How to Animate Responsive Motion Graphics Title Templates in Adobe After Effects | Part 1/3 | Sonja Geracsek | Skillshare

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How to Animate Responsive Motion Graphics Title Templates in Adobe After Effects | Part 1/3

teacher avatar Sonja Geracsek, Motion Designer | Video Editor

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.



    • 2.

      Class Project


    • 3.

      Setting up & Animating Title


    • 4.

      Masking Text & Animating Frame


    • 5.

      Making Frame Responsive P1


    • 6.

      Making Frame Responsive P2


    • 7.

      Fixing Title Anchor Point


    • 8.

      Positioning Subtitle Dynamically


    • 9.

      Adding Margin to Subtitle


    • 10.

      Adding Subtitle On/Off Switch


    • 11.

      Fixing Subtitle Anchor Point


    • 12.

      Animating Subtitle


    • 13.

      Creating Out Animation


    • 14.

      Creating Motion Graphics Template


    • 15.

      Adding Font Colours & Frame Properties


    • 16.

      Linking Properties to Controllers


    • 17.

      Adding Stylistic Options to EGP


    • 18.

      Using Adobe Color Themes


    • 19.

      Exporting MOGRT for Premiere Pro


    • 20.

      Using Template in Adobe After Effects


    • 21.



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About This Class

This class will teach you how to create responsive title animations in After Effects to use and edit in Premiere Pro. You will be able to create custom titles that will bring a professional polish to your video piece.

I will take you through the process of animating a title and subtitle with a frame, adding expressions to create a responsive design and setting up your template in the Essential Graphics Panel for use in Premiere Pro.

This class is part one of a three-part series on Motion Graphics Templates.

Each class in the series uses the knowledge and outcomes of the previous classes and builds on it.

Check out part two after this class.

Who This Class Is For

This class is perfect for students of all levels, wanting to create custom titles. You might be more at ease with After Effects, if you have used it before but prior knowledge of the software is not a requirement. No previous knowledge of creating motion graphics templates or writing expressions, however, is needed.

What You'll Learn

  • Creating animation templates
    • You will learn how to set up your animation up in After Effects with Essential Graphics
    • You will create an animation that can be used as a modular template in Premiere Pro
    • You will learn how to set up controllers
  • Writing expressions
    • You will learn essential lines of code for responsive motion graphics templates
    • You will link properties with expressions to improve your workflow
    • You will learn JavaScript terminology
  • Using the essential graphics in Premiere Pro
    • You will learn how to import and use your Mogrt in Premiere Pro
    • You will be able to change and customise your template
    • You will gain insight on how other users could be using your template

Why You Should Watch

By the end of this class you will be able to create responsive animation templates in After Effects that you can use in any Adobe video project. You will know how to set up the Essential Graphics Panel and optimise your understanding of UX. You will be able to export Mogrts for use in Premiere Pro.

You can also use this knowledge to create motion graphics templates for your next YouTube video or client project.

Materials / Resources

You will need Adobe After Effects and Premiere Pro to complete this class. I will be providing any necessary assets, so you don’t need to have any assets ready.

Upcoming classes

This class is part one of a three-part series on Motion Graphics Templates.

You can follow along the whole series, or just take each class on its own. I will be providing assets for each class, as necessary. If you would like to follow along without taking the preceding classes, you can jump right in by using the assets provided.

Part two is now Live:

Follow me on social media to find out about upcoming classes!

