Incredible Motion Graphics: Create Engaging Motion Graphics in Adobe After Effects

1. 00 Welcome to the Class: Hi and welcome to the course on motion graphics in after effects. My name is and I will be your instructor. I've been a professional motion designer for more than six years, and I've worked on countless projects with lots of clients all around the globe. In this course, you'll be learning the intricacies of motion graphics. And if you finish this course, you'll be able to call yourself a professional motion designer. In fact, by the time you're done taking this course, you'll have a set of projects of your own which you can show to clients. And that even if you've never heard of motion graphics or after effects before now we'll be using the latest version of a DBfter effects as at the time of recording, which is version 2022. Even though most of the things you'll be learning can still be achieved in most older versions of after effects. We will start by learning the basics of B after effects and navigation. After which you will learn about the principles of animation. Then we'll look at key films and the graph to the naviativedpe into shape modifiers and layers. You learn character animation and text animation in after effects. After this, you learn about motion tracking and you will explore some very useful tactics. In after effects, you'll learn the factory effect morphine animation, long shadow style, wave wrap animation, electron animation, work cycle animation slide, how animations, advanced text animations, modern data visualizations, local an emissions, liquid gradient intro animations and lots more. By the end of the course, we'll work on more than six real world projects. And be sure you'll learn something new every single time you finish a video. This comprehensive class is made up of more than 40 well structured video lessons, jam packed with a lot of information. There are lots of class projects for you to complete and lots of download resources for you to follow along. Hope in class real soon. 2. 01 Interface and Functionality: Hello dear, and welcome to the course on Motion Graphics in After Effects. In this video, we're going to be looking at the interface of after effects. And we're going to be also looking at some functionality in after effects when you open after effects for the first time. This is the page you see. This page shows your most recent files for me. These are my most recent files. From here, we can see the sizes of the files and the kinds of files. This is an after effects project, and this is also an after effects project. We can search for files. Also, what you want to do here is start a new project. When we click on new project, it's going to bring us to this interface. Now this is the default interface of after effects. When you open it, in case yours is not like this, what you can do is just come to Windows and come to Oxpece, click on Default. When you click on Default, it's going to reset your interface to something like this here in after effects. What you would like to do first of all, is start a new composition or open an existing, A composition or a recent project you've worked on. To open a project, you're going to just come to file and come to Open Projects. When you click on Open Project, you're going to search on the project you've worked on or you would like to open for new composition. You just click on, here it brings, this panel. Now here you can put in the settings for the composition you'd like to open or choose from existing presets. We're going to go through this in more details later on. What you would just like to do is, okay, now you can see we have a new composition. What's a composition composition in after effects? It's more of a work space or the work space. This is where most of our work is being done while we work here. In after effects, we see everything we do here on this preview. This preview, yeah, this is the idea of a composition. You can also open a new composition by clicking on this button here, we can see that it does the same thing. Right now, we're going to be looking at the menus in after effects. This is the menu bar, and we can see these are the menu, we see File and so on and so forth. For the file menu, we can see that we can open a new project. We can create a new project Rad and then open an existing project. We can open recent files and then browsing a bridge. We can the program, we can also close the project. We can save, you can save so on and so forth. We can import, we can export, The options here are similar to what you get in most software. Rather, we see that we can start a new composition from a selection. We can see dependencies and so on and so forth. We can see scripts, we can see project settings and exits for dependencies. What this option does is it collects the files you've used in this project and then interposit them in a new folder. Has to make it easy for you to move your project from one computer to another. That's basically what dependencies allow you to do. We're going to look at these options in our lectures. Now on the Edit menu, we can see different options, options to undo, to redo, to check our history, and cut to paste, to copy. To do a whole lot of things, we can see duplicate split layer and so on and so forth. We're going to use these options in our liter videos, we can see preferences. Preferences are basically setting preferences. We have a lot of preferences. It basically settings you do to enable you to work better. We're going to look at this in details more. If you come to porch, how porch works is P enables you to clear up memory space when after effects starts consuming too much memory space and starts slowing down as a result of that, that's what porch enables you to do. You can all memory and this cache you can. For example, when we click on porch, you can see that I show you want to delete all files 604 MB from dis cache. When I click on Okay, it then cleans up the files. And that's it for the edit menu for composition. This composition menu enables us to open a new composition, to edit the composition settings to do a lot of things. We're going to look at this more in our Fdlescens for the layer. We don't have any layers here, but when we start having layers, layers such as solid layers, adjustment layers, we're going to see these options come to life and we can actually create more layers and do settings for a particular layer and open layer, and so on and so forth. We're going to use these options again in for the lesson. This is just an introduction for you to get familiarized with the basic basic options after effect, for settings, or for effects. Rather, we can see that we have this option here, Effects Control. The Effects Control. It's a panel where you are able to actually edit or control every effect you apply the layer in after effects, we can see different options to add the last effect, to remove all effects, this is tread channel effect, audio effect, blow and sharpen, and so on and so forth. We're going to look at these options again in fodlscence modities for animisions. Also you can see options to see admission preset to apply animission presets. Check the recent admission presets to browse presets to set key frame to Tooholkeyframe on and so forth. To add an expression to track, camera to track in Boris effects much which is a plug in, a third party plug in that comes with after effects or comes with most recent versions of after effects. We can see that we have a lot of options here which we're going to go through Teran. The view takes care of everything you see on the view pot. On the view we can on zoom out, you can increase the resolution. You can stimulate output. Show the rulers. When we show the rulers, the rulers are going to show on the view pot. We can show grids. We can snap to grid. We can do a lot of things. We're going to this more again, in fodolcensindows, the windows takes care of everything you see on the interface of after effects. We can actually on and off particular panels from the windows. For example, when we click on the effects and preceed, we would then see that the effects and preset option here just disappears. You can activate it, you can deactivate it. You can also deactivate the tools, activate the tools. You can basically do this for everything you see on your viewport. For these panels, you can actually move them when you click on this panel, for example, when you click on here. You can actually move it to a different place. You see we've pinned it to this place. We can move it around the fiscally take it back the way it has been. Yeah, Looking at help. This is just where you can get help about after effects. About after effects and so on and so forth. So that's it for the menu, and we're just going to look at some of these panels. So we have the project panel. These panels where all the files that you use in your project, which include images, solids, shape, layers, adjustment layers, compositions. All of them will be arranged here, so you'll receive there, so you can actually see them from here and select them and delete them. And you can see that we click here to create a new composition. Like I said before, we can click here to create a new folder. This folder can hold your project files, can hold items. You could have separate folders for separate items, maybe for images, for compositions, and so on and so forth. This option brings you to the Project Settings. Here you'll be able to do settings for your project. You don't really need to mess with any option here. But just for you to know, you can see this delete option. It enables you to delete anything you select here. When we select this new folder or this empty folder and we click on delete, you can see that it gets deleted. Let me just do that. We control, you can also delete by clicking on the delete button. That's, these are ways you can delete your file when you also click on Clay. Should delete the file. You see these are just ways you can delete an item for your project. The composition panel, like I said, where the work we do is being displayed this way. All the magic happens as we work on our project. We see the preview here. We can see that we have some options here to zoom in, let's say to zoom out, to do a whole lot of things. We can also zoom in with the mouse wheel. We have many other options here which we're going to look at more. In our further lessons, I would like to open the effects control panel. Let's come to Windows and come to Effects Control. This is the effect control panel. Like I said before, this panel is where you control all the effects you apply to your layers. You can control them here, You can edit them, you can adjust them here. This panel here, our timeline, So basically shows us the layers we have on our project and gives us a variety of options. That's it with this panel here. I also want us to look at the text panel. Now this is the text panel, or the character panel. This panel enables us to edit our texts, to choose funds, to choose font sizes, to edit our stroke, and so on and so forth. So that's it for this lecture on the interface in functionalities and some functionalities of after effects, looking to look at more advanced topics in our further lessons. 3. 02 Composition, Tools, Timeline & Viewport: Hello and welcome back. In this video, we're going to be looking at the composition, We're going to be looking at tools, we're going to be looking at the timeline, and we're going to be looking at also the viewport. So like I said before, if you want to open a new composition or start a new composition, all you need to do is to click on this option here or this option here. So I'm not going to click here. And this window comes up. Now you can see that this is called Composition Settings, right? And then first of all, we have the name of the composition. So we can type in the name of the composition less sivituss test. And we see now we have the name of the composition set. Now when we come to basics, we can see that we have this option for presets. And when we click here, we can see a variety of options, different options. We can choose different options. These options have different settings for our composition. We can see that this is a HD 720. We can see it has a frame rate of 25 frames per second. We can also look at this. It has a frame rate of 24 Fmes per second. It's 1920 P. This is the width of the video, and this is the height. All in. We can increase them. We can reduce them. Let's just choose this HD TV, that's ten TP, we have 1920 by ten ETP. We can unlock the expert ratio actually, and then increase the sizes individually. But when we lock the expert ratio by checking this box, when we increase the height, the we also will increase. We have this option again for the pixel apt ratio. Let's just leave it a square pixels. And the frames here, we can type in the frames. Let's type 60 frames per second. It means for each second there will be 60 animation. 50 frames per second is actually a high frame rate, and our admission will play very smoothly on 50 files per second. But we can also use 30 files per second, or 29.7 frames per second. Could use 24 frames per second. 60 frames per second is just okay. Now the resolution, we can set it as full, we can set it as half or third. And this is purely for preview purposes, not necessarily for rendering. When you come to render, you will be able to choose the resolution you want to render that also. Now here we can see that we are given the opportunity to type in the duration of mission. For here we have 30 seconds. We can make it 1 minute by writing one. Here we have 1 minute. 30 seconds, we could make it an hour here by writing one. Here we have 30 seconds, but let us keep it at 30 seconds. Okay, here we have the background color, which doesn't matter most of times. But here we can choose the background color. We can make it red. We can make it whatever color you would like it to. Let us keep it at white. That is it for the composition settings, We can just click okay. And we have our new composition. Now we can see that the composition is active here. When we select the composition, we'll just see a preview of what we have on our view ports for tools. Here we have the select two. Here we have the home tool which takes us to the first page of after effects when you open it. This is the select two which works like every select two, similar to the select line photo shop. Similar to the select line, Be Street. We select to select layers or objects on your viewport and on your timeline. We have this Pan tool now. This tool is used to pan your view pot. You can actually pan the zoom in and pan pan with this two. We have this two which is the zoom two. With the zoom two you can zoom in and then also zoom out. I'm holding down the hall sky, you can zoom out and then you zoom in. Now these three tools only work with three delayers and we're going to come to that in for the lessons or lateral in this lesson. Here we have the rotation tool, which is used for rotation. Here we have the anchor 0.2 which is used to change the anchor point of an object. Now the anchor point is the point at which every other transformation happens. When you have the anchor point here and you rotate it, the rotation will happen here. When you scale it up, it's going to scale from the anchor point. That's it for the anchor 0.2 Now these are the shape tools. We have the rectangle two, we have the rounded rectangle two, we have the lyp two, we have the polygon two, we have the start. These are the ship. Now without a ship layer, these tools can be used as mask tools. Also, we can only create ships when we have a ship layer. But without a ship layer, it can be used as mask layers. Then we have the pencil. Now the pencil can be used just like the pencil in Photoshop. Alus Strato is very similar to those. Then this pinto can be used to draw parts, to draw ships, to draw masks, and so on and so forth. When we pull down the left mouse button, we can see that we have the actual pinto. We can add vertex points and do a whole other things. We have the type two, this is used to write horizontal and vertical types or words on our video. With these two, we can have texts on our project. Then we have the brush tool. This two is used to paint, it's similar to the brush tool in Photoshop. Then we have also the clamp stump two, which is also similar to that in Photoshop. We have the Erisa two, this is also similar to the era tool in Photoshop. Now this tool is used to erase parts of, of our video of Ali, it's basically an eraser two and it's used to erase. Then we have the route to brush two, which is used to cut out areas on our videos where we want to see or don't want to see. Then we have the proper too. Now this tool is used in character animation. It's basically used to put points on characters and then we then key frame the points or we then move the points in order to create an animation. That's basically it for this too, of course. We're going to look at them as we go through the course. Now we're going to look at the viewport. And this is the viewport. We can see that by simply using our mouse wheel, we can zoom in and also zoom out of the viewport. We can also use this option to zoom in and zoom out. Let's assume we lose the viewport. We can just use the feet, the feet option and it's going to bring it back to us. Now here we have this option which allows us to choose a resolution. This resolution is strictly for preview purposes. The higher the resolution, the more load is going to put on your computer. And the lower the resolution, of course, the easier it will be to work. You know that for projects that are large for large projects, we might need to use probably half the resolution. Yeah, probably half the resolution, so as to enable us to work first. Here you can see we can half the resolution. We can make it the full resolution. We can also type in a custom resolution. So that's it for the resolution. Now on, this option enables us to review our work in different resolutions K. We can see that presently it's on the adaptive resolution. We can choose to wire frame mode. We can choose to final quality, which is the highest quality we can preview our work on. This option enables us to have a transparent background or a transparent composition. Yeah, we cagle transparency and then we can turn it on. Or when we turn it on, we're going to see the initial color of our composition. When we turn it off, we're going to see the transparent background. Now this option enables us to togle marks and ship path visibility. With this option, we can actually see the parts of our ships and our masks when turned on and when turned off, we tend to not see the paths of our shapes and masks. This option enables us to choose a region of interest. When we roll out a region of interest, it then crops our composition to region and then go to composition, and then crop composition to region of interest. We see that it then crops down our composition to this region. I'm just going to o, then come to this option. Now this option enables us to add grids, Rulers and Guides to the viewport. When we click on grids, we see that these are grids that have been added to our viewport. Now these will enable us to design more effectively, more precisely, that's been too often for now. We also see that we have this option which puts up a guide on the viewport. This enables us to see a sea region where our active elements, like titles, should not go out in order not to be cut out when previewing. Okay, now that's it for this. And we can see this option where we are allowed to see the different channels of our work. We can see the RGB channel, the red, the green, the alpha, the blue, and so on and so forth. With this option, we can actually reduce or increase the exposure of our work. That's the brightness here. We can take a snapshot of our composition. Let's just create a new solid, for example, let's create a new solid. With this option, we can actually take the snapshot. Now we look at our snapshot holding down the option. So we've been able to take a snapshot and now we can preview our snapshot. That's basically, we're going to delete this layer. That's basically it for the viewport right now. We're going to add some files to the project and then bring them to the timeline so as to learn more about the timeline. I'm just going to do click Click here. I'm going to bring this logo file. This is a logo file. Now, After Effects can actually handle a variety of file types. After Effects can handle PNG files, GP files, photo chop files, video files, after effect files, of course. And Illustrator files, Premier profiles, Cinema 40 files, and a lot of things. I've just imported peg PNG image just for demonstration purposes right now I'm going to hit for skill and scale down our composition skin, our logo. We can see that we've been able to file to our timeline right now. We're going to just create a new solid like we did before. Let's create a new solid. But then for color, let's make this yellow. Let's make this yellow, pale yellow. Now we have the solid on our time line. Now from our viewpoint, we can see that the solid has covered the logo image we just brought in. Why did that happen? That happened because the solid layer is now above the Luculayer. We can bring the solid layer below the Luculayer by simply selecting the solid. Rather double clicking, we can just select it and drag it down like this. Now we can see that now the solid is behind our logo layer. Let's just start with the options here. Here we can see that this is an icon. With this icon, we actually off our layer on our layer, disable it. When working with multiple files or multiple layers, we might need to our layers. Sometimes we can see that this option enables us to isolate layer. You can see when we click on Isolates the layer, this other option, this option enables us to lock a layer. We might need to lock a particular layer so as not to select it when working. This is the shy option. This shy option can be very handy when we have a lot of layers. This option just enables us to hide the layers we're not actively working on. When I click on the shy option here and then activated activated here, we can see that the layer has been heated. So you can see that nothing has happened to. But as we click on the shy option, you can see that the layers have been heated. When I just of the shy option here, everything comes back. Okay, That's it for the shy. We have the motion blow option here which activates motion blow for the layer. Motion blow is an option which adds blow to our animations. And this is actually good because it, it adds realism to our animations. We have the three D option here. Now, this three D option, when enabled, turns a layer into a three D object. Layer is being treated like a three D object. And you can see that when I click on the three D option, Other new options appear here, like the classic three D option here, then the active camera option here, then the viewports option here. These options are tied to the three D option. These options can only work with a three D layer. Like for example, the active camera tells you whether to check the front camera or. Or the left camera at the top of the back, the right, and so on and so forth. Or to go back to the active camera, which is the default. Okay, with this three D option, we see that the bit two gets activated. Now with this two, we can actually bit around our three D objects do. Then apart from it, you see that we have the bit around scene two, we have the bit around camera two, these are pretty much self explanatory. Then we have the P two, which is also the three D pound two we can panning into and out of, we are panning our scene or our object in the three D work space. Then we have also the camera two. We have this other two which is the two we can do toward the cuso, the cusson to the camera. See they all give similar effects. You can just try them out for yourself. Basically, that's for the options that three D feature provides. Now we have the parent option here. Now this two enables us to parent a layer to a particular layer. Now if I parent this layer to this layer, it means whatever I do to this layer, this layer will also follow. I can also parent the particular attributes of these layers together. It mustn't be the whole layer. I could just parent the transformation, or let's say the position of this layer to this layer. It means only the positions are connected, not everything. So we have this option here which is called the toggle switch. With this too switch, we're able to get more options like the blend modes, we can see inside the blend modes. And then more options like the track mats option and so on and so forth. So that's for the toggle switch, so we can toggle switch back. And then we have the previous options right now. Click here, It means when we expand on our layer, we then see a variety of options. We see a variety of options. We see the transform options. We see the geometric options, we see material options and so on and so forth. Different layers usually have different set of options. Most of them have similar sets of options. Then as you work on the layers here, let's say you add effects to the layers and then do more work on the project. We will then see the options gather on here when you add an effect, for example, let me add an effect, we'll just add a random effect. Let's spectrum. You can see that it has appeared on the drop domain here, we can see. And then radio spectrum also from here we can actually control and edit our effects to. Let's delete, let's delete the effects and then look at some transformation options. When we open up the transformation option, we see that let's disable the treaty option. When we open the transformation option, we see that we have the anchor point. We can shift where our anchor point is located. Then we have the position, we have the scale, we have the route, we have the obesity add the treat feature here actually gives us more options. It gives us more options to play it, that's for this. In our subsequent lectures, we'll be looking at these details, then we'll be experimenting. What we've just learned and what we will learn in the future on practical projects, real life projects. That's it for this lecture. 4. 03 Layer Properties & Animation: Hello and welcome back. In this video, we're going to be looking at layer types and animation in after effects. We're looking at the different types of layers in after effects which we have to work with. Also, we're going to be exploring how the whole idea of animation works for layer types. Coming to the layer menu, we see new layer on a new layer, we are able to see the different types of layers we have to work with after effects. First of all, we can see the text layer, we can see a solid layer, we can see the light, the camera layer also then the null object, the shape layer, the adjustment layer, the content aware fill layer, the photo shop file layer, and the cinema. For the layer, we're going to be using most of them, but there are a few which we're not going to cover in this course to access these layers. Also, we can also come to our timeline and then write Click. When we write click, we see discussions, see the new layer. Let's just create a text layer. For example, we can see that this is our text layer. Now we can type, let me see, Hi guys, just created a new text. Let me see little bit and change the color. Now I changed the color by clicking on the color on our character panel. We can see that we have a text layer here. You can see that we have a text layer. And this is a basic example of how a text layer should look like. Coming here again, when we write Click, we can also create a solid layer. Let's this color. Let's choose this color. We consider the solid, it automatically the size of our composition, that one line, 20 by ten TP. And you can see a few, a few options here. For the solid then. Okay, you can see that now we have a solid layer. Let's bring it below our text layer and go back to the composition. Let's just change this text layer to right. Let's change the font. Let's change the Pontuallylet's Any fund. Let's use this one. Like it, let's use this font. Use the see. We have a text layer now and we have a solid layer Also we have a ship layer. After you create a ship layer, you're not going to see anything on the view ports. All you then need to do is take a ship and then draw out the layer you like ships. The ship you'd like to have as the ship or rather the ship you would like to have on the ship layer. This is an example of a ship layer. Then when you come to new a null object. Now, a null object is a null object just as the name implies. A null object is usually used to control stuff. We can, we can parent other layers to the null object to give them a similar transformation. After we parent them to the null object, all we need to do is just do our transformation on the null object. It's going to affect all the other layers. That's basically it for the object. We have the adjustment layer. Now the adjustment layer, an empty layer, as you can see, it's also an empty layer. On this layer, we can actually add effects. We can add effects on our adjustment layer. Let's assume we want to add this effect. Let's assume we add this effect which is hue saturation adjustment layer. When we tweak our effects, it's going to. Everything under the adjustment layer. That's basically it for the adjustment layer. It's basically used to add effects. You might don't want to add the effect directly on that layer, so you just create an adjustment layer and deposit the effect on the adjustment layer. Basically, that's it for the adjustment layer. We have the camera. The camera works with tread. Okay. When you have the camera and you want to see it at work, you have to enable treat for the objects beneath it. Now, you can see that when we play around with the camera. You can see that? Yeah, you can see that all the other layers which are treat, are being manipulated in tread space. That's basically it for the camera. When you come to the light is a light just as it implies. But again, it works only with treat layers. You have to enable the layers. Now as you can see, the light has been applied to the layers that are treated. We can see that we have the transformation here for the light layer, just as we have for all of the layers. We also have light options. Now here we can choose the type of light. As you can see, the changes have been made. As I choose the type of light, we can also edit the intensity of light apart from the intensity, the color, the color of the light, color of the lights apart from color. We have the clone angle, the clone feather, and so on and so forth. These are just the options for the light layer basically. I think that's it for the layers so far. In our further lessons, we're going to actually look into these layers in details and then learn how to use them in real life projects. I'm just going to delete these layers here. Going to delete them as to create a simple animation. As to create a simple animation, the animation we're going to create, first of all, let's have a solid. Let's have a solid with the initial color. Okay, let's lock it, because we want it to be our background. Then all we would do now is just create a shape layer, the ship layer. Let's create a circular ship. I'm holding down shift to have this even sizing. Okay, yeah, can see we have our sheep layer right now. I don't like this color. I'm just going to get a better color. Yeah, let's see, White. White would do. Should I change the stroke? Let me just change the stroke. Let's see, This color as a stroke. Yeah, this is a ship layer and we have a field color of white. We have a stroke of this color of the stroke width is 40 pixels. What we want to do is we want to create a simple, very simple animation. Just for you to have an idea of how animation works. Okay, right now. All I'll do now is to bring up my transformation options. And as you can see, besides each of these options, we have this stopwatch icon. Now this stopwatch icon is what enables us to Mit. Whenever we want to admit we have to enable this stopwatch. This stopwatch, for example, I want, I want to create a simple animation now, and I want the object to come from the side, from the left side. Okay? All I need to do now is to take it to the initial position where I want it to start to start coming from. Now you can see what I'm doing, all I need to do is to click on this stopwatch icon, besides the position. Click on this icon, we can see that a keyframe appears here, a keyframe appears here. And I move my time to where I want the admission to stop. And then move my object to where I want it to stop. Okay, when we play our animation, we can see that our object is moving from the start point to the endpoint. That's basically the idea of animation in after effects. Okay, let's reduce the size of our movement, 1.5 roughly 1.5 seconds. I think that's still, Let me just make it a second. All right? You will make it less. We can see, you can see the admission in plea, right? So this is the admission. But of course, our admission looks boring. And there is one thing we can do to make our admission more interesting and more realistic. Actually, when we select our key films, let's right click on them and go to key film assistance, and then easy when. What happens then is that our animation goes more naturally. Our animation goes naturally. As you can see, our anission goes more naturally. We can actually edit the key films by clicking on graph editor, so it is the graph editor. When you come to the graph editor, you might see it as it is on my screen. What you want to do is you want to write, click then just check this. Then a click on speed graph rather. When you click on speed graph, you then see the speed graph. You can select the key films. And let's assume we want it to start slow and then end fast. It's going to start slow and end fast. That's basically it. Animation. This gives you a rough or a basic understanding of how animation works, especially in after effects. Okay, with this, we've come to the end of our lecture on layer types and animation. In the next lecture, we're going to be talking about shape layers and masks and so on and so forth. Hope to see you by. 5. 