer. - Then we're going to use the lens flare. - So just under generate lens flare at that to your you're solid gonna change the lens type - to 155 millimeter prime. - I'm going to blend with the original a little bit more like 14. - Then down here under mode, - you have your transfer blending mode. - If you don't see that, - you can click toggle switches modes and that will bring up this option I'm gonna do screen - . - So that gets rid of the black of that that layer and just leave the lightness eso. - Then I'm going Teoh play with the ones that float lens, - blur brightness. - So decrease. - That's something like 60 or so. - Then I'm just gonna put it in the middle so you can change the lens blur center, - like so using these numbers. - And so I'm gonna put it in the center of my composition. - Something like this. - I a let's play around eyes, - and now I want to make it orange. - So I'm gonna use curves for color correction under color corrections. - So just typing curves, - drop it onto this, - then I'm going Teoh, - increase the red under here, - you have a green option on blue. - I'm going to decrease. - Think I need to go back. - And speakers of the green I see decrease the green so that it becomes more yellow and total - rgb and going to play around with that a little bit as well. - And then I'm going to decrease the size a little bit. - Just so it's a little bit smaller just, - you know, - play around with these these numbers to get the right fit. - So I kind of like when the lens flare, - brightness is down lower, - you bring up the size a little bit. - So there you have. - You know, - our son at the end, - something like that looks pretty good. - Maybe play around with colors a little bit more, - dropped the greens and maybe the blues a little bit. - Okay, - so there we have a nice yellow sense that's in the background. - So we want to make sure that's in the center. - So I'm gonna turn, - entitle action safe and sure enough, - it's pretty much right smack dab in the center. - All right. - The next thing we want to do is create are put in, - are spinning globe Cyberia are spinning globe something like that and we're going to in our - project. - Just take this Earth movie and place it in there. - So this is, - uh, - unearth maybe with the black already matted out, - so I'm just going to set it right there. - I'm actually going Teoh. - Then add our logo. - Our first logo, - the one with the D in it. - I was gonna place it in front of our earth for now, - something like that. - So that's gonna be, - like kind of like the final final placement. - Maybe decrease the size of the earth a little bit like that. - Also, - Doc. - 3 60 s. - So now we have this spinning globe, - but we have to make the d come around the globe. - Okay, - so and then we're gonna add sort of growing a size, - uh, - motion where the earth is gonna get bigger looking like the camera zooming in on the earth - . - But for now, - we want the D logo to come around the earth and kind of end up coming to a stop as the - earth rotation stops. - So I'm gonna slide this earth rotation over a little bit, - so it stops right about there, - so I'm going to actually go in here press right click, - do go to time and enabled time remapping. - What that means is that I can kind of play around with the timing of this. - Say, - I wanted to stop at Africa. - I'm going to set a key frame there. - I'm going to copy and paste this key frame. - Later. - I'm gonna delete this last key frame. - So now it just stops on Africa and stays there. - And I'm going to right click key frame assist Eazy e's so it kind of slows to a stop there - . - All right, - so at this point, - I want the rotation of the logo in front of the Earth to stop as well. - So I'm going to click this toggle switches moment, - but and turn on the three d layering Then I'm going to set a position, - key frame, - a scale key frame and a Y rotation. - Keep rain. - So now I have keeping for all of those different options. - Then I'm going to go to the start where I want this to basically be on the reverse side of - the earth. - I'm going to rotate it around negative or actually else go semi 180 degrees or so Just type - in 1 80 then I'm going to make the size a little bit smaller so it is covered by the other - side of the globe. - And then I'm actually, - um I'm not gonna do the size. - I'm gonna play with positioning, - actually, - So I'm going to put the positioning behind the globe. - I want to make sure that three D is on for our globe so that, - as you can see now, - these two layers air playing in three D space and I moved the position of this logo behind - Earth. - And so it actually goes behind Earth. - I'm actually also going to decrease the scale to, - like, - 18 or so eso Now, - Right now, - our logo just kind of comes through. - It kind of rotates through it. - I'm going to go about halfway through this animation and move this logo to left side. - So it comes out on this side of the earth. - So as you can see that it's getting closer, - there's still some minor tweaks that I have to adjust because right now it's not far enough - out in front of the earth to make that final rotation. - So I'm going to also move it towards me in Z space. - So now it comes around and basically comes to a stop in front of Earth. - But you still have. - I'm gonna move this out a little bit to something like that, - had the final keeping, - but you still it's not yet behind it. - Still going through the earth right here. - It should be behind it. - And so maybe around this key frame, - I'm going to push it out for back and even further, - something like this. - See if that works. - So now it comes out, - comes around and comes to a halt here and going to right click thes set Eazy e's. - This comes to slow. - Stop. - All right, - so let's runner this out and we'll see what it looks like right now. - So we do have our D logo coming around the earth. - OK, - so it's looking pretty good. - The only thing is that the speed of it is a little awkward because, - um, - we have key frames set up in between the rotation. - So right there, - it kind of jiggles. - So I'm going to select all these and see what my key frame interpellation is. - It's got continues busy A So I'm gonna try, - um, - auto busier and see if that kind of helps it smooth out the rotation, - Can I? - So we have it coming around. - I think I want to start out smaller, - so I'm going to decrease the scale. - Teoh me like 10% so it kind of like really grows as it comes around. - So there we have it. - Of course. - Like always, - I would keep tweeting this until it looks perfect. - But for you guys, - for now, - you get the point that now we have this d coming around the earth. - It's pretty pretty cool. - I Then now we have to basically play with the size of the earth. - So I'm going to actually parent this widget or the doctor 60 logo to the earth that I'm - going to set scale, - keep rings at the end of this move and go to the start and decrease the size to like, - 60 or so. - But now we can see the sun behind us, - and I don't want to see the sun until the end. - So I'm just going to Here is our son Layer. - It's gonna rename this son. - Change this The color to like orange that we know it's the son. - I'm going to just do a quick opacity fade right here after the Earth has grown. - So now let's see now, - if we were under this out, - the earth kind of zooms in. - And because we parented the doctor 60 d logo, - it changes size along with the earth. - Eso Then we want to add the fade to the letters. - So let me type type ups the logo. - So I have my text tool and change this toe white. - Then I'm going to use the floor in songs font that we used for this logo. - So we have dark 3 60 So I'm going to increase the size of this until it match basically - matches with this logo. - So something like this is good. - All right, - so then we want basically we want this to appear as our logo fades off. - The problem with this is if we move this logo off, - the D is going to go now. - And that's why I have this asset right here without the D. - So I'm going to change the scale to 27.8, - which is the same as the flow go down here, - but it looks like it's actually a little bit smaller because we have a now, - this is we parented it to the earth map. - So I'm going to have to make this a little bit smaller so that it matches so and then line - it up. - Something like this get to be the right size. - Okay, - so there it is, - that's perfectly aligned. - So after this comes, - it's gonna rest for a few frames that I'm going t. - You know, - cut this to right here. - It's gonna be one quick movement going to cut the end of this press command shift D and - delete that. - So now it switches from here basically to hear, - I might leave this on for a few frames, - and then this is going to go off to the side, - so I'm gonna set a position key frame. - Then a few seconds later, - move this off to the side, - and that's going to reveal our text layer right here. - So Okay, - so now we're going to set. - I'm up a mask for this text layer. - So we want to go along with this sort of curved logo piece, - and I'm going to leave enough space over here for it to be in this fall on. - And now this is crazy. - So now I have in my mass mask, - um, - options down here that I can play with press. - Mm. - Stopwatch, - clicks, - stopwatch. - Teoh said a key frame for the mask path right here. - Then go forward till this is just about off screen, - and then move this over with it. - And I noticed that it's gonna go too far, - so we can actually just go until it's passed the 3 60 and stop it there. - I'm gonna set a key frame by clicking this This, - uh, - diamond right there. - Delete this last one. - So now it's open right there. - Okay, - The only thing is right here, - we get a little bit funky because the d of the original one is still there. - All right, - so let's see. - What are we gonna dio? - We need to actually have this d already be on here before it reveals itself. - So I'm going to duplicate this layer. - Um, - get rid of the mask and just get rid of the rest of these letters. - So now when it comes across, - the d is still there. - So then I can cut the rest The end of this layer, - the layer with the original layer with the lines to the start of this move. - So there you have it. - Kind of fade out just like that. - Okay, - so now I'm going to turn on the motion blur for these layers. - Turn on motion blur up here. - We're going to render it out and see what it looks like. - Now we have a d dis sitting there so we don't want to start this d until right here. - So I'm going to command shifty that layer. - Delete this first part of it on. - Let's see what it looks like. - I know we're gonna have to do one more thing, - which is fade out the earth so that the so that the sun is revealed behind. - So you have a nice music, - Lovell. - Uh, - there it goes, - and it's a little bit slow, - but you get the point. - For now, - we just have to fade out our earth and our sun will shine. - So a pastie said a key frame right there t to bring up a pastie and then faded out right - about here. - And we want the sun to be right in the middle of the D so we can move it, - actually, - So that down a little bit, - something like that. - Okay, - so there you have that. - The only thing we're missing is, - uh, - the, - um, - degree symbol right here. - I can just do a zero. - Then it's like this and make it a lot smaller. - Then raise it up with this option over here. - So there we have our degree symbol. - So there you have it. - There you have marks twinkling stars you have are rotating earth. - You have r D logo coming across and around Earth fades out to the sun. - And at the same time, - the lines of the logo revealed the entire brand's name. - Let's watch it one more time again. - All these things take tweaking. - I would speed up that last move a little bit. - I can just do that really quickly for these Top players. - Just bring up the key frames there, - and it's like all of them hit, - option and dragon. - And that will make it a lot quicker. - And that will look better. - Eso Thank you so much for watching this lesson. - I hope you enjoyed it and learned a lot If you have any questions, - please let me know otherwise. - Check out video school online dot com for more tips, - Tricks and tutorials subscribe, - and you'll get a nice deal. - You get 50% off all of my courses. - But for now, - just enjoy, - and thanks for watching bite. 10. Practice 01: For Authors: - Hey, - video people, - this is Philemon or back with video school online dot coms create your own video intro. - Today we have a cool intro that I'm gonna teach you how to dio and yet another technique to - inspire you and get you thinking So this is actually for a fellow online instructor. - I'm creating this, - uh, - bumper for her is video Siris for authors. - And so let me just show it to you first. - I'm gonna then talk about it and why I did what I did. - And then I'm gonna show you how to do it, - actually, - So let's just watch it. - Really simple classic, - you know, - not too flashy. - Maybe some would say a little old school, - but let's just check it out. - So we have these little orange boxes that come out and kind of revealed these different - pieces of information. - We got four authors title and then re sources information and chat for authors, - which is her heading or subheading. - So I got this information from her website and as I mentioned before, - like you, - if you're making ah bumper for your website or for another person website, - you know it's a good idea to check out their website and pick aspects of it themes from - that to use. - So I asked her what Fonds to you. - She came back with Cambria. - And so I used the Cambria font. - And I have her tile right here. - Her subheading. - And then you see it all these this, - like geometrical artwork up here. - That's the background of her header. - And the color is the orange colors. - I kind of used those in the bumper as well. - And so that's why I in here, - You know, - I chose this red font, - which is the same fought as here and then the yellow orange brick. - I use the orange from her heading, - and I'll show you a cool way to basically, - uh, - use get those exact colors. - All right, - so I'm gonna go ahead and start a new composition. - We'll call this for authors Bumper 10 seconds. - 1920 by 10. - 80. - You know that by now, - first thing, - I'm going to create a white background. - So, - command, - why brings up solid settings? - Gonna