Instagram - Facebook - Twitter - TikTok - Website


Further Reading


Meet Your Teacher

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Sonja Geracsek

Motion Designer | Video Editor

Level: All Levels

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1. Introduction: Hi, My name is Sonya. I'm a motion graphics designer. I create entertaining educational videos, client ads and a whole range of engaging online short form video content. If you spend any time on YouTube, you might have seen some of my work. This class is part of a three part series on motion graphics templates. Each class and Siri's will build on the previous one but can be taken independently from the Siri's. Each cars has a unique outcome and project assignment. You can follow along the whole series or just take each class on its own. I will be providing assets for each class as necessary. If you would like to follow along without taking the proceeding classes, you can jump right in By using the assets provided in this class, I'll be teaching you how to create a responsive title animation in after effects to use and edit in Premiere Pro, you will be able to create custom titles that will bring a professional polished to your video piece. I will take you through the process of animating a title and subtitle with a frame, adding expressions to create a responsive design and setting up your template in the essential graphics panel for use in Premiere Pro. You will need Adobe After Effects and Premiere Pro to complete this class. This class is perfect for all levels. He might be more at ease with after effects if you have used it before, but prior knowledge off the software is not required. No previous knowledge of creating motion graphics, templates or writing expressions, however, is needed. I will be providing any necessary assets so you don't need to have any assets ready. By the end of this class, you will be able to create a responsive animation templates in after effects. You will know how to set up the essential graphics panel, and you will be able to export mo goats for use in Premiere Pro. You can also use this knowledge to create motion graphics templates for your next YouTube video. Our client project Freddie. Let's get started 2. Class Project: Hi. Welcome to my class. Let me tell you about the project assignment you will be tackling today. The project for this class will be to create a modular and responsive motion graphics template. I have created motion graphics templates like thes for adobe stock. They can be found on the Adobe Stock Market Place. I would like to take you through the process of creating this type of templates. Step by step. For a successful project, you should have an animation created and after effects exported as a video showing different stylistic options of your template. Feel free to use the assets I provided in the project gallery. Please share a video off your project in the project gallery. I would love to see what you come up with. Let's jump into the class. 3. Setting up & Animating Title: for a little bit of background. I create a lot of motion graphics templates or mo goods, as they also called for Adobe stock. So for this class, I will be sticking to most of the required guides and standards for these templates are stipulated by adobe. These are not always necessary. Andi. Maybe for your project there are a little bit too strict or don't apply. But just so you know, that's why I'm choosing to follow these guidelines. First, I will create a composition, and if you don't already have a folder for your compositions, I would also recommend you create one where all of your coms and pre camps will live. My camp is set to Haiti TV 10 80 25. That's a priest that you can find in the composition settings menu. That means my composition is 1920 by 10 80 pixels with square pixel aspect ratio and a frame rate off 25 frames per second. If you have watched my previous classes, you might remember that I usually animate at 60 frames per second. But for the past balls off, creating a near standard template, I will use a more common frame rate like 25 frames per second. This is a frame rate I default to when working on Klein project. So when I don't want the project to be very heavy or don't render to ah, very large file, I stick to 25 friends per second on 61st per second can render a heavy file. Now, I will also set the start time code to zero and not my usual 59 minutes. The duration will be eight seconds and one frame. So the reason why I'm setting the duration at eight seconds is that's the minimum amount of motion graphics. Templates can be on adobe stock, and the additional frame I'm adding is because if I create this composition and I go to eight seconds, I can see it's eight seconds long because that last frame is actually the frame off the 8th 2nd So if I was to set this to just eight seconds without that additional frame, I would then be at seven minutes and 24 frames and I don't like that. So I'm just gonna add the extra frame so that I can actually see the eight seconds in the timeline now as I said, I also want the folder here, and I put my composition in the two. Slim this down a little bit. Now I want to create some text by hitting control T. I can get into the text tool and Aiken type anything like main title here, and I'm using Bieber's Neue as a family. As a fund family, I quite like this fund. It's nice and straight and narrow, but has some weight to it. But feel free to use any type of fund you would like. My title is set to the font size off 150. Everything else should be set to auto. I don't want to add any width here. You can if you like. If you prefer this look, that's kind of nice, actually, Mary. I will keep that, but yet still worry about anything else. I want to make sure that my paragraph is centered text, and I want to reset the position. I can hit p than right click on the position and then go to reset that will position the layer in the center of the frame. If I highlight the layer and hit you twice. This animate icon or tab will open up and I want to go in here and I want to choose position. Then I'm going to Kentucky. All this open and closed to reveal the offset. I want to animate the offset from zero. So add a key frame here. Andi, I'll jump 20 friends forward and l animated to 100. Now what I also want to do This doesn't do anything yet because I haven't set the position off this animator yet. So I want to move the position down to 150 so that it moves from below to the top. But right now it moves in character by character, and I wanted to move word by word so I can just select that and it will move up like this. Now it's It's very staccato right now, so I want to eat. Add some easing, so add 50% high Andi 80% low. Let's say so. That way, the text comes in semi fasts and slows down at the end, so I'm not adding any easing on the key friends themselves. But I'm adding easing on the animator, and right now this is looking. It's looking kind of okay, but it's still not quite right, so I'm going to use the ramp up to give this a little bit more ease. So now you can see there's more easy, but the main is already at its final position, so I actually need to move this further down so that all of the text is at the bottom position. So just as a comparison square looks like this, all right now, the square looks like that because it works slightly differently and the ease is much more prominent on the on the last key frame when I used ramp up. So the way you can remember the ramp, it's like a It's like a slide, you know of ramp, so it goes from a low value to a high value. It's ramping up, so it's taking the key frames from minus 100 to 100 or 0 to 100. You can see it's creating a ramp, so that's what ramp up means. It's going from the lowest value to the highest value. But because we want the first character to start at zero as well at the lowest point, not zero, we have to push it even further down. Next, we're going to add a master the text so that the text appears from nowhere and then we can also add a frame around it. 4. Masking Text & Animating Frame: first will create a mask around the text. For this, I'll highlight the layer. Go to the rectangle tool and double click it. This will create a mask on top of the layer. Now I'm going to adjust this. I'm going to leave the width, but I'm going to adjust it to just above where the text appears. And now, when it animates in, it appears from nowhere. So that's pretty cool. You want to make sure that the bottom doesn't cut off the layers, so we can either leave it down here to move up. Or you can move it up a little bit further and it can come up right as where the text should be sitting. So then it would look like this. It just kind of comes up from where it's sitting. I think I'm gonna leave it like this instead of it coming from a lower position. It's coming from where it's going to end up now. I want to create a frame for this text, so I'm going back to the rectangle tool. I don't want to have anything highlighted. I'm going to click on it. I want a stroke and I do not want a Phil. I want the stroke to be 50 pixels to emulate my original animation that you saw earlier. It's very six. I want this frame to be very thick, but of course you can make that frame whatever you like on. I'm just going to stick with this color. I might change the colors later on. Feel free to use any color that you like. Now I can draw with this rectangle tool. Andi, I'll just make it a size. I can even go in here and then comtel down the rectangle path and change the size. If I wanted to be a specific size like 9 20 then what I would like to do is I want to reset the anchor point, going to move this away a little bit. Now I am hitting. Why? Back to V And now I'm moving it and are holding control sort of snaps to the center off the other text. And I also want to rename this. I'm hitting enter and I'm naming at something like frame. Now I want to animate this so you have a little add property here, or you can go up the top and you want to add a trim paths, and now I want to animate