04 Shape Layers & Masks: Hello guys, welcome back. In this video, we're going to be talking about ship layers and masks. Ship layers, layers on which we have our ships. We spoke about ship layers in one of our lectures. In this lecture, we're going to be looking at them indepthly. We're going to start with a new composition. So I'm going to make my composition 1920 by 1,080.30 frames per second. I'm going to open it. You have to know that these are the tools used in creating ship layers. We have the rectangle, two rounded rectangle, so we have the ellipse two to have the start to. We also have the pin. The pin is used to draw out ship layers in case you don't want to use these tools. Okay, then we use them for ship layers and also for masks. Okay, it's possible to have multiple ships in one ship layer that they have similar transform properties. It means you can use that layer and make transformation to put ships. Okay, let me give you an example. This is a ship layer. This is a ship. As you can see, the new ship layer has been created. Okay? This ship has a stroke of 40 and has a color of white. Let's just make it blue. Let's just see a stake of this color then color blue. If I still click on the layer and then draw out another ship, we can see that this ship is now inside the same layer the first ship was created in. There is no new layer for the ship. We can do this and create multiple ships. All these ships I'm creating now just keep being created inside the inside the ship layer. They're going to have the same stroke, are going to have the same field colors. Even though we're still going to be able to edit their individual properties, such as individuals, as you can see, as you can see, we're still going to be able to edit their individual properties. So this is for you to know, just for you to know, apart from having the ships in the same layer, we can also have them in different layer. When I unselect the ship layer, then come and throw out another layer, another ship rather, it's then drawn out on a different layer, on a separate layer. You can see that right now we then have two layers with two different ships. Okay, this feature gives us more flexibility when working with ship layers. Right now, I'm going to, I'm going to have different ships. I'm going to have different ships. I'm going to have the polygon, I'm going to have the rectangle ellipse and also the polygon in star. So that we see the different properties individually, let's just have them all in the same layer. This is rectangle ellipse. We then have the polygon to the polygon ship, then we have the star. For the last ship, I just want to draw a custom ship, that's a random ship. But I want, I want to have it on a separate layer. Another method of creating the ship layer, like I said in the previous lecture, is common layers. And then the shyer, when I create the ship layer, it creates an empty ship, Lia. Then I can come on early and then fill in the ship. I want to be here. Let's just draw this ship. We have the rectangle, the ellipse and polygon, and star tools, ships all in one layer. And then we have this custom drawn ship. Another layer. Let's start with these ones. When we open up the options for these ships, we can see that we have a similar transform property here. With this property, we can change the position for all the layers. We can change the anchor point for all the layers. We change the scale for both layers. We can do them universally. We uncheck this box and then the manually separately that's changing the height separately and the weight separately was going to undo link them back. We can rotate the ship layer and it affects the whole ships. Then we can also reduce or increase the obesity. Okay, that's it for the transform property which links the four ship layers, this transform property belongs to the four ship. Any transformation you do here is going to affect all, all the ship layers. When you open the individual ships, we can see that each of them has a transform property. Apart from transforming them using the ship that connects them all, you can also transform them on their own. This gives us a great deal of flexibility. Now, this is moving on its own. We have an option for the scales for skew. See the effect that comes up with the skew. We have skew axis, we have rotation, we have obesity and so on and so forth. We didn't have field, okay, This transform property is just similar with each and every one of these ships. Similar with each and every one of these ships. Okay, We can see that each of them has the transform property. Then right now for the star ship, we can open star path one. Then we see the properties that are available. Starship. You can see that right now there's a property for the points. We can increase the number of points, the reduce the number of points. A lot of things. You can create different different effects. Complex shapes, you can move the position, then inter rotation, then the inner circle. You can see the effect that this gives us. Apart from that, the reduce, the inner reduce rather inner circle, then the outer reduce. You can see the inner roundness. These are available with star, star ship. You can see that for each of these options. Here we have the stopwatch icon, which means all of them can be animated individually. And we also have the parent stood here, which means these properties can be parented to other ships or other layers or objects in the scene. Okay, we also see that for the star shape, we have the color change the stroke color, change the stroke color. Then we have the obesity. Then we have the stroke with and see how everything is changing right now. We have the dashes to create, to create dashes. And then we then can choose whether we want a round cap or a projecting. We have a whole lot of options here. We have the offset. All of these things are animitabpp, which makes one end slimer than the other end. Let's just remove this dashes so you can see the past. See the effect, it applies here. We also creates very nice effects with this. Just close this. Basically that's it for this. You see also the field color can be changed, the opacity for the field color. So that's it for the police or the star ship. We're going to go into the polygon ship. For the polygon ship, we see that it has the transform property too. It also has the points. You see that you can also edit the points. The rotation rather the position, the rotation, the inner circle, or the inner reduce. The outer reduce. Let's include the points. Basically, we also have options for the stroke and the field color, the stroke color, and the field color. It's basically almost the same as the ones we have in, as the options we have for the star, for the star ship. Right now, the rectangle, you can see that the options available for the rectangle are the size, okay? This icon links the width to the breadth, okay? When we check this, we can modify the sizes separately, position the roundiness, see that we can make rounded edges with this option. Then one thing I didn't mentioned in the other ships for the stroke, we also have the blend mood option. If you're familiar with Photoshop, you should know about blend moods. These blend moods give us very cool effects, very nice effects. You can see some of the effects. Let's we are getting the blend moods. That's it for the blend moods. Then we have the composites above or below the field color. We also have the color, okay? The opacity, the stroke width, and so on and so forth. We also have the, the dashes, okay? So you can create dashes. Likewise here to animate them. See, you also have the tipper. Have the wave, you see the effect that this wave option gives us. Here it has the wavelength, what's happening as a result of the wave option. All these options are very cool and can be used for our animation. You have the field and so on. Basically, that's it for these ships. For this other one, the custom shape with you, you can see that it has the transform properties. Also the transform properties does the anchor point, the position, the scale, the rotation, the obesity. Then it has the contents. Now this content has the path option with this shape. Animate the paths to see and contribute. When we clear our animation, you can see that, you can see that it's an emitting, let's just delete the key frames. Then we have the stroke, we have the field, color and transform properties. Okay, that's it for the ship layers. We've just explored the properties under the ship layers. In further lessons, we're going to work more with these ship layers. Okay, so right now we're just going to delete. The ship layers and then talk about masks. Let's go on and import an image. Let's import this image. All the project files will be made available for you so you can follow along. First of all, let's create a ship or let's create a solid. Let's create a solid. Let's create just solid With the symp tools, we can just draw on the solid and you can see that we've created a mask. Okay, we can create a mask on the solid by just drawing on it. This can work also for image. This is one of the ways we can create the mask. Okay, let's also just double click on this to create a ship layer, ship layer without a field. And still select the circular option. What I want to do now is I want to create a mask on this ship layer. You can see this option here, These two options. When this option is turned on, it means you can use this tool to create a ship. When other option is turned on, it means you can use it to create a mask. You can now use it, you see, to create a mask on the red rectangle ship we just created. You can see that we've made the mask on this ship. These are just ways through which we can create masks. Okay, let's also create a new composition from this image. Let's go to Composition Settings and make sure the composition is black. The composition color is black. What we can do right now, let's just click on the ellipse to you can see that a circular mask has been created around this image. What I want you to do right now is come on the mask and open the mask option. For the mask options right now we see that we have the mask ship. We can actually key frame it. And then it the ship. That's the path of the mask, the mask feather. This we can see that we've edited father with the mask, so we see that it becomes soft. Okay, then the mark obesity and then the expansion. These are some of the things we can do with the mask. We've created more of infinite effect on this image using the mask to. Likewise with the compositions, we can also work on the masks. Let's just press on the M button. It's a shortcut for mask. The mask options will then come out. You can see the Marks path, then faders. See that we add the father. Then the OpCT expansion. These are the options available for the mask. We can still do the same with this oneCT expansion then basically that's it for the masks for this ship. If you observe, you will see this option here is no. These are what we call ship modifiers. We are going to have a separate lecture for ship modifiers, Separate lectures. A series of lectures for ship modifiers because we add very cool effects also to our ships. And when you master how to use them, you're going to be a very good motion designer with after effects. That's it for ship layers and also masks. The next video, we're going to be looking at effects and layer styles. I hope to see you there. 6. 05 Effects and Layer Styles: Hello guys and welcome back. In this video, we're going to be looking at liars, styles, and effects. I want us to just come here and import some images. So like I said before, all the project files will be available to you so you can follow along. Okay, if you're familiar with Photoshop, you probably know what liars styles are. Liars styles are some effects you can apply to your ships in Photoshop and likewise, likewise in Orito. Let's change the color field color. Hellas this P right now I have this saying, hello. I'm going to apply some layer styles to it. So you can see how layer styles work. In order to apply layer styles, you come here and then you click when you left. Click to layer styles, we have drop shadow, we have inner shadow, we have outer glue, we have inner glue, we have imposed in Pv. We have satin, we have color overlay, we have grading overlay. We have the stroke. Let's start with the stroke. When we apply this layer style, we see that stroke is then added to our text. When you come under our text, you see that a new option here appears which says layer styles. We then see blending options. We see stroke on the stroke. We can change the stroke color. Change the stroke color. You can change the stroke size. You can change the stroke obesity. Then you can change the stroke position, whether outside or inside or in the center. That's for the stroke. When you right click and come again, you can add gradient over the gradient overlay option, then fills in text. You can choose a blending word. It's going to blend with the existing color. Okay. And then you can edit the gradient colors. Presently is black, where you can add your color and basically do a whole lot of things. Then the obesity you reduce, They then the gradient of smoothness, then the angle, the angle to the reverse. It reverse just by clicking, but in here and the gradient style, you can make it linear, Particular angle then reflected and then diamond. All of this give us very exquisite effects on our text. Then the scale, you can see what's happening here. Then the offset, that's options. Let's look at another option. The color overlay adds a color field color to our text. It also gives us an option to blend. Okay, we can try different blending modes. We have a lot of blending moods and you give us very cool effects. The color can change the color, Continue, obesity, and so on and so forth. That's it for the color over. We then have the Satine. This is the certain, gives us, as you can see, gives us a trey effect. You can change the angle. All these options are imitable because we have the key frame, the stopwatch icon beside them. Any option you see, the stopwatch icon beside is animitable, can also change the distance. And the size. You can invert it. I think I like this. What other effects? What other liars style can we add? You can add the pevlmbos. We see what the pevolboset effects are. Very cool guys. Very cool effects. I'll advise you to go ahead and play with these effects. Go ahead and play with these effects. You can achieve amazing things with these effects. There are a lot of options to choose from. Went have in glue. We see that it adds a glue to the inside of our text. Noise Like you can change the color of our glue, make it a little yellowish. You can increase the size, increase the range, the jitter, and so on and so forth. We also should add out, out Led, the out, out glue. It gives a glue to the outside for a text out, out. Of course, we don't need all these effects on a single text. I'm just doing this for demonstration purposes. We can now add the drop shadow. We see that the drop shadow option gives us a shadow. Or add a shadow to O. This is our shadow. So this is what we've been able to achieve with layer styles. Right now. What I want to do is do a little animation. Do a little animation. But first of all, I would like to delete some layer styles because, because I don't need all of them and we just make our work heavy. Let's delete, let's delete the color over. Can just press delete. Let's delete the St in the outer glow. Let's delete the drop shadow. All right, sorry. Okay, so we've deleted the drop shadow. Here's what we have. What I want to do is to create a little animation. Let's press on for position I just want the text to, I want the text to be in this position after 1 second. Then it's going to come from here. Let's select our key films and easy ease. Then go to our graph editor. I did the graph cove in a little bit. Let's start slow and then end F. All right. Let's just, I like this effect a lot. What I want you to do right now is come here and then let's create a rectangle. Let's create a ship. This is, this is our rectangle. Let's make it blue, then bring it down. In one of our previous video, I spoke to you about the tract option. What we want to do is we want the text. Come from here, that's where our rectangle ship starts. And then, yeah, we want our text to come from there. What we're going to do right now, we're going to come here and then click on this too. Switch mode. What we are then giving an option, we just come here and the cl, alpha inverted. With alpha inverted, we see that our test comes of from here, and then our ship layer is also hidden. So we can see this is a cool effect I want us to achieve. I feel like maybe making this elizibitsitinal key film elizibits editinomisther Liz bits, just that is it for Lea Styles and others to just creates a new composition so we can talk about some effects. Let's bring in this image. There are a lot of effects in B after effects. Of course, we are not going to look at each and every one of them, but we're going to look at some of them. First of all, I want us to come to generate. Then look at the Field option. You can see that this option feel our image just a color. You can apply this field to an image, to a text, to a shape, to whatever layer you want to apply it to. It's just going to work for this effect. Let's just delete it. We have our image back right now. Let's see what again we can add from here. Of course, we're going to look at a lot of effects during the course of this course, but for now, I just want to introduce you to a few of them. Okay, let's look at color correction. Let's look at color correction. Let's look at this one. See the effect it adds our whites brighter whites, and our blocks blacker. Then you can also blend with the original. You can also the levels, can see the effects that we get our levels. There are countless of things we can do with effects. Let's come to color correction. Look at the ten. Okay, this image is almost black, so you're not going to see any change. But we're going to look at the tins with the other image. Let's look at an saturation. We can find situation this is human saturation. Can incre saturation too much. You see the effect, create the lightness. I like this. Let's go to effects again, in color correction. And check the metric color. The lumetri color gives us a lot of options. If you're familiar with a premier, you know about. The lumetric color correction, the lumetric color ployging, we can do a changes, add a whole lot of effects with this amazing ployings. Mostly important for people who are very interested in color grading. I'm just doing this to, so to give you an example to show you how effects are added. If you don't want to add these effects directly to the image, you can come here and then create a new adjustment layer. And instead add the effects on the adjustment layers. These are some of the effects. Deletes ajustmentIink. Let's just delete most of these effects. You can disable the effect by just clicking on the icon. Here we can see that this is our original image. After adding human situation, we get this after adding levels, we get this after adding color, we get this. I tend to like the outcome of this. Let's just open a new composition. Let's open a new composition rather, And then import our final image. This is our final image. Let's make it 108 Ts ten. Let's uncheck this. It's just like this. And then let's click on Skill Skill. So let's add the tent effects correction. Why don't I? Okay, as you can see, the tint effect removes all the color from the image and then mix it, the black and white image. You can actually change the colors by just clicking on this icon here, change the colors. You can see the effect this gives us O. You can reduce the amount or increase the amount just how we want it. Let's just. And you can also swap colors. That's it. About what are the effects you will look at. Let's look at transitions. Let's, there are a lot of transitions, so I'm just going to look at the transitions are basically transitions to transit from one composition to another, from one image to another, from one scene to another. You can also reduce the change the angle, change the angle, change the width of the blinds, change the feather. Right now what we're going to do is we're going to create a master composition where all these other compositions will be added to. Then we're just going to make a little animation with them. Let's bring in this composition by dragging it here and then just increase the size a bit. Bring in this other composition. What we want to do, we want to create a transition between decomposition and decomposition. First of all, I want you to just come to your scale and make a key frame, then go to 2 seconds and make it like this. It's going to scale gradually and we can easy ease our key frames. I want you to do the same second composition. What we're going to do, we select key frames and then control C to copy. We come to our second composition and open K, then control V, it's going to piece the same animation we have here. We're going to pre, we're just going to drag it like this, then come here, go to it and then split layer. We split, we then cut this long composition. We can delete the first composition. We can see that the first composition translates into the next composition. What I want to do is I just want to increase the size. I just want to modify the size, the skill. What we want to do right now is we want to use one of the transitions in after effects, probably the twister to transit from, from this scene into this scene. At this point we just want to create a K film here and then then make it 100 K. Just open our effects action here and then create this, you know what, I don't like this effect, I don't like the twista. I'm just going to delete these effects. And then add another effect, another transition. Let's add the blind. The blinds transitions. Ni blinds. Let's here, then 100. Actually, let's tilt the direction a bit. This will do. Let's easy ease our key frames. Here you can see that we've created this transition from our first image into our second image. The last thing I would like to do is bring in our text. So this is a text composition, I guess? Yeah, this is a text composition, so we're just going to drag it in here and drop it here. What I want to do is just change the colors our text bits because it doesn't blend with our image. Go to liars styles and then make the color a bit brighter. Maybe remove the gredyent yellow. Let's see. I think I might need to change the color brighter. We can see that this works better now. Okay, that's it. So this is just what we've been able to achieve with our layer styles and also our effects come here and do this. That's it for layer styles and effects. This project will be made available for you. All right then. See you in the next lecture, bye. 7. 06 Rendering: Hello guys and welcome to this new video. In this video, we're going to be talking about, or learning how to render our videos in after effects. Rendering is basically the process you undertake in order to export your work or your video or your animation from after effects, so as to be able to play on other devices such as your computer, your phone, on Youtube, online, and so on and so forth. To render after effects, all you need to do is to come to file and then export. And to render Q, when you click to render Q, it then adds the work to the render Q. Now you can just come here and then click Select where you'd like to see your work at. Here I'm going to just VT and then you can type in the name of the file, which here I'm going to write render test. Once you type in the name or once you write in the name of the file, you just click Come here to the Settings. Now we see that the name of the composition is composition four, and then the quality is the best quality. So you can choose the best quality. You can choose the draft quality and wire frame. You can choose the resolution as full, as half, as third, and so on and so forth. And you can see that the size is 1920 by 1080. Then that's basically it, We can just click okay. And then here the output module. It's another set of settings where you can choose the formats you would like to export in for now, it's quick time. Then we have the formats. We have the PNG sequence where it renders out PNG images. That's a sequence of images based on the frame rates. If we have 30 frames per second, it's going to render 30 images for 1 second of movement. So that's how the PNG sequence works and Photoshop sequence also. Let's just choose a quick time. We just choose K and then click on Render. When you click on Render, it starts to render your file. We see that the rendering is done now and we can now access our file. Now this is the file we've rendered and we can see that it's 71.6 MB of size. We can see that it's MV. That's quick time format. 71.6 MB is quite a large file size for the level of admission. We can see that the admission is just for some seconds, but the file size is large. What we have to do now is take it to a software like Premier app and render it out into a format which can be used on our phone or on our other devices. Here in Premier app I'm going to to fail and create a new project and then name it. Tests, Render. Okay. Now what we need to do is drag in our video. We drag in our video into after effects and allow you to import. Let's come on the video right click and new sequence from clip. It uses the settings. We've exported our video in Create this new sequence, you can see it in Premier Pro. All we need to do now is come to file and export the media or control M. You can choose format, this is empty four format and much source high bit rita. This will do and if you like you can render at maximum depth. Basically that's to you choose your output and see if then you export. Our video has just finished exporting. When we go back to, when we go back to our projects, we see that this is our test. Under we see it's just 5.87 MB. Now we can see that it plays very perfectly or very smoothly. Okay, That's it for this video. See you in the next by. 8. 07 Classwork 1 : Hello guys and welcome back. In this video, we're going to be creating this simple animation. So this is a class work for you. I would like to see how you go about it after I put you through or guide you through how we created. Okay. You can just share me your projects and that'll be cool. To start off, we're going to start with a new composition. So we're going to start with the new composition. We're going to call it comp one then 1920 by 10,829.97 fumes per second, okay? So right now I'm just going to create a new solid then choose this color. This should do, okay. I'm just going to see the project. I'm to see the projects, you can access this project file. I'll make it available for you so you can follow along. First of all, what we're going to do is probably local background and then create a new ship layer. Now on this ship layer, we're going to come and choose the rounded rectangle and create our first ship. This is our first ship, our first ship for the color. I think we should modify the color bits, make it something like this. This will do. Let's let's and see how close we are. Maybe I adjust the color quite a bit. Yeah, something like this would do then. Okay, let's try to centralize our anchor points with the anchor point tool. That's it for the first ship. For the next ship, I'll just use the pin to draw a custom ship. To draw a ship like this can complete it. This is our custom ship. For the round rectangle, I'll just maybe edit the roundness. Maybe make it a little bit round. Yeah, a little bit more round. And this should do. We have two ships. Okay, We have a two ships right now. We're just going to create the tires. We're going to create the tires. So we're going to create the tires on a new ship layer for the tires. I'm going to create something. We'll have to choose the ellipse tool and pulling down shifts create the tire something like this. Then for the color, maybe we make it blue, right? I think it's blue. It's blue. We're going to make it blue. Bring it to this point. I personally think we should probably increase the hold down shift again, going to increase the size, maybe not this much. That's it for the circle or for the first ellipse representing a tire. What I want to do is centralize the ankle point again for this layer, for this ship, bring the anch point here. We then come into the contents for the layer under the layer and select the circle from here. And control to duplicate it. The inner part of the circle holding down, we're actually going to duplicate this one. Control D, it's supposed to be not inside the ellipse one like this. Now we can reduce the size for the field color. We're going to make it without the field color stroke, we're going to make it something like this. Probably increase the stroke of bits. And then, and then create or create dashes. I think something like this should do. We have our first ships and we're going to duplicate these ships right now to create the second tire. We're going to control D to create the second tire and drag it out. To this point, these are our two tires right Now what I want us to create next is this rectangle here. This rectangular ship that serves as a shadow. It's going to be in the same ship layer as the tires come to our rectangle. Just create something simple for the, we don't need a stroke for this and for the feel color. Let's make it black. Then let's take it under our last ellipse. We can also reduce the size, the weight, the heights, also the transparency. It becomes a little bit more transparent like real shadow. Ok, I think this will do, this is what we have now. First of all, I think I would like to animate the shadow. I'd like to animate the shadow. So I'm just going to come to the rectangle transform here. I'm going to come to the first, second and create a key frame for scale first second, create a key frame for sale. And then go to the zero second, link the sites on, link the sides, and then this zero. This is what we have. I think the admission is a bit slow. Let's adjust the key frames. Select your key frames. And easy ease. Yeah, I think this is good. This our first anission here for the tires. Let's stick people. So the tires need to be rotating right from the beginning. Okay, I'm just going to come to the first, second two for the tires. I'm going to select them and create a key film for rotation to select them. And come to transform and rotation. Create a key film and then go to the initial time, or the zero second. And let's make this three. Let's see, this is what we have. Select all our key frames. Here with the ones we have here and here. Select all our key frames. And easy is then. Okay. I'm pulling down, shift to select multiple. So we want a rectangular ship to appear a bit litter. Yeah. Good. So I think what we have here is it's okay. So right now we're going to limit this to come from under e, it's going to come from under. And then the car, you're going to start moving. Let us come to our transform, okay, transform. Then go to the position we can hit for. That's this time and are the key film on our position. And then go to the initial time zero second, bring it here, this is what we have. Let's easy, that's good. Cyto graph editor to do a little adjustments to the speed curve is something like this Should do. From here on. We like our car to move out of the scene. To move out of the scene like this. That's what we're going to do, so that's what we have a bit too fast, something like this will do right now. All we need to do is come here and just tire ships to our main ship. When we p this, you'll see that our ship will follow our tire, ships will follow seed. Right now what's left is to just animate the rotation for the tires as the main ship moves out of the scene. Okay, right here, All we need to do right now is just come on to the tires. I do want to add a key film here. Here. Here, also in here. So let's just kind of select them. When you're working with too many layers like this, it can get quite confusing. I think we have to also do the same for this. We have the new key frames on all the layers. We don't need it here. Just delete this one. This is what we have. Okay. Then we're going to come here and increase our rotation to, let's see, five year, Let's make this five. Let's five here again, symptenre. Let's see how it. Yeah, so this works perfectly and I think we've made progress with this. We have our animation, our very simple car animation. I want you to go on and create something similar to what we've created here. I'll like to see what you come up with. Okay, that's it for this video. In the next video, we're going to be working on our next class work, seed. 9. 08 Classwork 2: Hello guys and welcome back to the course. In this video, we're going to be creating a logo animation, something like this. This is basically what we're going to be creating from a PNG logo. We can see that this logo animation has different parts of the logo animating separately, even though we're going to be using a PNG image, which obviously has no layers. I'm going to show you how possible it will be or how possible it is to make a logo animation like this with different parts of the logo being admitted. Okay, so right now we're going to create a new composition, then call come two with 1920 by tent square pixels, 29.97 frames per second. And then, okay, let's create a new solid for the background. What I needed to do right now is to come and get this automated effects logo file, PNG file, You're just going to come and import it. You're going to import the PNG file and have it here. We just bring it into the composition. Drag it into the composition. Let's reduce the size and bring it above our background, layer, background. Let's lock our background. And now we have our logo. Okay, we're going to duplicate this logo several times because we want to mark out each and every part of the logo. We can see that the logo has different letters and then different shapes. So we're going to mark out each and every part of this logo. First of all, I'm just going to duplicate it a couple of times. I'm going to just of the other layers. Let's start from the top. Okay, let's pick our, our rectangle for this one to mark the rectangle or the square we have here. After we mark it out, we need to then bring in the anchor point for this layer to the middle. Okay, So that all transformations should happen from the middle. We have it for this layer and we can just open the next layer and do the same. Yeah, and then for this next layer, you can do the same for this side of the logo. So let's just make this a bit similar to what we have on the other logo. Yeah, so now we're going to do the same thing for this ship. Don't forget to always bring the ankle points to the middle of the layers. Okay, For this year you need to bring the ankle points here. Let's bring it cheer, this other one to bring the cheer. We have this. Now we're going to duplicate more versions of the logo and continue from where we stopped. I'm going to just fast forward the video and mask each and every part of the logo and come back to the video after I'm done. Okay, we're done masking out all our ships right now we're going to go into the animation of our individual ships. Give us the logo animation we are trying to recreate. Okay, we're going to just select all our layers and hit to bring out the position. Let me go through the files to the layers and see if all our anchor points are in the right place. Okay, let's bring this one. Yeah, you should just try to make sure your anchor point is in the middle of your ship. This one is in the middle. We have all our anchor points intact. We select all our ships, and let's come to the first second and create a key frame. Then go to 0 seconds. All we need to do now is to change the positions of our different elements starting from holding shift and starting from this. We want it to come from the right side. We're going to take it to the right side. We want to also come from the right side. We're shift and take it to the right side. We want the D to come from the right side too. Okay? We're going to do the same thing for then do the same for them. For we do the same for the same, then do the same for, and the same for. Finally for A, we want it to come from the bottom. Take it this way, when we play our animation, we see that different layers come like this, K. Let's select all our frames for now, then let's ease them. We're just going to leave them like this for now. This is what we have. Let's just finish up the other elements or the other parts of the animation. Let's take a peep for these two parts. We want them to o for the position. We want this one to come from here. I want you to come from here also. We want this guy to come from here also. It's going to be something like this. Then what we're going to do for the two elements again, is that we're going to create a key frame for the scale. We come here and make them and make it zero. It's going to start very small and come to this again for the rotation. We want to have a little animation on the rotation here. We're going to 18 degrees, okay? So. One of them has to be minus itching degrees, That's this one has to be minus itching. Yeah. Ts to be -18 degrees, this is what we have. And then we're just going to select all the key films for these elements and easy edem. Right now we're just going to play with our graph edital bits to make the animations come to life in order to save time. We are not going to make sure we achieve something very similar to that. You can also tweak for yourself and try to achieve something very similar to that if you want, but for the sake of time, I'm going to go on do other things. Okay, that's it for this part. We're then going to the top part. Okay. For these parts we're going to it the position. First of all, just like every other part, we're going to put a key frame on. The position will have to come from here. This one on the needs from sides, from the left side physically, that's it. We're going to select our key frames right now, right click and easy. And this is what we have. We're also going to with the skill of value for the layers when we come here. Then we then create our key frame for skill. Then come to the zero second and make it zero. So this is what we have. Key frame assistant is. Let's play with the graph bits. Yeah, so this is what we have so far now. We need to create offsets. Didn't just appear at the same time. All appear at the same time we do presently. But before then, I want us to make more adjustments to our key frames. So let's select these key films and come again to the graph of it. Make. We're now going to create our offsets so as to achieve chance to achieve something similar to this. Okay, so for that reason our first layers will appear last from under and also from on top. So this is too, so too slow. What we want to do is bring these guys a. So I think I like what we have so far. Now we're just going to go on to do some more modifications on the other elements of the logo. For these other ones, I think I think we should the easy ease. Let's redo their easy. I perform those, these ones at the bottom. Let's just give you answers. An easy is again, then from here, something like this. Then let's go to the skills. Let's go and see if we can make the skills look something like this. Yeah, I think we are achieving progress. So something like this would do know for, for these elements. I want our letters to come first, then the elements will appear letter and I don't want this guy to come last. Yeah, so I think we'll go with this. So you can see that the process of local admission has a lot of twekins. Just to achieve what you want to achieve what you want, you have to do a lot of tweak ins. You have to check a lot of options. Then when you get the one you are okay with, you stick with it. We're just going to use this now. I'm using the U to all our opened layers to close the transformation properties, all the key frames of our open layers. You see when I select them all and then press, you see it opens all the key frames. When I press again, it then the layers. What next we need to create a null objects? We need the null objects to take care of some transformations. We then now select all our layers and parent them to our null objects, so that our other transformations will be done on our null object and it's going to affect all our layers at the same time. What we want to happen, we zoom effects, we are going to open scale, no no objects. Then let's, let's see, 2 seconds and create the key frame and then come to 0 seconds. And let's, let's make this 500 for now. You see that our mission out, I think of this 500 could be too much. Let's make it a 400 easy ease. And it's like this. Let's make it as long, see what happens. Let's meet 3 seconds. We come to 9 seconds kits, so we have this out effects. Finally, I want us to create a blow effect to come to layers and create an adjustment layer. And then come to effects and presets and type in glow. We're going to use the, the Gaussian blow see the Gaussian blow effect. So come to effects control. So this is what we have now. So we're going to come to effects control mice, our blurriness to make our blurriness, Let's see, 70. You're going to start here and then create a key frame for blurriness. When we come to the second, make our blurinesszo, see that it's blow out first. And then as the bluriness feeds out, let's click on Repeat Ages. Get rid of the, we can just hit you to view the key film, the key frames for the bluriness layer. Let's easy ease these key films. Basically, that'll be it for this video and for this logo mission. Basically is the process I followed to create this, the first logo admission. Now we can just trim our composition by coming here and dragging it down to the point where we want to end. Let's say 10 seconds. And then right click on it and trim comp to work area. We now have a 10 seconds worth of an emission. That's it for this lecture. In subsequent lectures we're going to be diving deeper into animation principles of animation. And so on and so forth in after effects. So stay tuned by. 10. 09 Principles of Animation: Hello guys and welcome back. In this video, we're going to be learning the principles of animation. There are tough principles of animation first introduced by two Disney animators in the year 1981. These are Johnston and Frank Thomas. They released the tough principles of animation in the year 1981 based on previous researches they did, and observations of animations that had existed right from 1930. They actually introduced about 12 principles of animation, but we're going to be looking at only six of them. These principles very important to guide us in achieving very realistic animation. The first principle we're going to be looking at is squash and stretch. Squash and stretch is arguably the most important principle of animation when applied in our admissions. It gives our objects the illusion of gravity and weight, and it gives us the imitation of gravity, weight, and flexibility. For example, here we have two balls bouncing, one has squash and stretch, and the other doesn't have squash and stretch. The first ball has squash and stretch. We can see that as it goes down, it stretches on its way going. And then as it bounces on the table, it then squashes. That's basically the idea of squash and stretch. This other ball has no squash and stretch applied, but this one has squash and stretch. One thing to consider is squat and stretch, is that you make sure the volume of your object remains the same during the squashing and stretching. So when we look at the scale values of our object here that has the squash and stretch, we see that it has 100 hundred, 200 in total. What you have to make sure is that during the process of squashing and stretching, your entire value here has to add up to 200. You must have 200 throughout your entire squashing and stretching. At whatever point we come. Well testify that when we add the first value to the second value, it still gives us 200. That's the idea of squash and stretch. The second principle of animation we're going to be looking at is the anticipation. Anticipation. What it does is it prepares the viewer's eyes for what's going to happen next. We can see that our first object here has no anticipation applied, but our second object here has anticipation applied, makes our movement more realistic. We can see that the second object before it moved forward, it moved back a little bit before moving forward. Move back a little bit, move back a little before moving forward. That's the typical example. We can see anticipation even in real life examples. For example, if you want to jump, if you want to jump, you have to bend your knees. Bending your knees is an example of anticipation for the action which is jumping. That's basically it for anticipation. The touch principle of admission is staging. I'm just going to bring it here. What's staging? Staging is more of composition in design, if you know graphic design, you will understand what I mean by composition. It means arranging your elements in such a way that the viewer gets to see the most important things and gets to receive the message you want to pass across very explicitly. Staging is very similar to that. In staging, we guide the viewer's eyes and draw their attention very important within the scene, towards important within the scene. For example, if we play it, we see that this is an example of good staging. We see that every element comes out at its appointed time. The objects do not appear randomly or they appear one after the other at the appointed time so as to guide the viewer's eyes to what's important. This is basically a good example of sting, of good staging. And then this is an example of bad staging. Now we see that everything is coming out disorganized. In a very disorganized manner, one after the other. Everything is Coming out at the same time. And the viewer's eyes will not be guided to, to what's important. That's basically it for staging. Then the next principle of animation is follow through. This is an example of follow through. We can see that when the object moves and comes to a standstill, the other part of the object come to a standstill two. But not at the same rate as the mean object. That's basically it for follow through. We see that this gives us more realism in our admission. It makes our admission very much more realistic. Then we have the ease in and ease out. This is an example of ease in and ease out, what is easy and ease out to understand is in and out. Let's use a car, for example. When the car starts to move, it starts very slowly and then liter accelerates to the speed which the driver wants to accelerate to. When the car is trying to slow down, it goes gradually from the high speed, it gradually slows down to zero and stops. That's basically it for easy ease and easy out. It's the same concept. Objects ease in and ease out by nature. Moving objects have ease in and ease out by nature. That also gives realism if we remove in and out. If we make the objects, for example, this object here doesn't have in and is out. So we can see how very unrealistic it looks very unrealistic just moving on in street line, just linear. It's not looking good at all. Is in and out gives us a lot of realism. Finally, we have the C. This is an example of the Arc. What is the Arc? As a principle of admission, when objects move in nature, they usually move in arcs. Take, for example, you tossing a ball into the air. When you toss the ball, it flies in the air. Before landing, it lands as a result of gravity acting upon it. You observe that when you throw the ball, it follows a neutral arc path as gravity works on it for objects without basically work this other way. We can see the yellow ball. That's how objects without work and you can see that that's very unrealistic. Objects with Arc are going to go like this. That's it for the principles of animation and hope to see you in the next. Bye. 11. 