select white. - There you have it. - And then I'm going to basically set up the rest of my final look of my title card. - So I'm gonna turn my tattle actions safer while Korean. - These titles, - I'm just gonna start setting the title. - So we have four authors. - Um, - make sure these settings air kind of normal. - I have this set up toe 1 45 pixels. - Baseline shift. - And that was for when I was creating the, - um, - the degree sign for my doc 3 61 So just turned that to zero. - The rest these, - you know, - just play with if you need I'm going to turn this into bold because that was more similar - to what her title was on her. - Her website. - So there you have it, - centered. - I'm gonna put a little bit above the vertical centered line because I know I have a - subtitle. - All right, - so now I'm gonna create that line. - But instead of just clicking shape and creating a shape, - I want to be able to use masks with it as we've learned before. - If I want to use, - like, - the rectangle tool or the pen told to create a mask around the shape, - it doesn't creative mask. - It just creates another shape. - So I'm gonna have to do this New solid, - So command. - Why New solid. - I mean, - use this eye dropper. - I drop this color, - and then I'm going to use the mask, - the rectangle masked to create this line. - Okay, - so I'm going to do it to the edge of the S. - And then I know I have to bring it back from the left side. - So I'm gonna double click this edge that brings up these tools to adjust and then was gonna - addressed it to the edge of the F. - I was gonna shift up key to get it to the right height right in the center of the page. - And that's looks good. - And lastly, - I'm going to create thesis up header which Waas? - Let's go back to it. - Resource is information and chat for authors. - So, - God, - our text barks, - start a new one. - Resource is information and shot for authors. - Okay, - I think I spell that right. - Even though I can't see it, - I'm gonna decrease the size of the text doors. - And I needed a gin there. - Okay, - so just make this align with the edges of the four authors. - 35. - If it doesn't fit perfectly by changing the text, - you can always do point. - You know fractions of pixel, - or you can go in here and change the scale that can help you as well s So now we have our - whole title. - I'm also going Teoh, - make this not bold. - You do italics that changes the with of it. - So let's just play around a little bit. - 98%. - Okay, - so now we have our title and the subtitle Let me quickly show you how I got this color - though, - because if I was just trying to eyeball it, - I would, - you know, - say I was starting off with black And then, - you know, - I went to my color and was trying to eyeball like this, - you know, - I could get pretty close. - Something like that is very close. - But instead, - I actually I took a screenshot of the website itself. - I can bring that in. - And now I can basically use this eye dropper to I drop this color so it changes it to the - perfect color. - I'm going to make this invisible for now because we're going to use it in a second. - All right, - so now I'm gonna turn off title action safe because I don't need that anymore. - And just rename these things so that I have it organized a white background. - It was type in background. - The red saw it is the line break and the rest We can just leave because that has the text - that it actually is. - All right, - so now I'm going to create that square that jumps out. - So first I want toe open or turn on the color screen shot again. - So I have those colors, - then press command wide to bring up with new solid settings. - Then I'm going. - I drop one of these oranges so I'll do this orange. - His press. - OK, - then I'm going to make a square. - And the way that I make a square one way is if you go from the center of the screen, - the solid just click and then press command and shift. - You can create a perfect square from the center of your screen. - I say I'm gonna make it, - You know, - just about Aziz. - Big as the four authors text, - something like that. - Eso Then I'm going Teoh, - just gonna make these two line these two layers invisible line and this other piece of text - and this color screenshot I'm done with that, - so I'm just gonna delete it. - So now I'm gonna add the motion to this orange brick. - So first I'm going to go all the way to the left and I'm holding down shift so it stays on - this horizontal line. - I'm gonna press P to bring a position. - Said a key frame. - I'm gonna move this to the start of the composition, - or may a few friends after the start. - Then you know, - 10 frames or so later I'm gonna move out to the edge of the authors. - Then I'm gonna go about the same distance. - It should be the same amount of time as it took to get out here to go back to that original - point. - I could just copy and paste this other key frame, - and it takes it back to their and then going to right click the center one the center key - frame in the middle and do eazy e. - So it slows down and kind of slows in and out of that move. - So maybe I'll spread them out a little bit. - Just, - you know, - I could take these second to press option tat and then click over or do air right arrow key - t to nudge the key frames over. - So that's a good speed. - So now we want for authors to appear after this square goes back. - So I'm going to start here. - I'm going to you guessed it. - Create a mask. - So first, - I'm going to create a mask around this entire text. - So something like that. - But then I'm going to move it to the edge of this orange brick. - Surprised this edge right here on the right. - Press em to bring up mask path and create a key frame there. - Then go to about where that you think the text will all be showing something like there and - move the mask back. - So, - actually, - I'm gonna go back one more, - one more, - uh, - frame and move this key frame back. - And so then play it and see if it lines up. - Because sometimes it's too fast or too slow. - But this one looks like it works out perfectly for us. - So none of the Texas seen before the orange passes by it. - We can even turn on motion blur to see what this looks like for the orange. - Saw it. - If it has motion blur, - you know, - That's kind of cool, - too, - if you want that. - But of course it's then it's less visible. - You can't really tell what it is, - but it might look a little bit more natural, - so I'll keep that on. - All right, - so now we have our four authors appear select all press s s to close them all out, - and I'm gonna turn on our line break. - Then we're going to create a new orange sought, - So I'm gonna press command. - Why? - We already have the orange from our last solid option. - So I'm gonna click. - OK, - then I'm going to create another square. - So again, - click from the center command shift. - Just a small square. - Something like that. - Okay. - Actually, - I'm going to bring up the the key frames of this last orange square so I can line it up our - time timer with the end of this animation. - Because I want this square to start animating onto the screen at the same time, - the right at the end of the previous animation. - So I'm gonna move it to that right side of the screen. - So it's off screen press p to bring it position. - Said a key from there you know, - go the the same amount of Keith, - uh, - frames over. - Move it all the way past the edge of the line. - Go back forward on the time line. - You know, - you have to be careful when you are driving this so you don't mess up the mask. - And we went back over this edge of the frame, - and I'm gonna write, - like the center one and do easy, - easy again. - Let's make sure the timing is right. - Okay, - then the same thing. - We're just going to create a mask around our line. - But this one is gonna be a little bit trickier because, - as you can see, - as I create this mask, - it creates another object. - But because we use the solid and not the shape, - we can add these mass properties to it. - So he will do, - subtract and then inverted. - And then we're going to press M, - make sure we're playing with mass to and not mask one and move it all the way over to this - side of the orange box block said a mask path key frame. - Go forward to the end of this foreign block where the whole line will be visible and just - move it like so And we want to go back and go make sure that it works. - But see how the timing is. - A little off the red line is visible, - while the orange block hasn't even made it yet. - That's just, - um, - one thing that can help. - That is by easy easing this key frame right here. - So that will help. - But it won't fix it totally to see how that's better. - But it's still kind of gets off right around there. - So when it's still good, - just said another key frame right there, - go forward and then just fix it. - So go back a little bit and this might fix the whole thing, - and it looks like it will. - So the one block there we have another one will turn on motion blur for this orange block. - Okay, - so you have that. - Okay, - so now you have your orange blocks in the lineup here, - and then we want to do one more. - So let's turn on our last piece of text. - We're gonna do a new solid command. - Why press? - Okay, - then create a square again. - A little square groups, - make sure I was selected is they're shaped tool to create a square. - It's me a little bit bigger than the last one and this. - Move it to where this line is, - and it's going to start over on the left side. - I'm gonna press shift and drag it over to the left. - Make sure that's lined up with the end of this animation. - Set a position key frames of press piece of position. - Go forward, - Move it over again, - go forward in the timeline and move it back. - Oops. - Back Eazy e's We're gonna right click, - Keep re Maciste disease not comes out his back. - So then we're going to set up a mask of this resource is so just mask around it. - Move the mass to the right side. - Press them to bring up mass paths at a key frame. - Goto the end of this or where it goes off of the text says something like right about there - . - Move it all the way over and just scrub through this. - Make sure that it's good. - It's not. - We're going to try easy, - easy if that fixes it, - do that to that key frame and that fixes it and make sure that we have, - uh, - the motion blur on for all three of these so that they match style. - Okay, - so that's pretty much it. - That's your four authors. - Resource is information and chat for authors bumper. - I think it's pretty cool. - You know, - little plastic. - It looks like this last one is going a little bit fast. - So what I'm gonna do is I'm gonna close this second Orange square. - It's just so I have this this last Orange Square and the key friends for this other one. - And I'm going to select all the key frames. - Click and then see, - I have to click the right most one and drag just a few frames, - so that's a little bit slower. - So something like that. - Okay, - there you have it. - Thanks for watching. - If you have any questions, - please let me know otherwise. - Have a great day and we'll see next time. - Bye. 11. Practice 02: Dublin Academy: - everyone, - welcome back to another lesson in create your own video intro course. - Today we're working on an intro for the Dublin Academy. - Another contact that I have that wanted me to create an intro for them for this course that - gave me this logo. - And it really helps in creating the intro and, - you know, - having the right feel. - And just if you already have a logo that's, - you know, - your 10 steps ahead of the game, - so let's watch it and then we'll learn how to do it. - Okay, - so you have the clover of the Dublin Academy popping up, - then doubling academy pops down again. - This is a very simple one, - similar to some of our other ones, - but I just want to show you the technique I used for this one and something that you can - use when you get a logo from someone. - If someone wants to create your wants you to create a logo in intro for them or if you - already have a logo. - So first things first, - I'm going to create new composition called Dublin Academy to our sons. - All are all right. - 1920 by 10 80 10 frames a second or two for 10 seconds long and most exactly last shorter. - So I'm going to create a new, - solid white background. - So that's command wide, - creating new sod. - And then I'm going to create Urban yet just like last time. - I'm gonna go through this quickly, - though, - so because you already know how to do it. - Mask with a little lips tool. - Inverted press after Bram Feathering create a big feather 500. - It's good 300 to 500 is great and then lower the opacity to somewhere like 40%. - That's good. - All right, - so then they gave me this clover be Web logo, - PNG file. - And this is perfect for creating, - uh, - what we want, - you might ask. - Well, - there's a white background. - How do we get rid of that? - Actually, - it's very simple. - You just go to transfer or blend modes. - If you don't see that, - just hit the toggle switches modes button and go to multiply. - See how that works. - It got rid of all of the white. - That's really, - really cool, - Nifty thing that I use all the time for, - especially when I import images or other things into aftereffects. - All right, - so then I'm going to set this at my final position. - So I'm just gonna drop the size 35%. - So, - like, - that's pretty good, - maybe 45. - So I can see this whole thing online learning where you are and I'm gonna break this up - into a couple of different things. - So I'm gonna use the pen tool to outline the clover. - I'm gonna get in here and outline the clover. - Says with that, - make sure that the layer is selected and then click around the clover. - Just create this mask. - I'm just separating this from the rest of the logo. - Then I'm going to duplicate this press end, - delete this mask and then create a mask around the Dublin Academy text without the load the - clover in it. - Eso Now we have one layer that is the double academy text on one that is the clover text. - Let's put this composition up to 100% so we can see the whole thing. - So I thought it would be cute to create the intro where this clover kind of pops up as if - it was groaning and so see how it pops up from out of the virtual ground and then it kind - of rotates over. - And as it rotates, - the text falls down from this guy. - So we're gonna go