the end off the trim path. So I want this to animate on, so I want to stay free. Eight. A key frame. I want to start it. Zero. Then go. Actually, I'm already a 20 frames, so I want this to be 100. I'm jumping back to the beginning by hitting home. If you have an extended keyboard and this key frame, I want to be it. Zero. So now it animates from 0 to 100. I want to add probably a 75% Kiefer in velocity influence. That's my go to, and it makes the animation nice and smooth. And I may be want to offset the key friends a little bit from the animation of the text. Some holding Ault and I'm using the arrow keys to push the key friends forward, pushing them about five frames forward. Just so it's a little bit sequence and it doesn't all happen at the same time, and I also don't like how this is just straight cut, so I'm going to open the rectangle to I'm going to go into the stroke and instead of. But, Cap, I'm going to have a round cap. Andi, I like this a lot more in here. You can also change how the corners appears so around it, corner or around the joint would look like this or a bevel would look like that. But I actually like the juxtaposing off the round stroke with the hard corners, so I'm going to leave it like that now. As you saw, I added on some easing on the frame. The key friends on the ramp animation are controlled by the ease high in these low values. There's no need to add key friend velocity or easing on these key frames. But the way we have animated the trim paths, you do need to add easing if you want there to be easing. So the easing is sitting right on the key frames. Okay, so we have a text, we have a frame. We have a mask that is the first part done. Next, we will add some expressions to make the frame respond to the title size and with as right now, if I add any more text, let's go outside of the animation. If I add any more text here. The text just goes outside of the frame. That's obviously not what I want. Also, if I resize off re scale this text that's also not really working, I want the frame to always be around the title. Whatever I do. If I add more text if I removed text if I resize it. And actually also if the scaling property is something slightly different in terms off properties, also, what the expression if you're familiar with the expressions or not, just know that if you're writing expressions targeting the scale property is slightly different than targeting the font size, so those two things can influence the size of the text, but they're slightly different properties. But either way, whichever one I change and whatever I type in my title, I want the frame to go around my text rather than interfere with my text. So that's the next thing we're going to do. We're going to write an expression to make the frame responsive. 5. Making Frame Responsive P1: first, we'll start by creating, I know object to hold our controls and link our expressions. I'm holding control shift Ault. Why? To create this null control And then I'm going to add some slider controls and link the X and Y values off the rectangle size property to them. It's important to know that we are not using the layers scale property, but the size property off the shape inside of the layer. So, as I said, there are differences between the scale property off a text and the fun sized property. There's also difference between the scale property off a layer on and a shape layers size property. So rectangle has a size property and that directly influences the shape. On this layer, you can think of the layer. In this case, the layer is like a folder, or if you've worked with Illustrator, it's like a top layer, and the shape inside of it is like a path on that layer. You can influence the path as you can influence the shape, and you can also influence the layer separately, just like you can have multiple rectangles and multiple other shapes. On one layer, it acts like a folder, and that's why you have sighs. Separate size properties even have a rectangle scale property, but you don't have to worry about that. Just remember, it's the size property off the rectangle path and not the scale property off the frame layer that we need to target. So festival. I'm going to rename this null object by hitting Enter, and I'm naming it control because this is going to be controlling a bunch of stuff. Now, if you don't have your effects in presets, open just hit control five and search for slider. Now you can double click the slider control if you have the controller highlighted, and it will be added if you click on the control. If in, the slider will show up in the effects controls. And I also want to toggle the viewer lock so that this window always stays open. Andi, I'm going to hit enter while this is highlighted and I'm going to name it ex size typo. Now I'm going to hit control D and duplicate that and create a Y size. So this means we are targeting this size on the size property has X and why values. Now I want to link thes X and Y values to these sliders so that we can manipulate them easier. It's a little bit difficult accessing these properties from outside through an expression, and that's what we want to do. We want to manipulate the X and Y size of this frame so it is dependent on the width and height off the text layer. And this is easier if we linked these two properties to sliders outside of this shape layer . So let's hold all and click on the stopwatch, and I'm going to write some variables naming these two layers. So let's start with X size equals and then I'm going to use the pick whip. I'm going to drag over here to the slide. I'm also going to hold Ault to make it a universalized expression and close it off with a semi colon. And now we're going to do the same with the UAE size again. I'm holding old to create a universalized expression. What that means is it creates this little one to signify that I, um, calling an effect. If I didn't hit Ault while dragging, it would just tell me slider and this is a non universalized expression because slider is an English word and other after effects software in other languages would have this word slider in that respective language. It's a little bit silly off after effects to do it like that, but if you want to avoid that, just use universalized expressions. And every time you use the Pickwick, just hold Ault and you won't have that problem. Now I'm going to leave some space for our final statement. Onda, The regular statement off this property would be X comma. Why? That means this is going to be resized with the values of X and with the values off. Why? That's just how it would work without any expression. And now that we're using an expression, I need to use my variables and I'm going to add X size. And why size? And now you will see this frame jumped zero because our sliders are zero as a default. But that does not matter, because now we need to tell the sliders, OK, now you're gonna be the size off this text, and we're going to do that in just a minute. 6. Making Frame Responsive P2: for clarity. Which text we're talking about. I'm also going to rename my text layer and this is going to be title and then I'm going to go into my control. I'm going to trouble this open and I'm going to add an expression to the X size to call the width off the text. We're going to create a variable called title and this is going to call the title text, some now dragging down here to get the title layer. I'm holding all just in case and I'm closing it off with a semi colon. It's giving me an error message, but that's because I haven't entered a statement yet, so it doesn't know what it's supposed to be doing. But that's fine. Now I want to call the width off the title. The way we have to do that is every frame, the the the slider. This expression needs to calculate the width off the title that we are linking it to and this is done with the function source erect at time. So I'm going to create another another variable and this is the width of the title and because I've already defined the title, I don't need to pick whip to the title anymore, can just call it with. I can just call it title, don't so select a time and we already have on a suggestion by after effects. I'm going to select that and hit enter. I'm not going to add any value inside, but then I'm going to continue with full stop with and I also want to multiply that with the scale and close the whole statement off with a semi colon now. The reason I just added the scale is because I also want the title with or this expression to read any changes in the scale property. So not just in the width when we add text or when we change the font size, but also if we ever decide to change the scale property. This is what I was mentioning earlier. So if I was now to change the font size, this works perfectly. Actually, let's just remove that just to illustrate what this does. If we don't have it added in the expression, Now it's the size off the text, the width of the text. If I add more text, the frame gets larger. That's great. That's awesome. If I now change the size, there's a little bit of sliding going on, but we'll fix that later. This is working fine because it's reading the titles with. But if I ever changed the scale of the title, this isn't is not able to read that. So we need to add that in. If we ever decide we want to change the scale off the title layer it needs, let's just reset that. It needs this transform dot scale property. And we're using the X value again. Every property has to, or most properties like scale and position have to values to index values. And the index values started zero x zero. Why is one? And since we are talking about the with, which is the X value we need to say, Okay, we're targeting the scale off the value zero, and we're dividing it by 100 to normalize it. I'm not going to go into super a lot of detail off what normalization is. Just remember that if you are using the scale function on the transform scale function, if you adding that to your with calculation, you must divide it by 100. Now we're gonna add this entire expression. I'm