10 Keyframes: Hello guys, and welcome back. In this video, we're going to be looking at types of key frames in after effects. There are basically about seven types of key frames in after effects. And we're going to look at each and every one of them with examples. Now, the first type of key frame we are going to be looking at is the linear key frame. This is the most basic form of interpolation in after effects. The most basic key frame, whenever you create an admission or whenever you create key frames, this is the key frame you get. It's very mechanical and there is no, no realism in the linear key frame. This keyframe is indicated by this diamond icon. Here is indicated by this diamond icon. This is how the speed graph appears when you create this key frame. Right now, I'm just going to create something we need to create a simple animation to show you an example of the linear key frame. So let's bring the anchor points to the middle, right? Let's create a key frame on the position for the first key film. We're going to have the key frame here. Let's have some frames forward. We're going to have our first key frame here. And then we're going to move, we're going to move some frames forward and have our second key frame here. As you can see. We get them the diamond icon. When we play that, this is what we get. This is very mechanical movement. It's very unrealistic because in nature things do not move in this manner. This is the linear keyframe. Now, when we come to the graph editor, we see that this is the graph editor, just just like our drawing here. Just like our drawing here. You see that this is what we get. You see that this is what we get. This is basically what the linear keyframe looks like. Now, for the next type of keyframe, we have the key frame. This is the key frame, and this is the symbol for the key frame. This is the symbol and this is how the graph looks like. This type of keyframe is less mechanical than the linear key frame, and it gives us a morealistic view or a more realistic movement. Rather, the movement starts slow and then speeds up and ends slow. That's the whole idea behind the easy key frame. I'm going to show you an example right now. Let's bring the anchor points to the middle. Let's play with the position. Let's position rather, I'm going to create my first key frame. I'm coming here, I'm going to read my objects here. Let's just go to 1 second to create the EE key film, all you need to do is select the key frame. Right click keyframe assistant. Easy. Now we have the easy key frame. We see that it starts slow, then speeds up at the middle, towards the middle, and then ends slow. Coming to our graph editor, we see that this is what we get with the key frame. We see that we now have handles here which we can use to modify our speeds as we want it. Basically that's it for the key frame. Thirdly, we have the easy out, we have the key frame. Now this key frame has this symbol, it's seed graph. The way this key frame works is that the movement starts almost immediately and then ends. It starts first and then ends slow. That's basically how this key frame works. Let's create an example to illustrate our easy. Let's create our first key frame here, move 1 second in time. And now in order to achieve the key frame, you select your key frames and click keyframe assistant. And then in now this is what we get. As we can see, it starts very fast and then ends very slow. Coming to the graph editor, we didn't see that this is what we get, just as we had in our illustration. We also have handles here which we can plea to adjust the speed as we wanted. That's it for the easy in key frame. Now, the easy out keyframe is basically the opposite of the easy in key frame. The movement starts very slow and then ends abruptly. I'm going to show you an example rather. We haven't seen this, but this is how the symbol looks. It looks like the opposite of the easy is also the graph. It looks just like the opposite of the easy in. I'm going to create a shape here to illustrate. Come to 1 second and let's move our object in order to achieve the easy out key frame. After selecting our key frames, all we need to do is right click keyframe assistant, easy out. Now we see that it starts slow and stops immediately, starts slow and stops abruptly. Coming to our keyframe assistant, we see that this is what we get. It comes slow, starts slow, and stops immediately. Starts slow, go gradually, and then stops immediately. That's it for the easy ease out keyframes. In our further lessons, definitely we're going to use these keyframes and creates very cool stuff, even in life projects. For the next key frame, we have the Led key frame. Now the toguled key frame type is a very strange kind of keyframe and it's not used very regularly by most animeters. It practically does what the name implies. It holds a layer on a particular frame. The Togo Hook frame is indicated by a square, ship or icon. In order to create a Togo hole K frame, we're going to create our rectangle and then bring our anchor points to the middle. Yeah, right now in order to create Togo hook frame, create a key frame on the position. And we now hold down control. And when we hold down Control Alt and click on our existing key frame, then we take time to where we want it to be and then take our object to the point where we want it to be. Basically, that's it. Now we can see that the square icon has been created here, that's showing us that we've successfully created a Togo hold keyframe. Now we go back to the last keyframe. We don't see it going to this point. That's to the next point. We just see it A we can keep doing this. Over and over again. You can see that, yeah, we can see how we've successfully created the tooled key frame. That's it for the Togole key frame. Our next key frame is the linear continuous key frame. The linear continuous keyframe tends to act between two conflicting key frame controls. These two conflicting Kem controls are then merged together into single K film control. And that gives us an easy control right now. This is the symbol for the linear continuous key film. In order to understand more, I'm just going to share you an example. Let's create a rectangle here. Let's create a ship. Then bring the anchor point to the middle. Let's go for the position. Increase our first key frame here. Moving, move into ten frames. And bring our position here. Then move again, bring our position here again. Finally, bring our position here. We have this V movement in order to control the key frames or in order to edit the key frames. First of all, let's make it easy. Ease, we have them at easy ease. Coming to our graph editor, we see that the movement here is not slow, it's not smooth. When we try to edit our key frames, we see that we then have two control points here and also here. It makes it very difficult for us to work. In order to solve this issue, we use the linear continuous key frame. In order to achieve the linear continuous key frame, you just come and hold down control and click key frames, your selected key frames. You will see this circular symbol appear, showing you that you've successfully created the linear continuous key frames. Now when we select our Q frames and go back to our graph editor, we didn't see that the conflicting frames have been merged into one key frame right now. We can simply work on our frames and edit as we want. This makes it easier to work with this. Okay, let's just have something like this. Not so cool, but we see this is what we get using our linear continuous key frame. So that's it for the linear continuous firm. The next and final type of firm is the roof across time frame. The roof across time key frame is quite similar to the linear continuous key frame. It's also used when we encounter problems while trying to edit our complex animation movements. For example, let's have our shape once more and create a complex movement, right? Let's create a key frame on the position. And then bring our position here. Bring one here. Let's see, we have the final, just like the previous one we had. What rove across time does, it turns the selected key frames in between. Right now you see that we encounter the same problem we encountered previously. In order to solve this, we're just going to select all our key frames. Right click and click on Rove across time. We see that this is what we get when we select the rove across time key frame, we see that it turns these key frames in between. It actually makes it very easy for us to did our key frames. Basically that's it for the Ra cross time. You can play with the in betweens and create whatever type of admission you'd like to create thanks to the Ra cross time key frame. That's it for the types of key frames and hope to see you in the next by. 12. 11 The Graph Editor: Hello everyone and welcome back. In this video, we're going to be looking at the graph editor. We're going to be studying the graph editor. And the graph editor is one of the most important tools in after effects. We use the graph editor as animals very often because each and every key frame you create needs editing to look like what you want to look like, what you actually intended to look. And that brings us to the graph editor. Because we use the graph editor to practically edit our key frames, we use them to modify our speed to create very nice looking animations. And once you can master the graph editor, I'm telling you your admissions will look very sweet and very professional. There are basically two types of graph editors enough defects. We have the speed graph and we have the value graph. The speed graph gives us the ability to modify our speed, to edit, speed, admission speed. While the value graph gives us the ability to edit the position value and also the time. That's basically it for our graph editors. Now I want us to create a little animation here. Let's go to our position T and P. For that, let's create a key frame here. And after 1 second I want to move our objects to the right. This is the little animation we have. So we're just going to easy ease our key frames. In order to come to the graph editor, we just have to click on this icon here, which says graph. Now if you click on this icon, you're going to see something like this. Now this is the value graph. We're looking at the value graph. In order to go to the speed graph, all you need to do is right click and edit speed graph. Now you see this is the speed graph. It value graph, and this is the value graph. Now as you can see for the value graph, it gives us two values. We have the position and time. While the speed graph gives us the speed value, we have the ability to edit the speed value. Anything we do on the speed graph reflects on our composition. Okay? You can just select the busier handles here. Any modifications you do, it affects our speed. As you can see now, our admission starts very slow, gets very fast here, and then slows down at the end. There are some of the things we can do with our speed graph. Okay? I'm just going to create this other graph. You can see now our animation starts, starts very slow and then becomes very fast at this point. And then slows down towards the end. Now we can also have something like this animation very slow and then come to an immediate stop. These are some of what we can do, speed graph. We can have something like this where it starts very slow, we get very fast at the middle. And then, yeah, see that's some of the things we can do with our speed graph. Thank you. So you can see what we have now. Starts, it starts fast, slows down at the middle. Then when we come to our P to add key films, using our pen to so we can add key films. You see key frames, our pencil, you can see the effect it gives us. So you can see how flexible the speed graph is, gives us. A lot of controls, things we can play with. So you can see the things we're achieving with our speed graph. Okay? That's it for our speed graph right now, I'm just going to make our frames easy. Again, easy, okay? To select our k frames and go back to the graph editor instead of the speed graph. Now we are going to write Click and then go to Edit Value graph. Now we see that this is the value graph. We have our value graph. You can see that we have two values. Okay, Let me see that as we move our object on our composition, our value graph also moves because it's reads the value of our position. As we move the position on the composition, our value graph also moves. But when you come to speak graph and move your, your object, the graph does not move. Okay? That's one other thing you should notes. I'm going to come to the value graph now in order to edit our value graph, we can just come into the position and then hit separate dimensions. It gives us two different dimensions to work with. We have the x position separately and we have the y position separately. We can see that we can now do some modifications. You can see the value graph gives us more flexibility and it's a little cooler than the speed graph. This is one way we can achieve this with the value graph. Let's have an S. You can see that it starts, gets faster at the middle here and then slows down. These are some of the things we can achieve with our value graph. Yeah, you can see this. I like this. You can do a lot of cool things, cool animations, our speed and value graphs. You can see we have, we have four key films all in total. Two key, our exposition and two key frames on our value position. We also have this per two, which enables us to position our separate positions to whatever object we want to perent it to. Okay, see that we can also add key frames here. Also add key frames here to make things a little too cooler. These are some of the things we can achieve with our speed and value graphs. I'm going to, just now, I just created a new composition and we're going to create something a bit cooler with our value graph. We have our tube here. In the previous composition. And what I want to just do is I want to make our cube jump. So I'm going to create a key frame on the position. I'm going to create a key frame here. Then after this time, I want to bring our cube to this point. Okay, So our cube is going to move from point A to point B. We can see how boring the admission is looking right now. We're going to add our easy, this is what we have so far. I'm going to go to the graph editor. Of course on the value graph we need to write click and separate dimensions. Now we have our two dimensions. We have the Y A axis and the x axis, that's the y position, and the exposition. Let's go to the exposition. Let's just come and the pentel here, create something like this. Yeah, create something like this. And also create something like this. And create something like this. We've actually created the jump effect. We've created a jump effect by simply adding frames on our Y axis. I need to make our jump a little bit, a little bit more intense to make the first jump intense. Then the second one, then for the second one, will have a reduce in intensity. And also the third one, let's see how it's going to look like. You see, this is what we've got. I don't like the way it just ends. Suddenly I'm going to add another one. To add another one, I'm going to add another one. So this is all we have so far. I think we'll stop here. This is what we have with just editing valeo graph. The value graph is very handy when editing or when making jumps. Okay, on the next video, I'm going to take you through the steps I will use to the squash and stretch on the jump ball. That'll be our next hope to see you, bye. 13. 12 Class work 3: Hello everyone and welcome back. In this video, we're going to be creating this simple bounce animation you can see on the screen right now. This is a bounce animation as you can see. And I have applied some of the principles of animation we covered in our previous lectures. Now in our previous lecture, we learned about creating bounce effects with the graph editor. That's the value graph editor. In previous lectures we also learned about the principles of animation and so on and so forth. So we're just going to bring everything in action. In this particular video, we're going to create something like this. In order to start, we're going to create a new composition, 1920 by 1080 as usual, we will just leave it as composition two. And leave it like this. This is it. We have this composition of 4 seconds. The first thing we're going to do is create a shape layer. We're going to create, we're just going to take the paint and draw out our ship. We just want to create the ground where the ball will be bouncing off for field color, we're going to make it empty and then we're going to make the stroke this color and then reduce the size. Lots, Maybe you add a few dashes. I think something like this should do. This is our ground where the ball will be bouncing from. Next, we create another ship layer and use our ellipse to create a circle or an ellipse. We're just going to try to copy the color of our circle here, so we can see that this is the color of our circle here. We're just going to try to mimic the color. We don't need a stroke for this, I think. Let's just copy this ship. Bring it here so as to sample the color and also get the size right. I'm going to sample the color like this and increase the size a bit. So let's delete this layer we have here. I'm going to bring the anchor points of ship to the middle. Then while selecting this ship, this, our existing ship layer, I'm going to create the eyes, this are the E, this is the make it a little darker. I'm going to control D to duplicate and have another. The next I'm going to do is creata structure we have here particular one. I'm going to have a new shape layer. Then I'm going to grow out the antena like this pulling down shift. I'm going to have another point here for field color, we have nothing for this color. This should do. Let's bring the ankle point of our antena to this point because our rotation will be happening from this point, okay? So our ankle point has to be here and we have to do two adjustments to our ship. Basically, this is what we have. Now what I want to do is to our antenna here, to our ball, okay? I want to parent our antenna to our mean ship so that the antenna follows our ship as it moves. I'm going to select the antenna, then use the parent link two and come and drop. You see that our antenas be parented to the ship to layer. You see that, Tina, to lose our ship wherever it goes. I would like to start from the points. First of all, we should take our ship above, outside the frame and then create a key frame on our position. After some frames, you just bring it down here. Let's take a peep. Yeah, so that's, it comes from above and hits the ground. So let's easy ease our key frames. We have this right now. I want you to select the key frames and then go to the graph editor Of course the speed graph. If you're not on the speed graph, you can just write click and come to value graph. If you're not on the value graph, you can write click Edit, value graph. It's going to bring you to what you see on the screen right now. We're going to come on position right click, and separate dimensions. This is what we have. Now for this, we're going to go to the Y axis and then use our pencil to create extra key frames in order to create our bones effects. This is what we have. So let's have some more key films. So you can see that our bouncing stops at about ten frames, at about 2 seconds. And 15 frames. 2 seconds, 15 frames. That 2 seconds, 15 frames, about about you're going to come and key frames beats. A bit away from from 2 seconds we have so far. I mean, to reduce the bound here a bit. Here also we have, so I think I like this. I want us to add our stretch squash effect. Our stretch and squash effect coming to our layer. A heat. To bring up the skill, you can see that the skill value is 100 by 100. The first thing I'll do is to unlink the values by checking this box. Our ship skill values are no longer linked together. Now when our squash and stretch effect, our skills at every point add up to the addition of these skills when our object is quashing, when our object is stretching, When we add the skills that when we add the value here and the value here at every point in time, they should add up to 200, okay? They should ad up to 200. At this point, I want to create a key frame here. At this point I want to have let's see here and 120 here, so this is all we have. Then when it hits the ground, I then want to 120 here and here. That's basically, that's basically our skills are point must add up to 200 in order to maintain the same volume. Okay, so let us copy this key film piece using control C, control V for copy and Pete, it's going to stretch again. Squash, copy and Pete, copy and piece again. Let's copy piste. Copy, piste. Let's copy the first key Freeman piece to give it its final, its final size, that its original size. So far, this is what we've been able to achieve. I'm going to do a little more tweaking to make it even better. Let's compare with what we have here. So first of all, let's select all the key frames and just easy ease them. Let's add a little more bounds to this. My mission I don't like the way just ends very suddenly. So I think you just add a little more Bounce A. Yeah, so this will be it. We want to make sure our object is hitting the ground very properly, so you can just drag it to make sure it's hitting the ground at the required points. That's cooling down shift, of course. One other thing we need to do is reduce the rate of squash and stretch as our bouncing reduces K. For this point we have AT and 12128 T and 12,120.80. That's okay. Here we have 120. So what I want to do is make here 9110 okay? And then here 1090 here. So let's just make it 9110 also. And seem here. So this is all we have so far. I think we might need to do a little more adjustments to the key frames we just modified. Let's bring this up a little bit to bring it up a little bit. That's it so far. We can see that we've added the squash and stretch effect. I just want you to observe how the antenna is moving during the jump. That's what I want to add. Right now, it's moving from right to left, from left to right. We will have to do these modifications on the rotation to bring out rotation and then create a key frame. So let's just peep to see how these key frames have been. We have it at about 16 frames, About 16 frames, we have a first key frame, just tick the rotation to have rotation here. After another 15 frames or 16 frames, we have another on to select all our key films. And as we might need to do some more adjustments to the key films, that's to be anti Now of course, so let's kind of increase our putition. Actually the restrictions don't have to eat too much. Now we just need a subtle movement. This is what we have so far. And now I feel our key frames. Let's see, Maybe our rotation, maybe our bouncing a little too much. First, you know what? Let's just leave it. Let's just leave it. I'm just showing you the process. You can make it as perfect as you want it to be on your own side. But I'm just going to leave it this way right now. I want you to key frame the X axis, create a key frame on the X axis. And then let's go back a little bit to create the anticipation. Copy, copy on the Sm key film to create a delay. From here on we just move to the right. Okay, Yeah, so let's see what we have now. Good, I like what we have. We just need to work on our key films a little bit at work. So let me just take a look at the key frames here. Key, I made it so it's a simple S Cove. So it's a simple S Cove. Yeah, this will do it. We now have our bounce effect with the squash and stretch applied, the anticipation applied, and also the follow through. Finally, I just want us to work on the antena once more. We want, we want a simple follow through rotation here, we want it to eat this week. Good. Let me delete the diction pod. When it comes here, we want our, we want our Tina to come back and finally settle at the middle. So, I don't think we need this, chief. Alright, sorry. We've come to the end of our video and as you can see, we've been able to replicate the bouncing effect. Please make sure you do this. Make sure you complete this project, and I'll love to see what you come up with. Okay, that will be it for this video, and hope to see you in the next. Bye. 14. 13 Merge path, Offset path & Trim path: Hello everyone and welcome back to the cause on motion graphics in after effects. In this video, we're going to be studying ship bondifiers in after effects. Now, ship bondifiers are a feature in after effects that enable us add more interesting animation to our ship layers. They can only be applied to our ship layers. They give us the ability to add very interesting animations. Now I'm going to create a ship right now to create a ship layer so as to demonstrate to you how ship modifiers work. Ship layer, and then let's just create a simple square ship. This is a simple square ship. As you can see, ship modifiers can be added by coming to the content part of our ship layer. When you come to the content part of our ship layer, you can see that there is this option that says Add. When you click on this option, you see your ship modifiers. These are the ship modifiers. Like I said before, the enablers are very interesting emissions to our ship layers or to our ships. Now the ship modifiers can be added to the ship layer and thereby affecting every ship in the ship layer. And they can also be added to individual ships. Okay, in order to add the ship modifier to the particular ship, you have to select the ship under the contents. Let's assume, let's assume we have more than one ship Here we have two ships right now, as you can see under the contents, we have two right now. The ship modifiers can be applied to individual ships and can be applied to the two ships at once. In order to apply the ship modifier to the two ships at once, all you need to do is to select the content and then come up here and then apply. Let's assume we want to apply the zig zag. As you can see, it's been applied to booth ships. Now when you apply the ship modifier, it comes under the, it affects when we move the ship modifier above a particular ship, it no longer affects it. Okay, Now the ship modifier affects the ships? It is. Like I said before. Let me just delete this. Like I said before, you can also apply the ship modifier to individual ships by basically just selecting the individual ship you want to add the ship modifier and then come and add. Now you see that the ship modifier has been added inside this ship. That's one other thing about ship modifiers that you should know. In this lecture we're going to be covering three ship modifiers and then we're going to cover subsequent ones. In subsequent lectures, we're going to be covering the merge part ship modifier, the offset part ship modifier, and also the trim part ship modifiers. I'm going to select the content and then come to add and add the merge part. Now when I add the merge parts, the met ship modifier has been added to both ships. Because you can see it under both ships. What the merge part does is enables us merge the parts of the ships as you can see. Now as I move this ship, it's merging with the other ship. There are different options for the merge parts. We have the add mode, which enables us physically add the ships together. Now you see the ship we're creating by just selecting the Ad mode. Now we have the subtract mode, which basically subtract our ships. And then we have the intersect mode, which creates an intersection between ship one and ship two. And we have to exclude intersections which cuts out the intersection. Okay, basically these are all we have, the merge which merges our ships together. Okay, that's it for the ship modify, we can actually do mission. Let's limit. This ship. Let's do a little limitation here. Let's just go to the transform properties of this poll ship. And then create a key frame for the position After the number of frames, let's say 15 frames, we just bring our ship here. Okay. And then as you can see, this is a simple animation we've created with our merge parts ship modifier. There are a lot of things you can create with this ship modifier and with the other ship modifiers. The limitation is actually your imagination. There's no limit to what you can create. We also have blends. We also have blend moods. If you're familiar with blend moods, you know how blend moods work. You can use them with the merge part shape modifier. So I'm going to delete it. I'm going to go to the next shape modifier, which is the offset path. Okay, the offset path shape modifier physically creates an offset on the part of the ship. It's affected. The ship, it affects, okay, I just added to this ship and you can see the effect given us already. You see this is basically how it works. So you can create a key frame on the zero second and then just move it pick up and easy ease, sorry. Let's just. Okay, let's let us go to the graph here. You can see this is what we've created with our offset part. That's it for the offset part. It just creates an offset though there are other options like the copies options, offset, copy, and so on and so forth. But you get the point. This is basically what you can do with this ship modifier. Like I said before, the limitation is your imagination. There is no limit to what you can create. As you can see, we've been able to achieve something like this is actually cool. Take note that I'm not trying to create something specific. I'm just trying to show you how these ship fires work. Now you see what's little animation we've created here. We're just cleaning around. Imagine we get very intentional about this limit. What can create? There's no limit to what we can create. Actually, that's it for the offset path. Now let's look at the threm parts. Okay, you come to contents Select Contents Parts, Parts. The part ship modifier works by just creating a trim around the parts of our ship. As you can see, this is what we can achieve with them. Part ship modifier, it's a very popular ship modifier and animas, motion designers use it a lot to achieve very nice animations. So you can see this one we have so far. So let's just remove our Sts. We can see what we've been able to create. So let me just go through the options of the trim parts. Okay. So we have the starts. We have the starts. We have the starts. We have the end. Okay? We have the start and the end. As you can see, this is what we are achieving by just cleaning around with the start and end. Then we have the offset. Now the offset creates movement around the path. As you can see, we can actually admit each and every part of this ship modifier. So I'm not creating anything specific, just trying to show you and what we can achieve this. So that's easy ease, let's try to offset these key frames. And as you can see, this looks kind of cool. So this is what we've been able to achieve with ship modifier. That's it for the trim part. Ship modifier, as you can see, our ship modifiers give us a lot of options and add a lot of fun to our ships, thereby giving us the ability to create storing animations. We're going to work with the ship modifiers more closely. In subsequent lessons, we're going to work on real projects with the ship modifier so you can see how to actually integrate this knowledge in life projects. That will be it for this video and hope to see you in the next. Bye. 15. 14 Plucker & bloat, Round center: Hello everyone and welcome back. In this video, we're going to be looking at two shape modifiers, the plucker and blot, and also the round center shape modifiers. In order to add our shape modifier, we select our content and then come to add. And we can see the plucker and blot as we add it. You immediately see effect it gives our ship. This is basically what it does to our ships. It gives us the ability to create nice ships or very interesting ships from our existing ships. All these can be animated so we can create a key frame and just play around with it. Okay. As you can see, the animal intersinableds to create sinableds. Turned our initial ship, which is just a normal rectangle, into this amazing ship. Let's create another ship and add key. As you can see, I'm creating this new ship, our ship layer, and the Plc and blot automatically affects our new ship. So as you can see, we've created a star ship. But this is the effect that the pluck and blot has applied to the star ship. Let's create another one here. Maybe let's just remove the stroke for that one. Change the color bit. Yeah, And then let's create, let's add. Okay, sorry. So you can see we are achieving very nice looking ships now. This is what we have achieved by drawing this polygon in the ship layer. As you can see, this is an ellipse and this is what we've been able to achieve. Can actually add multiple of ship modifiers. We could have this plot and blot, and still have other ship modifiers like the zigzag. We've not studied the zigzag, but as you can see, it adds zig zags to our ships. Let's just undo that. The possibilities are limitless. With the possibilities are very limitless. Going to delete the ship modifier and try to delete these other ships too. Let's look at the round round center. Round center. In order to add it. Again, we have the common contents and add round center. What does it do? Round center simply adds roundness to our edges. As you can see, we had a rectangular ship, right? Or a square ship. By adding the round centers, we've been able to turn it virtually into an ellipse from rectangle to a rectangle or square with rounded edges and then to an ellipse. That's basically what we can achieve with this also. And of course we can key frame and creates our omissions. We see we are transforming from an ellipse to a square. There's no limits to what we can achieve with the ship modifiers. That will be it for this video. In the next we're going to be looking at twists, go part in zigzag. Hope to see you, bye. 16. 15 Twist, Wiggle path, Zigzag: Hello everyone and welcome back. In this video, we're going to be looking at three ship modifiers. We're going to be looking at the twist ship modifier, the wiggle path ship modifier, and the zigzag ship modifier. These are very simple ship modifiers and we're going to take a look at them right away. We're going to start with the twist ship modifier. The twist ship modifier is going to create a simple ship here when you take our anchor point to now the twist ship modifier simply. Now the twist ship modifier simply does what the name implies. It adds twists to oh, the twist ship modifier. Here you can see that our ship now gets a twist. Okay, we have the angle, we have the angle, and we have the center. The center is basically where the twist happens. Where the twist, the center is where the twist starts from. The angle is the intensity of our twist. As you can see from a star, we've been able to achieve this amazing ship by just adding the twist. So let's animate, let's do it. Illegal animsion. This is actually interesting. Let's easy see now this is what we've been able to achieve with the twists. Let's just copy our first key frame, PTT. See what we're going to get, what we've been able to achieve by just adding some key frames to our twists animation. So, so this is what we've been able to achieve. What we've been able to achieve by adding a simple twist to our ship. Of course, with a few key frames, you can see the possibilities of the ship. Modifiers are limitless. It has no limit, your imagination or your creativity. Please carry the limits to what you can create, what you can achieve. I'm going to add the next ship modifier, which is the part, the wiggle path ship modifier to the wig parts. The wiggle paths ship modifier is a simple ship modifier that, that creates wiggles or wiglar animation to our ship. That's without adding key frames, we don't need to add key frames to have the Go part ship modifier give us some animation. As you can see, we have an animation by simply adding the Go part ship bondifier. The size controls the amount of Go size controls the amount of the effect rather on the ship and the Is controls, the amount of detail, the amount of details on the ship. Points, we could have points, okay, for points, we could have corners, sharp points. And we could have smooth points. Okay, With smooth points, we now have smooth edges. So as you can see, I like this like this, this is like an amber. The ship looks like an Meb. Very shipless. Everything is just looking interesting. We have many other options. We have the wiggles per second. That's of course, the speed of wiggle or the speed of the wiglmissionee. We can achieve a lot of things. We can see dancing. Yeah, we have the correlation. So you can see what we've been able to achieve by simply adding correlation. Temporary fast, the partial fast. Let's make this form and see what we can achieve. Random seed adds randomness to the whole thing. So you can see, this is nice, this is nice. I like this, I like this. Imagine adding a twist to this animation. Like I said, what one can achieve with the ship modifiers I limit less. So let's just limit the angle here. Give. It's so this is cool. This is cool. Please guys, just have time to go through the ship modifiers again. On your own, you can try to create different things on your own. Okay, I would like to see what you come up with. I like to see what you come up with. Now we are going to look at the zigzag ship modifier. Now let's add the zigzag. Now this is the zig zag. It just adds zig zags to our ship. We have the size. You can see what we're achieving by simply we have the ridges per segment. We have the points, whether we want them as sharp edges or corners, or we want them smoothened. Let's just get them smooth and see what we can achieve. Let's make this, this is nice, this is what we've been able to achieve by just simply playing around with the zigzag. I'm not creating anything specific here, I'm just having fun with it. Just having fun, We do need to see, we don't need to see. You can see what we've been able to achieve by just adding another ship to the ship layer. We just added the line. Yeah, that's it for the zig zag and for the ship modifiers. In the next video, we're going to be looking at other ship modifiers such as the repeater and Wig transform ship modifiers. Okay, hope to see you in the next video, bye. 17. 