backwards from from here. - So say we want at four seconds all of this to be on the screen or made three seconds. - We want all this to be a screen like this. - I'm going to select both these layers text and the clover, - and then press P and thats I'm going to set a key frame because we know this is the - position. - We also know this is the scale or the size of press s. - Instead of keeping, - we also know that we're going to be rotating the clover. - So I'm gonna press, - are and said a key frame. - You know, - I don't have to set key frames for the Dublin Academy for this, - but it doesn't hurt. - So at this spot, - we now have three key frames for the clover. - So I'm gonna rename this clover in this text, - I said then half a second before I'm gonna go ahead and move the Dublin Academy off the - screen. - So when the Dublin Academy is off the screen, - the clover is kind of standing up. - So we're gonna rotate the clover about their so negative 60 degrees. - But also, - I'm going to make it a little bit smaller and move it over so it's centered on the screen. - So either come down there, - you have that. - We're going to select this layer the text layer and turn on the motion blur and make sure - it's selected on up here or it won't be seen. - Eso. - Then, - before this kind of rotates and comes to stop, - can I grows onto the screen? - So it has his bounce move, - so it goes above 100% or whatever, - the percentage is the final percentage, - and then it shrinks down and it starts from zero. - One thing is that I want to change the anchor point to the bottom of this clover. - So I'm gonna select the anger point groups and make sure have this layer is selected and - move it below. - I'm I have a problem. - So I'm going to actually delete these position both these position keep frames and then - move this, - uh, - anchor point down to the bottom. - Going to have to re dude, - remove it later. - Eso At this point, - I want this clover to be over, - so I'm gonna set it, - Reset the position key frame here, - go the last key frame and position it over right about there where it waas eso. - Now, - when I go back and I make this clover a little bit bigger than it is now it will grow from - the bottom and the bottom will stain relatively same position, - and I'm gonna go back even longer and make this zero. - As you can see, - though, - when I scaled down its shrinking down to the anchor point if the anger point was in the - middle, - I would just shrink, - you know, - to the center of it. - But that wouldn't make sense if it's a quick clover growing. - So let's render this out and see what it looks like. - Okay, - so it goes a little bit fast, - and it continues its motion. - As soon as it shrinks down, - it starts to rotate. - I want to shrink down, - pause and then rotate. - So what I'm gonna do, - I'm gonna move these two kids key frames over a little bit, - and I'm gonna copy and paste this scale, - uh, - scale, - key frame right around here. - And then I'm going to select these two key frames do and Eazy e's on them and see what that - does. - I see how there is now a pause where the clover just sits there for a few frames. - I like that. - And it allows you to just, - like adjust yourself, - allows of your deceive the clover and not be distracted by all the sudden movements. - All right, - so that's pretty much it. - You know, - I could play around this, - make this this grow a little bit faster, - right here. - Something like this. - And, - you know, - it might be nice toe like add some grass or something popping up over here, - you know, - add all sorts of different elements. - But for now, - this is a pretty simple logo and a pretty simple bumper. - And that's about it s o. - If I haven't shown you before, - you don't know. - I'll do it. - A whole another lesson on this but toe export. - This you have to go up to composition at to render queue, - and then you just click on set. - You're setting so down here where it says output module, - Click that horses lossless. - You can change the format of your output so it's automatically quick time and animation - format down here, - but I like to just do h 264 I'm gonna change that to H 264 That's a very small sized file - and then click OK, - and then output to this is just where it's going to be exported. - And you can just choose your folder, - press save and render it out. - Quick, - run your button over there and it will render, - and it might take a little bit longer than this. - But my computer is pretty fast most the time, - so let's see. - I'm gonna try to see it. - Let's watch it. - Um, - let's go to where it's going to be exported. - Okay, - You get that little bling sound and there you have it. - Now it's a little quick time file. - You can send that to your friends or whoever it is, - or use that for the start of your videos. - Do whatever you want with it. - All right, - that's it. - If you have any questions, - please let me know otherwise. - Have a great day and we'll see in the next lesson. 12. Practice 03: Jennifer Bailey: - Hey, - everyone, - welcome back to another lesson in the create your own video intro course. - We're continuing our new intros. - I asked a few. - You know, - me instructors Teoh, - give me a logo or a brand that they wanted me to create an intro. - Fourth. - So one of them, - Jennifer Bailey, - who brands herself as her own name and then she has three sort of words that describe her - as her tagline. - She came to me with this logo and wanted me to basically animated. - So let me show you the logo that she sent me. - I just downloaded it from an email and, - uh, - as you can tell here, - it's pretty simple and she basically said, - I can change it up. - Aiken. - You know, - it's nothing set in stone so I could do what I want with it. - So I just brought it into after effects. - And that's basically what I, - uh, - created this inter office. - So let's watch it, - and I'll talk about it afterwards, - and then I'll show you how to do it. - E o. - Super basic. - As you can see, - just text kind of sliding onto the screen or fading on. - But one thing about this one is that I added a little bit of music and this one this music - was downloaded from audio jungle dot net. - And it's just under the logos and night dents section, - and it just has a nice little beat. - And I tried to, - like, - start the movement at the start of the B and then have the last word pop up with last be - last little trying at the end. - All right, - so let me show you how I did. - This s so I'm going to start a new composition Jennifer Bailey, - to okay, - the size or the length of this composition is 20 seconds. - I don't need that. - I'm going to go back to composition settings or press command K. - Just make this a little bit bigger for you guys to. - Okay, - so I'm gonna make it 10 seconds. - I'm gonna make it a little bit bigger for you, - so you can see it s so the first thing I want to do is create the background. - As always, - I press command. - Why? - To create a new solid, - going to create a white solid and call this white background BG for background. - You'll notice, - though, - that this one has this nice sort of been yet to it. - Let me show you an easy way to create. - Have been yet in after bucks, - man. - Why start and new layer new, - solid and create a black solid. - You can also go to layer new solid. - Going to name this Been yet at super easy. - Go up to your shape toe, - hold down and go to lips Tool double click. - This. - It creates an ellipse mask around this for the shape press Mm a couple times to bring up - all the options for this. - First you want to invert this mask, - Then increase the mask. - Feather Teoh around 300. - And then mass capacity dropped down to something like 25. - So there you have a nice been. - Yet you boost up that a little bit more. - So now you have this nice vignette for the background, - so it gives it a little bit more depth. - Sometimes I like the clean white look And sometimes I like just having more, - you know, - a little bit of difference to it. - So the vignette is good. - What is your background? - So then I just want Went ahead and created, - recreated this logo based off of this logo that have a screenshot up. - She didn't have a riel large logo to send to me, - so I had to re create it. - So I'm gonna add new text and just type her first name. - Forget which Have a fun I used for this, - but let's see. - So I used just Helvetica Neue Helvetica. - Neue is a very popular font. - It's very clean. - It's a son Serra font, - meaning it doesn't have the little edges to the jays or anything. - I think it just looks nicer on video. - I'm just gonna make it a little bit bigger and I'm also gonna make it this purple color eso - . - Then I'm going to kind of center it or put it in the right positions the right to the left - and above in the first quadrant. - So 1234 in the first quadrant that I'm going to duplicate this layer. - Just command d move it over and type B Lee. - Now I have her whole name, - but you see here that I have this little she has this little like graduate cap Icahn for - her. - I so I'm gonna have to add that and I'm going to just recreate that. - But first, - I'm going to actually take this into a new composition of its own. - So I'm gonna press command shift, - see Teoh Pretty compose it. - So I'll say this, - Jennifer, - I We'll just call it that. - So now in this composition is just this word, - Jennifer. - So I'm gonna take the screenshot in here as well, - just to have it for reference. - Then what I'm going to do is basically start a new or add a new solid. - So command why? - And make it this blue color. - So again, - using the colors of her own logo. - And then I'm just going to kind of recreate this logo using this mass tool. - I'm going to create the cap. - So with the tassel, - Okay, - so now I have that. - Then I'm just going to actually use this again to create the head around this. - Just I can use this to create a round shape somewhat round is something like that. - So I could go in here and move all these points, - make them a little bit bigger, - Smaller? - Let me get this screenshot out of your way. - Make this a little bit more round. - Something like that and then when I make this smaller, - it will look better. - I'm going to change the anchor point to make it in the middle of this object so that when I - make it smaller using scale function, - it is smaller from the center and get smaller from the center of this object. - Eso just gonna kind of place this over the I. - And if I was, - you know, - really doing this for Jennifer? - I would, - um, - take a little bit more time for on this project and make sure that the it looks better. - Eso let me boost this up to 100% or even more so that we can see what's going on. - So as you can see here, - you can see the top of the eye showing through the graduation cap. - So what, - I'm gonna dio It's just I'm going to select this. - I change it to a capital I and then shrink it down using this horizontal or vertical - squeeze option over here. - Okay, - so and then I want to slut that again, - actually, - and make it the blue color. - All right, - so now let's see. - Now we have Jennifer with the graduation cap. - Okay, - So now I'm just gonna get rid of the screenshot. - Go back to my Jennifer Bailey, - too. - Composition. - And I have it. - They're made for us. - So the other thing is that she had in an email she had told me that easy effective and - education were kind of the motto was the model of her courses. - So I'm going to just create that text down below easy and see what was easy, - effective education. - I'm gonna make. - Each of these is separate text layer. - Have to change this over here, - this vertical squeezed to 100% so that it looks right. - And then I'm going to get some put it underneath, - Duplicated, - moving over. - Effective. - That what it was at the worst short term memory ever, - and then education, - education. - I'm just going to all these smaller so that will fit in underneath the Jennifer Bailey logo - . - Like having things a line. - So something that maybe make it even more so a little bit more smaller. - A little bit smaller, - Not a little bit more smaller. - Can't speak English. - I says I like this. - You get the point. - All these words underneath Jennifer Bailey. - All right, - So now you have to add the motions that we have for this. - So the first thing that comes up is this blue line in the center. - It kind of just fades in, - and then the words come out from each side of it. - So I have to create that blue line. - One easy way to do that is just go up to rectangle tool, - select your color some things like this blue, - and then make sure that stroke is at zero and then just create kind of a blue line. - Just click and drag that something like that eso Then I'm gonna have this paid in. - So, - Presti, - to bring up a pastie going to move this key frame over at 100% on set a key frame for zero - . - So it fades on. - I'm gonna make all these just disappear all these layers until I need to use them. - So the Jennifer one layer, - this is the 1st 1 I'm going to use. - So first, - like first, - I'm going to create a mask around it all the way up to the edge of this blue line and then - set a mask, - path, - key frame and a position keeper impress P to bring a position, - then I'm going to actually press you. - I'm gonna select these and move these over. - And the way I did that was pressing option shift and then the right arrow key. - You can move these key frames over, - or whatever key friends you have selected. - And now, - at this point at the final point where the blue line fades onto this green, - I'm going to have this jump through that blue lines. - I'm gonna move it to the right side. - But then, - like, - always move this mask over to the left side. - So you have Jennifer popping out like that, - and then we wanna have Bailey do the same thing. - But on the other side, - Teoh a mask around it. - Oops. - Gotta have this layers selected. - Just gonna go through this really quickly so that you I can move ahead. - Okay, - then I'm going to move us forward. - Bailey is gonna go to the left side of this blue line, - but the mass is going to move to the original position. - Okay, - so we have Jennifer Bailey and then after those pop up, - we want the easy effective education to fade onto the screen. - So Presti to bring up opacity said a key frame for all three. - If all three are selected, - move that over. - Holding option shift and the right arrow key down