right clicking on the slider. I'm hitting copy expression only. I'm going toe added to the UAE size as well. But of course, now we need to read the height instead of the with. So I'm going to make those changes. Andi also here I wanted to be the height, not the with. And as I said before zero is X. So now we need to call on the scale property one or the scale value one, which is why now the frame is exactly the size off our layer, which is great, but we can't really see it because it's the frame is so fat. You could also say Okay, let's make the frame less fat. But it would still be exactly around the size off the text, so we need to add a little bit off padding to it. We're going to do that by duplicating one of our sliders. Control the hit enter renamed to padding. We're going to remove this expression by hitting old and clicking on this. Andi lets out of value off. How much? How far away do you want the frame to be? From the text and remember, the padding is calculated on each side. So if you adding 50 pixels, let's say then that's 25 at the top 25 at the bottom, 25 left and right. So just remember that now what I'm going to do, I'm going to add this to our expression. I'm hitting. Enter on your main keyboard. I'm going to call this slider. So I'm creating a variable. And I'm telling it, what does Variable supposed to read? I wanted to read this this slider semi colon, and then we're going to create a new statement. So now I want the box or the frame. You can call it a frames. Well, I want that to be the title with plus the padding and actually to be absolutely precise. Let's multiple fly the batting by two. I want to make sure that I know that what I mean by padding is the distance between one side off the frame, not the entire width of the frame. And I need to tell it. Okay, read the variable box. This is our function. Now I'm going to add the same thing. I'm just going to copy this entire thing Control. See some space control V and I just need to change from title with two title height. And there we go. We've got some padding going on. And now if I change the padding slider, I can make the padding bigger or smaller. Now let's have look at the animation. Andi, As you can see, the offset off the text as it is coming in, is also being factored into the size off the frame as it's being animated. I like it that way. If you don't want that to happen, then you might have to remove the expression from the why size. But then you might have other troubles, so I would just suggest Let's leave it this way and move onto the next thing. Next, we will tackle the anchor point off the text, as you saw earlier. If I've resize this text, it's kind of sliding up, and I don't want that to happen. So we're going to fix the anchor point on, do some other little magic to make our text and frame behave as we expect 7. Fixing Title Anchor Point: the anchor point of my text is automatically at the bottom center off my layer, as you can see if I've resize it. And that also means it's re sizing from this point upwards. Eventually, if I continue re sizing this, it will pass. My frame doesn't recites proportionally to all sides because the anchor point is at the bottom, and that's where it re sizes from. But our frame is still re sizing from the center, so the anchor point off the frame is here, which means it will resize proportionately to all sides, reading the size of the text that doesn't know where the text is or to Wicht, in which direction the Texas re sizing it just knows the Texas A certain width and height, and that's how large the frame will be. Now we have to move the anchor point off the text to the same position as the frame in order for them to resize the same way. We will also fix the anchor point in the center position within expression so that the layer always stay centered, even if we change the font. So if I was to change the fund right now to something different, but yeah, you can see that the anchor points stayed, but the Texas now being cut off, so it's not exactly where it's supposed to be. So I'm going toe undo the at, and what I want to do is call the anchor point by hitting a Andi. I want to hold old and click on the anchor point, and then I'm going to write an expression. So we're going to call source director time again, and we're going to give it a variable this time so variables don't need to necessarily just call a controller or a layer. They can also call functions. So this I gave it the variable source source wrecked, missing and are. And it's calling the function so direct a time which I will now be using in the following statement, I want to call left. I'm going to call the use my very best source, wrecked dot left, and this is calling the left point off my layer, and I'm going to call top source wrecked. Don't top semicolon, and this will be calling the top point off my layer the way after effects is put together, you can only call left and top. You cannot call right and bottom, unfortunately, so we need to now do a little bit of math to, say, Put the anchor point at the top in the center or on the left side or right side or somewhere else. So first we're going to calculate the layer height, and I'm going to use Camel case for this, which means each subsequent word is capitalized on. The first letter equals source wrecked Don't heights, semi colon and now the wits as well equals source wrecked Don't with semicolon, and now I want to make sure that I have no typos, and now I'm going to write the expression that will fix the anchor point in the center. So first I want the anchor point in the left corner. Or rather, that's where we're starting with. And I want to add to that half off the width off the layer that will mean it will be on the left in the center. That's the exposition, so we're calling the layer wits and dividing it by two, which means it's in the center of the layer, and then the Y position is top plus the layer heights also divided by two because again we want to land in the center so we cannot use the entire height but half of the hide. So this way we will land in the center. And of course, it has re physician our title. So we want to grab it, hold control and snap it to the center off the frame. Now, when we re size it, I need to actually highlight it. If I resize it now, it's re sizing from the same position, which is exactly what I want and I think have changed the font size. I'm going to put it back to 1 50 Exactly. And even if I resize it using scale, everything works exactly as I expect. So that's great. Next will add a subtitle to our design that will reposition itself dynamically with the size of our title. 8. Positioning Subtitle Dynamically: Okay, Now we want to have a subtitle to go along with our title on. I wanted to be positioned dynamically below the title layer. I'm going to duplicate the title layer by highlighting it hitting Control D. And now I have, ah, second title layer. Essentially, I want to hit, enter and rename it going to rename its subtitle. I'm also gonna move it below the title, just so it's visually where it's going to be in the end. Now I want to not move it down, but I'm going to reposition it dynamically according to the size and position off the title , as well as the padding and the frame, size and position. I also want to make subtitle slightly smaller. We can do that now. I'm going turn it down to 100 fund size, and this way we can already see that there was another title rather than working blindly when we can't see it. And before we add the expression, I would like to reposition all objects to line up with the control layer in the center of the screen and parent it to them. This will be useful for creating global size and position controls for the essential graphics panel later, so the control layer is in the center of the screen right now. Andi, I want everything to be in the center off that as well, so I'm going to move it down while holding control or command on my keyboard. And now I'm going to parent everything to the control layer. Now, if I move the control, everything moves. So once we start adding everything to the essential graphics panel to make a template out of this, I can just use the position and scale properties off this control layer to move the entire thing. Okay, let's move back to the subtitle. Now there's There are various ways we can approach positioning the subtitle because we want the position to the subtitle Be Below the title, and the position of the subtitle depends on the size, and therefore, on the height of the title, it makes sense to me to use the source wrecked a time function we used on the anchor point and on some of the other functions and expressions we've used so far. This will calculate the size of the title at each frame, so let's start by adding an expression to read the center position off the title. I'm going to call the position property of the subtitle, and I'm going to add an expression to it by holding old and clicking on the stopwatch and let's start with a variable. This is the subtitle, So let's call the variable that Onda Let's name the layer, which is this one. I'm also holding Ault that will actually just say this layer, but I actually want to call the layer in relationship to the entire composition. So just right, let's just write this out. So I want to search for a layer in this comp on the layer is named subtitle There it comes up already, and I'm closing the statement with a semi colon. Now I want to call the subtitle height. Um, my layer has ah has a type of. That's why it's coming up in a funny way. So it's not sub tile. It's up title. Okay, I just want to correct that. So subtitle is always called as the same word. And now I want to call so select a time again. So I want to start with the layer I'm calling then source erect a time. We're not adding anything into the brackets, but we're calling the height times the source erected time off the scale divided by 100. And then we ended with a semi colon. And now in the brackets, I want to add the source director time off the scale as well. You always want to