16 Repeater and Wiggle Transform: Everyone, welcome back to the course. In this lecture, we're going to be looking at the repeater and also the go transform ship modifiers. We're going to start with the repeater. And to illustrate that, I've created this small square ship or rectangular ship. What the repeater does is it creates copies of our ship and also gives us options to plead with in order to add the repeater. Of course, we select Content or our particular ship and simply go to Add and then click on the repeater. Now we've seen that immediately. We click on the repeater. It's given us pre copies of our ship. We can add the number of copies. We can create an off between the first the position of the original copy and the remaining copies we can composite above or below. We have even more options under the transform. Under the transform, we have an option to change the anchor point. As you change the position, you see that it gives us a space between the copies. Okay? We can also change the skill. Now we can see what changing the skill results. Okay? We can change the rotation. Change the rotation. You can see what we achieve. We can change the start opacity. That's the start opacity and then the end opacity. That's basically any, this is the end opacity and start opacity. These are some of the things we can achieve with this particular ship modifier. So I'm going to boost up the number of caps, reduce the position of bits for the kid. I'm going to do something like this. Okay, so you can see we're starting to get a very interesting ship. Let's just increase our copies. 26, I think. 20, maybe 22 or 20. So do 18. Here's what we have so far. What I want to do is I want to add another repeater. Okay, I want to add another repeater. We have another repeater and what we want to do right now is to change the position for this one. We want to have them coming in downwards. Okay. When we add the copies, you can see that we're starting to get very interesting ships. So you can see starting to get very interesting ships. So we can emit all this. Let me create a key frame for the position here. This is cool. We just continue pan with other options, you see what our rotation does, This is what we achieve just playing with the rotation. You can see this is cool actually. Like this. Like this. Let's add the wiggle transform ship modifier and bring it under the repeater. It affects the repeaters. Okay, for the wiggle transform, right now we see that we have the wiggle per second. Of course, this is the speed of the wiggle effect. We have the coordination. We have the temporal phase, the partial phase, the random seed. We transform under the transform. Let's just do a little modification to the position. We can see that by just adding, by just editing the position, we've been given an emission without even adding key frames. Sees what we can achieve by just playing around with the position of the Le transform. Let's play around with the size so you can see how dynamic. So this is what we've been able to achieve by simply adding the repeater and we go transform. I'm not creating anything specific, I'm just enjoying myself with what I can achieve with the ship modifiers. Ship modifiers are very important enough defects. In subsequent lessons, we're going to actually see how to use them, even in life projects. That will be it for the repeater and we're transform ship modifiers. Hope to see you in the next by. 18. 17 Extra Modifyers: Hello everyone and welcome back to the court. In this video, we're going to be looking at our last set of ship modifiers here in after effects, as you can see, I've created a simple rectangular ship to illustrate them. These are the ship modifiers we'll be looking at. We have the field, we have the stroke, we have the gradient, we have the gradient, we have the rectangle, we have the ellipse, we have polygons, and we have parts. Let me just explain to you what these ship modifiers for the field. What it does is it adds a field color to the ship selected. When we create a ship, it automatically comes with the field color. But this optional allows us to add another field color to the ship. We have the which enables us to add another to the ship. We have the ingredient field, which enables us to add ingredient feel to the ship. We have a redentk, which enables us to add ingredient stroke to the ship. With this, we could have multiple strokes, and the rectangular option enables us to add another rectangle to our ship. Enables to add an ellipse to our ship. The enables us to add a put to our ship, the bus add a path to our ship. I'm going to go to the field for you to see how it works. I'm going to select our ship and then come to Feel. As you can see, we now have a second field color. Now we see field one and field two. We have a blend mode here. As you can see, we can blend our two field colors together, different options. Here we have a lot of options. We have an option to change the field color. We can use this eyedropper to, to actually sample a color on our project. You can use, see, we've sampled this color, we've sampled this color. You can use it to sample practically any color on, in your composition. We have the opacity, so you can see that we're reducing the opacity. So it's actually lending with the initial field color basically. That's it for the field option. These options are to be added to a particular ship. Okay, let's see. This adds a second to our ship. Complete the stroke. It adds a new stroke to our ship. We have the rounded cap, the projecting cup. Basically all the options we get with the normal ship. With the normal stroke. Okay, We can also, let's delete it. We can also add the stroke gradient. Okay, The gradient, the ingredients adds a gradient to our stroke. And we can come here and it the colors. So with endpoint and start points, it's fold. We can even add dashes, dashes. We can add a tip. We can add a tip. We can limit all these. We can add start. That's the start for the taper. Okay? The start length. The end length. The start with the end width, and so on. And so we have a wave, gives it a wavy effect. We've looked at these things in the past. Was going to go and add a ship. Let's see, pull, you see what has been added. We've been able to add a pulling star into our existing ship. Actually, you should go through all the others and see what you can achieve with them. Okay, so that will be it for this video and ship modifiers. And then in the next video or in the coming videos, we're going to look at projects class works using the ship modifiers and what we've learned in the past videos to see. 19. 18 classwork 4: Hello everyone and welcome back to the course. In this video, we're going to be creating, or we're going to be recreating, this simple admission. You can see on screen together, this was put together using the ship modifiers which we just covered in our subsequent lectures. As you can see, we have two ship modifiers applied here. We have the three parts and also the repeater. I'm going to start by creating a new composition, of course, first of all, an ellipse, right? We have an ellipse and we have a stroke, and we have a path. Let's create our ellipse. This is our ellipse. We're going to, we are not going to give it a stroke color for now. We're going to give it a field color. Instead of working with the original color. Let's just this color, we're giving our ellipse this color. Okay. And then make sure our ankle point, the middle. Good, This is our ellipse. Let me just increase the size of bits. Yeah, this is our ellipse. We have it duplicated control D for that for the second. We are not going to the field color. Instead we're going to have a, we're going to stroke. Okay, let's make it a stroke of ten. And then let's just increase the size. Holding down shift. Of course. Let's, let's evenly increase the size. I think this is okay. Let me let me use a lighter gray for my stroke. Okay. So this is what we have so far for the admission. Our ellipse coming from below and we have it animating from below. We have an animation. We have key films on our position. Okay, 1 second, 12 key films on our position. Our Let's hit skill. A key film. Then let's make our initial skill we have, let's hit you to bring up the key films and let's easy ease them. So what we have so far, let's go to the tour graph editor and let's see what we have here. So it starts slow and then suddenly suddenly becomes first. Okay? So it's something like this, starts suddenly becomes first. Probably something like this. So this is what we have so far. Let's make our key frames, let's make our time long. Okay, let's compare it to the initial. Okay, I'm tempted to just see how these key frames are. Okay? Okay. Okay. Okay, we got it right wrong. You got it wrong from here. Something like this. Instead, this might be a need to be too. Yeah, we have something like this, I guess. Okay, let's lasting for too long. Let's try to make it 1 second and see, okay, I think we are closer to what we have. Let's make it easy once more. Let's see. This will do, yeah. So this will do. This should do. Then the next step is actually to create a trim path for the second ellipse, ellipse. We come on the contents and add them parts. We're going to start from zero then, let's see. Yeah, we're going to create a key film here. This, we're going to make the value of the end to 100. Let's easy ease our key films. Let's see what we have so far. We are closer to the ideal lue, I think I'm feeling this better. Maybe a little bit like this. Okay, so what next we have skill up a bit. And then, and then skies down. And then skies it down afterwards. For that, let's create a null object. Let's create a null object. What we have to do now is per our both layers to our null object. We select them and use the Perent tool to perent our layers to the null object. Okay, at this point, after the parts we want to go to our ski and create a key frame, then make it scale up a bit, then stay for a while. We're going to repeat this key film here. And then finally to scale down, let's hit there and select all our key films. Key film assistant, easy ease. This is what we have so far. So this is what we have so far. I think we have, we've gotten it so far. So the last step is to add, to add this effect. Okay, The explode effect, which is a simple trim path on the ship layer. Okay, On the path rather. So let's create a ship layer, then use our pen to draw from the middle. Okay, from the middle to draw a simple path. So we have, let's just make out a bit. Okay, we can make it a bit darker probably. Let's use a color. I think we use the color here. Yeah, we use the color, it's yellow. Let's reduce. Let's make it 11 will do. Just select your layer and then let's give it a cream part. Then I want to cut our layer around. This time what I'll do is I'll bring my time to where I want to cut, then go to Edit and Split layer. So you can see that it then splits our layer into two. We can now hit delete the unwanted part. Good. So what we want to do right now is come here and let's add our repeater. Let's add our repeater. And now on the repeater, let's make it six copies for the transform. Let's make our position 00 for rotation. Let's make it 660 degrees. We have an even distribution of our shape. This is what we have for the repeater. Then for trim parts, all we need to do is come on the trim parts and let's play with the start and the end. Okay. 400. Let's see, we're saying from 00, 0-100 then we're starting 0-100 to zero, to 1000 to 100, 0-100 0-100 Yeah. We then creates a simple offset. Yeah, this is what we have now is key frames. Yeah. So as you can see, we have achieved, well, we have almost achieved what we are looking for. So this is okay. This is okay. And, and basically that's it guys. That's it guys. So we've practically replicated our work here. Do well to complete the exercise. And I'll see you in the next by. 20. 19 classwork 5: Hello everyone and welcome back. In this video, we're going to replicate this simple animation you can see on your screen right now. You can download the project files to follow along. First of all, we see that we're trying to mimic a fun here, okay? This is more of lightning striking the fun. And then the fun blue in this is more of Vp particles flying around. Okay? We can see that we have three basic layers, three basic shape layers. First one is the lightning. By first one, of course, I mean first from below, right, this is the lightning. And we can see that we have the trim parts and legal parts of ship modifiers applied. This other layer is the fan and the stand. We see that we have a polit, an ellipse in the middle, and we also have a ship which represents the stand for the ones for the police star. We can see that inside the police star. We now have a twist. Okay, we have a, that's it basically for this ship. For the last one here we have an ellipse and then we have a repeater and Gal transform applied. In order to start, I'm going to create a new composition. We start by creating a polystar ship. Polystar ship, to give it a color. To give it this color just like our original file, darker. Then come to our poll star option here. Let's say make it six points in reduce something like this. Red, like this, okay? Okay, The outer roundness should be something like this. Let's see for the path of points, let's just make it okay. Let's start with five points. Okay? And so far I think this will do. We can come on our ship again and create our ellipse. And our ellves should be red in color. We should be pleased at the middle. Okay. Also we can see that, we can see that this layer is a tree layer. Okay. We can observe that our fun is a bit tilted. Okay. In the trees, that's because this layer was made a tree layer. Again, selecting our shape layer, I'm going to create a simple path, remove the field color, and give it a stroke color. Let's use a blue color. Let's use this color. Right now, we can just bring our path under our other layers and boost the stroke. This is what we have so far, this is what we have. Let's make our layer three D come to toggle switch Sk modes. We can now see the tread option. Let's make it Tre. Let's give it a little twist. Okay, let's come to the Y direction and give it a little twist. Something like this. Something like this. Should do, okay. Sounds like this should do. And I think it's a little bit too, too much. I said no. Yeah, this should do this should do, this should do. The next thing we want to do is to create a new ship layer. And creates our path which will represent our lightning. Let's make it black. Let's reduce the stroke bits. Let's bring our layer beneath our first layer. So this is what we have is what we have. I feel we should make the shock a bit smaller. Okay. Yeah, so this is what we have. And finally we have our last layer, which on which we have ellipse. Okay, our Ep, which represents our Bobo. We have it here without a field color color, true color of black, dark color, maybe ingredient of a four pixels like they should do. Basically we have this and we can start adding our shape modifiers for our lightning. We're just going to come and add them parts for trim parts, we're going to come to our trim parts. Let's start. Let's do the starts. So let's I'll meet the start. Let's see, let's see, After 20 frames, start goes to zero, it's a bit too slow. Yeah. Do select your key films easy. Let's increase our time to 6 seconds because I guess this admission is 6 seconds long. Let's go to Composition Composition settings and increase your time to six, 6 seconds. Then to six, you can just select all your layers and extend them to 6 seconds. Copy your key film and pet copy your last key film or your first key film and pit so that we have a beginning and an end. Okay, so on this we want to add. Let's check the parts, okay? The wiggle parts parts. All we need to do for wig parts is increase the size a bit. The details. Now the details will do the magic, the details are a bit too much. Let's increase the size. This is what we have so far and with this, we are done with this layer. Okay, let's just lock this layer so we don't select it accidentally. Now let's go on to admit that's our police star ship for our part. First of all, we can add the twists. Okay, let's add the twist. We've added the twist on our Police star part. Now police star ship adjusting the angle. We see that we've created a very nice look here. So let's make it something like this. Okay, let's just check our original project to see what else we need to add ever twists. Then for pulley parts, we anim the points, the rotation and position. I think animitting the points and rotation we just do. Let's just create a key frame. Let's create a rim on Titan. So we're starting from here. Okay, then down here, let's, let's make this five and C. So we can see that we are beginning to have the rotation or the fun effect. These are fun rotating. Let's just peep to see what we have here. Okay. For rotation, we have a key. Yeah, this is what we have. For rotation, we basically have our key frame down here and we have it at 15 five. Let's delete this one, of course, we have a motion blow applied to this A, that's why here you can see the motion blow here. You see, you can see the motion blow. It gives an effect of realism. So you can see I just activated the motion blow and you can see how it's now looking. Okay, just just with the reputation. The next thing to admit is the points. Okay, let's see how we did the point started. Around here, around here, so a lot of points. So we have five points here. And let's see, points got increased and then they were fairly constant, so many points, so we just had 74 points. I think here, yeah here we have 142, so we're just going to change it to 74, so the rotation is gradual. Then let's copy here and pit so that we have the same film. Let's copy our initial rotation so that we have a quiet ending. This is what we have so far. I think with this we've achieved what we want. Select all your key films and key film assistant. As we can see how gradually it's starting because because of the easy, we can also see the motion blow being applied. We're basically done with our two ships and we go to our last ship. The effect we'll be adding here is the repeater effect first of all, then the Wig transform. Finally, let's work with the repeater first. The repeater, I think we have about eight copies. All right. Okay, our copies are actually animited. And our offset, our offsets 9-0 copies. 0-13 Okay. Yeah. So this is what we have now. So let's just play with small settings. Let's see what we have this skill. So let's have a little admission on our opacity. So the start opacity can be zero here, then 100 here. Yeah, Then for the end, let's see how we have it. Zero to 20 end. So just select other key frames and easy as then. Okay, so this is all we have so far. I think we just need to add, ah, our wiggle transform to finalize things. For Weg transform, all we need to do is a little modification to our position. We're actually some different from what we have originally, but still work. I think the video is getting unnecessially long. I wanted you to see the process and try to create something like this. I'll just leave it to you. That will be it for the video and what we are covering under ship modifiers. Hope to connect with you in the next lecture by. 21. 20 Character Design & Rigging for After Effects: Hello everyone and welcome to this very interesting episode of the cost of motion graphics in after effects. In this episode we're going to be looking at two D character admission in after effects, so we're going to be taking a character admission after effects. Basically that's for two D character animation. So we're going to see how to design and structure our characters for the sake of rigging and animation in after effects. So we're designing our character in B Illustrator, so we're using Illustrator files for our characters. And when design characters for animation, there are certain things we tend to make sure are in check even from Illustrator so as to enable our animation go smoothly. Okay, we're also going to be talking about facial rigging for the sake of creating facial expressions and lip sings. That's in after effects. Of course. For two D animation for facial rigging, we're going to look at just basics. Of course, just basics, but this will give you an idea of how to do facial rigging on a larger scale. Now we're going to bring in our illustrator character. And all we have to do now is double click here and come to this page. And note that every single file here will be available for you to follow along. Just click on the Work Cycle mission and come to where it says Import us and select Composition. That's Retain layer Sizes and Import. Now we've imported our Illustrator file, which is our character. Let's just double click on on this. And we can see that this is now our character. And we can see the file has come with all its layers intact. This is how we design characters for animation in after effects. We have to make sure all the layers are intact. We have to make sure every part which is going to be involved in a sort, movement comes in as separate layer. When I isolate some of these parts here we can see that they have round edges. We can see that points where the rotation will be taking place at the joints. Having round edges, this is a mechanism that has been designed to enable easy rotation around joints. Okay, I'm just going to undo the movement right now. All I need you to do is select all our files. I'm going to select the first one and then shift, select the last one. Okay, let's just for rotation, for opacity rather and then reduce it to, let's see, 46. At this point we can see that our, our joints are showing very clearly now that by joints where each of these parts intersect. Okay, we can say this part intersects with this part. And we can see it as a round of ship here, we can see basically the same thing happening here and here. Okay, that's the mechanism we're going to use to achieve realistic rotations around our joints. The first thing we need to do is to make sure our anchor points are in the right places. Our anchor points have to be at the middle so that our rotations happen from there. So all I will need to do is take our anchor point tool and then in, okay, for this part we have to bring it here because the rotation is going to open here. For this part, for this part we bring it here, okay, so as to enable easy rotation or proper rotation rather. For this part, we bring our anchor points here. This is the middle, and for this part, we bring it here because the rotation will be happening here. Okay. Now we have now we have this second hand here. We have to bring it to this point and we have to look for the other one. Which is this one, Of course. Yeah, Which is this one. All right, which is this one. Now, this anchor point has to be around here. For the head, you have to bring it to this point, okay? For the legs or for the. It has to be here also with the other, which is an one. It has to be here. For this path, which is two, which is two as you can see here, the anchor point should be here. And the other one should be leg one, I guess a leg one. Then we have two here and one should be here. For the wit anchor point can just be here because it is the middle point of movement. It's the one and only layer to which every other layer will be parented. Okay, Then we have this layer, this final layer. This is the abdomen. Now the abdomen has to rotate from here. Okay. This is basically how we've been able to locate our anchor points at the right places. Right now I'm going to have to each part to the next part. This part will not just move on its own, it has to move in accordance with what the bigger part does, okay? This part has to move in relationship or in agreement with this part. And this part has to move in agreement with this part, which is the wist, also the head has to move in agreement with the abdomen and also the hands have to move in agreement with the abdomen because they are connected to the abdomen. Of course, basically that's how our parenting is supposed to work. So I'm just going to take my time and to this and this, to this, and so on and so forth. I'm selecting the layer now. This is ankle two, and this is leg two. Ankle two will have to get parented to leg two. Leg two will have to get parented to two, we can see this. Then two have to get parented to the wistetst. Two is connected to the wist. Let's do this for the leg one. C 1.1. Okay? The ankle one has to be connected to the leg one. The leg one has to be connected, the thigh one, of course, And then the thigh one has to be connected to the wit the wrist is all right. Now this is the wist, okay? Our thigh one is connected to the whistle. We've perfectly rigged our legs as you can see. Now when we move this part, the lower part also moves along with it. When we move this part, the lower part also moves along with it. When we move the wrist, we see that the two legs move along with it. Now, after parenting every other part to the wrist, well then see that the wrist will control the movement of all the other parts. Okay? Now let's just parent the head, or let's parent the eyes to the head, then the head to the abdomen. Okay, Remember we have the head connected automatically with the neck. We don't have a neck layer, but we have the head and neck as the head layer. That layer will then be connected to the abdomen. The abdomen is then connected to the wrist. Okay, for the hands now we have the wrist. Now rest two is connected to hand two. Hand two is connected to hand one, sorry. Hand two is connected to hand 22 and hand 22 is then connected to the abdomen. Now we're going to do the same wrist one, hand one, hand 11, and so on and so forth. For the wrist one, it's connected to the hand one, then the hand one is connected to the hand 11. Okay. That's in 11. And hand 11, hand 11 is connected to the abdomen. Now, we can see that every other part here has been parented to another part except the wist, like I said before, the wrist is the part where all major movements, all major rotations happen. It's the major point of rotation. I'm just going to boost up my opacity to 100. We can see that when we select the wrist. All right, When we select the wrist here and move it, we see that every other part moves along with it. The head can move on its own, but the abdomen. Move along with the head and also the hands. We can see the same thing, the same thing. We've successfully rigged our character. And right now we're just going to go into animating a walk cycle. We're going to do a walk cycle. All I want you to do right now is to select all our layers. Just close them. We're just going to shy the layers we're not going to be using right now so as to create room for easy animation. I'm just going to activate the shy option here. And then come and select the eyes, the head, the hands, the abdomen. But I'm not going to select the wrist, to select the hands, also the wrist and I'm not going to select the thigh and the other legs. So I'm just going to shine these layers by enabling the shy option here. As you can see, all, all of them have been been shed. What I'm going to do is I'm going to hide them also. We're going to hide them. We need to hide them and shine them. We don't want to see them on our scene. Okay? So I'm going to shy the, the, the ankle one and also the leg one. Okay? I'm going to also hide them and shy them. Now we only have three or four layers rather, to work with. The first thing we're going to do right now is select all our layers on our two K two and leg two for rotation. Then create a key frame on the first frame. Come to our, sorry, and come to the waist And hit P for position. And then create a key frame also. So now we've created the key frame on the position and also the rotation for these. What I'm going to do right now is I'm going to enable our ruler. After that I'm going to drag a line here to give us a level for our ground. Let's assume this is our ground level. It's going to guide us in achieving a realistic work animation. First of all, I'm going to create our first pulse. I'm going to select our thigh layer and then come to this rotation too. And just bring it to this point. Let's just bring up this layer or this line a bit. This is our first. This is our first. Yeah, this is our first pose. I'm going to go to 15 frames. I'm going to go to 15 films and then create a second, I'm, I'm going to create key films here. And then just come and have a second pose here. Okay, sorry. I'm going to zoom in here and just try to have this rotated like this. This is what we have right now. Let's just go around our timeline and see what we have so far at this point. At this point, what I want to do is to create a key frame on the position of our white, because we know that all transformations will be happening around the west region. I'm just going to bring this up a bit. Yeah, I'm just going to bring this up a bit. This is what we have. We have this up and down movement, up and down, up and down. Basically, this is what we have so far and we're just going to create a key frame for our tie. Then let's just do a bit, let's just have a little rotation for our ankle here. Let's just have something like this. Come here to. Let's see, something like this. So let's just see what we have now. This is quite okay, that's for the ankle. Let's just go to 1 second. Then let's just copy the key frames we have here to 1 second. So I'm just going to copy here and pit copy this, Pt. Copy this and Ploy and P, we can just come around here and basically creates another key frame on our thigh. This one will be something like this and something like this to basically something like this. Just what you see on the screen right now, we can just zoom in again and just play with some of our Q frames here. We can do this like this also. We can just bring back our Is position. Okay, At this point we have it here. Let's copy this key. Femcyiink. We can just do some more rotations to our uncle here, something like this. Let's just see if this, okay, We should copy the position here and piece here instead. Okay, so we should have something like this. Yeah, for this last point, let's probably have something that says this. Okay, this is what we have. And what I want us to do now is apply what we call expressions to these key films. So we're going to be applying loop expressions. Expressions that will allow our animation happen in a loop, so you don't have to copy and keep copying key films, All our key framing will happen in the loop, okay? So all you need to do right now is to just come to the first layer here and then pull down Alt on your keyboard or on your PC, or the option key on the mark, and click on this stopwatch icon. And then this is what then happens. Just come here and go to Properties and just go to this option loop out, okay? And then select it and come to the next one. And do the same process that's holding down Alt or Option on the mark. Come to properties again, do the same thing for the third layer we have to do and the same thing for the last layers. Let's just play our admission and see what we have is what we have so far. This is what we have so far, hit you to close our key framed layers. Then let's check this option here. Bring and come on, hide our other leg. Okay, so let's just shy the remaining. Let's open all our key frames. Let's just hit for all our key frames. We have the, the, the ankle one leg one. Let's select all of them. And then it R for rotation. At this point, what we need to do is to copy the rotations, all the key frames from the previous layers we just emitted. Let's come to the first one which is the select all the key frames on the rotation and copy or other two and then go to th one here and piece them. Okay? Then the next one will be ankle two and then copy all the key frames on the rotation. Come to an one, piece them. Now the last one should be leg two. To select all the key frames. Copy. That's control of course. Then come to leg one. And we have physically the same thing happening for both layers. Put layers. We have basically the same thing opening for pot layers. All of them are emitting. Look, no, I think we made an error. I think we made an error here. We have to, let's just open all layers. Let's hit you for all our key frames then. I think this guy doesn't have key frames. This is leg one again. We're just going to copy the key frames on the leg two. Then come to leg one and piece them. Let's see what's happening. As you can see, we have the same thing happening in boot layers. I'm going to select the last three layers and then just bring, drag them out to this point. That's 15 seconds. Okay. Or rather 15 frames. And we select every other thing, everything and then just make it look like this. This is what we have now. Yeah, we now have our, our work cycle. We now have our legs an emitted. Let's just come here and bring everything like this. As you can see, we have our complete work cycle. All we have to do now is just do the same thing or animate the other parts, which won't be any work, since they've been parented to the wist, they've been parented to each other. Let's hide the ones and the come here down to waste I guess. And then on them and also hide them. Now we have everything happening like this. Yeah, we need to do this too. So basically we have everything happening like this. Let's, let's do this for the wit also. So let's the legs. Let's she the legs. Now we're going to unmet the hands. Okay. Now let's just come to the wrist and then hit you to see the key frames. Yeah. We then select our hands. That's the hand 22 to rest two. The hand 11, hand one and rest one. Okay. We're going to hit R and create our first key frames for this leg or this hand has to be rotated like this. Because this leg is behind the hand, has to be forward. Let's go to the other hand and rotate like this. This is what we have. Now we can see that this layer does not have its anchor points in the correct place. Let's try to bring it here. Let's hit, and try to minimize. So as to, as to bring the anchor point to the right place. Okay, So it has to be here. So let's just push it up now. We're selecting the layers we're using, admitting the rotation. That's okay at this point. We want this guy to look like this. We want this guy to look like this. Okay? We want this guy to look like this. Okay? We want for first pause, then going forward in time, this is how we have it, right? Going forward in time, we want it something like this. Thank you. So let's, let's copy of first key film. The first key films and pieced. Okay. I think we'll have to just do that manually. Be the first move. This will be the second move. So this guy has to be here. Okay? This guy has to be here. Okay, so what we have now, and I'm going to apply the same loop expression like I did before. So I'm going to hold down Alt on my PC option on the Mac and click on this layer, this icon here. And come here and go to Properties and look out, Do the symptinge for each and every unimitted layer or key framed layer? Key sympting here. Yes guys. So we've been able to successfully achieve our walk cycle animation. So thank you guys for stealing this long and hope to see you in the next video. Bye. 22. 21 Facial Rigging: Hello again everyone and welcome back to this amazing video. In this video, we're going to be looking at official admission or official reading. So I'm going to just come here and click now we have this file which says Fees Admissions. Now come and import it as a composition, retain layer sizes, and then just heat import. When we open our layer, we see our layers. This is again an Illustrator file. As you can see, we can see that this is the main head. Let me just leave the mean head. Okay, so we can see the mean head. We can see mount one nose. I think this nose layer is just not needed because we have the nose on the mean head and we're going to use this nose for other rigging. We have the mouth one, we have the ice on the ice. Two, okay, we have the mouth two, we have the mouth three, we have the mouth four. We can see that each of the mouths, or each of these layers, serve as specific expressions for an emission. They give us a specific look or a specific message. Okay, when we use Mot five rather mouth four and ice one, we can see that this is a. Wow, okay, mo mo four again, two. Let's see if it's going to give us an experience. So we can see that the guy is a missed but then sad again from the ice. We can also see, let's set one too so we can see, let's see. Confused but happy. Again, we don't get the idea, okay? This is a happy expression. Of course, we can see that. Say we can see that this is a sad one, okay? This is a really sad one. Let's see, we have something like this. Let them just do this. Now you can see that we're creating a mimic of him talking. So we can see that as we hit our mouth enable and disable that layer. Or as we hide and unhide the layer, there is an illusion of someone making a speech, okay? Of the character making a speech. That's just about how distance works. That's a basic idea. All you need to do is, is create the specific expressions you want. If you want to lips, you have to create the specific words. How the mouth will look or how the face will look while seeing those words. Then just arrange them on the time line. Okay? You have to arrange them on the timeline. Of course, using the voice over as a guide, the voice over is supposed to guide you on where to use, what expression and where to use what. That's just it. I'm just going to do a little demonstration here. I'm, I'm going to just come on this layer. Going to edit. In split layer we have something like this. Okay, I'm going to start with going to do the same thing here. I'm going to just go to edit and split layer. Cut the layer into, I'm going to be like, whoa, okay, I'm going to also create a, I'm going to create a blink, come in here and split layer. I'm duplicate this layer. Duplicate this layer and do something like I'm going to start. So we can see that he has. So we can see that this way. We have, we then have the guy talking. He's talking, he's not talking, he's talking, basically making a speech. You see, as you can see, you have demonstrated how the thing works here. And then he blinks his eyes, Then we have something like him talking we could upon more frequent so as to give more interesting illusions. We're basically animating right now speaking. And then we can use as many expressions as we want. We can use as many layers as we want to mimic or to pass the message we want to pass across as animeters. That's just it. I think you can do a lot with this. That's it for this video on is admissions. And I'm going to do a little composition in the next video that's using our work cycle admission. I'm going to just show you how to add our work cycle admission in the background in moving background and in a static background by moving in a background where the camera is actually moving with the character in a background where the camera is static and then the character moves across the background. That's it for this video and I hope to see you in the next. 23. 