and said this to zero. - And so all these now fade up at the same time. - But I want to start with them. - So first easy, - then we're gonna move effective over. - So it starts fading on at the end of the easy fade on and then education. - The last one. - I'm going to move over easy, - effective education. - Okay, - so let's see. - I think that's about it. - Jennifer Bailey, - Easy effective education. - But then the last thing we want this blue line to kind of fade out as thes Other words air - fading on. - And we don't want it to distract from the rest of those things. - So I'm gonna do a little bit of a slower fade said a key frame at the start of when easy - fades on. - And then maybe about where effective is on the screen. - Change the passing to zero so that it fades off the whole way. - The effective education. - The last thing is to take this, - uh, - logo. - I dent sound and place it where you think it fits? - So I'm gonna play through this president zero to have the audio. - I'm just gonna move over a little bit. - So that fits with education popping up. - So I would have to go through this a little bit more and tied it up. - Make sure that the audio is matching all the transitions and fades, - But really, - that's it. - That's the Jennifer Bailey intro. - I used the colors from her, - her website and her YouTube channel used the logo for her. - I I changed up the font just cause I like the San Serif fonts for video Better. - I added this nice. - Been yet. - That's a new technique, - But other than that, - you guys should be getting the hang of this and should be able to create something like - this on your own. - Eso Thank you so much for watching. - Have a great day And I'll see you guys next time. - Bye 13. Practice 04: Bloom & Grow: - Hey, - everyone, - welcome back to create your own video intro house going. - I am happy to be here today, - and I can't wait to show you this new logo bumper that I just came up with for a company - bloom and grow and eso Let's take a look at it. - And then I'm going to talk about it and show you have to do it like always. - Let's go at it. - There's no audio yet for this one, - but they gave me a nice logo toe work with with their tagline and, - uh, - really nice. - Turned out nicely. - So you see, - I have these things kind of fade on with a certain type of dissolve and then their logo, - the tree part of their lower kind just pops on to the screen. - All right, - so let's get going through this. - So they gave me this logo right here. - Let's bring onto this competition and like, - last time, - we're going to be working with it. - So let me start a new composition, - so we'll call this bloom and grow to 10 seconds is fine. - You know, - actually, - we could make me a shorter just in case we don't want all 10 seconds, - always cubits. - Six seconds. - One thing that I've been doing is re creating the background and vignettes for these past - couple compositions. - But one thing you can do if you already have certain settings that you want, - you can just copy and paste layers onto a new composition. - I'm just gonna select both these layers holding down the command key Copy command. - See, - go over to my new composition and press command V to paste it. - And so, - instead of having to recreate the backdrop, - recreate layer, - etcetera, - I could just copy it. - Renamed these white background vignette that looks good, - that I'm going to drop in my P and G, - and so I'd centered it in the middle of the frame. - And remember what we did last time to get rid of this white. - We go toggle switches, - modes goes, - go to under blend mode for this layer and select multiply that gets rid of the white from - any layer. - So now we just have the text, - and I want to break this up into a few different compositions, - like always are layers rather so First I'm going to mask create a mask around just the - mentoring for herbalist and nutritionist. - Then I'm going to duplicate this press m delete the mask, - and then I want to get it just round bloom and grow. - So I'm gonna do it as perfect as I can get it just around balloon. - Then I'm going to duplicate command D again, - us end. - Believe this mask. - Now I'm going to set a mask around this leafy part that's coming off the bloom. - So I'm going to zoom in to this press age to use the hand tool to move it around. - Could change the size of our composition and press g to bring up the mask. - You can see here that it's not a perfect it's not perfectly flush with the be so and that's - their logo that I'm using. - Of course, - you want to be a perfect even This color seems a little bit lighter than the B, - but I'm not gonna mess around with that. - Just gonna leave how they have it. - It was gonna create it straight line across that end of the bead, - and then the rest of this I can just kind of cut around it as needed. - Okay, - so there you have. - Now we have our three layers. - So we have our leaf later, - our bloom and grow layer and our mentoring for herbalist and nutritionist. - Later, - I'm going to rename these three layers, - and I kind of having the order from bottom to top. - Just kind of how days on the physically on this screen So mentoring is at the bottom. - So that's our third layer. - Just tech mentoring. - Women grow. - We'll just say Bloom on this will just say leaves. - Okay, - so the first thing we want to do is basically create different, - uh, - create the different emotions for this composition. - So let's go back to this one. - You see, - we have bloom and grow popping up or fading on different ways and thin mentoring for - herbalists also fading on, - and all this motion that you see fading back and forth. - We're gonna play around with that later. - But for now, - don't worry about the motion. - We just want everything to be static right here and to pop up at will eso in your effects - and presets, - you'll notice that there's this been for animation presets underneath that here are a lot - of different transitions dissolves, - especially under text. - If you have actual text written out onto the screen. - There's lots of different things you can do with it. - So for this one, - I was just looking through the dissolves, - and I wanted to find something that, - you know, - kind of fits the theme of out grass. - And you can see here as this mentoring for herbalist and nutritionist is is fading on of - the screen. - You know, - halfway through, - it kind of looks like grass coming through the text right there. - And so I use this block dissolved so you can just type in block, - dissolve, - um, - through here under transition. - That's the one that I used. - And then you just drag and drop it onto one of your layers. - If you press you, - you will notice. - I must be using the wrong block. - Dissolve. - Gonna try this block to solve digital. - That is not the right one. - Which one did I use? - S O. - C lots off regular. - Pretty sure this is the one. - Okay, - so there you have it. - So now this is This is the right. - Blocked is up. - You'll see down here when you twirl this effect block dissolved down that you have - transition complete. - So we want to set. - Keep friends for it. - So we wanted that one for zero and then go backwards about a second and go 100% something - like that. - So now you have this fading on to the screen with an interesting dissolve. - I'm gonna make it a little bit longer, - so that fades on longer. - Then I'm just gonna take this block soft, - copy it and paste it to this bloom layer. - So then I'm going to move these. - Keep rooms forward, - though, - because I want these things to be the first toe. - Dissolve onto the screaming and we'll make it a little bit faster. - But you'll notice that I didn't just have the whole thing dissolve at the same time I had - each individual word on for bloom and grow. - Come on at one time. - So I'm going to duplicate this layer two times, - rename this toe and and then grow. - I could have done this earlier, - and then I'm just gonna make these other two. - Er will make all of them disappear, - except for the one I'm working on. - So I'm gonna take this mask and just bring in to just where it's around. - Bloom. - I was selecting the wrong layers, - so make sure you have the rock, - right layer. - Selective, - I said, - Now, - that's just Bloom. - Then I'm just going to take this one and make it just grow. - And this one I want to be Just grow eso. - Now, - if I select all three of these layers, - I'm just gonna change the color so that we can know which ones they are still making three - green suppressed you. - You bring up all the key frames for this block itself that it has. - They all come up at the same time, - but I don't want that. - So I want the bloom to come up. - Then the and I'm gonna scoot this over about halfway through this transition. - So bloom comes on and halfway through and starts to come on. - Then halfway through this, - the grow I don't want this. - Block it off. - So I'm going, - Teoh, - delete it clicked and delete that Blocks is off. - I wanted toe pop onto the screen, - grow onto the screen again. - I'm using the themes of the brand in the intra. - So I'm gonna first, - I need to make sure that this, - uh, - anger point using the pan behind tool up here or pressing. - Why is at the center of grow so somewhere right around there? - Because let me show you. - If I I'm going to use a scale transition and so it's gonna go from zero to 100 as you can - see, - if I go to zero, - see where it's growing out of, - it's growing out of the middle of the page and I don't want that. - I want to grow in the middle of Gross. - I'm gonna move this to the center girl. - And now when I play with a scale, - it comes out of the center s. - So first, - I'm going to set a scale for 100 and move it forward about one second. - Then I'm going, - Teoh said, - a key frame for a zero. - Just make the scale zero. - And that's that's a new cape, - right key frame and about 2/3 of the way. - I want to add that bounce that I always like. - I'm gonna make this one maybe 1 15% okay? - And I'm gonna select these last two. - You go to key frame assistant and do Eazy e's. - So now we have bloom and grow coming on and then mentoring for herbalists that line coming - on don't reflect all these compress. - You become times until I get the right key frames up. - Okay, - so I'm trying to get all the key frames. - These okay? - So now I have all the key friend up for all of these things. - All these these layers And it looks about right. - But maybe I want mentoring for herbalists to start a little bit earlier and and a little - bit later, - Just make it a little bit longer. - It's a sign like this. - All right, - so that's pretty good. - Okay, - select all press s to make these layers close out all these layers. - The last thing we have to do is these leaves. - There's gonna be quite a project. - So I'm going to pre compose these so command shift, - see? - Or you can right click this layer and go to pre compose and was pot leaves Comp one. - It's fine. - And then I'm going to double click this and open up this composition. - All right? - So first thing I want Dio, - you will notice that it's not masked out anymore because the mask is actually left on this - layer itself. - Let me undo this. - If I would have pre composed and clicked Move all attributes into the new composition and - select. - Okay, - then the mass does stay in this new composition. - But you'll notice that now I have to reach change this to multiply so that we don't see the - white s so you could do either for this one for this project s So now this is, - you know, - kind of the tedious work, - and I'm not gonna go through all of it just cause I know I You saw it, - and you'll get the point after a few, - but what I'm gonna dio is basically mask out all the leaves into separate masks. - Basically creates separate mass for all them. - All right, - so I'm going to first, - I'm going to delete this mask so we don't even need need that, - really? - And then I'm going to create a new mass just around the vine, - so just make sure that nothing but the vine is showing and make sure you don't go into any - of the other leaves, - okay? - So keep going like this doesn't have to be perfect. - Just you don't want toe cut out any of the leaves or any part of the blind So now we just - have the bind. - I'm just gonna rename this. - Fine moves get back to after effects. - All right, - so now I'm going to duplicate this layer, - press em and leave the mask. - Then I'm going to start mask out each individual leaf. - So again, - just make sure you have nothing but the leaf selected and duplicate. - Delete the mask and re mask around the Leafs. - So I'm just gonna do three leaves for you guys today with the mask eso Now we have See how - I cut that off. - You can always just add a new Vertex and move it like so. - All right, - so the next thing we want to do is make these things grow onto the screen. - So we're gonna do a little grow animation for each one. - So first thing I want to make the anchor points at the base of each leaf or vine. - So, - using why I'm gonna move this anger point of divine down here for this first leaf, - I'm going to move it down to the base of the leaf for this. - Each leaf again. - The same cause this is where it grows out of If you were in the real world, - I So then I'm going to This is actually pretty easy. - You can select all press s to bring upscale hit the key frame but in our stopwatch, - then press option shift and the right arrow key to move the key friends over, - then set the scale to zero and then go about 2/3 of the way and go set it to 110%. - We can even even select these last two. - Uh, - he frames and do Eazy e's. - So now we have all three popping up at the same time, - but we want one at a time, - so we're just gonna move thes leaves over. - So I I would rename these leaves one leaves 23 I'm not gonna do that right now, - but then just move them over like so. - So now we have our leaves popping on the screen. - And don't worry that there's white showing here because in our original composition, - the whites not showing. - But in my original one, - I added a second balance to this vine popping up so it kind of bounced, - bounces up and then bounces again. - So we're gonna do that. - So we're going to go back a little bit about halfway through. - Said this. - At 120% I would move this one and 10. - Keep frame over a bit, - go back to maybe, - like 95. - So it basically goes from 0 to 122 95 110 to 100. - So it kind of balances up and down and