start with which layer you calling. And since we define that already with the variable, I can always call the variable than the function, which in this case is the transform scale. And because we calling the height, it's the why Index and we want to divide that by 100 to normalize it. And we also want to call the size of the title. So it's exactly the same piece of code as for the subtitle only that were removing Sub and we're calling title. We don't want to forget the padding Onda. Actually, the padding we can take from somewhere else where we added it already. I think it's one of these expressions. Yeah, okay, we do have it here, but the problem is for this that it's calling its own layer. So we're going to add the this come player portion off it. So we need to find the composition. It's this comp, and then the layer is in the brackets. You can also use the Pickwick for this. The layer is this layer on the effect, right? Actually, I could have just secret the entire thing because the Pickwick adds this competent layer. So it adds this entire phrase that we need so this great And after that you need a full stop to call the effect and the name of the effect, and then you have the padding. And now we actually want to calculate the Y position that we're calculating here. And let's call it, I can call it why Position? But I want to keep it short, so I'll just call it White Paws. And now we want to calculate. And also, I actually didn't need to call the subtitle and the subtitle height. But if ever you need it, you've all really have it written out here, and you can use it in some other time. But essentially, we need to calculate the title height. So at first we want to position the subtitle exactly where it is right now. And then we can add some maths to push it further down on the screen. But first, where we wanted to be is at half off the title height, so that would be the center, which means we want title height. Scrolling in the suggestion by is never a good idea. Let's not do that. So title height divided by two that will give us the center off the title. But we also want the padding, and we want the padding to be divided by two as well. Well, do we? We said 50 pixels is are patting, but we added the padding times, too. So it's 50 pixels away from the text on each site. So actually, we probably only need to add the padding once. Let's see that maths works on bond. Now we want to add that statement. There is one thing I forgot to do before I added this expression. I need to separate the dimension, so I'm going to click onto my expression. I'm going to copy it, so I'm pretty sure it's going to remove it as soon as I separate the dimension. So since we only want to add this expression to the Y position, not the exposition, I'm going to separate that. I mentioned you don't have to do that. You can do this entire expression by telling it that X doesn't change. So instead off separating the dimensions, you can say value zero is the same, so take the same value, don't change that and then why position? And that should actually that should do the trick. But you can also do it in such a way, so I want to keep the Y position. You can also do it in such a way that you right click on your property. You separate dimensions, which means you can target the X and Y position separately. Now if I old click on the Y position on Die paste, my expression in here that I've copied earlier, you can see it does the same thing. So these are two ways off adding the expression to the position. Let's see if I can make this a little bit larger so you can see the entire expression. That's the way to approach it. And now you can see that the text is exactly what the at the height off our frame. So that's excellent, Onda. As I mentioned, we use the padding times two for the frame, so it's 50 pixels on each side off the frame. That's a good way to do maths, because then you don't have to divide the height the way we do it. With the height of the title, you just at the padding one time and then, you know, OK, that's the value from the text to the frame. It's just there for the one single time. 9. Adding Margin to Subtitle: Now we can play around with some some additional margin over here because obviously we don't want the text to be right on top of the frame. It wanted to be below the frame. You wanted to be a little bit away from from the title in the frame. So what we're going to do, we're going to add another slider. Duplicate one of your slider layers. The padding is the most obvious for this because it doesn't have an expression on it. Hit Enter call it margin. Both margin and padding refer to white space around text or image. But as this website Web typography overview tells us, margin are spaces between one object and its surrounding elements, and pad ings are spaces inside the border between the border on the actual image or text. So what we added between the text and the frame that's padding, but something around the frame could be classified as margin. Let's have a look at that text again. Margin and padding provide a buffer between the main content and the supporting elements. Margin is used only not only to bring harmony between the text and the surroundings, but it's also to add visual interest by contrast, in the positive space on the screen or white space. So it's creating a little bit of a buffer, so to speak. So if you're wondering what the difference between margin and padding is, that's what it is. Off course you can just call it padding one and padding, too. But this might give you a little bit off background knowledge for programming terminology. Andi, this is what we're essentially doing here. We are writing code. We are programming. There are many programming languages out there, and expressions are based on JavaScript. And so what you're doing here is essentially programming. So it's good to kind of have an idea off the language and be aware off what something is named and what something means. So this is why I'm telling you the difference between padding and margins. Okay, so let's just keep the value off. 50 maybe will make it a little bit higher. Let's say 100. And now, of course, we need to add this to our expression. So first we need to call the margin, so it's actually the same as the padding. I'll just copy this, paste it with control V I'll change the name to margin on also here, calling margin. And then I'm going to add this to my statement and now the title is below, but it doesn't matter the size of the title. The subtitle is moving accordingly to allow for the size of the title the padding, plus the margin on Because everything is parented to our control, everything still moves with our controller, so that's awesome. Now you can play around with the margin slider value over here and to adjust the distance of the subtitle from the title and the frame. Next, we will add a check box control with which will be able to turn the subtitle on and off. 10. Adding Subtitle On/Off Switch: First, we'll add a check box control from the effects and presets menu. If you don't have that open yet, you can hit control five. And then in the such Bart search for control. All off the expression controls will show up, and we want the checkbooks control. Highlight your control layer and double click on the effect. Then you can hit, enter and rename the effect, and I want this to be Subtitle on off and I want Everything to Be nice and capitalized, but that's not necessary is just for you. Now we want to go over to the subtitle and open the A pass ity by hitting T and old. Click on the stopwatch to start typing your expression. We want to call the control layer, use the Pickwick and hold Ault, and then we're going to give it a function. So I want to say that subtitle on is when Control layer. Ah, I miss type that. That's why it's not suggesting it. Control, control Layer on. And I want the effect on the control layer, which is not background on off. I wanted to be Subtitle on off exactly. So after effects is always helping you out. If it already knows that there is something in this composition that is named a certain thing that you've already written in the expression it tries to find it. So that's really helpful, sometimes not so helpful. But sometimes it's helpful. But we all also need to add that that we are calling the slider on this. So in the universal expression way of writing, you can just add a one in brackets. Otherwise it would have to be brackets, quotation marks and then slide up. Now we want to say when the subtitle is on, that means that equals one. Because of the options that we have without checkbooks, control is on off off means the index off the check box is zero on means the index off the check box is one. So we want to say if the subtitle is on, if we see it, we want the check box control to be one or vice versa. When the check box is at one, which means it's on. That means our subtitle is on. And right now it's off. Which means our A pass idiots at zero, because the check boxes at zero. Now what we want to say, um we actually need to add more of an expression here because when the check box is on, as I said, it's that one. That also means Ah, rapacity is at one and we don't see almost anything. We want our capacity to be at 100. So now we want to tell the expression, Yes, we do want our capacity to be a different value when the check box controls on, but we don't want it to be one. We wanted to be 100 because that means the a pass ity of our layer is at full speed. So now we're going to add a conditional statement to say if subtitle on ah, miss type that again and wanted to be subtitled. Okay, make sure that you don't have any typos when you're writing. Otherwise your expression doesn't know what you mean. So if we say our subtitle is on, our layer is at 100 semi colon. So take a look at this expression again. We're starting with if and then because it's a conditional statement. We also need to say else so if this is do sudden things, so if this is the case. If we're calling the variable variable subtitle on which has a function