22 Walk Scene Composition: Hello guys, welcome back. In this video, like I said before, we're going to do a little composition for our walk through work cycle animation. So I'm going to come here and then import this animation background file. And let's just hit import. Okay, import. I'm just going to come here and then create a new composition with the default settings of course, or with the settings we have been using 1920 by ten ATP. Then, okay, I'm going to create another composition, since I told you I'm going to do two demonstrations. Okay, now let's bring in the background layer. This is the background. Let's bring in the background layer here also. Now for this layer, we want our background to move. Okay, we want our back to move, that our camera to move. What we do is just come to just hit, that's a position, then have it here at first then. And then create a key frame and then basically run it through. Let's make, yeah, this is now we have a moving background, right then all we need to do now is import our work cycline emission. Now, grab it here. And then just for skill, and reduce the, reduce the size. Let's, let's just reduce it a bit more. Have our guy at this point. Okay, let's reduce it a bit more. Let's see, 38. It something like this. This is what we have now. So as you can see, within a few minutes have been able to composite our walk cycle, a mission into a background. So that the guys, I want to make the background move a little bit faster to catch up with the character. We've been able to achieve this cool mission within a very short period of time. I'm going to trim our composition. Our time then stream come to work area. Okay, we've trimmed our composition. Then we'll go to the second one. Let's just try to achieve a good view here. All we then need to do is to bring in our work cycle admission. I'm just going to copy this one, since we've scaled it down. I'm just going to copy. Let's go then. This is what we have so far. What we need to do now is on the animitted character. And just bring him out of time on the first frame. And then hits, then create a key frame for position. And bring, sorry, where is our character? I can't even see our character. I don't know why. Okay. Okay. Okay. Our, our key frame needs to be here. This is what we have now. Yes. So as you can see guys, we have our character practically walking across our scene. So, that's it guys, and hope to see you in subsequent videos. Bye. 24. 23 Text Animator 1 - Anchor Point, Position, Scale, Skew, Rotation & Opacity: Hello everyone and welcome back. In this video, and of course in subsequent months to come, we're going to be looking at text animation in after effects. Text animation enables us it in after effects. With this we can animate different features of our texts and create very beautiful animations. Of course I'm going to take the text too and just type in something that's designer. We've created this, this text for demonstration purposes. In order to access our text animation, all you have to do is to come here and then click here. Now you see animate. When you click on an Emit, you'll be able to see the different features we are able to animate in our text. Now we see that they are divided into sections. We see that this is a three D feature. And then we see this section which covers anchor points, position, skill, skew, rotation, opacity, and all transmission properties. Which means all of these properties are under this particular one, okay? And then we have the field color. The stroke color color, sorry, the stroke width. Okay? So with this we can also admit the field color of our text, the stroke colors, and also the stroke width. And then with this we can admit the tracking, the line on the line spacing. And then in this section we can admit the character offset, the character value. And then lastly, we can animate the blow. Okay, so we're going to start with the second section. We are going to leave out this one for now and come back to it later. For the first section, or rather for the second section, which starts with Anchor Point. All you have to do now is to select the feature which is Anchor Point for this section. Okay, select Anchor Point. And once you select it, you see that some new options have come. We see that options such as path options and then source text, more options, animal one, ring selector and so on and so forth have been added to our layer. What I need you to come now is just ring selector. When you open ring selector, you're going to see the start and then the end, and then the offset. Then you're going to see Advanced, and then you're also going to see the anchor point. Okay, Basically the anchor point is the anchor point. We've spoken about anchor points in almost all lectures so far. You just have to so that the anchor point is the point at which the transformation occurs. So this effect enables us to animate the ankle point of our text characters. Okay, when we come on the advanced, we see that we have a lot of options here too. Now we can just come here and play around with our ankle points. Now you see as I am playing around with it, we are having changes, okay? Now we can also play around with this option. You see what we have been able to achieve so far. Let's assume I kick the anchor points to this, please. Okay, When I now come to offset and it is my offset, you see that I'm able to bring the anchor point back to the original position. With the offset, we can even see that it enables us to move our text. Okay, because we are playing around with the anchor points. Okay. We can see the effect it has. Now let's just animate the offset. I'm just going to create a key frame here. Then come to 20 frames and then take zero. Okay, This is what we have now. We've unlimited the anchor points. When we come under advanced, we can see that we have the percentage, the index. Based on my experience, they basically do the same thing. Now this enables us to choose words our animation effects will be based on will affect our characters only. Will it affect characters excluding species? Will it affect the words that each word? Will it affect the lines? That's in a situation where you have multiple lines of words. You can see that we presently have it on characters. It's affecting every single character. And then characters in excluding rather species. Now you can see that the effect almost the same thing now for word. We will then see that the whole word moves. Okay. Then you won't see multiple lines move because we don't have multiple lines. It's going to be the same line or the same word. That's it for the son. Then we have the mode, we have the art, we have the subtract. Basically do this of course. And then for subtract, it's basically do the opposite of the act or of the D rather, based on my experience, all these other ones do just the same thing as the day. Then we have the amount. Now the amount is the feature that controls the amount of our admission. You see now we've reduced it to nine. And this is how we've reduced our admission to when we increase it to, let's say 65, we see that we have it here. And then we increase it to 100. We see that we have our original animation. That's it, and we have the square. I don't think you're going to see any effects or any serious effect. Okay, it turns out that it's working. We have the ramp up. We have square, square is the one that we've been seeing so far. We have the ramp up, this is the effect for ramp up. We have to ramp down, this is the effect for ramp down. Then we have the triangle. This is the effect of triangle. You see that it creates a triangular ship. And then we have the round, we see that. We see that it creates an arc shape. Okay, that's a round shape. Then we have the smooth, we see that basically it does something similar to the round, so we're going to leave it at square for smoothness. It basically tells us how smooth we want our movement to be. We see that we've reduced it to zero. And we can see how mechanic our movement is when we reduce it. When we increase it to 100, we see that our movement, or rather when we add as we're going to be able to see. So the smoothness effect more accurately. Okay, let's assume we have our easy. Let's we have this now. This is the effect we have when we make smoothness zero, we see that we have it still mechanic. Okay. It's very mechanic in its movement. But when we increase our smoothness to 100, we see that we see our E is at work. We have our high and low effects. Based on my experience, they don't really do much, just play around with them and see what you can achieve. Okay? Basically that's it for every option here we have this advanced option rather. This advanced option is basically the same for for every other emitter. Okay, Now we haven't seen the randomizer. Now the randomizer creates a randomness in our admission. Now we see that the admission is now happening very randomly. When play around with the random seed, we can see that our randomness also changes different results. Basically, that's it. I'm just going to off the randomizer. Basically, that's it for the advance. Now the advance is the most important effect here, based on my experience. Because it is where you have most of the interesting options to choose from. For the path option, we have to choose a path. And of course we don't have a path here. If we had a path, we're going to see it appear here. These options basically work hand in hand with the path options, the anchor points Anime. The next animator we're going to be looking at is the position animterI'I'mjust. Going to delete the layer and then creates a new layer or a new text. The word designer. Now we see that when we come here, we'll add our anime. The next anime is the position Anime. The position animator basically enables to create animation in our position. That's the position of. The words, the position of the characters, the position of the lines if there are any lines, if there are multiple lines rather. Basically that's what the position animo does. We can see that our path more options did not change. And we can also see that we have the position here instead of the anchor point, as compared to the previous example. We can see that for Animo, we have the ring selector, we have the advanced. Like I told you, that the advance is basically the same as it is every other option. A little bit to common. Let's bring our initial position here. Okay, we are then going to bring down our position to this point. Okay, we've brought down the position here to enable us to work with our offset. When we don't play with our offset, we can see that we are able to change between our initial position and our new position. I'm just going to take this 200, I'm going to create a key frame and bring it zero. We see what we have now. It's physically working similar to the anchor point. But of course, this is not the anchor point, this is the position. For the previous example, we were actually animating our anchor points. But for this example, we are actually animating the position. Let's easy, we have a smoother animision right now. Let's just split with the curves like this. We feel like extending our animation to about a minute, or rather a second. Yeah, what we have right now. And let's go to advance now, like I said before, the index and the percentage of basically doing the same thing now we have Don. We have based on characters based on characters without line and characters excluding species. This is what we have based on characters, Characters, species. We have the words. This is what we have because single word. Okay, Now let's assume we have designer boy as our text text. Now we can see that because it's on words, each word is now an emitting separately. We have lines, lines. We still do not have multiple lines. We have a single line. We have characters excluding species characters. That's it for that. We also have, oh, we have the ramp up. The ramp down which does the opposite of ramp up. Then we have the triangle that we've seen before we get to the triangle, then we have the, this is what we have with the round. And then we have the smooth smooth, take it to square and look at. So smoothness for this is basically the same with what we saw in our previous example. We can see that our easy is no longer applies. It's very mechanic in its movement. Edit the smoothness. That's it for smoothness and randomizer. Basically the same thing as the previous ones. For this, I've deleted the position effect. And I'm just going to delete the key frames we have on our offset. I'm going to bring the position of our text back to where it was originally, which is here. Now we're going to add our next animo, which is the Sk animo. Now in this animates, basically everything the previous animos do except that it does it for the skill of the character of our word. Now as we've added our skill animator, we see that the animator one option is here. And then under it we see the skill and we see the ring selector one. Now this ring selector of course, is like the previous ones. The start, the end, the offset, and the advanced. Then we have the skill here, okay? Now, for the advance, the percentage in the index, that's the units of the skill, okay? We have percentage and index, just like before we have. Based on words and based on characters, based on lines, Based on characters, excluding spieces, The mood we have add, subtract, and so on. And so we have the amount, we have the smoothness, we have the high low, we have the randomizer, just like how all of the ones we've looked at have. Now I'm going to create a key theme for the scale here. First of all, I'm just going to come here and increase, increase the species between our characters. Okay, we need to just reduce the scale here. Increase the species like this. This is what we have now. And we're just going to play around with the scale. We're just going to make it something like this. We're just going to make it 100.138 Okay. This is what we have now when we come to offset of, we play around with offset. Now we see that we are now being able to, or we're now able to go from what we have now to what we have originally. And we can see that as we animate our key frame, our offset, let's make it zero, let's make it 100, our offset here. Let's, let's just create a key frame and then come to, let's say, close to a second and make this zero. This is what we have is this is what we have. And we can see that our characters are skilling individually. When we come to advanced, we can see characters, species, characters excluding species we have. We also come to, it's going to skill based on the words, you see what we have. We also have lines, of course we only have one line. This amount controls the amount of our skiing, just as we've seen before. The ship controls of the ship of killing also, just as we've seen before. As you can see this is ramp up. We also have the ramp down. This is the ramp down. Then we have the triangle. We have the triangle, we have the round in the smooth. Basically, that's it. We've looked at these options in previous animes. We've looked at all of these options in the previous kill meters. So basically do the same thing. I don't have to go through them over and over again. Now when you look at the skew, let me just delete the animo. Delete the scale. And delete the animo animo one so as to add other animetos. I'm just going to show you briefly what all the others do. This is the skew, the skew, the skew does this, you see? This is the effect we get from the skew. Every other thing is the same as the previous ones we've looked at. Okay. We can now play around with the skew value here and then come and play around with the offset. And you can see this is what we can achieve. We can change to the characters excluding species. We can change towards that, we can change the amount, we can change the smoothness, we can change the shape, and so on and so forth. Now, after the skew, we then have the rotation. The rotation enables us to rotate our characters. We see what we're able to achieve with a rotation. We can edit a rotation like this, and then then come the offset. Then edit our offset. An admission on rotation. I would like you to go through all the options and just play around with what we have and see the things you can achieve with what you have. Coming to opacity or opacity, of course, you know the opacity. We know that it reduces the transparency of our character. So we can see that our transparency has been reduced 100-0 Now we can just come to our selector, come to our offset and then work on the offset. We can randomize this. We can do a whole lot of things to make sure we achieve something amazing. At the end of our lecture on text animation, we're going to create something very cool. So that you have the experience of combining these animators and creating something very cool for yourself. Let's look at the all transformation properties, which is the last one for this. When we add it, we can see that we have options for all the transformation properties. We have an option for the anchor point position. We have ski skew, we have skew axis, we have rotation, and we have opacity. So we can edit them individually and we don't have to add them separately like we did before. So basically it, that's it for our first section of text, animeters which include anchor point position skill, que rotation capacity, and the last one all transformation properties. So that's it for now and in the next lecture we're going to dive deeper to look at even more interesting text Animeters. Hope to see you day bye. 25. 24 Text Animator 2 - Fill Color, Stroke Color & Stroke Width: Hello everyone and welcome back. In this video, we're going to be looking at the next text, Animeters, which are the field color, the stroke color, and also the stroke width. We can see that the field color has under it, the RGB, the hue, the saturation, the brightness, and the opacity. Also the strep color also has the same options as the field color. What I'm going to do is I'm going to go through all these options with you and you're going to explore these other options on your own because they are basically the same as the field color, only that they apply to the stroke of our character, all of our text. Okay, Right now coming to the field color, we're going to add the first one which is RGB. And this is RGB. Now what RGB does is it busos give our text a new color and then creates an effect of blending between our new color and our old color. Apparently we have read and when we then look at range selector here, and then we come to Advanced, we can see that we can edit between our old color and our new color. Let just change our color, Blue. Okay, change color to blue. And we can now see that we can edit from our color or from our present color to our new color. Okay? What we get with the color, with the field color or with the hue, field color property. We have these options here on the advanced and like I said before, they are basically the same as the ones we've looked at before, but we're just going them once more so that you see what you do for the field color. Okay? We have percentage and index. And like I said before, they basically do the same thing. We have bad. Now we have based on characters, we can have based on characters, excluding species, based on word. And we can see that each word has a different color, okay, based on lines. Now for that, we can see that whole line has the same color. Then we can see that we have the amount, we have the mode, we have the ad, we have the subtract, which does the direct opposite for the ad. And we have all others which do almost the same thing as the Ad. We have the amount, that's the amount of blending between the two. Okay? Then we have the, now we have the ship, This is square. We have the ramp. Okay, We have the ramp, ramp operator and ramp down the triangle. We have round and we have the ship and we have the smooth rather, let's make it ramp up. Let's just rather, let's come to our offset here and create a key frame here. After 1 second change, let's make this zero, then come here and make it 100. Yeah, 0-100 We can come to randomize and then just turn on randomized to create a random effect. The effect, okay, you can see the randomize as added a touch of randomness to what we have here. That's it for the hue effect. Looking at the next one, let's just delete the animeter here. Looking at the next one, we're going to add the hue. The previous one was RGB and now we have the hue, okay? The hue effect works like this. Okay? We can see that we are able to create different colors without hue effect when we come on random orange selector and then advanced. We can see that turning on our hue here to, okay, let's just make this two. When we make this two when editing our offset, we can see that our color of individual characters is changing, changing randomly. Now this is the hue effect we can make the words, and then you'll see that the colors are changing based on the words. Okay, what I want to do is just to make this zero and then create a keyframe here. And come to this in time. Okay, so basically it is what we have. We have the effect we have. Let's just make these characters. Now. You see what we have, okay. We have the mood, we have the subtract, we have the art, we have the others. We have the amount which enables us to adjust the amount of the effect. We're adjusting the amount, you see what we are able to achieve here. Okay. So that's it. For amount, we have the ship, we have the ramp up. Now for ramp up, you see the beautiful effect it has created for us. We have the ramp down, you see the effects it has created. We have the triangle, We have the round, we have the smooth, basically, that's it. We have the randomizer also, which gives a touch of randomness to our effects. That's it for the hue effect. For the next one, we're going to look at the saturation. The saturation is basically the saturation. We all know what saturation means. Basically what it does, it makes our color either more saturated or less saturated. Now we see that by reducing our field saturation, we can see the effect it's giving us. It's reducing the saturation of our field color. When we take it down to 100, we can see that we've completely lost sight of, of our text because our text is basically white right now. Now when we take it up, we can see how saturated our color is now is our color is now very saturated by boosting up the field saturation. Okay, now we see that we then all of the effects, the options on the effect we can work on the offset on the units we can work on based on which, which will apply our effect based on the character, on the characters excidence species, the words, the lines, and so on and so forth. We have the mode which is add, subtract, intersect, and so on and so forth. We have the amount of saturation, we have the shape, these options. We have the random mize also, and so on and so forth. Basically, just go through all these and see for yourself what you can achieve. Okay? See for yourself what you can achieve with what we've learned so far. There is so much we can achieve. The possibilities are basically limitless, I would love to actually see, come up with, we have the brightness which increases or reduces the brightness of our field color. We can see that by making it 100, our field color is very bright by 50. Of course, the saturation, or rather the brightness reduces when we make it zero. We can see what we have. Now when we make it -50 you can see that it's turning dark As we take it lower, we can see that we've achieved total darkness. You can see it's basically black. Now that's the effect you get by playing with the other options under your ring selector and under your advanced, you get different effects or amazing effects. Of course, the next one. The next one is capacity. Now, opacity is basically opacity. We've looked at opacity in previous lessons and it basically works like the opacity we've looked at. I don't want to make this video unesscially long. I would like you to check out the options under Str color for yourself. We have the RGB, which works similar to this RGB except that it's applied to the stroke. We have the stroke hue saturation, the brightness to opacity. All these basically work like the ones we have here, just that they are applied to the stroke, okay? And we have the stroke width. And you need to know that in order to use the stroke option here. In order to apply these effects, you have to have a stroke applied on your text. In the next video, we're going to be looking at tracking line line space and hope to see you there by. 26. 25 Text Animator 3 - Tracking, Line Anchore & Line Spacing: Hello everyone and welcome back to this video. In this video, we're going to be looking at our next text, animus. And there are the tracking, the line, ankle, and the line spec. Now the tracking when selected enables us to increase or decrease the species in between our characters. As you can see, I'm not able to increase or decrease the species in between my characters. That's basically what the tracking does. And we also have the ring selector here and the advanced option, just as the previous text animos which we've looked at have now, we can just create a key frame on our tracking amount, come to 20 frames, and then adjust it. Yeah, let's adjust it, let's adjust it to 100. And this is what we basically have. I'm just going to change the positions of our key frames so we can have something like this now. Easy ease our key frames and play with the curves. This is what we have right now, guys, by the tracking amount. Okay. When we come on our selector, we can see that we have offset. We can also admit this with our offset. So we can see what adjusting our offset does. I'm not going to make this, I'm not going to add anything on our offset. As you can see, we have our advanced options, just like the previous ones we've looked at. We have the mode which is subtract and so on and so forth. So let's just take it to the randomizer. Doesn't do much here. Just go through these options by yourself to see what you can achieve with this. The next effect is the line cho. This effect enables us to adjust the anchor of the line. This effect should be added alongside the tracking effect. Okay, do work hand in hand with the tracking effect. By adding it, we can see that it has basically moved our anchor to the middle. We see our admission more of in the middle. Let me just delete it so you can see what it looks like without it. This is what we have without our line Co. When we add our line Cho, we can see that our admission is known like this. We can also play with the line O. Now It's currently at 50% We make it 100% something like this. We can make it zero and have something similar to what we had in the beginning. I'm going to take this to 50, so our admission happens in the middle. You can just play around with all other options to see what you can achieve. The last antimatter here is the line spacing. The line spacing enables us to adjust the spacing between multiple lines when we have multiple lines, for example, when something like this, you can see we have three lines. When we have three lines, our line spacing can then be used to create coolan emissions. You can see by adjusting our line spacing, this is what I'm able to achieve. We can just something like this then come to our off. Then now we can adjust it with the offset was going to create a key frame here. Let's make this zero. We come here and make it 100 to easy ease. We need to play with the curves a bit like this. What we have a very simple animation by adding our tracking, our line anchor and our line spacing. I just want you to go through all the options to see what you can achieve on your own. And in the next video, we're going to be looking at our next text, Animes. See. 27. 26 Text Animator 4 - Character Offset, Character Value & Blur: Hello everyone and welcome back. In this video, we're going to be looking at our next text, animators. And they are the character offsets, the character value, and the blow. Now for character offsets, what it does is it changes our characters, it completely changes our characters. And we can create nice looking at animations with that. Let's make this 16163. Okay, now when we come to our range selector, we can see that editing helps us to come back to our original characters. Of course, we can also create a key Fm on the character offset to allow us to go through several other characters. Okay, let's just take our offset to zero So you can see how the admission goes. We can see that by animating our character offset, we then have this admission which chose different characters. Get down is what we have. Basically what the character offset effect does. We have the character value. Now the character value pretty much does the same thing as the character of set. Only that it changes them into values. It changes our characters into values, make this 200. With this, we can see that our characters are then limited to become different values. Of course, we have different options here to choose from full unique code and preserve keys and digits. I just want you to through all the options we have to see what you can come up with. We also have the advanced and so on and so forth. You guys just go through all these other effects to see what you can come up with. There is a lot that can be achieved with these effects that I can assure you right now. We're just going to add the last effect here, which is the blow effect. The blow effect is basically a blow. It adds blow to our characters, and you can see what we can have or what we have by just adjusting, the blow can be omitted. We can use our ring selector, our offset under the ring selector actually to actually adjust the application of our effects when we have it at 100, you can see that the effect is applied to when we have it at zero. You can see that the effect is applied to every character. But when we adjust it, we can see what we are able to achieve. We can see that the effect adjustment then moves. We can play with the offset and then make this 100 is what we have. I just want you to go through the advanced options and other options to see what and what you can achieve this effect. Basically, that's it for the character offset, the character value, and also the flow of text animeters. Next I want to look at the three D text animo. But before then I want us to just take a look at the path options we have here. Now the option, like I said in the first video of this section, can be used when we have a part. We can use this to enable our text be applied along. Let's just draw a part here. This is the part I have. Now when we come here, we'll be able to select max one, which is the new part we have. By simply selecting this, we can see that our text has been arranged along our path. We definitely have many options with which we can play with. Okay, we have this first margin and last margin. Now these options enabled us to move along our path. To move our text along our path. Okay, that's the first margin and the last margin. Basically, it does nothing here, but we can animate our first margin. Let's make this zero and then create a key frame. First, margin, come to 1 second. And basically take it down here. The easy. I see what we are able to achieve by adding a mask or adding a path. So out this for this video guys and in the next video we're going to be looking at our three D text. Animo, hope to see you. Bye. 28. 27 Text Animator 5 - 3D Text Animator: Hello everyone and welcome back to the course. In this video, we're going to be looking at our three D text animo. This is our three de text animo. But before then, we're going to look at the feature which I skipped from the previous videos. This feature can be applied to all text animos. Also, now I'm just going to add tracking to explain this feature which I missed. This feature can be seen here under our Animo one. We can see that we have this do when we hit Ad, we have two options here. We have property, we have the selector. The property enables us to add these text Ani meters. Again, basically same thing as adding the text animos here. But the second option, which is the selector, enables us to add a range. We are able to add another range which then gives us access to options like this. We are able to add the wiggle. Now the wiggle is an effect that enables us to wiggle the particular text animo effect. Here if we have the characters blowing the wiggle effect will wiggle the characters. If we have the character killing the wiggle effect, we'll actually wiggle them while killing. If we have the characters rotating or skewing the wiggle effect, we will wiggle the characters while doing the particular animation. We have expression. Now we touched expressions a bit from previous videos or from a previous video. I think from the previous section we touched expressions. But we're not going to look at expressions in this course. Expressions will be covered in subsequent courses. Let's us look at the range when we add the ring. Now we see that we have selector two. Under the selector two we have an additional start and offset and advanced elector one. We can see that we have start and offset and advance. It just gives us additional features. You can plead. Let us come and see the Wg. Now we have the wiggle. Like I said before, the wiggle gives us the ability wiggle our characters. So let's just add tracking to our text. Okay, let's just come here and then increase this. Okay, this is offset. Let's come to track in amounts, create a key frame here, then come here and do something like this. I don't want us to create any specific them, I'm just trying to show you how the wiggle effect will work for offset. I'm just going to come here and do something like this, something like this here quickly. Let me just add the wiggle effect. Okay, the effect has been added here. When we come on the wiggle effect, we can see that we have options, we have the mode, we have intersect, we have defaulters intersect the subtract minimum maximum difference, just like how we had it in the advanced options here we have vehicle per second, we have correlation. Let me increase the vehicle per second. You see that our vehicle effect is presently active. Let us delete the effect here to see what we have without the E. So this is what we have without the legal effect. Okay, this is what we have without the legal effect. Let's just control Z to bring back the legal effect. Now you see what we have with the legal effect, basically. That's it guys. That's it. And we're just going to look at our three D text. Animeterow. In order to add our red text meter, you come to animate and then come to enable per character treat. This immediately turns our text to a three D layer and then gives us a set of options. Now we can see that gives us this gizmo icons here where we can physically transform our character. Now we can rotate, we can, we can move, we can rotate. We can even scale based on tre D, That's in three D space. We can see that we have our z axis, we have a y axis, we have x axis. You can see we're rotating this along this axis so you can create key films. And then just create nice nice tredmissionsk text. Now let's just make this, let's see. Okay, let's just come under to see more options which we have. Now let's look at material options. We can see that we can make the cast shadows, okay. We can play with light transmission, the light transmission effect. We accept shadows, we accept light, and so on and so forth. But you are able to see the effects being applied because we don't have a light in our scene. A light in our scene will enable our characters interact with the light, thereby making the effect valid. Okay, I'm able to create a light to come to the layer and then light, I'm to create a point light for demonstration purposes. Now, as soon as I create a point light, and you can see the light being applied to our text. Now as I move our light, we can see that our text is now here and then brighter here. I'm willing to edit our composition. I'm going to make our composition background with this. We see, we can see the effect we are achieving by by playing around with our lights. Okay, I'm willing to change this to spot lights. Now you can see that by moving our spot lights, we are able to even hide the character, or hide the characters because our light does not fall on them. By changing the position of our lights to fall away from the characters, we can see that our characters are even being hidden in the background because the background is dark of you can create very cool admissions with this come to our light transform properties and then just create key and then come in time and move our lights. Just move our light like this. This is just for demonstration purposes. I'm not creating something specific, okay. Just for you to see how our light interacts with our characters. You can see the simple effect we able to achieve by just playing around the lights. We can come here and play around with the options we can see. Let's make this, let's see, this feather softens the edges of our lights even more. We have the fall off of smooth, we have none, and we have inverse square clamp. You can just go through the options to see what effects we get. We have the radius, that should be the radius of our cone. Okay? Because this is a spot light with a cone ship, we definitely have Dus. Critically, this is what we have. Radios and emitting our lights. Let's open the transform properties under our character, and of course you can see that we now have a third dimension added to every option here. Now for position we have the X, Y, and Z scale. We have X, Y, and Z orientation. We have X, Y, and Z. And we have the rotation X, Y, and Z. Okay, because it's now a red layer, Let us select everything and then just create a simple animation. I'm not creating anything specific, I just want you to see how we are able to work on our text layer which is now a red layer. Let us rote. You willing to delete that? Fi need to but it kind of backwards. Yeah, so this is a subtle effect we're adding here, nothing serious. Just to show you how you can make edits to our three D texts, Anima. Basically, this is what we have achieved so far. I wanted to just go through the options on your own to see what you can come up with. I'd love to see what you can come up with. Okay, so that's it for this video and in the next video, we're going to be creating something cool with of course what we've learned so far. Hope to see De by. 29. 