you'll notice if you press J and K on the keyboard, - it goes between all the key frames. - This is a really easy way to get from one key frame to the next, - it's announce rendered out, - and you can see how it bounces on the screen. - So pretty cool. - The last thing, - though, - is to move it to the right position, - because in this composition the animation starts at the very beginning of the composition, - so it starts right around here. - So we want this animation to start basically at the end of where grow animates on. - So let's move it to that point. - So sign like that. - So let's rendered out okay, - so you can see basically what I did for each leaf, - and, - um, - you would have to do it to the rest of those You'll notice, - though, - that this mass seems to be a little bit off. - So I'm going Teoh, - change this mass just slightly. - Something zoom on in this movie over just a little bit. - So back in our original competition, - there's no space between the vine and the B. - Last thing I want to do is add a little bit of camera movement. - So I'm gonna change all these layers to three D except for our background and been yet - layers. - We're gonna actually lock these layers if you want, - so you don't mess around with them. - So you slept both and click this lock button from now. - If you try to do anything to, - then it will flash and tell you you can't do anything. - Then I'm going toe Go up, - layer new camera. - It's fine. - Learn Yunel Object External object three D parent The camera Teoh the Newell object with - this twirly give Just click and drag onto Newell Newell object to or drop down this button - and select the layer. - You want it to be parented too. - And then go to this. - I'm going to start at the end of my composition. - Actually, - I could just start anywhere and set my first where I want the initial camera to be. - So I'm gonna move it over to the left or so like this because I want this text to go from - left to right. - So at the start, - it has to be towards the left. - So something like this also maybe zoom in a little bit so said a key frame there and then - move this key frame to the start of the composition. - Then move the position over, - as you can see, - As I move, - the null object left, - the actual text moves to the right. - That's because imagine a camera moving to the left. - The camera is moving to the left. - It means everything. - The subjects of its of the camera moved to the right and maybe zoom out a little bit, - something like this. - And I'm gonna move this key frame to the end of the composition. - So let's render that out, - see what it looks like. - So it's gonna render play. - So the camera motion just adds a little bit of something, - Teoh it it makes it a little bit more dynamic. - The last thing I wanna do is that you saw in this original one. - Add mentoring for herbalists. - Moving to the left, - actually, - So I'm going to select my mentoring. - Blair Press P set a position key frame, - move that key frame to the start, - then move it to left something like that and lose this key frame to the end of the - composition. - So now let's rendered out something like this, - and there you have it, - bloom and grow mentoring for herbalists and nutritionists. - That might be a little bit too much motion for the mentoring, - so I'm just gonna move it back a little bit. - And like everything, - you know, - I would go in and tweak thes. - Make sure that the timing is right at the music and make sure that the timing of the motion - you know, - next with the mute music with little logo, - intro music or whatever you have. - But I think it's a pretty cool entrance, - so there you have it. - If you have any questions, - please let me know you can reach me through the course page. - If you're watching this on you to me or if you want, - head over to video school online dot com, - where you can find free tips, - tricks, - tutorials podcast, - P Books and Mawr from myself and you can Connect with Me at Video school online at gmail - dot com. - I thank you so much for watching and Have a great day by 14. Motion Graphics for Video Intros - Part 1: - Hey, - everyone, - welcome back to another lesson in the create your own video intercourse. - I hope you're having a great day. - And I have got a really great exciting set of lessons for you guys. - Up till now, - we've been creating some great bumpers. - Don't get me wrong. - I think all the bumpers that we've created far professional, - high quality and would be great for most uses. - But I wanted to get a little bit more creative with this next section. - And so I added some more, - I guess fancy elements to a creative bumper. - And I'm going to teach you how to do how to create it. - So first I wanna watch it and, - you know, - just watch it. - See, - it will watch the couple times because it goes by really quick, - and then we'll talk about it. - So I'm gonna play a couple times. - That's that s I'm just gonna play through it without the audio now so I can talk you - through it. - So we got these great shapes kind of going through on. - Then we got our final basically low video school online logo. - One of the locals that I use pop up at the end and the background. - We got this grungy texture, - you know, - it's spinning and zooming in, - and you know, - I'm getting dizzy watching it over and over and over. - But I think it's a really cool logo. - And I was just inspired by some of the motion graphics that I've seen lately online and on - TV. - And so I just want Oh, - you know, - get out there and be a little bit more creative with something. - So I put this together and about, - you know, - a couple hours, - and it would probably take about that long to teach you how to do it. - So I'm not going to go through the entire project. - But what I'm going to do is I'm going to go through every one of these elements. - So you see these circles popping out Well, - you'll probably know by now that once you create it, - once you know how to do it and you see these lines, - you know, - coming out. - So I'm gonna go by. - Each of the falling lessons is going to teach you how to do a separate one of these pieces - , - and so lesson one will be about the circles on, - and maybe these bars, - including that one. - The next lesson will be about this screen. - The next one will be this one. - And then the last one. - Uh, - our next last one will be This whole motion right here. - Got some more stuff and then the final one as well. - And so I'm gonna break this into smaller chunks. - So about four or five minutes each hopefully and we'll go from there. - But thanks for watching this lesson. - We'll get straight to it in the next lesson, - but have a great day and we'll see next time. 15. Motion Graphics for Video Intros - Part 2: - Okay, - everybody, - let's get straight into it. - I'm going to teach you how to create this. - Seen from this intro. - So the circles coming out and these lines going out. - So let's get straight to it. - I'm going to start a new composition. - I'm just gonna do 12. - 80 by 7 20 Sometimes you don't need 1920 by 10. - 80 more and more now today to do. - But just for this test, - I'm not going to do that. - I'm just gonna make my entire sequence six seconds long. - Black background. - That's good. - And we'll just name this part one eso. - The first thing we have to do is create these circles coming out like so we'll add the - background and everything Later, - as you can see here, - I have a pre comp, - a pre composition of all of my shapes. - And that's how I created this motion graphics. - And then I added the audio and the background layers and everything later. - So first things first are these circles. - Let me teach you how to make those circles So press command why? - Or go to layer new, - solid, - creating new solid and just make it, - you know, - some sort of bright color, - then go up to your circle ellipse tool up, - hear clicking the center and hold down command and shift while you drag out to create a - perfect circle. - Make it about you know this big about half the size of your screen, - and then go in the middle again. - Click and hold command ship down and make another circle and just it doesn't have to be any - particular size. - But for now, - I'll just make it about like that. - You'll see these two mass popped up. - I'm going to go to the 2nd 1 and two subtract. - So now this leaves us with this ring. - And basically, - what we're going to be animating are is the mask expansion. - So under mass expansion, - you can see how this kind of works. - You can expand the mask or decrease the mask size, - so we're gonna be basically enemy of them from small to large. - Okay, - so first I'm going to set a key frame for mass to which is the inner mask I'm going to go - until there's no hole opening. - It's a sign like that and could even be smaller. - But right around there is good and then set a key frame. - Then I'm going to go up to Mass one and do the same thing. - So until the circle disappears, - you see there's it's a greater number negative three compared to negative 1 69 because that - original mask was larger, - said a key frame there, - Then go up. - You know, - however long you think we can always change. - This will go half a second up and expand your maths, - too. - The original point so you can actually just type in zero. - But then, - for this one, - you the second mask, - you go further until it's completely gone, - okay? - And then you kind of just adjust these. - So you move the mass to key frames over 1/2 a frame or two. - So there's a chance for the circle to grow, - because if it's if it's if they're both going at the same time, - you get this really short, - uh, - really, - really assure ring animation. - But we wanted to be a little bit longer, - so something like that, - just one frame over. - It's fine. - I'm gonna select both right click key frame assistant do Eazy e's. - So it kind of slows into the animation and slows out so there. - You can see that I want to make this a little bit. - Circles. - They're shorter. - So I'm going to select all of them's of driving. - Select all of the key frames, - press option and drag. - Click the furthest to the right key frame and drag it in. - But make these a little bit smaller or shorter. - Let's play around it with until until you like it. - So there you have that. - Then what we're gonna do is do a position transition. - So press p to bring a position. - Then I'm gonna present you to bring up all the key frames. - Go to your last key frame. - You can also just click click through J. - J and K on your keyboard and then move it wherever you think. - So something like that is good. - And obviously this is a lot larger than these ones. - You can tell this is a lot larger. - Well, - may that pink ones about the right, - the same size. - But then what you do basically, - as you just duplicate this layer, - okay, - and then press command shift. - Why? - To bring up the solid settings, - change the color blue or whatever it is. - Press p to bring a position press k to go the last key frame and move it over. - And so now you have these two circles coming out. - I think it's better when they're kind of differentiated, - so press as to bring upscale and dropped down the scale. - And maybe you can even move around the the the path of it by clicking on these this red - line. - So see how this red line is here, - and that's the motion path of it. - So you can basically moving around if you want. - So there you have the basic formation of these circles. - So I'm gonna let you go ahead and duplicate that as many times as you want. - The next thing we want to do is add these bars that kind of come out on disappear. - Okay, - So the way we did that and can see down here with our bars, - if you bring up the key frames, - you'll notice that I have a scale transition as well as a mask path transition. - So let's start a new, - solid suppress command. - Why? - I'm just gonna make this another color, - some sort of green like that. - I'm gonna make the rest. - These layers disappear. - Then you're going to go to your rounded rectangle tool and from the center, - just click from the bottom and go up. - So something like this and the way reason I did it from the center was because now when I - do scale, - it grows from the center of the screen from the bottom of this bar. - So first thing was to create a scale transition. - So go from set a key frame for 100 go back in time and go to zero. - So it grows. - But now we wanted to kind of shrink, - but the opposite way. - So not go back like this. - We want to shrink from bottom to top, - and the way we do that is with a mass trenches transition. - So press M set mask path and then select these key frames Down here, - you can click on the key frame itself, - So click on one of these rounded key friends. - Here, - let me zoom in on this so you can see better. - So if none of the key frame was selected, - you can click on one, - then drag and select multiple ones and then have to make this a little bit smaller. - Then drag it up basically to this point until it's a little ball groups that I have to go - forward in time and do that. - So go forward a few frames and drag, - upholds a little ball, - and then basically, - you can delete the rest of this layer and press command shift Dida duplicate on delete or - to split it and then delete it. - And basically, - what this does is you have our animation grow. - The NIT shrinks and disappears, - and I think it's going way too fast. - I'm gonna select all press option and extend. - Make sure that layer is extended to this final key frame. - Okay, - so there you have are kind of worm animation. - So now I'm gonna turn on these circles, - okay? - Fit this conversation composition up to 100%. - Okay, - so now you see this worm kind of come out with it, - and you can move it, - you know, - drag it up and down if you want to start or end later. - I think I'm gonna do that with these circles, - you know, - have the blue and start a little bit after the red one aan den. - You can like rotate. - This is well so press are and just rotate the worm. - Who's going Call that And then same thing with the blue layer with the circle layers. - You can just duplicated press command D Now then rotate it a little bit. - Move it up or down so that it's, - you know, - coming a little bit later than the other one. - Press command shift. - Why select the color, - hit the color box and then just change the color. - Now we have two worms coming out. - You could make like one