attached to it, then we want this layer to do this to be at 100. But we can't end the statement here. We also need it to need to give it an else statement. So it's either this or it's this so else. We wanted to be zero, so it's either 100 or it zero. And after effects closes your statement on its own, which is great. So you want to have if open brackets. Subtitle on which you've defined over here to be one, then curly brackets open. 100 ended with a semi colon. Curly brackets closed else. Curly brackets open. Zero semi colon curly brackets closed and now you can see is has changed to 100 because our check box is ticked and it's on. If the check box is off, then also our layer is off, and that's exactly what we want. You'll also notice that the equal sign that we're using here is different to the equal sign that we're using over here. If we're using a variable and we are assigning something to that variable were using a single equal sign. But if we want to say something is equal to something else we need to use to equal signs, so make sure you have to equal signs to define that. Subtitle on means that the check Box Central is at one. Next, I would like to fix the anchor point of our subtitle to the top center rather than the middle center off our layer. At the moment it's here. I also want to get rid off the mask. So if you hit em with the layer highlighted, you can get to the mask and I'm just going to delete it because we don't need it for the subtitle. And if you hit a with the layer highlighted, you can get to the anchor point, and right now it's in the center. So if we change the size off so I was changing something else here. If we change the font size, it will resize from the center and eventually interfere with our freedom and our total. We don't want that. We wanted to always grow downwards, so we need to change the anchor point of this 11. Fixing Subtitle Anchor Point: so I'm going to go into my expression. You can also hit eat wise to reveal the expression on a layer. Andi Now I wanted to be at the top. I think I can just remove all of this and then it jumps a little bit because it needs to retain the distance that we have to find in the position. Property. The distance is the same, but the distance is calculated to the anchor point, not to the layer. So the anchor point is still half of the title height, plus padding plus margin. So now if you find that the the subtitle is too far away from our text, you can minimize the margin. But I actually don't mind that. So let's just keep it there. If we resize the subtitle now, the layer stays fixed at the top and re size is towards the bottom. And that's exactly what we want now. It will never interfere with the frame and the title. Next. I would like to change the animation off the subtitle, as it's currently the same as the title, and I don't think that works very well. Let's just have a quick look at that Yeah. I mean, first of all, it's boring. They're doing the same thing. Let's give it a little bit more interest and add a different animation to the subtitle. 12. Animating Subtitle: Now let's change the animation on the subtitle. Let's open the Animator one So we see all of its properties. If you click on your subtitle and hit you twice, it will open everything and you want to go to your animator one. And I want to change the position animation instead of it coming from the bottom. I'm going to put this back to zero. I wanted to come from side, so I'm going to add 1 52 the X instead of to the Why. Now, let's see what that looks like. K. So that's strange. I just did something to my frame, which I definitely don't want to happen. Let's see what I did here. I think because it's because I fixed the anchor point on my frame. Exactly. So don't do that. We need the anchor point to stay free floating. Otherwise, when this is animating, the layer thinks it's only the size or it's going to reposition the anchor point to the center off wherever this line is. I mean, if you like that, it's kind of cool. You can keep it like that and kind of animates out. If you like that, that's cool. but that was not my intentions. I'm going to remove the anchor point fixed from the frame. Now the frame stays and is dependent on the title. Everything moves down. This is also why our frame becomes larger when the title moves in. It's because all of these are dependent on the size of the texts. And at this very moment, the text is actually this size from here until the bottom off the animation. So this is why we still see that the subtitle Going Down and it doesn't bother me. This is actually the style off my animation. That's what I want to happen. So I want this text to come in from the site. So let's go back to the animation. I want to add 1 52 the X. And now the title comes in from the side. But obviously, just like with the main title, it's just it's just moving from left to right just slightly. I wanted to be a little bit more interesting, so I'm going to turn down the opacity. And for that I need to add the opacity to the animator. So I'm going to click on this arrow, go to proper team capacity and I'm going to set the A pass iti to zero and because we already have a ramp up option selected, the A pass ity will now also ramp up with the animation. So now it comes in from the side, so to speak. Now I'm going to hit you to see all of the key things of this animation, and I want this to be slightly sequence. So not all of this animation. So the title in the subtitle a Now animating in at the same time. I would like that to be to happen slightly later, and I think the title should be the first thing to animate in. So I'm going to push the subtitle Key Friends Further along by five frames. I'm holding Ault in the Arrow key to the right. Now you can even sequence the frame to come in a little bit later if you'd like, but I think there's a spree cool. Next will add the key frame toe animate our title out again 13. Creating Out Animation: so because this is a template, we need an end animation to this as well. So we'll go to the end, had end on your keyboard or just move your time indicator to the end of your composition, and you want to copy these key frames if you have the plug in motion. Three. Feel free to use that. It's a very handy plug in where I can just clone all of my key frames over here. Actually, I'm gonna have to go a little bit out so they actually clone within the timeline. And now I copied all of the key phones at the same time. If you don't have this plug in, don't worry. You can just do this manually. You just can't copy all of them and then paste them. Otherwise, it just pastes new layers with those key friends on it. You have to do this one by one. Copy paste, and don't worry about the sequencing will at that later. But now everything starts from the first key friends, so we need to switch them around, highlight the key friends by clicking and dragging with your mouse, right click, go to keep from assistant and go to time Reverse key frames. You want to do that on all the key friends you have here? So now the animation goes in reverse and now we want to sequence them again. Onda, we want probably these two to go first and we also want the animation out to be slightly faster than the animation in. So I want to reduce my key frames to 10 frames. Probably. So I'm holding Ault and shift an arrow key. And now this is at 10 frames. So that just happens a little bit faster. You can also add a little bit of interest to your frame animation in that instead of the end animating back out, you can animate the start So our frame comes in from the top right and animates around clockwise to finish the frame. Onda the animation out it just goes backwards. You can do it in such a way that it animal it's away also clockwise to that same point Instead of the end animation, you can add key friends to the start, Then go 10 friends further and then this goes to 100%. So Onda also you probably want to add velocity I'm using my motion three plug in. But you can just right click on your key frames, select Kiefer in velocity and changed the influence to word of a speedy would like. But 75% is a very nice smooth curve, and then it looks like this. It animates in clockwise and then eventually it enemies out clockwise. So if you would like to do that, he can add this little detail to your out. Animation next will create some protected areas for our animation and add all the properties to the Central Graphics panel to make a motion graphics template out of them. 14. Creating Motion Graphics Template: first, let's have protected regions to our animation. When a motion graphics template is imported into a premiere pro project, it can be stretched to whatever the user likes. If we didn't add protected regions, our key frames for the in and out animations would also be stretched. We want our template to be stretchable during the static part off our animation, but stay unaffected during our in an out animation so the key friends should not get stretched, and we can achieve that with protected regions. So hit n on your timeline, and this will snap the work area from the beginning to the end of your key frames. You want your time indicator to be at the last key frame of your animation. Then you can right click on the work area and create a protected region from work area. No, you can do the same at the end. Just go with the time indicator to the first key frame off the out animation and hit n. This will stretch the work area to here, and actually you probably need to stretch it all the way to the end and then hit be So now the work area incorporates all of the out animation, then you want to right click and create protected region from work area again. Now you want to right click in any white space in your work area and select open in essential graphics panel. This panel will now open, and you want to give you a central graphics panel or this motion graphics template a title . So let's just call it title or it's better to use something descriptive like, Let's say we're using pastel colors in this. Let's call it passed a