28 Classwork 7: Hello everyone and welcome back to the course. In this video, we're going to be creating this simple admission on our screen Right now. This was achieved by using our text animos, which we just learned in previous videos. It's basically the text animos and a few other skills which we learned in past videos. Let me just post it for now. As you can see, what we have here is the texts. Here we have 365, we have engaging. We have a rectangular shape. Here we have, we have this creative, we have design this little square sheet. Here we have the image. Yeah, we have the image. The project files including the image, will be made available for you to follow along for us to start. We're going to create a new composition, make our background white. We have our new composition just like the one we have here with a white background. Okay, now you need to do is to go to the project folder and then select the image. Now this is the image we have used for this. When you import it, you're going to just drag it into our composition. Just little bit, Little bit. Now you can see this is the original image, but we've added some effects to make it look like what we have presently. Yeah, I'm going to align our image like this, just like what we have here. You can see that our image should be somewhere here. Our image is a bit bigger, image is a bit bigger. Let's see. Okay, let's just check this for a clip of how large images to 100.414 Now we have to apply a few effects to our image. For starters, we're going to apply the key light effect so as to remove the background. Okay, just come to your effects and appreciate here and type key light light. This is the plug in here. Now we're going to come here and then select this hydroper two. And then just select background. As you can see, we successfully removed the background and given this effect we have here, okay, that's what we have. Now our images completely blended the background with the white background. We added another effect which is a transition effect because we can see that we transit from nothing at the initial, at the beginning to the image at about 3 seconds, 15 frames. Okay. This is the CC image wipe effect. It's a transition effect CC image wipe. Let's come here and type image P effect. All we need to is turn this to hundred, let's say come to 3 seconds and 15 frames. Then come here, create a key frame. Come here and then make it 00. Let's hit you. To bring out the key frames, we just, this is what we have. Start playing our image wipe effect and our key light effect. I'm just going to select all key frames. Easy, easy. Then let's just check this hit and see what we have o it's just a normal we have. I'm just going to lock the layer and close it. I'm going to create, these are the elements right now. We have the 365. We're going to come here and create our text 365. Okay, this is this event. Let's just bring our anchor point to the side here. Let's bring our Anch point to the side here. What we can do is just duplicate this with control D and then come in typing engaging By hitting this icon here, it replaces our color with the field color. In the field color with the color, we just have the color as a color. Let's disable our stroke because we don't need the stroke. Let's reduce the size a bit of our anchor point here. Let's just take a look at what we have here for a clip. We have Ivan Bold and we have 133 -53 Here we have -53 Ivan Bold and 133. I'm just going to create our new new ship layer. Then rectangular ship. Just draw our rectangular ship and select our hydro two and make the same color as our text. Now this is supposed to be under our text, text color is supposed to be white. Our text color is actually supposed to be transparent because cuts out of our shape here, we're just going to leave it as white for now. For the next element, we have Creative Design and also this square, square shape here for the creative design font. This is the font, and then we see it's 219 pizzels large, and also minus -53 Let us make this bit bigger. Let's duplicate our text layer here, and then just change the color. Yeah, so we see that our text, our phone size for Creative is 209 19 to 219 phone size, and this is -53 Also edit the color bits. Mm, I want to have something very similar to this. Okay, let's duplicate you again and then have design. I think they are the same size, so they are the same size. Finally we have this squared ship here. It's basically a ship layer. We need to create a ship layer ship layer. Then we're going to have something like this. The co points, where is it? The Co point, this here, I'm going to grade it to this point. The anch point for this text here should be here. That for this one also should be here. Yeah, that's for this ship, also should be at this point because all transformations were coming in will be happening around here. Guys, this is what we have so far. And in our admissions from here, we can see that we have this guy coming in. Then our engaging coming in from the left to engaging. Let's hit you to see our key film. So we can see that we have key films on the position and tracking. The text mo has been applied to the tracking. Okay, let's just come here and we can also see that it happens, the tracking starts from around 15 frames. From around 15 frames. That's about here. What we need to do is just come and come on or engage in text. And then let's add the tracking. We've added tracking and let's just, the tracking amount. Okay, let's create a key frame on the tracking amount. Let's bring the key frame here to where we want the tracking animation to end and then make the first key frame. 160. Yeah, this is what we have. Let's come in time here. A key frame on the transform property. Position on the position property. Let's make it like this. Then from here, let's just bring, or transform, Let's just bring the position here. We have something like this. What I want to do now is to just add another effect, which is the line. So let's add the line. Let's 100. So this is what we have. All we need to do now is just make our Q films easy and then play around with the curves. So I'm just going to come on, our film assistant, our graph. And then just like this. So as you can see we have something similar to what we have originally. I'm just going to increase the length of our animation. I think this is good. And what we need to do now is our, our rectangular ship here. As we can see from here, the rectangular ship appears first before our engaging comes in. We're going to just tick the engaging and then shift it a little bit backward so that to give room for our rectangular ship to appear. For this, I'm just going to hit for scale. And I'm going to click this icon here to disable uniform transformation. Okay, so that we can only scale one side of our ship. I'm going to come to 15 frames and then create a key frame. Create a keyframe here and then come on zero second. Just move this. So I'm just going to change it to zero. We can see that this is what we have. Ok, select my key frames and as then just play around with the curves. Okay, let's see how the curve here appears. Let's hit, you see that? It's about 16 frames and this is how the graffiti to looks like. We just make it similar to this. Okay. Was 16 frames longer, the 16 films? Let's make it a little bit longer. Yeah. So this is what we have so far. I think we have pretty much done justice to this part of the admission. So what I want to do is I just want to hide our here. I'm going to hide. I'm just going to she them to give room for other Yes. Okay. I think I'll just leave them. I won't shy them because I actually Okay. Yeah, I think I can she these ones. Yeah. So I can shae them for now, but I'm not going to she these ones. Of course. This is what we have right now. I'm go into meeting the remaining parts of the, the video. I'm going to hit on this layer, the creative text layer. And then come on and then let's just see what text and meter we have. This is creative. Lets see what text me can see. We have position meter. We also have the scale meter. Position meter, skim. We have key frames on both of them. Keyframes offset, we can see that our animation ends at about 2 seconds and five frames, or 2 seconds, three frames, we will come to 2 seconds and three frames. Just add our position Animo here in other position. Animo something like this, look like this. And then come to the offset, Then create a key frame. On the offset. Okay, And then come back in time and yeah, the offset needs to be 100 here. Okay, So I'm going to come back in time and then make our offset zero. Okay? Okay, Sorry, I forgot to create the key frame. So we have to create the key frame on the offset, so we have to make it 100 and then come back in time and make this zero. So what we have, okay, we're going to select our key films and easy ease them. And then let's just kind of make it look like this. The next text, Animeto, will be the skill text Animeto, the skill, we're going to just have it look like this. Let's see, 65. And then come to the offset and make this 100 and create a key frame and go back in time, make this zero. So what we have then, Kim assistant, easy ease. So this will do. And now we have our text and admission for the creative text layer. What I want to do right now is just make it invisible here by using a shape layer. By using a shape to cover it, and then using the alpha in track mat, just like we did in previous videos. All we need to do now is just come and hit this button to show the track Mat option. And then come here and, okay, we come to Creative and there's alpha in this is what we get. Okay, so we can see our text coming out from this, please. I just want to shift our ship a little bit. Ship a little bit, yeah. So this is what we have, and this is cool. The next thing to do is to create the mission for this guy. For this guy, We come here, let's just check what we have here. You can see that the scale animation, we have the position animation and we also have the space animation. This should be the tracking animation, the position scale, and also the tracking. I'm going to come here and add our position. Okay, we can see that from here, our mission starts from O, starts from about 1 second and 19 frames, 1 second, 19 frames, and ends at about 2 seconds, 20 frames. Okay, 1 second, 19 frames to second, 20 frames. 1 second, 19 frames, Somewhere about here. And all we now need to do is come on the position and then take our position. Okay. So let's just come to orange elector here and come to offset. This is the offset we create the key frame on offset. And then go to the end and make this 100. We just easy ease. So this is what we have so far. And let's just add our skill animo. Our skill animo can come to the end of our time. And then just o just 49, right. And then come to our select, come to the offsets, make this 100 and create a key frame and go back to where the admission starts. Then that we have something like this. Then let's just easy ease and also play around with our curves. Finally, we have one more text animito to add to this layer. Which tracking text animo on the track. In text animo, you know what? Let's just add another text animo on this. Let's add the line care as to bring our animation to the right. Let's just make it 100. This is what we have now. We just have to the key frame on the tracking amount. Come to tracking amount, create a key frame and then come here, let's see, 00 keyframe assistant, easy. Do something like this. Yeah, do we have the final thing we need to do to our layer, our design text layer is hide it. We have to hide it the way we hid the creative layer. What we have to do right now is to create a ship like we did before and then just practically put it on top of layer. We have our ship has to be above the design layer, right? Yeah. We come to design and then select Alpha invert mats we have so far. It's cool. Yeah, this is cool. And finally, I think we need to admit this guy so we can just shine these layers. Now to give room for clarity, you can see that this guy appears at about 1 second 20 frames. 1 second 13 frames, or 20 frames it appears. And then I just want to see the view of our ship, it appears and does something like this. 1 second 20 frames, 1 second 20 frames, we have our ship. Just hit for scale. And let's the dimensions or the sites. Now we link the sites and just create a key frame here. And then just move this way, just make this zero. Just come a little bit in time. Just make this 100 or Si, I think this is okay. Okay. This is okay. And we need to now create a key film on the position we have this. I think we need to create a key film. It's about at about trees, con, and nine frames. Trees cons and nine frames. So the position needs to calm down here. Key film assistants, sorry, it has to be the other way round. Yeah, so that's it for this. I think we have one last thing to do. Maybe not the last thing to do, but we need to admit this guy. We need to add two text animes, which are the opacity text animeter. Also, let me see. We have, we have the character value and also the opacity. Okay, we have the character value and the opacity. Our animation starts at about 2 seconds and then ends 15 frames afterwards, 2 seconds. Then we have our character value. Okay, so let's come to 15 seconds and create a K M on carta val. And then come here and let's make this, let's make this 57. Let me just see how I did it here. We actually have our key frames on the offset, not the character value. The character value has to be just 57. Okay, so we can just delete our key frames. Here we have the character values 57, when we come to you to 15 seconds offset, under our offsets we can make this 100 Crete, the key frame. And then come back to the second second, that's 2 seconds and then make this -58 Okay, so our off still be -58 Okay. So this is what we have. Just select our key frames and easy, sorry, this is what we have. Okay. Actually the character value ends at about 2 seconds, 25 frames. So about 2 seconds, 25 frames. Yeah. While the other one, which is the opacity, ends at about two second 15 films. I'm going to add the opacity right now. I'm sorry, opacity. So we've added opacity. And what we need to do is just make this 100 and come here, make this zero. We have one final effects, which should be applied on an adjustment layer. If you click on this adjustment layer, you see that the optics compensation effect has been applied. Okay, All we need to do is just come and create a new adjustment layer. Then take it up and come to our effects, effects, and presets. And then look for the effect compensation. These are optics compensation. We can see that the effect starts. And you can see that defect starts at about 1 second on five frames and then goes down to the end. But the effect is very subtle here. You can see that defect very subtle here. Let's make it starts from here, we're going to create a key frame on the field, on the field of view, then hit on reverse lens distortion. So this is what we have. I'm just going to make this, so for now. And then come down here and make this okay. Yeah, I think this should do. So we'll just hit you for the key frames and easy ease them. Yeah, that's it for this video guys. I just want you to explore more. Go on your own and see what you can achieve. I'm very sure there is a lot you can achieve with this. So that's it for this video and see you in the next. Bye. 30. 29 Motion Tracking 1 - Introduction: Hello everyone and welcome back to the court. In this section, we're going to be looking at motion tracking in after effects. As you can see on my screen right now, there's a video plane and we can see that this tax sign has been actually attached to this video externally. By externally, I mean it's not originally part of the video, but we can see that it has been attached realistically, it's realistic. And it's actually following our car, our tax car, wherever it goes. When I play our video, we can see what's happening here. This is basically done through motion tracking. After effects this motion tracking, and that's what we're going to be looking at. Motion tracking allows us to do stuff like this. It allows us to add objects to our scene and make it look realistic. We can add a text here, We can add an object on our scene. With the head of motion tracking, it's going to look very realistic as the object was shot initially in the scene. Okay, that's the idea of motion tracking. In this video, we're just going to try to achieve something similar, okay? And in subsequent videos or in the next video, we'll need to do something more advanced. Okay, So this is just simple. And all you need to do right now is to come and import the footage. This is the footage just come to your project folder and every other file apart from the footage will also be made available. Come to your folder, to the project folder and click on this work footage one. When you click Import it, it's going to appear here. This is it. Just right click on it. And then new composition from selection. It then creates a new composition with our footage. Now our footage is too long, I just want to make it four, 4 seconds, eight frames long. Okay? And then just trim it this way. And right click and trim composition to area. This is what we have, 4 seconds, eight frames. In order to achieve successful tracking, what we need to do is to select a point of contrast on our footage. A point of contrast is basically a point that stands out from the environment. Okay, from its surrounding. Now we can see that the predominant color here is yellow. And colors like black here are points of contrast because they stand out from the predominant color. Okay, we can also see that points like this, points of contrast, points like this, are points of contrast. So some points of contrast are more powerful than other points of contrast, points that stand out. More more powerful than points that don't stand out very much. Okay, and we can see that tracking places like this will be very difficult because we don't have points that stand out for this video, we're just going to be using this Toyota logo here now. We're going to use this Toyota logo as o point of contrast. In order to start we just select the footage and then come to motion when it track motion after effect gives us a track point. Okay, This is a track point. It uses these points to track the motion. We're going to place this track point on the point we want to. That's the point of contrast. Just place it this way and then look something like this. Now this square inside is the main track point. And then the one outside is you basically telling after effects not to go outside this point. Okay, that's for accuracy. In order to start after arranging our truck point, all we need to do is to just come to our tracker and hit alyesardhen hit analyze forward after effects. You're going to try to follow our video tracks, our track points. Successfully tracked our video. So it has truck the motion of our tuckpoint and now we can export this data to objects on our scene. So we're just going to create a new null object and then this is our new null object. We're going to transfer this data to our null object and basically track our appearance stuff to our Nod object in order to make the movement. Okay. All you need to do right now is just come to edit target and select our no object, that null tree. Okay, so it okay. And Click on Apply. It then asks us to choose whether we want to apply this to the x and y axis or X axis A lm, y axis. We just use X and Y axis. We can then see that our nod object has then been attached to this point. What we need to do right now is just create our sign and parent it to our north object. In order to do so, we're just going to create a new composition. Then we're going to select our tan group to grow out tan group like this basically come to our parts. To that selecting our ship to our ship layer. Rather, come to our parts, to the throw out a part, drawing the part on the ship layer. Now open the ship layer and come to add and merge parts in order to merge two ships together. The next thing to do is to come and pick the text to the tax. That's what I want to do right now, is just to crop our composition to this region of interest. When I do this, I come to composition. And crop composition to region of interest. This is what we have crop our composition to our region of interest. And then come back to our work footage and bring in our new composition for scale. Reduce the size a bit to basically are our, our new composition and make it look realistic. That's making it look realistic as much as possible. Let's just make this layer treaty and try to just play around with the kismosill. That's it guys. All you need to do now is just come and select the perent per come to three. Okay, so when we play it, we see that our taxi has successfully been attached to, or rather our taxi sign has successfully been attached to our video and it looks realistic. So that's it for this video. In the next video, we're going to be looking at even more advanced stuff. 31. 30 Motion Tracking 2 - A step futher: Hello everyone and welcome back to the case. In this video, we're going to be achieving something similar to this. This is a call out and he's basically typing a message to his wife telling her he's not going to be coming home early. Okay, that's it for this one. And we're also going to be achieving something like this. Now this is three D tracking, so we can see that these objects, which are basically texts, have been added to our video. They look realistic, very realistic. See if they've been there right from the beginning. This is three D tracking, they've been added in three D piece. In order to start, we are going to import our footages. Just right click or double click there and then bring in these two footages. May you bring them in? You're going to to the first and create a new composition from selection. We now have it as a new composition. We can see that our composition is just about 5 seconds long. We need to crop this to about 5 seconds. Trim, comp to work area. Yeah, 5 seconds, 5 seconds long. Like I told you in the previous video, in order to track, we need a point of contrast. We are trying to track his phone right now. We're trying to track his phone. We need a point of contract on his phone. We can see that the phone is, it's going to be a little bit harder to find our point of contrast, but we can see this point, that's this camera point. Okay, I think we can use this point to track his phone. Just come to the track windows and then track come to the truck and then track motion like we did before. You're going to arrange or keep this track point on the camera going to achieve something like this. Just scale this other guy down to something like this. And now we can track our motion. Just hit an yes forward after effect has successfully tracked our motion. It actually did a pretty good job here. What we need to do now is transfer our data to a null object like we did before, null object, and then come to edit target and choose our null object, okay? And then apply X and Y. Good. Now you can see that our null object has been attached to our t points. Now we just need to create our call outs that we need to create something like this. This looks similar to a hologram effect. I'll see how we create this is come and create a new composition like always. Then come to a rectangular to just draw out something like this. Let me see how it a draw something like this. And then you can just use the Pin tool and draw something like this to make this guy a little bit bigger. Just come to contents. Then let's round the edges around the corners to this guy here. To make round corners similar to this, let's just make this 45. 45 will then just to the ship layer. The ship layer and then come to add merge parts. We've merged our parts. The next thing to do is to turn or to create our gradient effect. To come right click and then come to layer styles and gradient. You see the gradient of kicks out our stroke. Let's just come and work on the gradient. For now, let's edit colors and make this green and green, dark green, light green, something similar. So for the style I'm going to use Do is going to use Ski myself something a little bit better. So this will do guys, let's just reduce the skill a bit. And then we can see that we see that we have a, okay, let's play this animation we have initially. We can see the type of animation we have here. We can also see that this green call out has an opacity of 72% This opacity in 72. Okay, let's just reduce the size again. And then coming creates a new ship layer. Sorry, reduce, let met this fro red, this white, this onda. So let's just make the anchor points. This guy here, this lea, let's make it here because our costs from this point, okay? Just like how we have it, just like how we have it here, you can see that this is what we have originally. For this, I'm going to hit A and reduce the opacity to, let's see, 19. Let's say 28. Or to control duplicate, pulling down shift. Let's just make this one a little bit bigger. Below the put them and then holding out the holding down shift. Let's yeah, a little bit smaller what we have so far. For the text, we have him saying, hey, baby won't be coming home early today. I've got a lot of work, so let's just copy the texts we have here. Text a little bigger. It's not. What we want to do is we want to admit our texts. We want to admit our text reveal just on your text. And come on select the rectangular too in order to mask and create a mask like this, the first mask, create another one. Then make this one a bit bigger or just adjust the position, create another, another mask like this, just like this and kind of bring points. Yeah. Hey, come home. Okay, won't be coming home early today. I've got a lot of work. All we need to do now is animate our texts, reveal it for masks. Then the first, let's see, 20 frames the, and then create a key frame on the mask path. Then come to our starts and cooling down shift, Grab our mask to this point. So this is what we have. Yeah, we have. We can leave it like this if we want, but we can see that our text appears. It doesn't look as if it's being typed. It just looks like a real normal reveal coming here, we can see that we have it. It, let's just reduce the resolution to have. We can see that it's an, it's being typed on our own, which is this new one which is looking just like this. How I was able to achieve this is that I came, let's say, to this point and then created another key frame. And then came here. And then just copy this key. Then come here, create another key frame here. We can also just reduce the sizes of the tuition of our Animsion is basically how you achieve that effect, that type effect, Okay, come to wound and then create a key frame. Grabs, then copy this guy and paste here, Then come to B. Okay, so this is what we have right now, and we can just do the same with these other ones. Just come here and create the key film. And come back in time and draw, get out, come here and then make our key film control C contra V. Let's pretty feel, just select all of our key frames and then bring them here. Yeah, bring them here so it looks as if there is a continuation. Yeah, let's just do the same thing for the last mask. Come here and then cut our mask, our Q film, and come back in time and then drag this guy down here. Film copyion piste. Q film expanded to pitts copyion pit. Create a key frame, so the length of our key frames can be proportionate to the sizes of our texts. Okay, so when we have a short text, like you can see that let's just have a short key frame, something like this. Physically, let's just make this the minimum something like this. So it appears fast more quickly. Because it's of course a shorter type. It takes shorter time to type shorter words, right, for this guy. Just make it like this and crag it out. Copy and Pete, Same here. Copy and piste, same here. Then select all our Q films and then bring them to this point to we've achieved that effect. Now what we need to do is to just come and create a new ship layer. Okay? And then let's just two ship just make this, let's change the front size to pixels. Or four pixels. Okay, now we need to apply a strike to our ship layer here. What we're going to do is just come here and right click, then layer styles and stroke. Okay, so now we've added the stroke. Just come here and change the color to something like this. Okay, then for size, let's just, let's just make this four. I think we need to add this other ship here. We're going to copy this. We're going to copy the St size three. Let's just duplicate this layer. Bring it here. I think we are good to go. Let's just make this so a bit bigger. Let's make this six. First of all, we need to, this guy to skill out to pop out for skill. And then just let's see, 15 films, 17 films. Then create the key film for one skill and then come to 0 seconds and hit zero. It's going to skit to select our films and Kim assistant ZES what we have so far for this little guy, we want it to skill also it's going to were to create the key Fm on skill, then come back in time and make this zero. To select this key film copy and then come here and paste it. Select our key films and easy ease. Make this a bit bigger. Let's change our resolution size to have, okay. So as to improve performance, what we need to do is to create loop. Want to create a loop here? What we can do is just come and pull down Holes option on the Mac. And click on this icon. Then go to the Properties and then select Loop Out. Okay, so it loops out through through the video. We also have to animate these guys. Okay, that's this guy and this guy, we just have to emit them. We just have to use the trim parts. Okay? Also the trim parts. Trim parts. So let's come to 1 second and create the key from on the start. Then come here and make this 100 Select our key films. Des come to our graph editor, make our graph look like this. Thank you please. Of the guy. We also have to come, let's see, 1 second. Let's create a keyframe on our end. In this case, let's create our keyframe on our end and come in time and then make this sale. Let all our key frames and easy, let's just make our key frames look like this. Create an offset. Create an offset by dragging this guy up a bit. All we have so far and the last thing we have to limit is our mean ship. Is our mean ship and we need to limit it to out from the point of anchorage. Okay. Let's just come to 1 second and hit S, create a key frame and come to zero second and make this zero. This is what we have. Let's also, let's also R rotation and then commcrete key frame here, make it like this. Let's see, let's make this, let's make this 19. Let's also, let's bring it down a bit. Okay, let's hit you for all our key films. And then select everything. Give my assistant easy, easy. Come to our graph editor, Select our graph, our key films. Doesn't look too cool. Let's do it this first, and let's see what we can do with this guys. Okay, basically I think we have what we need for our tracking. Let's just add one more effect to our text and that's the glue effect. Lets us create a glue effect, just a subtle glue, not too strong. Blue intensity. I think this should do for blue intensity, the blue reduces. This should do and then let's just hit for transparency and then reduce our transparency a bit. Let's see 92. Let's just see this with transparency on okay. I think this is okay. Now we need to make an okay, we need to make all elements come out at the right time. First of all, we want the guy. The guy, yeah, the two of them. We want them to come out first. We want them first before we have our mean call out. Okay, so we have it like this, then we have the guys, we have this. And then our texts will come out last. Still adjust them bits. Yeah, I think we can work with this. So let's just come to our region of interest. And then just draw something like this. I'll just draw this ship. And composition and then crop composition to region of interest. Now all we have to do is to bring in our composition composition to bring it here and then to no object. It's test for Ski. Ski tab. Just okay, we have to just, we have to bring this guy. Let's just take that. It's starting at about 15 frames. About 15 frames. So we want to see the whole thing for now so as to enable us arrange it properly here. Okay, so let's just make this layer tre D and then try to rotate this guy this way. Then rotate it a bit more. Yeah, I think this would come back to composition two and then make it starts at about 15 frames. Yeah. Come back to footage and then select a composition and parent it or no. Object to this guys. We see that we've been able to successfully create this kind of call out and hulu gram effect. That's it for this particular one. The next video is this one where we at where we create three D text objects in our scene, Not only text, we can see that. We've also attached this after effects logo to the wall of our scene here. Okay, that's what we're going to achieve right now. In order to start, just select your footage and then come to your truck again once more. You now instead of truck motion, you have to hit Hit camera. Just come here and then hit Render Track Points and then go to Advanced, then hit Detailed Analysis. Okay, so this is just what you need to do. You can also make these track points a little bit bigger and also the track point size a little bit bigger. So this is the track point size and this is the target size. Okay? You can make them a little bit bigger. And after effects will take some time to analyze the footage. And I'm just going to forward the video and come back after the analysis is done. Our video analysis is over, and if you followed process correctly, you'll have a video looking like this. And I actually had to crop out the video. I had to reduce the length of the video to about 11 or 12 seconds. Okay, 11 seconds, it in frame had to reduce the length of the video to this long because it was taking too long. This is what you. Then you have the points. These are what we call track points. We have different track points when we increase the sizes. Here, when we boost up the figure here, we see that our track points increase by size. Okay? Them and we can reduce them. This is the target size, this circular icon. You see that this oval shaped icon, which is red, is actually the target. By increasing or reducing this number, you can see that the size of our target increases and reduces. We're going to keep it this way. Right now, what you need to do is come and select the plane on which you want to create your object. On which you want to attach your object. Rather, right now I want to attach a text on this plane. I'm just going to mark select them and then click and Create text and camera. Create text and camera. We have our text right now. This is now our text. And what I want us to do is just come here and come to transform. Let's try to reduce the scale a bit. Try to reduce the scale down shift to make this happen faster. Then we can route our text layer. You can see that now we're having our texts are touched properly. So let's just use the gizmo here and move our text layer like this. So let's just click and then write, let's say three D. Okay, we should scale our texts a bit more at it a bit more. We have our text in treatise piece, and when we play our video, you can see that it's being anchored very properly. And realistically with this method we can add different other stuff into our scene. We can just select our footage and then just come here, select and right click and create solid. So let's create a solid. Okay, so when we create a solid, let's just come to our solid here and reduce the size. Let's make our rotation, make this, yeah, I think this will do. What you need to do right now is just select our solid and then come and precompose it. Precompose, Just hit, okay. When you double click on our solid, we see that our composition now opens up with this. We can now come to our project panel and drag in the after effects logo we have here. Then just to the point which you want. After you do this, you just have to off the solid layer. Okay, And then it's save then just go back to your video and you can see that solid has been replaced with the after effects. Look here with this same method, you can add many other stuff you can add. Let's see another text here. You select this and then text right to come to transform. And let's repeat our text like this. Then let's move it blue. We can then click on our text. And typing typing after effects us drag text the Batsakds. We play our video. Now we see that our text has been cored properly and this looks very realistic. If you want to not see our track points widely in the video, you can just come this render track points, you can just check it. When you play a video, you can see that the track points no longer show you guys. You can use this method to add more texts and more objects to our scene. Basically, that's it. That's it for this video. Hope to see you in the next by. 32. 