faster than others. - Looked. - All the key frames press option drag that. - Make sure you drag the end of this composition. - So that disappears. - Because if it just stays on the screen, - you're gonna have this dot on the screen for a second. - You don't want that. - You just wanted to disappear As soon as it shrinks. - You can even move it if you want. - If you think this isn't the right position, - you can, - you know you can select it. - Press P, - drag these over click and drag it over like that. - And so that's basically this first scene from this in. - Sure, - got it. - If you have any questions, - please let me know. - Hit me up on video school, - online dot com or at video school online at gmail dot com. - Otherwise, - we'll see you in the next lesson. - We'll where we'll be going over this motion right here. - Okay, - so we got the circles on the diamonds coming out. - Okay, - Have fun with that. - Practice it and we'll see next time. 16. Motion Graphics for Video Intros - Part 3: - Hey, - aftereffects creators creating your own video intro. - Welcome back to another lesson. - Today. - We're gonna be continuing this session on creating this cool, - animate motion graphics animation with shapes. - Today, - we're gonna be talking about this motion right here with the circle kind of coming up and - then shrinking and then the different colors kind of shrinking into it and then with the - diamonds coming out of it. - So I'm just gonna create a new composition for this one. - So we're gonna say, - call this part to six seconds is good enough for me. - All right, - So the first thing is to create the shapes, - we're gonna do the circles first, - and then the diamonds, - So press wide, - create new, - solid. - You should know that by now. - I'm just going to call this circle. - So that is. - We can name it there. - And purple is fine. - Eso now, - I just want to create a circle. - I bet you know by now how to create a good circle. - Go to your lips tool, - go to the very center of your screen and click and drag out holding command shift. - So that creates a perfect circle. - All right, - so this is a basic emotion, - a shape motion or a size motion, - something that you already know how to do all these things. - You know I do already, - but we're just using them in new ways. - The press s set a scale position. - Just drag that forward, - you know, - 1/2 2nd or so. - Then set a keep ringing click zero. - So we wanted to come up pause for 1/4 of a second. - So we're going Teoh, - copy and paste this key frames of selected copy, - Paste it, - then go about the same distance as the first key frame to the second key frame and go ahead - and set at zero again. - And then, - like usually, - we're going to select awe and do an Eazy e's so right click key frame Assist Eazy e's. - So that's a little bit slow. - We'll show one more time. - So I wanted to be a little bit faster. - Definitely the pause a little bit shorter. - Just drag goes around something like That's pretty good. - Maybe a little bit too slow. - So that's good. - All right, - so we have our first circle Now how do we add our second circle to it? - It's actually really easy so duplicate this layer and then take the bottom layer and change - the colors or command ship. - Why check the color box, - switched the color and then select both layers. - Press you to see the key frames. - Move this bottom layer over. - So there you see it because it's shrinking after the first layer. - We don't actually need these first this first part of it, - even if you can just start it right here when the first purple circle starts to shrink, - If we want to split it and then believe this first part, - we can totally do that or you know it does. - It doesn't really matter. - So see here it's actually growing behind the purple. - I'll make the purple layer invisible on it grows and shrinks. - It's just happening a split second later. - So when the purple shrinks, - you see the green. - So we're just gonna duplicate this again, - press you to see all the key frames, - move it over and change the color command shift. - Why? - And we'll make this like a blue like that. - And now we have our cool animation, - so that's a little bit fast with the it disappearing. - So maybe I'll make these to put these over a few more frames. - So something like that, - even more so, - something like that is pretty good. - You know? - Just play around with it until you Until you like it. - I said then we have our We have our circle kind of come out. - Then we want Teoh. - Add our diamonds. - Kind of flying out of it as this purple purple circle of growth. - So guess what? - We have to start a new layer. - So, - command, - why New layer blue is fine. - We're gonna call this diamond. - Then we're gonna take our mass tool and just create a diamond. - It doesn't have to be perfect. - Actually, - I wouldn't want to be really perfect because I think it looks better ones a little bit off - eso. - Then we're gonna actually put this underneath our purple layer as well. - But we won't do that yet, - And this is basically just a simple a simple size and position transition. - So press s to bring upscale hit a key frame p. - Same thing, - key frame. - And actually, - I'm impressed you to bring up both of those. - I'm just gonna drag this position key frame over to the right, - but still at the scale of or no, - right. - I'm gonna move the scale over to the right of slightly and then go to set the scale to zero - . - So you have this transition from zero scale to 100% scale and in the position starts there - and then go forward where you wanted to disappear off the screen. - So maybe at by the end of this circle animation where the circle is gone, - then just move it off the screen and you wanted to kind of be going along it rotational - eyes. - They're just rotated to the left press article, - Amber rotation. - And then I'm just going to basically start it right as the purple is growing. - So just move it over until the first key frame hits the timer right there and just drag it - on the layer underneath your circle. - It's a something like that, - and then, - of course, - you can duplicate it. - I'm just going to use the spot changes. - Bottom layer. - Make sure you're on the second key frame the position key frame, - drag it over here and then just press are to bring irritation and said it like that. - Rotate it so it's going along the axis of its motion. - And of course, - you can change the color Commanche shift. - Why, - If that is selected, - change the color and there you have it. - So now we have our circle animation. - Another thing we can try to, - which I didn't do with my original animation with Try Motion Blur. - But sometimes it doesn't work for these animations. - It's kind of cool for the start, - but see how these ones get just a little bit messy. - So it just depends on what you want to use the force of. - Maybe these, - uh, - the thesis Urkal to encircle three. - You don't want motion blur on something like that. - I don't know. - Maybe with the diamonds that works. - But I actually don't like the motion blur for this animation. - I like seeing the shapes clearly eso there, - you haven't. - Now you know how to create this circle animation and these diamonds coming out of it. - We've got a crazy one coming up next. - We got this circle kind of thing, - but you kind of already know how to do it. - And then we have these diamonds flying out, - or these triangles flying out, - and you kind of already not to do that. - It's just a little bit more complex. - I have a good one and we'll see next time. 17. Motion Graphics for Video Intros - Part 4: - Hey, - everyone, - welcome back to another lesson and create your own video intro course. - We're continuing our creative intro, - and today we're gonna learn how to do this part of the animation. - So we have the circle with lines going through. - It looks very complicated. - And then we have to use triangles kind of rotating off of the screen. - So let's get straight into it. - Starting new composition command and we'll call this part three and six seconds is good. - So first things first the circle and you've done this before. - Create the circle called a circle pick what I would call you. - Want lips, - tool press command and shift or click and then press command shift and drag out. - Create a circle. - Same thing again, - but a little bit smaller. - Then we want to make this second mass subtract. - Then what we want to do is go to rectangle tool and just make a thin rectangle like so - across the circle and creates press, - subtract then with this massive selected press command D and then move it downward. - So you compress shift and then down. - And I like to do that. - So I know how maney, - how far down is rather than clicking and dragging. - So I knew that was shift than down Arab key three times. - So I'm gonna duplicate again Command D shift down, - down, - down shift or a duplicate shift down, - down, - down and the same thing Just repeat, - duplicate that layer and create these lines. - It's like So then I'm gonna go back up to this Mass three, - do the same thing, - but shipped up, - up, - up, - duplicate shift up, - up, - up. - So just like that, - until you have the whole thing with lines going through it. - So there you have our circle with lines going through it, - and then we're going to basically, - with these 1st 2 mass, - the actual mass that are the circles we're going to do an an animation that we've done - before. - So, - with mass to, - we're going to set the mask expansion to, - like, - negative 1 64 Then go forward like 3/4 of a second and make it reached the outer edge of - the mask one, - something like that. - So then we're gonna go to the start and make the mass expansion for a mask number one - native to 10 where the circle disappears, - and then we're gonna go to about right here before this last key frame for the mass to and - expand it to the edge of where it began. - So 20 Then we can actually take this first key frame for mass to and move it up a few - frames and just scrub through this and see how it looks. - If you want this, - um, - if you want this the thickness of it to be thicker or thinner you can move these key frames - in and out. - And then, - if you want to be faster, - small, - slower, - you can move these last two key frames in and out. - And if you want that Eazy E's kind of action where it slows into it and then slows out of - it, - you can add Easy's. - So there we have our lines. - Circle animation. - Not too hard. - A. - It looks a lot more complicated than it actually is. - And that's the beauty of after effects eso. - Now let's get our rotating triangle. - So we're gonna press command and to start a new command and sorry command. - Why? - To start a new look solid. - Just change up the color press. - Okay, - take our mass tool and then just create our triangle right around the center of this where - our anchor point is because the anchor point always starts in the center of the screen. - All right, - so then first we want to Let's look back at how this rotates. - So it starts small, - kind of grows, - and then it goes all the way. - It doesn't even go all the way out of the frame for some of these and see how this one. - Let's see. - Oh, - shoot. - Slow computer. - The cats lock on. - If you ever run into that, - you think your computer slow? - Just make sure your caps lock is off. - See how this green one up here in this red one down here? - It just kind of disappears at that point because it looks like it grows and then kind of - shrinks eso We're going to do that. - So, - press s we're gonna do our scale our scale motion for So I'm gonna just make the circle - disappeared for now. - We're going to start at zero. - They were gonna go forward half a second, - go to 100 and then we're going Teoh, - Actually, - we're gonna move this closer, - so only if you know a few frames later. - Then go like 1/2 2nd forward. - Duplicate this key frame by either copy and pasting it or just clicking this diamond over - on the left and then make it zero again. - So now we have just this basically the triangle growing and shrinking. - Now we have to add a motion passed. - So, - press p, - we're gonna start in the center. - So set a key from their press you to bring up all our key frames. - Press KKK. - While that was bad press k three times to get over to, - um, - the last key frame apologised for that remark. - They mean to do that ice. - And then, - um you put wherever you wanted to basically disappear. - And so now we have our triangle flying off the screen kind of. - But this is different than the diamonds from this one because we have a grow and shrink - animation, - so it actually shrinks off the screen. - But we're also going to add a rotation to it of three D rotation. - So turn on three D with that cube right there. - Set key frames for press are to bring him all the rotations and then set key frames for X - And why press you to bring up all of our key frames and then just go to the middle for now - so we can see what we're actually doing and just rotate over much you want. - So we'll do X rotation 234 degrees, - the Y rotation 182 and just move those key frames to the end. - So now we have this triangle flying out. - So now I'm gonna turn on my circle, - press you to bring up all the key frames and then basically, - I want the triangles to start flying out right when this thing, - this pink circle, - is flying out as well, - so I'm gonna move it over. - So the first key frame aligns right here that I'm actually gonna put it underneath it as - well. - So something like that. - So now if we wanted to, - we could duplicate the triangles. - You know, - change the motion path, - changed the size of it. - Make sure if you want it to be bigger, - make sure your your time, - Uh, - this timeline thing on your timeline, - uh, - is on your key frame and then select both of these key frames at 100% and change it. - So now it's 100 and 42%. - The whole time. - If I would have just gone to this key frame and raised the size to 169 or whatever, - then actually grows from this point where it's 100 to 106 night and maybe that's what you - want. - You want to grow, - and that looks kind of cool as well. - But if you want to stay the same size from this point to this point, - make sure that you have both elected when you make it smaller or larger. - I If you have any questions, - please let me know. - Otherwise, - keep practicing this stuff and we'll see you next time when we're going to be going over - this