law frame title. Something like this, something descriptive by which this template can be found in Premiere Pro. Once you have opened Andi named your Template in the Central Graphics panel, you can add any property you would like to access in Premiere Pro or the after Effects Master properties. You can also use this template inside of after effects, and I'll show you how later both programs will let you use this animation as a template after setting up the essential graphics panel with all the properties. And it will not change the original animation even when you're using it inside of after effects, as long as you follow certain rules, which I'll get to later. Ron, I will be following the Adobe stock guidelines for naming and grouping of properties, but this is not necessary if you are creating this template for personal use. What you can also do is if you're not sure which kind of properties can be added to the Central Graphics panel, you can go over here to solo supported properties and you can see all of the properties that can be added. But we want to stick to some of the basics. Let's add a group and let's start with the global controls. Groups always need to be capitalized for Adobe stock templates. So I'm going to go ahead and do that. I'm going to hit, pee on my control and use this position. I'm going to just drag it into the essential graphics, and I'm going to call it the local position. Now, if I drag these numbers, I can reposition my entire template. I'm also going to add the scale. Same here. I'm just going to reposition it on for Adobe stock. It actually needs to be called global size instead of scale. And of course, we want the text to be in here. So without anything highlighted, any layer highlighted. I'm going to go to the such bar and I'm going to type in the source text, and it's going to show me all the source takes that is available in this composition. I'm going to drag this in here. I'm actually going to create a new group and call it text controls. I'm going to grab this takes and put it in here. I want to specify that this is the title. If you don't rename thes properties, they will just be called the same as they are here. So this is just so stakes for all takes properties, and you obviously want to distinguish your title from your subtitle on Dhere and Edit properties. You would like probably most likely to turn on the's fund properties that give you access to the fund, the style, the size and some faux styles like old caps, italic or bold. This is quite handy for use in Premiere Pro. These are properties that you will not be able to use inside of after effects once you start using the master properties. But I'll get into that once we arrive. At that point, I'll show you what the differences but these properties you will be able to use in Premiere Pro 15. Adding Font Colours & Frame Properties: what we probably also want is be able to change the color of the Texan. For this, we need to add with the front property open ghouta, animate, fill color, RGB and now you're adding a fill color to this that you can add to your central graphics panel. Otherwise, a text property doesn't have an obvious fill color that you can drag in there. You can change it over here, but it's not visible here. And this is why we need to add this font color separately. You can hit you twice to reveal the text. Well, you can toggle this down and go to the text. That's how you can access the animate, and then you can add a full color for this as well. And of course, we want to rename this and make it a little bit of a nicer color. But let's focus on the name first. This is our title color. Maybe with space. This is our subtitle color. I'll get back to the colors in a second because I also want to add the frame. Now I'm going to create a new group for this. I'll also add controls to this and for the frame. I want to be able to control the stroke color. I don't need to add stroke as it's already named as the frame. I also want the stroke with, and for this, let's say let's call this line thickness instead of stroke with. 16. Linking Properties to Controllers: what you can do for these types of properties that have a single value like this. Right now, I can make this as largest possible. But obviously that's not a workable size. And also the slider is huge for the amount of values we can actually use. A better method is to use a slider on your control. You can duplicate the slider. Name it. I like to name it. What? I'm going to name it in the e p g instead off, um, by its property name. Or if that confuses you, just use the property name. This would be stroke with Andi Theory. Jinnah was 50. And what you can do with a slider, we actually need to go in the the project window in the work area on your in your timeline . What you can do with a slider is you can right click. You'll need to right click on the slider, not just on the name of the slider. Then you can go to edit value, and you can add ranges. So let's say you don't want this line thickness to be any smaller than 10 pixels, and you don't want this to be any larger than, let's say, 150 because it's just too large. And now we need to actually connect these two. And this is very easily done with the Pickwick. You can all to click on the property, take the Pickwick hold Ault, adding it to the essential graphics panel. It's very important that these properties are universalized, which means it doesn't say saliva. So if I didn't hold old, you see it's a slider. It's very important, especially for Adobe stock motion graphics templates that it doesn't say that. So I'm holding all to make it a universalized expression. Now these two links and now I can add the slider to the E P G instead of this line thickness. I'm actually going to highlight control, see, to copy the names. I don't have to type this out again. I'm going to remove it by hitting delete, and then I'm going to go to my control layer and drag the slider in here. I can't do that from the effects controls. As you can see, nothing happens. I need to do it here, and because it's called Slider, I can now at the name and now this will get no bigger than 150. Maybe that's even too large. You can edit the range to, say a low value. Let's say 100 10 is the smallest. 100 is the biggest and 50 is regular. If you want this to always be in the center so that the default values in the center, then obviously you you need to make the values conform so that it goes the same amount to the right into the left. Then you're gonna have to start with zero. But I don't mind so much. So let's go to 10. This is the minimum value, and the default is at 50. This is how you can define ranges. You just link properties to a slider. You can do this for most properties. Some properties needs a different controller. Like the position property, it has two values. The stroke with only has one value, so it works with of one value controller like a slider, but a position property has to values. And there are also other ways that you can limit a range off a property 17. Adding Stylistic Options to EGP: something that's also quite useful for the frame control is adding some dashes that can be controlled by the user. Here in the dash is you need to toggle open your stroke all the way. You can add a dash and a gap. You want to change the gap, and maybe you want to change the dash to be 100 and then you can add the gap here, and you can change this property. Or you can changed the gap to 100 and change the amount of dashes. That way you can go from a stroke two full, because again, there is no limit to this range. You can connect these values to slider properties like we've just done to limit the values . Some things you probably want to add to the global size as well, or to the text controls. Depending on how you see these controls interacting with each other, I'm going to add them to the global controls, other padding and margin sliders so these can be changed individually, so padding and margin thes are probably controls. You want to add the X and Y size. You don't want to change them. They are just sliders to hold the expressions that controls the frames of these are not sliders what you want to add. But padding and margin are probably sliders you want to add. You probably want to limit the range here as well, and then you can adjust these to your liking or the user off. Your template can adjust these to the like to their liking, and you probably want this range to be something like this so that the slider is in the center for default and then you can adjust the margin as well. 18. Using Adobe Color Themes: Now, if you don't know what to do with the colors, there's a great handy tool that you can use in after effects. You can go to window extensions and open adobe color themes. So if you haven't changed the color before this point Onda color theory, that's not one of your strengths you can go to explore. You can go to the such bar and try and search for a color. These are all colors that other CC users have put together and saved to the cloud, and they are accessible to you. So let's say my design is more of a pastel color design, so I can go in here. I can choose the design that speaks to me. Maybe this lighter baby pastel and I can change the default colors here on. And maybe I want the subtitle to be a slightly different color. Andi, I want the frame to be a slightly different color, and this is how you can find a color scheme that works for you without the headache off putting colors together that don't work. This kind of looks a little strange, so maybe we'll go with the blue and the green. This looks quite nice, and you can also put together your own templates, which will be saved to the cloud. But you can also at this to your favorite. You can edit this theme. You can change some of these colors, and you can add them to your own theme so you can refer to these colors later on. And because we drag these colors from the control window, they will have now changed inside off our work area as well. And this is how you can add all kinds of properties to the essential