31 Morphing - Between basic shapes: Hello everyone, and welcome back. In this video, we're going to be learning about morphine. Animation. Morphine is physically the transformation of one object into another. Morphine can be used not just for objects, but even for transitioning between scenes. And morphines are one of the good attributes of motion design. Okay, now when creating morphine animations, speed is very vital. Speed is very important. And you have to create enough distractions so that the viewer does not see the transition. Because we are actually transitioning between one object to another or one scene to another, or one picture to another. So we have to do it in such a way that you distract the viewer's eyes from the actual transition. Some of these distractions to be elements such as bounces, contraction, expansion, and so on and so forth. So you could use the elements of animation, or the principles of animation that we've learned before. We are going to see how to use some of them also while learning morphing. Okay, there are basically two ways to handle morphing emissions. The first one involves replacing the initial object with the new object in the point of high speed. Okay, I'm going to play the admission on my screen right now. And then we can see that this simple ship, which is a square ship, is transitioning into an ellipse. Okay? And then from an ellipse is then turning back into a square ship. Just play it and see how the transition or how the morphin happens. You can see that the square ship here is transitioning into the ellipse and then back into the square ship. The first way I will handle morphing animations. Okay, we're basically changing the layer, okay, We're basically making the next layer. That's the layer of the object, we want Siple or the layer of the second object, which we want the first object to morph into. We're actually changing it at the highest point of speed. Okay, this is basically the first way we will handle morphing. The second way is basically changing or editing path of the objects. We are actually modifying the objects ship. We can see that we only have one layer here, and then we have key frames on the path and also key frames on the positions. The key films of the positions determine the movement of the ship from left to right. Okay? You can see how the key frames have been arranged or modified. Okay? We can see that when I play this admission, we can see that it's transitioning between the ellipse and the square. Okay, So we can see that this is basically the same layer. So we've been able to modify the path to transition between the ellipse and the square shape. Okay, there are other complex forms of morphing which we're going to be looking at in foderlens. For now, I would like us to recreate these examples we have here so you can see how I will basically handle a problem like this. We're going to start with the first one we just viewed. Then in order to start, I'm going to create a new composition. Let's make this 1080 by 1920. This guy, Ten T by 1920. Okay? And then it. Okay, I'm just going to change my composition background to white to create a rectangle or square rather, this is my first square ship. I want to transition from this ship into an ellipse. I'm also going to create a new ship layer of my ellipse. I'm also going to use the Ancho points to, to bring the Ancho points to the middle. Yeah. So what we basically do now is hit P for position, and then create a key frame here. And then, let's see. Okay, just 1 second long. Let's move to 1 second then rather object to this point. We can see that the first our admission is done, morphing admission is done. Let me just a guy like this. This is what we have so far. All I need to do now is make these key films easy. Then our graph like this so that it speeds up in the middle. We have keep in mind that speed is a vital aspect of morphing so as to distract the viewer. Okay, so now we have to do is come and select the other layer, and then just parent the other layer to the first layer. When you do that, we see that the objects now move together. Okay, then let's just select these key films and then open up the graph editor to see our speed graph. Okay, at this point we know that we're having the highest peed. All we have to do now is to select this layer and then come to Edit. Split layer. Okay, we're going to do the same for this guy, Split layer. The control, the shortcut for split layer is control shift that's on your PC. Now we have this. All we now need to do is delete this layer and then delete this layer. We can see that our square is now transitioning into our ellipse. Basically, that's how you will handle this guys. You can see that we've been able to transition between the square ship and the ellipse and you can see that we did our transition at this point. You could admission more interesting by adding other things. You could add a little bit at this point. That's the point of transitioning between the first ship and the second ship. This will also help in distracting the user. Like for example, I could create a new adjustment layer and then just come in hold down control. Shift D to split it and then come here also shift D to split it. And then I could apply an effect such as the troubulent display. Troubulent display, rather troubulent display, Okay, then apply it on my adjustment layer. What I would do is make this amounts zero, then create a key frame. Then at this point make these amounts 100, and at this point make these amounts zero. This is what we have. It gives more character. We could add the complexity. We could admit the complexity, aim a whole lot of things. This is just to give you an example of how we could also make this guy interesting, this admission interesting, without even adding principles of animation such as the bounce and the squash effect. Okay? That's basically it for this type of morphing animation. For the next type, I'm going to create a new composition. I'm going to create a new ship, which is a rectangle, or sorry, which is a square, square ship. Then just drag our anchor points to the middle. What I need to do now is animate the position P a position. Here. And then just come to 1 second, bring our position here. Let's make it easy. Easy. And of course, edit our speed graph. You said this is what we have. Now the next thing will be to actually come here and let's type in path to open the path attribute of our ship player here. And then just come here and click on this part. And convert to parts. Okay, now we've converted our rectangular ship, square ship to Tobi parts. Let us close this, hit you to see key frames. We can see that our object is moving from here to here, Okay, in 1 second. What we're going to do right now is while selecting the layer, just come here and then create an ellipse. We need to create an ellipse in the, now we have an ellipse in this ship. Okay, we've converted a rectangle to path. Now open the ellipse and then come to the ellipse path and click and convert to busier part. What we have to do right now is come to the end of this animation and then select the path for our ellipse. Then create a keyframe here and copy this key frame. We can now delete the ellipse. Okay, Then come here to the first key film and then open here. That's the part property for our rectangle. Then just create a key frame here. When you come back here, all you need to do is to the key frame. Okay? I think what you need to do is just copy this key film like this and then come here. We can just, this guy let, we can delete it. That's it. We can see that we've been okay. We didn't do this at the point of speed, that's the mistake we did here. All we have to do is just bring our key films to this point like this. That's it guys. You can see we've been able to achieve this very easily. Okay? We are morphing from this ship to this ship using the part method. Okay? To actually modify our parts, we just copied the parts key films from the second object and into the first object. You might need to watch this again to really grasp how I did this. But of course you have the video, so you can just watch it on your own again. But that's basically how you can go about with this. Again, you can add some other features of admission to distract the eyes of viewers away from actual transition. So you could add squash and stretch. You could add bounce effects, you could add distortion effects, and so on and so forth. Just to distract the viewer, remember speed is very vital in morphing animation. Okay, that's it guys, for the morphing animation, we're done with this. In the next video, we're going to be looking at a more complex form of morphing, Okay, and hope to see you. Bye. 33. 32 Morphing 2 - Between complex characters: Hello everyone and welcome back to the course. In this video, we're going to be recreating this morphing emission. Now this is quite simple morphine mission. But quite complex too. Because it's more complicated than the ones we've looked at in our previous video. Now, morphings're happening between two basic ships, but this one is happening between two compound elements. Compound in the sense that these elements have multiple ships in between them, multiple ships in them. Rather, the morphing is happening between the multiple ships or these multiple elements. This is a coffee mug or a coffee cup morphing into a water flax. We're going to recreate this in this video. First of all, I'm going to select these layers, these two layers and copy them. Copy them, because these are our two ship layers. Then I'm going to create a new composition. Just piece our ships here. When I turn this, please Ship on, you can see that this is a coffee mug and this is a water flux. Okay, when I play my animation, you can see that the morphing animation is happening on this layer. I'm going to just come here and make it less stretchy or less stretched. And then hit you to bring up the key frames. And then just delete these key frames for now that we have no anission happening on the layer. In order to achieve this morphing animation, we just come here and we position our ships properly. Position our ships in this manner, centralized them for this ship. I'm going to hit tea and lower down the transparency or the opacity. See this other one properly. Now we want this ship morphing into this ship. I'm just having this one for reference purposes. I'm just going to block it for now. And I'm going to select my mean ship. I'm going to come to 1 second in time and open up this layer to see the contents of this layer. Now we can see that this layer is made up of five rectangular ships. We have rectangle, five rectangle, four rectangle, 32.1, we have them, five of them. The morphing and emission is happening on these ships. The first thing we need to do is come here and then open up the path properties for the ships. And then just create a key frame on the path. And then let us come to ten films for now. And then start modifying our ship to look like this. Okay, that's the basic concept. We have to modify this ship to look like this. I'm just going to come here and it see again and take up the transparency a little bit. This will do 78 sh going to lock my layer once more selecting these two. I'm just going to come and select one of our points here. Now I want, I want this ship to come here or to morph into this particular ship here. And the other one, this one that is still part of the lead for the, the morphing into this other ship here that's on the flax, and then the body morphing into the body here, and this ship morphing into this ship. And finally this la, ship morphing into this last ship. As you can see, I'm trying to morph similar colored ships. Okay, I'm morph this one into ship because they have similar colors. And I'm doing the same thing for all other ship layers or ships we have. I'm just going to drag this like this, then position this. I'm pulling down shifts to make sure I maintain an even ship. So I'm going to drag this guy out here like this. These points like this, of course, while holding down shift for this ship. Now I'm just going to take it up like this, zooming to see what's going on here and this points like this. Yeah. Then I'm just going to work on the other ship here before before going on to other ships. Yeah, so I'm going to walk on this other ship here, work on this other ship. Then finally I'm going to properly position the body. Yeah, as you can see, we've been able to achieve the morph. I'm going to just disable this layer off this layer when I play my animssion here you can see that I've been able to achieve this morph, hitting you up the key frames and then select all our key frames. Right click and easy ease. So like I said before, your speed is very vital in creating your morphing admission. In order to make this less conspicuous, we could actually reduce the tuition or the speed of this transition. So you can see that this looks better. Now we can see that for our original elimation. Here we have these elements, the speed lines which have created using the trim parts, effects. And I'm not going to recreate this, I'm just going to copy the ones, the ones we've created here and then just have them here so we don't have to recreate everything. Okay, so I'm not going to position them properly. Thank you. Okay, actually it's meant to be like this, so this works. Finally we can see that we have this skill animation here where our ship just kills up. Okay, And then we didn't have this squat stretch animation here, which creates an anticipation also for our final morphine animation. Of course, we can create this question stretch by modifying our skills. That modifying them evenly but making sure that the volume is still maintained. Okay. How to achieve discussion stretch is to just come here and then create a null object to a new null object and then select our ship here, P to a new null object. I could just parent first of all and position null object to the bottom here, position it to the bottom. And then select our ship. Yeah, it for skill. And come here and create a key frame here. And come here and limit the zero s in order to create our squash and stretch a mission. We can just come here and then create a key frame at this point. Key them at this point. And then, okay, let's just see what we have here. Do we have it squashing and stretching? And then what We typically have something like this. We're going to the skill happening like this. We can see that here we have 100 hundred. We want to uncheck the constrained proportions to make Ken so that we can. Let's, for this one, let's 70. Let's make this 130. Okay, let's copy this one, piece it here. Then copy this one piece it. Park here guys. This will be it for this video. I'm just going to come here and reduce the length of our entire admission. That is for this video. Guys, hope to see you in the next. 34. 33 Lettering Animation: Hello everyone and welcome back to the course. In this video, we're going to be learning lectin animation. Lectins is just as the name implies in admission, it's used to animit letters, basically, the admission of letters. Okay, on our screen right now, we can see the letters animating. This is a basic style of line admission. And we're going to learn in this video, we're going to be creating this particular lectin admission. And one thing I want you to take note of or to inculcate in your animation, whether less in an emission or morphing an emission or whatever an emission you are embarking on is to try to add distractions to your admissions in order to distract the eyes of the viewer. The faster the emission all the less conspicuous the transitions and emissions are, the more interesting and the more professional your admission tend to be. For this example, you can see that I've added distractions such as the splash effect. Okay, the splash effect you've seen here, also the multiple colors you see here. These effects tend to capture the viewer's attention and making the viewer to focus less on the actual transition. That's a bonus tip for your animations. Okay, in order to create this, I'm going to start by importing the file. Now I'm going to click here. And then come here, triimissionjt. Come and select this Lectin emission. At the Illustrator file, you have to select Composition, Routine, layer Sizes, and import this will import the file. And when you open up the file, one thing you have to observe here is this file has multiple layers. Okay, we have layer one, layer two, layer three, down to layer six. This is, so because of the nature of our text, I've intentionally picked this text to show you how to handle complex situations like this. Okay. Now our admission can happen just on one layer, just on two layers. But in this case, we're going to work with six layers because of the intersections that occur on our text layers, our text different intersections like like this. These are what I call intersections. And these make it very hard to achieve this admission on a single layer. Okay, For this region we have multiple layers and we're going to learn how to achieve the same using multiple layers. I'm just going to come and review the admission once more. Before we begin, we can see that the admission is starting from below or from this point, then that's from the letter A coming and end in here. And then, and then the E begins from here and ends here. Then we have our splash effect happening here. That's it for analyzing this particular later in admission. Coming to our composition here, I'm just going to first of all start drawing a mask on the layers. Starting from the position where the admission starts from initially. Okay, like we've seen here, the admission is starting from this point, I'm going to start my drawing from here. I'm just going to disable the layer so I can see what I'm really doing. I'm going to create masks on all these layers. Going to fast for the video right now and come back when I'm done with creating my masks. As you can see, I'm done with creating masks on my ships right now. The next thing to do is select all your ships here. Then come to effects and presets. And type in, come down and select this effect on the generate. Now you can see that it then adds trucks all around our ship using our path or using the paths we created or the mask we've created as a guide. Okay, for brush sizes just this big, make this ten. And then for brush hardness make this 100. Okay, let's just increase the brush size. Let's select this layer. And then increase the brush size to, let's increase the broach size. Let's see, 14. Let us increase all the broach sizes to 14. Okay. Okay. I think we need to select them individually. Let's make them 14. Let's select them individually and make each of them 14. Yeah, this is what we have guys. The next thing we have to do right now is just select all these layers and then come here and then on the pin style, make it reveal original image. As you can see, it's not working for all of them at once. We just have to do this for each of the ships. Okay, just select each of them and then changes to reveal original image for this ship layer two and also for this layer. You can see we now have everything properly aligned. Now let's this layer to illustrate to you how everything will work out, why selecting this layer common starts. And you can see how our animation is now happening. We can see that as we adjust our starts value, we have this animation happening. Okay, I'm just going to increase the brush size for this layer because of this point here. As you can see, we are having some irregularities here. I'm going to increase the brush size. Let's say at this point by increasing the brush sizes, we tend to fix some of these problems right now. We then need to create our animation starting from this and finally to the letter E. I'm going to come and select all of them. And just Create a key film, come here, and then come to 20 films. And then create a key film on our starts. Come down here, let's make this 100. It has only worked for this layer. I'm just going to hit, you see, Okay, I just need to actually do the opposite. I should be, the end, should be admitting at the end, I'm going to come to the end and then play the key film here. Then come here and make this, we have this good for key frames and I'm going to do the same for each and every other layer. We have our animation created for all our s. The next thing to do guys, is to just out these animations because they can't all be happening at the same time. So we just need to, in order to achieve the ideal mission. I'm just going to start with this one of course. Then just hit you for these two layers to see where the key frames lie. Then just drag this out a bit like this. Okay, I'm going to enable my layer to see how good as you can see our anion is happening. But I need to reduce the size or the length rather of this animation because it's a shorter ships compared to this one. The ion cannot be the same. Good. So we're making progress so far. Let's turn this on for the key films and let's bring them this way and reduce the duration again. Did finally for letter we just have to hit you and position our key films properly. As you can see, we're done with litter. We're just going to enable and continue the animation. Let's hit you for boots, layers. And then position the kifings properly so we can see that our animation is happening slowly. So we could also just make these key films a little faster or reduce the duration for these key films. Yes guys, this is what we've got so far and we've achieved progress so far. The next thing to do is just select your Ers and let's just them and call this everything now we. Or an emission. Now let's just come here and edit this composition bit. Just make this 1920 by 1080. You don't have to recreate a new composition it for scale and just kill this bit. Let's come to a composition sentence again and make this bright color or white color while selecting our layer. Come here and type in just add feel effect. And we can see that by adding the feel effect, we've changed the color of our text. Okay, now we have a red, but we don't want it, we want to use the colors we have here. I'm going to start by changing the color. Let's see. Yeah, let's see, this is the main color, just like how we have it here. In order to create these are the colors, what we need to do is we need to duplicate our layer here and create an offset. And change the color below. Let's see blue. Okay? And then the duplicate duplicate layer, then change the one below. Let's just adjust the color bits, make it look like this. Final thing to do or to come and add our easy is just hit you for the key films and everything. Everything I click easy ease, we now have an emission. I like this. I like what's being on so far. The next thing to do would be to be to create our splash effect. In order to create our splash effect, we need to come here and create a new solid. Let's make this red. Let's just make this tenity ten. Okay, then come here and make something like this, like this, or draw a mask on the ship like this. Then come to your effects and preset and type in typing. You have to come here and select this tree D on the red giant trap code. This is a third party ploigin, it's not an original. After effect ploigain, we have to go to the Red Giant website and download this ploigain in order to have this tree D stroke effect. Just come and drop the effect on this solid. And where it says color, just come and then sample out this color. Then just position the mask more properly and then come and adjust your settings like this. Come to tip and enable tip able tip, then here and look like this and look like this. That tip start and tipper end. Start make it 100 tip, make it 100, that's it all. Then need to come, just come here in time and come to your starts. On your end, come and meet zero. Then create a keyframe here, come here in time. And then this hundreds, 100 hit you for key frames to see what we have. We won't see anything. But when we adjust our key frames like this, we tend to achieve this admission. Our admission is happening a bit too slow. Just select all your Q frames and easy ease and make this like this. You can also come here and just our like this so as to make it look more like a, like a splash. Okay. You come in and kind of f with the kickness me it's 13.7 Nick like this, I like this, I like this. Now what we need to do is duplicate. Okay, plush. And then then, and then just rotate the layer like this. Come and have something like this. Just rotate it a bit more like this. And just position a splash like this to have another splash. Okay, I can also create an offset between the two splash layers to have something similar to this. Of course, if you want, you can make the second flash a different color, but that's left to you. That will be it for this video guys, and hope you learn something new and hope to see you in the next. 35. 34 Fake 3D Animation: Hello everyone. I'm welcome back. In this video we're going to be learning about tre D. So, as you can see on my screen, we have a pretty cube. One meeting here. We've limited this treaty cube. And this is not three D, this is fire. We don't really have our cube in three dimensional space. As you can see here, our layers are not even on what. We have this red happening, we have this red mission happening. How is that possible? This is possible with red tread is achieved by simply positioning your points. That's the points of your ship. Okay, at different positions in time. I know this might sound confusing, but when we get into it a little deeper, you're going to understand better. This plane on the screen is a basic example. Tread victor D can go crazier. Can go crazier than this factor D also can come very handy in local emissions in creating very cool animations. I'm going to show you examples of what people have created using Fred. I'm just going to show you the examples here. This is a platform known as Gribble. It's a platform for designers, we have motion designers, we have graphic designers, and so on and so forth. Registered on Gribble, we can see a lot of work. You can get a lot of inspiration, connect with the creatives I just typed in red here in my Dribble account. And now we can see examples of treat D has become very trendy over time. And we can see what this guy has achieved, this designer has achieved with Fred. This is completely Fred, this is completely fake. You can see how cool these animations are. You can check ribs. Look at this logo animation. Look at this log emission. This lula emission has been created with treaty. We can see this text emission here. We reviewed here. This is another example. Another example is simpler example. I will see this is another one. Yeah, we might be creating something similar to this in the future. Maybe next section in the next section of this course. Then you can see these are all fired achieve very cool stuff with Fred. Now we're going to try to recreate this so you understand the busy concept of fired. Now to start, we're going to start, of course, a new composition. As usual, the next thing to do is come to our ship. To our rectangle then creates a busy correct holding down shift to make it perfect to align. Align it to the middle. Maybe I'll just make this, call it this uncle. Point to the middle as well. In the middle as well. What I want to do, I want to just come to a ruler. You can the ruler here just come here. And something similar to what you can see. Just draw something similar to what you can see on the screen right now. As you can see, our ship layer has a stroke of 17 and doesn't have a field color. Open up our ship layer, right open this up, right click here. Then convert to busier parts. Convert to busier parts. Come to our lineup. Cap line joints, round joints also, then just it then. This layer to just open up your composition. I think our composition is too long just for now. And come to 15 frames. Now select both layers, then type path here, such then we then open up the path properties for both layers. Now just create key film here, boot paths, key film on the 15th frame and also on the first frame. To create this key frame here on the path on the 15th frame, just select your first layer. Select path, just select these two layers, or rather these two points. Drag them here, drag them here. Then also select this point and drag it here like this. Select these other points, drag it like this. Then finally, yeah, then finally select these two points and grab them here. Okay, Pratt is perfect. Perfect, yeah, so this will do. We then come to first frame and then select our second A. Select the points here and drag the points here. Holding down shift of course. Drag the points down here and just make these points then like this. The ones also like this. And select these points, grab them this week. Yeah, plan on our admission. This is what we've been able to create to. You can see that by simply adjusting the positions of our points, we've been able to achieve this illusion of three D. Now this illusion of three D is what we call the fake three D effect. Let's come to the middle frame, the middle frame and then set, Let's just select our points here and drag them a little bit further up and down like this. Select layers when very it a little bit up. You can see that we've been able to teeth our cube along the x axis to illustrates an illusion of treaty. Okay, we can, we should just select this first layer and then composition it. Split, split layer. Come here, duplicate this layer, Control D, drag it down. And we should also split this layer. Control shift D, and then delete ETA. Let's select put Layers and type in path again to reveal the path properties. We just come to party frames, which is 1 second, also creates key frames on our path properties. Yeah, great, On our part properties right now, we're going to try to rotate our layer. We're going to try to rotate our cube rather along the y axis. Select the cube here, just select your two here. And then select these points and bring them down. Shift them down, then select these individual points. Now drag them them, and finally these two points them. Okay, now we should come here, select the fort layer, or rather the ship layer four, and just do the opposite of what we did with the previous layer. Okay, good. We should just come to the middle point here also. And sorry to make this a little bit more interesting and realistic by dragging the points like this guys. As you can see, this is what we've been able to achieve. We've been able to repeat our cube along a y and x axis using the D style or the effect just composition composition can play in the loop. Or an emission complete the loop. Finally, you can just add color to your layers to your ships by just selecting the ship layer and then come to field color. Let's give you the field color rather. Yeah, give it the field color. Field color, Different field color. Come give it field color. This is what we have. That's it guys, for this video, introducing you to the fire D effect. I want you to make sure you do this exercise, and you can find other things online, free D exercises online, and try to achieve them on your own. I'll be elated to see what you can come up with. We probably will be looking at a more complex type of D effects in further lessons. Hope to see you in the next. Bye. 36. 35 Wave Wrap Style: Hello everyone and welcome back to the court. In this video, we're going to be looking at Weaup Animation. This is more of punos video for this section. And we rub animssion is used to represent waves. Okay? And this can be applicable in animissions of flags, water bodies, and anything that has to do with the wavy movement. Now as you can see on my screen right now, I have a text. We have applied the effects to you as I play this scene right now, you can see that we have this wave text behaving like a flying flag. Okay. This is one of the things that can be achieved with the wave up effect. This is all we have. Even cooler things, we can ache effect. This effect can come in handy when creating and emissions, when creating motion graphics, when creating a whole lot of things. Okay, This is one of the applications. We're also going to be creating the court of this video. First of all, I'm going to walk you through the process of creating these. In order to start, we'll start with a new composition as usual. Let's just name it weak, make it 1920. Maternity. Let's lock the aspects so then this is nothing serious really. It's very simple. Just one effect we apply to achieve this. Let's come here like your text tool and then typing wave. Let's just bring the anchor point to the middle and then let's align our texts properly. Next, we just come to the effects and presets panel and type in. Okay, we. Yeah, so this is the effect up effect. I can't find it here. Let's type up, I can't find the effect here but just come on, come on, distortion P, this is the effect up doing applyp. Just come here and maker setting like this. Make this 40. This is the wave heights. Let's make it for, let's leave type then make this let's of the wave with 400. Okay. Then let's just adjust this guy like this, you should do. And then for the speed the, let's just make this 0.8 Let's reduce the speed to bit already. You see achieving this effect right now. Let us maybe take this to medium. And I think we've achieved what we have here. We've basically repeated what we have here. I think the settings are the same as if they're the same, everything should work perfectly. So that's guys, I would like you to explore these settings on your own to see what and what you can achieve. The possibilities of the defects are limitless, okay? I'm going to walk you through the process of creating this an emission. Also this weave, an emission. And every project file will be made available so you can follow along and then see also how I've been able to achieve this personally. So let me just zoom in a bit more to see. So you can see all that is going on here. You see this is, this is ingredient field. Then we can see the grunge effect applied to the ships. This effect gives it a very nice look, trendy look, to create a new composition. Turn it by 1920 then. Okay, so I'm just going to be first here. I'm going to come here and then create a new ship, that's a new ellipse. Okay. I'm going to centralize the anchor points. Yeah, the anchor points are centralized. Just ski little bits, common ingredient feel. Let's, let's make it di, okay, radial ingredient. And then let's, let's make this similar to what I have here. Let's make it, of course, similar to what we have here. I'm just using the ingredient hand on here. You can see to adjust the size of my ingredients, it becomes softer when I drag, it becomes more concentrated at the middle when I drag it in. Okay, I think this will do. Let's just make our glue a little bit more serious. Yeah, this is okay. The first effect we would like to achieve is, is the Hoover effect. As you can see from here, ellipse is actually hovering. This is made possible by a script, not a script, by, by an expression. Okay, so this is just a simple expression we're going to type in to make this possible. I'm just playing it for you to see how it's hovering. Okay, I guess you get the idea now. Just come here and come to position position. The first one we'll need to do is we need to separate the dimensions because we're just working on the x axis. After we separated dimension, we have the x position and then the y position. Come to the exposition and all click on the stopwatch I can here, and then type in the expression. We go parenthesis 1210 and 1.1 time. Let us play our admission to see what we've achieved so far. Yeah, this is it so far. The next thing I'll do is create a new composition. Name this body. Let's name this body then. Just come here, select the polygon to then create a polygon. Hit the polygon and come on the Police Star option and make the polygon points to three so that we have a triangle. Then just centralize the anchor points. The anchor points chit control R to show the ruler and then just drag this out like this. We see where the center point is. Our anchor point has been placed at the center. Just drag this out of the frame. And let's rotate. I'll pull the gun by 90 degrees. Okay, let's make this -90 -90 degrees. Then let's come here and align the ship to the middle. Align the ship to the middle. Let's just make this bigger like this. Yeah, this is good for me. If you just come on the field, select the ingredients option, and then just make this linear ingredients. Let's do, okay. For now, just use this point to drag it out like this. Just come here and make a little bit more interesting. Okay, we have our first body. Okay, now what we need to do is duplicate this body control D to body control D again to our body three. Let's also control D to have body four, body one. Let's go into body two and make some adjustments. Boys going to be colored blue. Let's make this color solid color. Let's just leave it like this in body three won't have a field color. Let's just total transparency here to see what's going on. Let's make this whites. Yeah, we just have a of two pixels or white. White color. Okay. The body will be something like this to create a new She layer. And then just use your pencil to drug or to throw out a line set line sheet line. We have a stroke value of two pixels. Just delete the initial layer. And to transparency, let's, let's make this 33 pixels. Let's hit dress. The next thing to do is come to our composition and actually import the bodies. We have body, body two, body three, body four. Let's just select everything and bring it now we have them like this. Let's just try to align this ship, this ellipse. Let's just try to align like this. And see, let's bring it into inside the frame so we don't have it going out. Yeah, this will do, this will do. So let's select our bodies and let's align them too. Okay. And this is okay. The next thing to do is select all your body layers and then just come to the parents pick, whip them to this layer here. The movement. So they move together. I think I have to make layers here. Just the size like this. Let's make, it just says the body to completely move into the frames. Okay. Into the frame. Okay. We just want it to stay outside like this. The next thing to do is select all your layers, all your body layers. Then come to effects and press just try to this effect again, we still can't see it. Let's do the same thing we did the other time. Go to effects, and then the effects go to distort and w. This is what we have. Let's just copy the settings from here. Settings, and then we see that the wave type is sine, then the width. Height is 35, with width is 156, then this is 91.3 pin left edge. You think we can do the same thing? Yeah. Okay, let's just use the first one. So this is 35 and then 156. Okay. And this is left left edge. Okay. We have to pin it to the left edge. Okay. So as to attach it to our point here, let me just comp here. 1.3 wave speed, okay? And then 56 de, 1.656 degrees. This is exactly what we have here. If I'm not mistaken, I don't think it's exactly this size. This is actually the selected here. They might have slightly different values. We see that body 156, while the body has a wave width of 250. I think we can just freestyle the features. Okay, we can just freestyle this. We don't have to be correct. Let's just copy this for now. And then bring body four pi. Here it, so that we have this for polyp, this 44, we need to also bring poly three because it's the Let's make our adjustments on body two. So this is 250, 250. I think we make this, let's just make this like this for this guy. We have 252. Let's just kind of cheat the fish, look like this. Let's see what we have here is 276. Let's increase the wave height for body two, we have to wave height at ten. It's supposed to be 35. Yeah. So as to expose it to a bit more here. Let's just copy the same thing here and come to body. Let's did the existing one and this one here. You can also change the pint, the same thing, or goods for this guy. I'm going to work the speed 1.3 Yeah. So we need some unevenness. And by changing the values, sometimes we're going to achieve the unevenness. We need 1.5 Let's see. Yeah. The next thing to do is just come and add our green. The way I did it is just select our body. Let's start with this. Okay, let's start with this. I just came and selected our ship. Then right Clk layer styles and add an inner shadow. Add an inner shadow, just the color, let's see, blue, dark blue for the size. Let's increase the size. Let's make increase the size, then come here when you see noise, it's add noise. When you add noise, you see that the green then appears there. Your noise, the more your green, that's how we've been able to achieve the green effect. You can just copy effects and past on the ugly control V control here, let's just make the green a bit more shouty by increasing the noise. Let's like this. Okay guys, this is it. Okay? We can actually make the size a bit bigger. I think I'll go with what we have here. As you can see, this is what we've been able to achieve. We have been successful at mimicking what we have here. I think I missed out on something. If you observe this body from the original image is actually ingredient. It's not a solid white stroke. It's ingredient because it then plans with the background like this. As you can see, purple, then this is darker purple. Let's just try to make that come to reality. Let's four, make this two, I think it should be. Let's stick. Okay, let's just make this stroke right. Let's see how it then appears we can see that we now have a stroke. We can see that we now have a gradient. This could be. I think I'll go with what I have so far. And finally, yeah, we have these balls running in the background giving you an illusion of movement. Okay, so how I been able to achieve this is I just created a new composition. Okay. I created a new composition like this. This is, this is the original composition. I created this and then created these ellipses. Created these ellipses of variant sizes. Okay, let me just go to composition Settings for you to see the settings. This is 4904 by 975 pixels, Okay, 29.97 frames per second. I now came to the mean composition and then brought them in. Okay, I brought them in, precomposed them, then adjusted them in the viewport. As you can see, this guy is here, sorry. I can see this guy has been brought lower. This one is in frame, is perfectly in frame. This one is lower in frame. This other one is CNC, this one is, I think in frame this lower and this is higher basically. That's what I did. I'm not going to redo, I'm going to copy the ones I've done here. I'm going to copy them, select them, copy, and then come to the new composition here. Just piece them. We probably should make some more adjustments. But I'll just leave it this way and you can do the rest yourself. Just do you experimenting. And I would love to see what you come up with. Now that's it for this video and hope to see you in the next. 37. 