really crazy, - but actually easier than you think. - Animation with the circle. - All right, - thanks so much, - and we'll see next time 18. Motion Graphics for Video Intros - Part 5: - Hey, - what's up? - Everyone in the create your own video intercourse. - We're continuing this with another section off this creative bumper. - We're gonna be talking about how to create this circle animation where the circle kind of - comes out and then we have these layers of circles kind rotate into our screen, - alright? - And then we'll close it out with this. - How exits With this circle kind of bouncing on and then leaving, - I'm not going to show you how the how to specifically do these squares because you already - know how to do it. - You just have to create a square in a similar fashion to the circle with the mass tool. - And then you create a square within that square and turn the mass to subtract and then just - create a motion path and a rotation like we did last time with the triangles. - And it's the same exact thing. - So let's get into this though this sort of crazy circle rotation, - because I think it's really awesome. - I so go ahead and press command and to start a new composition will call this part for all - right. - So the first things first is to create the circle So just create Circle one. - It was gonna call a circle one, - a new layer solid. - Then with the Ellipse tool, - we're going to create our circle like we have been doing. - So click command shift and create our circle. - Go back to the center. - All right, - Center is possible. - Click Command shift I. - And then when the second mass, - we're going to subtract. - And then in our effects and presets window, - you're gonna type in radial wife. - So go toe under transition. - Not under the animation presets, - but under transition. - You have radio wipe and drag and drop it onto your circle. - So then you have these options up here in the top left, - and you'll see trans position complete star angle, - light center wipe where you can change it from clockwise to counterclockwise or both, - and feather if you want. - So play around with seeing this transition complete. - Yeah, - you condone basically create this animation with it. - So we're going to start at 100. - We're gonna set a key frame. - They're using the stopwatch up here, - and then if you press you with this layer selected, - you will see that there is now a a key frame for this effect down here. - You can actually change it down here if you don't want to play with it up here. - But I'm just gonna go forward, - you know, - half a second or so and then make the transition zero. - Just make sure it's a good speed. - So something like that and I'm definitely going to select both right click and do key frame - assistant Eazy E's. - So something like that is pretty good. - You could even be a little bit slower for this animation I. - The other thing that we did to this, - though, - was you can see that as it grows or as the radio wipe transitions. - It's actually shrinking in wit. - So to do that, - we're going to set keeping for our mask to so under Mass to with mask expansion, - said a key Freeman of the Start Press. - You go to our last key frame and then basically expand the mask until it reaches the end - until it's disappeared. - So something like that. - So now we have our circle growing onto the screen, - like so I said, - Then we're basically get just going. - Teoh, - use this radio wipe to create this whole effect. - So after it comes up, - we have this green thin one going around on both sides. - I So how do you think we're gonna do that? - One thing we can do to easily create this circle is to duplicate this layer. - So I duplicated it, - and then I'm just gonna rename it circle, - too, - and then I'm going to change the color. - So command, - command shift. - Why? - And just change the color to something that contrast with the original green, - And then I'm just going to press you and get rid of this mask expansion. - So I'm just gonna believe this second mask and, - um, - this first Maskey frame as well and in the radio wife transition. - I'm just gonna delete these two, - um, - key frames as well. - But first, - I'm going to set the transition completion to zero so I can see what the circle looks like - . - Press em to bring up both mass and mm again to bring up the properties. - I want this m to be on the outer edge of this green one, - so I'm going to expand mask one just a little bit, - so it goes over the edge, - and then I'm going to expand mass to to basically the edge of the original Circle Me 55 - pixels. - Something like that may overlap it by one pixel or so. - Eso. - Then we wanted to rotate on, - do Radio White onto the screen from both sides. - I'm gonna make this 10 pixels, - so it's a little bit thinner. - So up here in radial white, - you can go both and then transition complete. - You can create this animation, - but you can see that it's starting from the bottom now. - I wanted to start from the top, - so go ahead and go make it transition complete like 99% so it's still on the screen. - You can still see the green or the pink of it at the bottom and then with star angle, - just rotate this to the top. - The very top. - So 180 degrees is exactly 180 degrees around this circle, - so opposite side. - And then you can change the transition, - complete Tuesday 100% and press you to bring up this key frame. - So said the key from there. - But I want this. - Keep him to be at the end of this where this green transition completes. - I might make this massive expansion Completion of a frame or two after the transition - complete so you can actually see it reached the top. - Okay, - so just move this animation just out just a little bit. - All right? - So then we want this Circle two Teoh transition onto the screen. - So go forward a second or so and then transition complete do zero. - So now we have our green circle on the screen, - and then the purple or the magenta one coming on afterwards, - and we can actually move this over to the left a little bit, - so it starts, - you know, - a little bit sooner. - I said, - now we have the on this version, - we have the green that goes round transitions onto the screen. - Now I have to do the rest of these, - so it's pretty simple. - So we're going to actually, - uh, - duplicate this first circle. - Actually, - we can duplicate the pink circle, - so duplicate that, - then press m and to bring up all the the mass properties. - And then we're going. - Teoh actually pressed you and delete the last key frame of the radio wife and then the 1st - 1 eso then and then change this transition complete zero. - So now we can see our circle and change the color. - So, - command ship. - Why? - I'm just gonna change it to read something like this. - Okay, - so then press mm. - To bring up all your mass expansion properties sent. - Mask one expansion to zero and then mass to you. - Just change it to however thin you want it to be. - So mine. - I kind of went from very thin to a little bit thicker and kept getting thicker. - But you can have them be equal or whatever you want. - So I'm gonna start this at zero. - Just the original size of the circle. - Okay. - And so then I want to add my radio white. - So I'm just going to about, - you know, - right here when the pink is starting to transition onto the screen, - I'm going to set my transition complete, - too 100%. - But I also want to change it from, - uh, - both wipe to clockwise again. - And then I want to change my start angle back to zero. - So it's coming from the top. - I said said the transition complete to 100% and instead a key frame. - Then go forward and then said that key frame to zero press you. - And now you can see those key frames. - See how it comes up like that ice. - And now we're gonna duplicate this layer, - change the color. - So, - command ship, - Why change the color to whatever you want, - And then basically, - we're going to change the mask expansion settings. - So for mask to you can just make it about like that, - and then we want to put this underneath our circle three. - Actually, - we don't have to worry about mass Pat Mask one. - Okay, - so then we're going to just kind of press you to bring up the key frames and then just - slide this over a few frames, - so four frames. - So it starts after the initial red circle. - Then we're gonna duplicate this again, - press you to bring out the key friend, - and we can actually just take this bottom one. - Move it over four frames. - Press command shift. - Why did change the color, - whatever colors you want. - And then we want to change the mask expansion for mask a mask to so press. - Mm. - She's the massive expansion. - I could keep doing layer after layer, - but I'm just gonna go all the way now. - So for your last one, - you want to make sure that it covers the complete circle and now you have the circles - coming on the screen. - But see how it's kind of awkward. - It can't looks like they can jump on the screen. - That's because it's not easy. - Ease. - Select all three layers for these three rotating circles. - Select all the key frames, - right Click key frame assistant Eazy E's. - Now it looks more natural. - And actually, - you can see here there is a little um, - if I turn off the tile action safe, - there's little black dot in the middle here. - I don't want to see that. - So select are green circle for us, - M. - M and change the max expansion. - Make it expand a little bit more inside. - So there you have this animation. - You didn't think you were going to be able to do that, - did you? - And then the last thing is this circle that kind of eats up their heads to them. - So that's pretty simple as well. - This one. - I'm just going to create a new circles, - a press command. - Why create a new making a new color, - get a dark blue and then we're going to choose create the circle, - so make sure that you make it larger than the rest of these circles to start out with. - It actually doesn't have to be, - but it helps. - So me like something like that and I was feeling command and shift down again. - So then you want to just create a size transition, - suppress s bring upscale said the key for men's 100 Go in front of that, - make it zero. - So it comes up on the screen and then go afterwards, - you know, - a little bit shorter than the time that it took to get from 0 to 100 and then press zero - again. - So it comes up on the screen on drop down. - We're gonna select all these Dukie frame assistant Eazy E's. - So we want to come up as soon as the green transition completes suggests move it over. - So it starts right there. - Then at this point where it covers up all the rest of these circles, - just select all these circulars, - press command shift D to split them, - and then delete those that second pair of layers the second half of them. - So now it comes up and are blue circle eats them up. - And then just like, - uh before with the triangles, - you can create triangle, - create the rotation, - the motion path I'll just create the square shaped for you, - and you can do the rest that so create a new layer command. - Why change the color? - I then you want us to take your rectangle tool. - Same thing started the center click command shift created square and then from the center - again, - click command shift and then subtract this inside. - Now you have a square. - Then you just make it three d and add the rotation and the path. - So there you have that eso in the next lesson, - we're gonna be going over this final animation with E squares that come up, - slide over and reveal our logo. - All right, - thanks so much for auction and we'll see next time 19. Motion Graphics for Video Intros - Part 6: - Hey there, - everyone. - Welcome back to create your own intro, - this fun session for section on this video school online insure that I made. - Last thing we're doing is create this animation with the squares, - so let's get straight into it. - Command news, - start new composition. - We're gonna call this part five. - I said then first we want to create our squares. - So, - press command, - why did create a new layer whatever color you want. - And we didn't rename into square that might help us. - Okay, - then with our rectangle tool, - go from the center, - click command shift and create our square. - Okay, - so now we're gonna create that animation for it to come on the screen, - just like so two, - and then it goes over. - So first things first is it's just a simple mass transition. - So press m press said the mass path key frame. - Move this key frame forward half a second, - then click out and then click back on this the shape and then using our selection tool - hockey V, - select this side of it and move it over to the left. - All right, - so now you can still see. - It's a sliver right there and then it comes on. - So if you play this, - you know, - at the start of this composition you have this sliver right here. - So I'm just gonna trim the end of this this layer to the start of this key frame to the - first key frame. - That's a little slow. - So I'm just gonna make it faster. - So it's something like that and, - like always, - you know me. - I love my key from assistant Eazy e's, - right Click and Select E These I want to pause right there for 1/2 a second and that - they're not even just a couple frames. - So set that key frame again, - or copy and paste this key frame, - then go forward and then slept right the left side and make it transition the transition - complete over to the right side. - And again, - just trim the end of this layer layer. - You can do command ship de delete it so it comes on the screen and then comes off. - And then basically, - we're gonna just duplicate this. - We're going Teoh, - what we can do just to speed up the workflow is just duplicated three times. - So you have four layers for each one changed the color, - so just change the color. - That's like a pea green. - That's pretty nasty color. - Okay, - so then just change the color again for all these layers can. - All right, - so now we have three different colors. - And if you go through them, - you can see each color. - We're just gonna stagger all of them. - So select all, - press you and then select. - Well, - yeah. - Select all of, - um, - move them over to the right a little bit. - Then take the second to last one, - or this square to and just move it over to frames Actually would help to move all three of - these over this. - Like these. - Top to move him over. - However many frames, - three frames. - Then