graphics panel. Some properties, like size and position controls are necessary. Some ah, just what you prefer, like the dashed line. Those are old properties you can decide to add or not to add. One thing that we probably want to add is the subtitle Effects Control as well. So the check box control so that we can turn the subtitle on and off. But all the other controls and properties are fair game. Decide what you would like to add and what you would like to be accessible for this template. Next, I will show you how to export your Mo Gert for Premiere Pro and how to use it inside after effects 19. Exporting MOGRT for Premiere Pro: Once you have added all of your properties to the IGP, Andi renamed them and sort them in the appropriate folders. You can close your folders. You can go to a center position where your design is visible and you can set the poster time. This is what will show up when you import your motion graphics template in Premiere Pro. Then you want to click on export motion graphics template, and you want to make sure that you are saving your project. Then you want to find a place for your moga to be saved, too. I have it saved in my finals folder. You want to make sure that compatibility all markers or boxes are checked. And in key words, you want to add a cured, such as your name or the name off the motion graphics template, to be able to find the template in the premier pro browser. Easier also, make sure that the font you're using is either a standard operating fund or an adobe fund just like this, so that if you're using this template with a team member, they are going to be able to use this template with the fund on their system because you're not saving the fund within the motion graphics template. The fund will be searched within the system off where this template is being used. So make sure you're using a fund that everybody has access to. If it's part of the Adobe funds, then whoever is using this in an adobe software will be able to download the adobe font and use this template. So I'm going to add Sonia to the keywords I can find it and Premier Pro Easier. I have no saved it out. I'm getting over to Adobe Stock and you want to create a new project. Name it whatever you like, as we only using this to check our template. I'm using a capture format off Page Devi, but we're not actually capturing. It's just the Senate settings I'm using. Now I've created my project. Andi, I want to create a sequence I'm going to Ari or you can even go to Digital A's and SLR on. Did you want to go to 10. 80 p and the frame rate that you've been using? You can give you sequence a name, but this is just for the reason of testing our mogul so it's not super important. I want to create our sequence, and then we want to go to the essential graphics panel. You can go to window and then open the essential graphics over here. We need to install the motion graphics template first, so you want to click on Install, and this is my pastoral frame title. I want to open this and then, since I've already searched for the key word, it shows up immediately. If I hadn't. Adobe already has added some free motion graphics templates to for use in premier pros, and this is why we added the keyword so that I can easier search for my templates. You can click on it. You can drag it to your timeline. Now it needs to load the stock. And if we play it back, it's our template. Now, as I mentioned that in Premiere Pro, you can stretch of the templates and I'm just going to do that now and you'll see that the animation is unaffected. But now I can have a super long template of this being on screen, and then the animation out is also not affected by this stretch. So this is what I wanted. And also you can see these. Ah, the controls that I added. These are the folders and Aiken toggle them open, and I can use these controls over here. I can change the padding, and I can also use the slider. If there's a slight available and I can make changes over here, it's important that you test your template and premier pro as some functionalities might behave differently than you expected when you set them up in after effects. Or you may have forgotten to import on an important property like last minute I remember. Oh, yeah, I want the subtitle on off to be in here. Maybe I forgot it when I was setting up my motion graphics template in after effects. So it's very important before you start using it before you start uploading it or sharing it with other people that you tested in Premiere Pro to make sure that the functionality is what you expected. Here, you can also change the text. We can make it something super long, and you can see it's adapting to that. We can change the funt. The mass that we chose doesn't actually travel with the size of the fund, so it's still possible that it's being cut off. If you're worried about the fund being cut off when you choose a different fund than the one you had set this up with, you can move your mask a little bit lower in our for effects to avoid this issue. And this is exactly one of the reasons why you should definitely try and test your template before you give it away to someone to use. See here it's being cut off. So it's probably better to to move the mask of the title a little bit lower than we have it at the moment to allow for different fund types to fit inside of this mask. Okay, next, I will show you how you can use this template inside of after effects as well. 20. Using Template in Adobe After Effects: exporting a mo good and adding it to a premiere pro project is not the only way you can use it template. You can also use the composition you created as a sort of template within after effects. This is why I name my motion graphics templates or any type of template that I know should know be changed within but changed through the master properties with A T and an underscore . So it's not a scene I named my scenes 010 underscore name, off seen and so on. So this is a template. It's not a scene, and I can access the properties of ire. The master properties are few that I'll drag this over to create new template. It's going to create a new template. Let's call this the main and drag it out of the pre com's on, and you can already see. I need to make this a little bit larger to actually properly be able to use this. You can see the protected areas, the protected regions are still in here, and I can drag my composition just the same way as in Premiere Pro. It animates in without distorting the animation and This is also the reason why we made the composition exactly the size off our template, where the work area is exactly the size off our animation and our title. And that way we can stretch this and it works the same way as a premier pro mo good. On what we The difference between using this template inside of after effects versus using it inside off Premier Pro is if we have the Central graphics panel open, we can no longer touch the properties. Andi, the controls inside of the motion graphics panel because D these properties link directly to the properties inside off our composition. But actually we don't want to change these. We want to change the master properties. You can click these little arrows to get to the master properties. And in here you can change the properties without affecting the original composition inside . So if I move this over here and I jump inside of this composition, you can see nothing has changed, which is exactly what we want. This is how we can use this template multiple times, in multiple compositions and at multiple occasions change things to reflect. I need to move it somewhere else to see this change. You can change this to reflect other other properties. Differences. You can change colors, and this will not affect the original. However, if you change something inside off the Central Graphics panel inside of after effects, this will reflect across all compositions. If I change something inside of here and I make this green, this has now changed for all of our compositions. So you need to be careful not to use the essential graphics panel inside of after effects, but instead use the master properties. I'm going toe. Undo this, and now you have a motion graphics simply that you can use in Premiere Pro and in after effects. You can give this over to other team members. You can use it either as and after effects file that you can share an import into other projects. Or you can use the mo good inside Premier Pro. That's also it also creates a file that you can shared with team members or uploaded to Adobe stock, and this is how you can use that file as a template 21. Conclusion: That's the end of our class. Today you learned how to create responsive animation templates and after effects, how to set up the essential graphics panel and how to export more goods for use in Premiere Pro and after effects. Cong Gratz Well done on completing this class, there was loads more to learn about motion graphics templates that I didn't cover in this class. I wanted to keep it compact and give you a comprehensive overview. However, if you are interested in learning more about motion graphics, templates and how to refine them, join the next class off this series where I am covering how to create a lower third of the same style. How to add some creative detail on how to limit the range of properties such as the position and scale. I'm glad I could teach you something new. Getting the lack of expressions can be tricky. Feel free to leave questions and comments in the discussions forum, and I'll do my best to help. I'd also appreciate it if you could leave a review for this class. It helps me tweak my future content so you get the most out of it, and it also helps other students to see the class. I'm looking forward to seeing your projects in the Project Gallery using the techniques you've learned in this class. Follow me on Instagram Facebook, Twitter on tick talk To get tips and tricks on animation and motion graphics. Check my stories for upcoming classes. Thank you for taking this class and see you next time.