take the last one. - So you want to start with them evenly if you can. - So I don't think this this is even actually. - Yeah, - that looks about even. - But I think it's a little bit slower than my original compass. - So I'm just gonna move him over, - like so make a little bit faster s. - So now we have our squares come on to screen. - We just have to have our logo revealed. - So I have my B a school online logo. - So I'm just gonna put that in the centre, - and I'm gonna have to change the size. - Think I'm just gonna make it the exact size of these compositions, - So play around with it until you have the right size 27.6. - Looks like that's what it is. - I could just drop this underneath are low. - Our last logo are last square. - You can see that it appears. - And then the last thing that it does is it appears, - and then it grows and shrinks with the music. - So we're going to go forward, - and we're gonna change this later. - But I just said the key frame scale there are a key frame for the scale. - Their go forward, - a couple frames increase the scale, - you know, - something like just play around with it, - something like that and go forward. - You know, - twice that amount and go to zero, - then just set. - Make these all eazy e's. - Okay, - So now we have our squares and the exit of our logo. - Eso That's pretty darn cool. - Um, - the last thing we're gonna do is create put it all together and get this background going - and at our music. - So we will do that in the next lesson. - But for now, - if you have any questions, - please let me know. - I hope you've enjoyed all these lessons. - I've had a lot of fun putting this intro together. - I think it's really catchy and modern. - And I hope you do too. - And, - yeah, - we'll see you next time to wrap it all up by 20. Motion Graphics for Video Intros - Part 7: - everyone. - Welcome to the last lesson in this session of the create your own video intro with all - these cool animations that we just learned how to do. - So we're going to learn how to put it all together, - so it looks like this. - Alright, - so first, - we're gonna start a new composition. - So we're gonna press. - Uh, - we'll just create new competition will call this final calm. - We're gonna make this longer, - though. - We want to make this 10 seconds. - All right. - So now we can take each of these parts and just drop him onto our composition. - So just select all Mom, - drop him down here, - and then we just have to align them. - So go through part one. - And as soon as that one disappears, - you slide over part to for it to start like that. - So this goes and then part two starts and this isn't completed because, - um, - as you can see, - we only did parts of it. - And then as soon as part two is done, - weakens our about to be done. - Weaken slide in part three, - sled in part three and then slide in part four. - It's ends. - This goes and then part when put forth Done slide in part five. - Okay, - so like this eso then what we want Dio is we want to pre comp all of these. - It's like all these in my original one. - I did it all in one composition. - I didn't separate the sections, - so you can do whatever you want. - This makes it a lot cleaner, - but you don't have to So select album and either right click and select pre composed or go - up to layer and pre composed or press shift command. - See, - we'll call as our shapes. - Animations. - Okay, - so now it's all in one layer. - Then we're going to add our background. - So I have our background texture from online, - so just drop it in there. - I'm just going to decrease the size something like that to start out with, - and I'm gonna put it underneath are shapes that I'm going to start a new Um, - because I don't want this to be so dramatic. - With the texture, - I'm going to drop the opacity, - suppressed tea and drop the opacity. - But as you can see now, - it's just dark background. - I wanted to be like a gray background like this. - So I'm going to start a new layer. - Kareen knew shape and just create like a grayish layer. - Put it underneath and then I'm going to so just play around the opacity. - But then I'm also going to decrease the saturation of this later. - So go to saturation drag sat hue saturation in your effects panel. - You can just type in saturation, - and it brings up this effect up here on the top left and just drop it down to whatever you - think. - Looks great. - So something like that is pretty good. - All right, - so now we ever our shapes going on. - But here you can tell that the colors and the shapes look differently. - And that's because we played with the blend mode of the shapes animation layer. - So go to toggle switches. - Modes go under blend mode and do vivid colors. - So now they kind of have this overlay kind of effect for some of the shapes. - So something like that I might make this grace saw it a little bit darker, - So just command shift and why you can decrease the brightness of it. - Another thing I was thinking, - maybe I could dio is add a little bit. - Yet So press command wife, - start new black layer. - Okay, - then go up to lips tool DoubleClick. - Press your go to subtract down here under the mask and then changed the feathering - something like this to 80. - Then just drop the opacity, - like 25 or something that add something to it as well. - I think eso then we want are you can see here the texture is kind of growing and rotating. - So at the very start were with this texture which all renamed texture just go press are set - a rotation key frame press s to say scale rotation, - then go to the end and increase the scale like I'll sign like that. - It's up to 63 in the rotation. - Just rotated, - but make sure it's not rotated off the screen. - You don't want to rotate that much this settle rotation. - So now we have this. - Okay, - so then the last thing we want Dio is we have this kind of it's like kind of like camera - shake. - Everything's kind of jumping around. - And that just adds to the out of the effect, - especially with music that we're gonna be adding. - So go up to layer new camera for us. - Enter and we want to make sure that we have three layers to go back. - Toggle switches modes and make sure that shapes layer is on three D They go up the layer - new Newell object parent, - the camera to the null object and then this is a little bit tricky. - But press p and this is you know, - as you can see, - this is where you wrote you affect the camera and make sure this is on three D as well. - Then what you want to do is press option or all click the stopwatch. - So what? - You would typically just click this and start a new, - uh, - key frame. - Don't do that. - Press all click. - And now you have the letters with numbers turned red. - And you have this little box where you can type in what's called an expression. - We're not gonna delve too much into that, - but just do what I do typing wiggle parentheses 5 20 comma 20 and then close the - parentheses, - then click outside of it. - And basically that's what it's telling. - The position to do is let's get back to this well by is basically telling it to wiggle a - certain amount of pixels every five seconds are whatever. - So now it has a shake to it because the camera is shaking because the Newell object is - actually the camera affecting the camera. - So now we have this shake and you can change this, - you know, - 10. - And it won't wiggle a little bit less. - Or you can change the 5 to 3. - Whatever you think, - you know, - just play around with it and, - you know, - makes a little bit less dramatic. - Then we want to add our sound. - So I down this dubstep sound intro from Audio Jungle Done Net. - Just drop it on there. - Just going to drop the volume just a little bit for now because I don't want to blow your - ears out and render it out So the timing is off compared to original one. - But you can see how the audio this type of music kind of goes along with this type of - animation. - So let's play it one more time that so in the original bumper, - those last drumbeats kind of end as video school in London logo is dropping out of the - frame and of course, - you can play around with the timing of it all. - But, - wow, - you guys have done so much on learn so much in this section. - It's one of the It's been one of the most action packed sections of any of my courses. - I'm really proud about it, - and I'm proud of you guys for sticking through it and for practicing and for creating your - own sort of animations with it. - So thank you so much for joining me for this. - I know it was kind of crazy. - So if you have any questions or are confused, - please you know, - let me know. - Send me a message through the course page, - check me out on video school online dot com or email me at video school online at gmail dot - com. - Thank you again so much. - I hope you've enjoyed this lesson is really great teaching it and have a great one. - And I can't wait to see what you come up with. - Using these techniques I would love if you would send them to me so I can share them with - the rest of the class. - Thank you again and we'll see you next time 21. Exporting from After Effects: - Hey, - everyone, - welcome back to another lesson in the create your own video intro course. - Today we're gonna talk all about exporting your final projects so that you can take them - and add them to all your other videos. - And I know I talked about this in one specific lesson before, - but I wanted to have a very special, - unique lesson all about exporting. - So here you're in after effects and you have your composition. - Here we have the U to me ensure that we did before. - What's the next up to export? - First, - you have to set the in and out point of your composition so that it knows how much of your - composition to export, - and you'll see this bar, - this work area bar at the top of your timeline, - you can click in the middle and drag it around and it see how it kind of shades. - In part of your timeline, - you can also click the end and drag them in and out to make it longer or shorter. - What you want to do that you want to click the in point driving all the way to the start of - your composition, - go to the end your composition, - so if it's five seconds, - you can go there and then dragged the out point to that point as well. - And now only this part of this composition, - from zero seconds to five seconds and will export to expert go up to composition, - add to render queue, - and now this is your render queue. - This is your cue of of items that need to be exported so you can add multiple at the same - time. - If you want to change the settings, - you click on where it says lossless. - This is the automatic settings that it gives you lossless. - If you click it, - it brings up this output module settings box and lossless means that it's a quick time - format and under format options. - If you click that the video Kodak is animation, - So animation. - Kodak is a lossless setting, - so that means it's gonna be 100% quality. - But that also means it's gonna be a bigger file size. - So Teoh have, - like a smaller file size. - You can do something like Apple Pro Rez or H 264 Issues explores the best for small file - size. - You can upload it to YouTube or wherever and just make sure your qualities bar setting is - at 100. - There's no writer, - wrong export setting that's gonna give you, - you know, - the best settings for every situation. - HD 64 is good for a small file size, - but animation is probably what you want if you are exporting, - and then you're going to be using this intro for in other videos so that you have perfect - quality. - But for this sick, - I'm going to go with H 264 and click OK. - You can also change the audio settings here so you can go toe format options. - You can actually just tab between these two and its format been, - and then go. - You can change from un compress fist, - which is perfect quality to a sea or whatever you want. - A C will be a little bit smaller file as well when you have all your settings set. - And for now, - I wouldn't change any of these things. - The only thing that you have to change, - um, - is if you have if you have something that you want transparent in your composition. - So say this was that you demean logo, - but it was a transparent background So you were gonna put this you demean logo over another - piece of video. - What you would have to choose is you have to have animation Kodak and then where it says - are channels you choose R g B plus Alfa, - and so this will give you a transparent background. - So if that's what you want, - you can hit OK and then go over to output to where it says complement and click that. - And this is where you're going to set. - Save your output to so, - you know, - call on you to me intro or whatever you want to call it, - choose your folder and click Save. - The last thing I want to tell you, - though, - is there are some presets sending so under output module this down arrow button right here - to the right click that you have some preset options. - You could even create your own options. - So if you want, - you can click make template. - And now this is using all the the settings that we just set. - So it has quick time animation format, - but it's the transparency option. - So has RGB plus out, - but and the depth is millions of colors plus and so I can save the setting as transparent, - see transparent parent background, - something like that and select. - Okay, - And then now, - if I click on this down, - but and I have a transparent background option that I could quickly go to without having to - click here and go through this whole dialog box again, - which all your setting their set. - Once you've set where you want your video to save to click, - render and it will save there, - then let me just show you so it'll save in your folder like this. - I already exported it before, - and this is a quick time file that you can take into pretty much any video editing software - or any other program where you're editing your video or creating your video. - If you're doing screen cast with clean flow, - are camped Asia or anything like that. - You can bring this video bumper into that program and put it at the start of your video. - Thank you for watching. - If you have any questions, - please don't hesitate to ask. - I'll get back to you as soon as possible through the course page or video school online at - gmail dot com. - Otherwise, - have a great day. - Enjoy exporting your video intros and we'll see next time. - Bye