36 Product Animation: Hello everyone and welcome back to the course. In this section, we're going to be looking at real life projects. We're going to be working on real life projects. And we're going to start with this product slide animation. You can see on your screen right now now, this is a simple product slide animation for Nike. This is exactly what we're going to be recreating. As you can see, we have the image of a shoe, the Nike logo. Here we have the Nike icon. Here we have just a basic set up. The first process will be to actually design the layout. Design everything you've seen before, then admitting what we've designed. Okay, right now, I'm going to start with the new composition. Come here and then create your new composition as usual. Then let's make this, let's make the width 19 by ETP. We have 29.9 fresh per second. And then let's just hit, okay. This is our first process. And then as you can see we have the product image here by time dub, click it, you can see that we have the product image. And then every file will be made available to you. Just come to the project folder and then import your files. Okay, now we have the Nike logo. Here we have the Nike okay, which is our product. And the first thing I'll do here is just come and try to recreate this decomposition. Okay, so first of all, I'm going to import my Nike shoe. I'm going to just hit As for Skill and then just kill it down a bit. Skill down a bit. And I'm just going to write, click on it and precompose and call this place holder for product. This is a place holder for product and I'm just going to hit okay, this is our placeholder for product. The next thing I'm going to do is to create a new solid. It's a new solid. I'm going to give it white color. It's okay. I'm just going to try to fit it in like this and bring it below our product. Okay? Yeah, from our initial composition here, you can see that we have a ingredient on our solid come to effect. And you see that we have the gradient map. Sorry, the gradient ramp effect. You just come to your effect and control panel and sorry, your effect and present panel. And just look for the gradient ramp effect. Make the settings just like this. I just need to copy this one here. Need to copy control C then come here and control just going to paste it to get exactly what we have there. From the colors here, you can see the exact colors we have. Of course, you can see the color here. So you can just copy it and make as exact as min. The next thing to do is to just come here and create composition again, a new composition. Let's just make this 1080 by 1080. This composition will be our ball. We can also M the ball, we're to create an ellipse, Cretan ellipse. And then remove the and then give it ingredients. Ingredient map, then come into redient. Come in, and then let's come out first. And then just try to make this like this. Okay? You see this handled here. You just drag it and try to adjust the ingredient as much as possible. You can use this icon to turn it into a radial redientk. Turn it into a radial redient then. Okay, to fit this in like this, come here to. This, look as good as possible? Let's delete this. Okay? Now we have these. You can just fit it in as much as possible, but at the end of everything, just try to get something like this. You can see this is our ball. This is how it looks. Let me just go into the composition so you see how everything looks. To see, this is the ingredients ingredient map. This is how I created the balls. Okay, just add this exact ingredients to it. So let's just copy into our composition, instead of creating a new one. To copy this, now we see that our ball has been imported into our composition. Okay, just hit for scale. Scale it down a bit. Scale it down a bit. And let's just take a peep at what we have here. We have it distributed like this. Okay, We have one here. Scale it down a bit. Hit R for rotation and then just rotate our products. This for scale down the bits control D, and just duplicate the ball and distribute it around our scene like this. Control D again of scale it down. Let's take a peep at our existing work here. You can see what we have here. We have one of the balls behind our product. Just take it behind the product here, the control D, to have one here for scale. It, very small, smaller. And then I think we will need one more poll, this guy here. We're going to have here control D and make it come down for you the size. Let's see. Okay, let's have you here. I'm just going to make this a bit smaller so we mustn't get it as exact as we have it in the other composition. Okay? Okay, I think we're good to go with this. How do you hear? The next thing is I'm going to add the blow. Cagian blow, some of these balls to give it a sense of depth. Okay, this guy going to come to effects and presets type blow to add the Gaussian blown, I'm just going to Gai blow and then click it to add to the layer. And then just make this, let's see, 30. Let's just adjust it to this. Let's just copy the effects and pit this layer, then make it's even stronger. Let's give it 100 value of 100. And see, let's make it 15150. Should do, this is what we have so far. I think we've come a long way. The next thing is to have our logo. This is our logo, okay? We can just bring in our logo here for skill, skill it down. You can just come and arrange it here to have our logo here. The next thing is to have our logo icon. Let's just right click and precompose Ite. We have the logo. Please hold. We need the logo. Please hold. Okay. So we have the logo. Please hold here. Let's just click Select, Our Region of Interest. To make it like this, we then come to Composition, of course, Crop Composition to region of interest. When we go back, we see that our logo pleased here. Let's just drag it. Let's again bring in our logo. The make it smaller. Let's just make this a composition. Let's see, go icon. Okay, go in here and let's out the logo icon, the switch icon. Okay, let's just mark this out, mask this out rather, in order to change the color, let's add the effect come to your effects and presets and type type in field effect. Let's just make this white. Go back to composition, now we see that we have it as white. Let's just also cream our composition to our region of interest. This is our region of interest. Just common composition and crop composition to region of interest. Good. We'll go back to our composition and see how everything is perfectly laid out. I'm just going to relocate our logo icon to the bottom bottoms piece. Okay, we're going to keep it here. Then I'm going to do one more thing. I'm going to select it and come to Rectangle to and create a mask. And then it for father and just make this much this will do. The next thing to do is common get our right here which is run the city. Okay, run the city. I'm just going to the right up. We have here Pt in my new composition, I'm going to just create a new text layer, then control this is the right top we have, we can see the fonts we've used here. Just make it this big. And let's come on effects and presets and typing transform to add the transform effect on this transform effect. The effect we want to add here is the skew effect. To give it the skew look we have here. Okay, we want to give our text that same look. We're looking to slightly take this minus, take the skew value to minus, let me just check here and see we have a skew of minus ten here. I understand. I think this is probably okay. I look at it here, then I'm going to right click on it and add layer style. Going to add the satin layer style. Okay. To give it this look. We see everything is pretty similar. Pretty much the same as what we have here. I think we have to make this look on the bit bigger and also the mask bit stronger. Okay? The Father bit stronger. Sorry, I'm going to just hit Father and then try to select the mask. Move it like this, S M, just feather bits stronger. This is okay for the Lugo icon. And we can then see that here we have this type of original sneakers. I just want to copy, I mean, copy it and piece here so we don't have to recreate everything from scratch. I'm just looking to close this. Oh, okay, I wanted to this ball icon. I'm also going to just close the composition. It's not needed at this point. At this point, we have our composition designed. I just feel this should be a bit bigger. Okay, too big. Let's make it 15. Let's make it 110. This is what we have so far. I'm just going to start the admission right now. The first thing to do is, is to hide all our layers. Let's leave the background layer. I'm just going to come to 1 second and ten frames in time. Then hit for position. We can create the key frame here and then come down. Just drag down so that we have the simple mision here to compare it with what I have here. I'm just going to off the motion blow to allow it faster. Actually, with what I did here, I didn't create key frames on the position. I just created key frames on the masks. I created masks to effect this effect, this cut effect. We don't need key frames on the position. I'm just going to come here and then delete these key frames. Then come here and create masks to create this mask like this. To create the next one like this. Finally I'm going to create the final mask like this. We have our masks. I'm looking to adjust the middle mask. Looking to adjust the middle, pulling down shift, I'm going to drag it this way and also adjust this one. Pulling down shift of I'm going to select all our masks here, open them up, and then. Come here in time and create a key film or create key films on the max path. Okay? And then come here and then just drag them down like this. Okay, This is what we have. I'm just need to create offsets, key films to allow them happen in different speeds, okay. I'm going to select all my key frames here and just going to write key from assistant and CEs go to the graph and then just try to make your graph look similar to mine. I'm going to just create little variations like this. I think I'm going to just like this. This is just to make our admission more interesting. Okay, I think we have pretty much what we need for this First. As you can see our ships are animating. I'm just going to other elements such as the balls and also the product. Okay, agree to enable them and then come here in time, the key frame here. And then back in time and just them out of frame. This drug this year, this year when I play my animation. Right now you see that everything comes up okay. I like the way everything is going so far. I'm looking to select everything, right. Click my assistant easy and win su just go to the graph editor and then make my graph like this. I like that, we think everything is coming up. I think we're making progress here. I'm just going to select this product, then hit you to see the key films. Just come here and hit for rotation. Need to create a key film on rotation. Come here and then just make this rotation like this. Yeah, I was going to decide the key films easy ease and I need to make, I need to make my key films look like this. So I like this so far for this guy. I'm just going to delete the admission bits. So far, so good. I feel we're making progress. I'm having an error here. My elements, I don't know why. I'm just going to try to fix this and get back to you when everything is done okay, enable this. It's going to actually temper it with the edges. The edges won't be fine enough for me, but I can see that. All right. I'm just going to work with it like this for now. I'm just going to continue the, the video. This guy now needs to get unlimited around here. Need to come here and just hit for position to create a Kim here, come here and just drag, drag it down from assistant as I'm going to leave it like this and then add an effect. I'm going to add a transition effect effects the transition. I'm going to add the Venetian blinds to common effect. Make a critic key film here. And then come down here. And this 100, okay? This 100. This 100. I'm going to make this 90 to have the admission happen like this. Then apart from for making this 90, I'm just going to reduce the with of our blinds. This will do. This works. The next thing to do is admit our text here. I'm just going to come and our text and then the admission for text. Come here. Let's open up the come to text. The position mission. Okay. So we just come and keep position, Then just adjust a position like this. Okay. Sorry, it shouldn't be like this. I'm supposed to adjust this position, not the other one. Something like this will do. And then come to my my ring selector. Then play around with the offset was going to create a key film on offsets. And then Come a little bit back in time and just make this zero. Okay. So we have this mission select key frames as just come and plea with graphs like this, we can go on advanced and just play around with us with a bit of certainty. Let's make this ramp up to see what effect we get too. So let's make this square. Of course, if we make it ramp up, you know, we can play with the high and low to the ramping a bit more accurate to key. Yeah, but I just want to make this clear, I don't want to do any complex stuff. I'm going to come here again, selecting animo one. I'm going to add another text Animo, which is the skill Animo skill. Animo going to come here and take our skill to 00. When I take our skill to zero, this is what we have. It automatically uses the for our position. Okay, and adds it to our K. Let's just see how we can work more on our tweaking to make our admission. We look better. So of course, we can also add an opacity to a opacity. So to have things happen like this, there's almost never a specific way to do things here. You just have to keep tweaking in order to achieve the ideal effect or the effect you want to achieve. There's no way of doing things. Every way is a creative way. And leave it like this. I'm going to select the smooth ship effect. Leave like this and move to the other. Move to the other elements of the design. So we can see that property, this other feature here, the original sneakers were. If we hit you, we'll see that we only added key frames on the position and opacity of the layer. We didn't add text and meters to it, Okay? Just position and opacity. Come here. Position for position. I'll come back in time and just take it a bit lower. Okay, let's see what we have again. We have position and opacity, okay for position and then opacity to see your films and just make opacity. At this point, just select your key films in easy ease, okay, position. I'm just going to take it a bit lower. I feel it's too high. So this is okay. This is okay. It's a bit too slow to I just this works I guess. And then come to our last element is our logo icon. This icons in a similar way, I guess. Yeah, I created the key film on the position of the layer and also on the path of, of the mask. So I'm just going to come here and hit the position. Okay, I'm going to create the key film here, and then just come here and this week, let me just crack a key film forward in time, our key frames rather forward in time. I'm going to just easy ease them. Okay, then while selecting the layer I'm hitting for mask, sorry, I'll hit you. First of all, I'm hitting M for mask, creating a key frame and mask hit you again to see your key films. And come here for the mask, I'm going to select the marks path and then just take it like this. Take it this way are. Yeah. So this works guys. So let every film here and Z is, so we have plans and I really don't like this appears here. I'm just going to I'm just going to cara this week a layer. It only appears when it's time for the admission. Okay. So far so good. This is what we have. I think the next effect to add a drop shadow effect on our product here. As you can see, of course, you know how to add the drop shadow effect. I've added it using the layer style, so I'm going to select the drop shadow effect on the product image. Just going to select product Image and Control V. Yeah, it's control V and you can see that we've then added the drop shot effects coming here. We can enable our effects, our blow effects here. You can just enable them what I'm thinking, enabling them, will that weird effect come back again? This weird where items tend to disappear feeling, enabling them to make the disappearing happen again. But it turns out that everything is working just fine. This is what we have, and I think this is good so far. Set everything right. Click, precompose, precompose, then we can come 3 seconds in time. Then control shift D on the PC to split layer. Let's the one after control to duplicate this one. Then just click and just put time and time reversely. Has to have something like this. Yeah, that's it for this video guys and hope to see you in the next by. 38. 37 Advanced Text Animation: Hello everyone. Welcome back to the cause. In this video, we're going to be learning how to create this kind of text animation. Now, this is not busy text animation, This is not the conventional way we've learned how to animate texts. This is a different approach to it, and this can be achieved by turning our text layers to ship layers. This gives us more control, more flexibility over our layers and enables us to be able to achieve something cool. This cannot be achieved by the text an emitters we've looked at, but rather or can be achieved by tweaking our text layers and turning them into shape layers. When I hit you, you can see that we haven't used the conventional keyframes we've been using so far. We have used to hold keyframes to achieve this effect. In order to start, we're going to come here and then create a new composition. Then type in our text. Our text is going to be creative. This is our text. I'm going to come on Come to Align and centralize our text. Centralize our text. The next thing to do is just right click on the text layer, Creates and then create shapes from text. Now we can delete the text layer. When we open the contents, we can see that these intervals have different ship layers for our individual characters, okay, for our individual letters. And gives them a path which we can manipulate and gives us more flexibility. The first thing we need to do right now is come to about 20 frames. And then first of all, we need to create extra points for the letter C, because we're going to stretch it vertically. We're going to stretch it vertically. And we can't have just one point here. If not, the stretching won't be even. I've just added two points here, two extra points here, one here and one here enable us stretch our text like this. So you can see that I've selected the points, selected these other points. You can see that when I just do this, you can see that I've been able to stretch my text. Okay, let's come to about 20 frames. And then just select the layer, then it path, and then type path rather in order to show the parts for the individual character. I'm not going to create a key frame for our parts, I'm just going to hold on drug to create multiple key frames. Here you can see we've been able to create key frames for our parts. The next thing to do is to then move about two frames back in time. In order to do this, we can use the preview panel here. And then just hit this button to move one frame, and hit this other one to move the next frame. Okay, as you can see, we've moved two frames back in time by using this icon. We can also move back in time by using the pitch up and pitch down buttons on your keyboard. When I hit pitch up, you can see that I'm moving backwards. When I hit pitch down, you can see I'm moving forward. The keys can come handy when trying to achieve this effect. I'm just going to use this icon rather and move back in time. I'm moving two frames in time. Okay, And then the first thing I want to do, to select is to select my points here. Okay, select my points here and grab them out of film. Grab them out of film. Down shift, I've dragged them out of frame. I need to go back two films in time. And then the ones selecting the ones up, the other ones which have left off, then just drag them like this, the move two more frames in time, this 12 more films, and finally bring it out of frame. This is what we have, the net letter, Letter for letter. We're going to add two more points, just as we did the letter C. We're going to add a point here and also add the point here to the selection two to just adjust our points. I'm then move two points in two frames in time and select these points and bring them out of frame. Pulling down, I'll shift, drag them out of frame like this. Then the next points are these points which I've selected right now. We drag them like this. I haven't moved two frames back in time. I'm going to hit to move two frames back in time, and then drag these points. Drag these points, move two frames back in time, drag these points, move two more frames, rack these guys like this. Rack these guys like this. And then move two more frames. This like this, they move two more films. You can see that the more the points or the more complex the text is, the animation we're going to have, the more key films we're going to have rather just move it this way and two more films move it this way. So far we see this, what we have, this is what we have. The next letter is we don't need to add any extra points for litter E. I'm going to select this point and I'm going to move two films in time and grab our points like this. I'm going to select, sorry, two films in time. I'm rather selecting these points, not all of them, so as to make the admission last a bit longer. I'm dragging this point out. Moving two more films back in time and then dragging out this move, two more films time, select this one, rag them out, then move two more films in time dragging them. This move two more films, kind of dragging them. Move two more films and drag them out. We have this, the next character is the litter for li. I'm going to have an additional point here. I'm going to use my pen to ban additional points like this. This will do, I'm going to just go two points in time. And selects a key frames like this. And this other one to rub the outs. This me to move two more frames in time. Grab the outs? Yes. Move two more frames, I'm sorry. Move two more frames in time. Rub them out two more frames in time and completely cork the move. Okay. So the next litter is the litter to select these key films. Two more films in time. Rub them, move two more films in time. Corry Grug, these La have to select these guys too. We have two more films in time and Greg Es La. Two more films, more films, drag these out of films. Then our next letter, the letter. I need to select these two key films. The move two more films. Park in time. Just rub the mouths. Move two more films in time. The drag the mouth. Like this. More films, and finally two more films working time, drag them out. Now I'm going to have to add another point here, just like I did with the other characters. Select my points, then come to the first film, move two films back in time, then draw this two more films back in time. And then let's have these other ones come this. Then two more films, have these ones like this. Going to delete this ski frame. Okay, so we have, I'm just going to do this work better. I'm going to hit type stroke here. I'm going to enable the stroke and then able the feel. I was going to do this at the end of the video but I think I'll just do this now. The e feel this will enable us better working space. We can also turn off the letters which we falk order to give us room to walk on all the letters path for the parts again. Then we we can turn off, we can turn off, we turn our off. We've turned R off of T. We can turn off, we can turn, you can turn now we have V and let's have V. I think I'm just going to delete the key films we've created so far. For V to restart, come on it. Or select your pen then. It this way we need to create a point again. Yeah, we don't need to create a point again. Our point is still there. All we need to do is just shift it with bits and everything will just work perfectly. Select your points, your points, and come to two films, and this come to two films. And then select these other points. Select these two points and then drag them out to two films, come to two films, and then select these points and drag them out down shift of course. Then two more films them out, two more frames, drag them out so we can turn of V and then go to the last character which is for this just come to our first frame. Then two frames back, drag, come to two more frames out. These two more films, drug them out, look like this. Then two more films drug these out, these out. Two more films, rug these out. And finally two more films. And these out, you know, we can just on all our ships again. Of course we have to disable our field. Just type field here to isolate the field effects only so as to give us the ability to disable the fields. He. Yeah, I think we need to work on our R. This video is taking too long, we just have to come to more films and then. I need two more films drag it this way. Two more films drag it out like this. And finally two more films drag it out. Okay, let's play admission to see what we have so far so we can see that we've started to get the effect we're looking for. I'm willing to select all our frames here, then right click and then click on tool frame. This converts our frames to, to, uh, we see that we've now achieved effects. The next thing we need to do is just to offset our key frames a bit. Has to have them come out in harmony rather than in conflict. We just open up our li, the contents and select the key frames. And then just offset them this way. This is R, then this way. And I want us to work on letter V here because it's conflicting with letter. We just come and get the key frames for letter V and these are the key frames. And make things happen like this. Okay? So it's going to come out, yeah, I'm going to leave it like this. We to go to the next effects of the next step. Now the next step is of adding the light streak effects. These effects where we have some fields getting revealed, okay, some white colors getting revealed. To achieve this we have to come here and duplicate control D and then disabled disabled for the characters. I'm going to disable the struck and then enable type in field here to enable the field. You can see the fields have been enabled. So once you do this, next thing to do is control D, control and come here and Alpha inverts, inverts. And what you want to do, you want to shifts, what you want to do is you want to shift this by one frame, shift the lower layer by one frame. Then you will then have this, okay, just shifted by one frame, you just have to come here and duplicate the layer. And then disable the stroke and enable the. Then you duplicate this again and then make the lower alpha inverted, the layer or alpha inverted to the layer above it. And then shift the one below by one frame. Shift it by one frame, and we get this effect. So that's it for this video. I hope to see you in the next video. 39. 38 Liquid Gradient Effect: Hello everyone and welcome back to the course. In this video, we're going to be creating this, I call this the colorful gradient style and it's just a text title and mission with a background. And we're going to be learning how to create every single thing you can see, starting from the text. All right, starting from the background, I'll just go through the compositions so you can see how I've laid out everything. This is the background composition, I just disable it. And you can see that this is the background composition. When I enable it, you see that the colorful background shows up. Okay, so the first thing to do, please come and create something similar to this. As you can see, these are ellipses. These are ellipses. Then when it comes to your effects control, you can see that a drop shadow has been applied to each and every one of them. You can see this is red. This has a field color of red and drop shadow of red. Of course, the drop shadow will not be as concentrated as the field color. That's why you see that. It has a dark look here. Every single one of them you can see this is the field color, which is bright. And then the shadow color is dark. You can also see for this field color, and then the shadow color is dark. Let me just create a new composition here. Let's call this all balls. Okay? All balls. This is 1920 by 1080. Okay, we're going to come here and copy every single thing here. I'm going to select the first one and go to the last. And hold down. Shift them just one piece here. I'm going to edit my composition and make the background color black to reveal everything. This is what we have and we're just going to go through what we have here to see how everything has been laid out. When you select this color or this ellipse, you can come here and then see that, like I said before, it has a field color of red and has a shadow color of red. In order to apply the shadow, all you need to do is to come to your effects and presets and type in drop shadow. When you type in drop shadow, just come and add the effect to the particular ship and then this will come up. You will be able to then choose the color of a drop shadow. You can just come here and then pick your hydropero, resample the field color, and you're going to have something similarity. You just do this for every one of these ships. Then what I then did is I selected everything and I parented them to the null object. You can see here, this null object controls every single shape here as a whole. I'm going to hit you for the key frames of the null object, and you can see that I've added key frames on my position. You can see that the null object is moving from your left to your right. Okay, so when I move from left to right, you can see that I'm able to reveal all my hidden ellipses. Okay, this is oneingshould note also. This is one thing you should note. Also, we're going to give you time to go ahead and create what we have on a screen and then we're going to continue after that. Now after creating the balls or the ellipsis, you should have something similar to this composition, similar to this, and also the animation similar to this. Okay, you're going to go ahead and part the shapes to your null object, and then just animate them in this manner. You should have something similar to this. You mustn't get the colors right. You can have a slightly different color combination, but that's okay. From here on, you just come and create a new composition called this mean. When we call this mean, you're just going to come and bring in your balls composition to your new composition which is titled Mean. You're just going to trim this. Here we have this so far. I'm going to go ahead and start adding the effects that will give us the colorful ingredient background. The first effect to add is the trobulen display effect, tubulin displace. Just add the tubulin display and have certain similar to what I have this at 65, let's say then for the size, let us make this 25 also. Let's make this 252033 for complexity. Let's have this at three points, five, and I think this should do for Tob lens, please. The next effect to add is the directional blow effect. For directional blow, we just have to make the blow length. Let's see, 600. Yeah, 600 will do for the blow length at 600. We just then need to add the next effect, which will be the 12 effects. Okay, under this starts, we're going to add it. Click it to add it. For this, we're going to play around with our angle here. Okay, let's make it 185. Okay, so this is 185. And then the 12 reduce. Let's make this 100. Okay? Yeah, sentence should do. Then finally, we have one last effect to add. This is the radial first blow. Yeah, this is the radial first blow effect and that's the last effect to add. Let's just make or amount to ten. This will do. As you can see so far, we have, we have something quite similar to what we have here when you play your composition. Now we can see that we have a similar admission going on. It's going to take quite some memory power or some processing power to play. Because of course, we have a lot of effects here, but that's not going to be a problem. Come back to your mean composition and just composition settings to see the color we've used. Now you can see that we've used this color. I can just copy the coloquod here. Come to our composition here and piece our colo here to have something very similar to what we have in our mean composition. Just come to the main composition. And finally, we can see that we duplicated our background and then changed the blending mode to vivid light. And then for transparency, we changed it to 77% Just duplicate this D. Then blending mood, vivid light, key, and then transparency and make this 77, Basically we've been able to achieve our background effect. The next thing to do is to create this creative effect. We can see that we have the B come up, then we have an anticipation effect. Then finally the creative effects coming out. To take time to plead this, to run preview this rather. You can see that the rampy view is complete and we now have a smooth animation zooming. We can really see what's going on here. We can see that the B is coming up. And then we have an anticipation, like I said before. And then finally the creative comes out. Let's just see, the front we used the even front and 169 front size. Come here and just your pen, two type two to create B, then change the color to white, 169, then turn this to Evan. Evan, Okay, we have Evan here, let's just line in the middle. Let's just centralize our anchor points. I just want to show you a shortcut for centralizing the anchor points. So just control Alt home, you can see that anchor point has been centralized, okay. Control home, You then have it aligned to the composition. To the middle of the composition, okay? So we don't see any thing because it's already aligned here. We have B, then let's create another type. So let's just duplicate this control and have Creative. Okay, let's control control old home for centralizing the anchor points. Then let's make this regular. Let's change this to thank you, sorry, is 27. Should do, this is what we have Then the first thing to do is emits first letter or the first world which is okay. I'm just going to centralize this guy once more. I come to 20 films and hits for position Ck film to the first first frame. And then just like this and select our key frames, right click and easy, ease them. Just play with the curve like this. So we have something similar to this. The next thing to do is to come here, create a new, a new ship, Then have our ship text. Okay. Then just come on, set the Shook here, and let's just make this shout color. Okay. Let's make this color. And bring this above the B. Okay, so it covers it. This is what we have. The next thing to do is come to the layer and then alpha inverted like this. Okay, we get this effect. Of course, we've looked at how this works in our previous lessons right from the beginning of the course. This is not a new thing to you. My computer is dragging a lot, I don't know why. I'm just going to come to edit and then clean all ****'s cache. Yeah. You see I show. You want to delete all five? You see I have 93 gigabytes from my ***** of cash. Okay. I'm going to okay this and come back when it's done. Option is done and we should now observe an improvement in our performance we have so far. And I'm going to come here and I'm going to reduce the resolution, the preview resolution. I'm going to select the key films and try to match them to what we have here. Click, click here, and just select the key films. And so we just have a simple, easy ease here to fancy form. I'm going to make it a little bit more fancy. We have, this is okay for me, sorry. We have this unlimited in ten films. Actually, let's drag it down here. I'm going to spread it out. This is okay guys. This is okay. The next thing we want to do is we want to just select these two key films. And then these two ships. And let's precompose them. Call them whatever you want to call them. And let's go into the composition here. And we want to create a duplicate of control. Drag them below, select this layer, this text layer. Just come here and type. All right, no, do not type in field here. We have converted this to ship layer, that effect won't be able to work. In order to change the field here, you just come here and you can see here, just come, and this icon here to disable field for that layer. If we do this, you can see what we have, see what we have. Then we're going to leave it at this. What we have to do now, we have to disable stroke for this. Since we have okay. Okay, we actually do not have able. I'm going to do, I'm going to select these two layers with the stroke and then make something like this. Okay? To give us the effect we're seeing here. To give us the effects. Yeah, the effects. You see, the stroke should probably be less thick. Okay, actually this true composition should come first. We should drag these guys out instead. Yeah, this is good so far. I'm just going to reduce the stroke here by coming to this point. And then let's make it too, let's see what we have so far. This is good. I'm going to just drag this out. Of course, I'm using the region of interest too. So I'm creating my region of interest, coming to composition, and crop composition to region of interest. So we have this and I'm just going to align my composition once more. Come to align, align my composition once more. One last thing I want to create. Just select everything and hit you for key films. And then come on, come here and hit R for Titan. I'm going to create the key film on T. Get back here, I'm just going to make this 20 to do the same here. T, come back here. Maybe 20 just creates a little bit of rotation. Our positions should be more further. I'm going to copy the positions here for this. And let's the same thing here, okay? Just that I'm going to move this, okay? We have everything working out correctly. I'm selecting my composition here and P for position. And at this point I'm going to create a key frame here. And then create my anticipation, my anticpation and then my final animation. Okay, my AntpionI'm actually supposed to copy this key film and PCT in order to create more delay. Good, select everything. Easy ease. Come to a graph editor and let's just have something like this here and then let's turn on our creative Lea let's try to visualize how this will work. Best centralized. Yeah, this will do welding it position here and then create a key frame here. Come here, trying to bring guy here. Okay, good. So like a key face and easy ease for now. Okay, I'm willing to work a bit on the, on the curves, you know. Okay, good. The next thing to do is create a new ship and then try to hide our creative text. Just bring this, this. We need to hit for this, then come create and keep him here. Let's drag this out like this. Come here and make this alpha inverted. Let's see what we have so far. Okay, I think we need to do a little more taking. You can see this guy. You can see this guy, me. Okay, let's see. Okay, let's make our key frames easy. First of all, before we go in, you see, easy, fix some of the problems we have here, but it has also created some of the problems here. You know what, I'm going to make the normal key films, I just selected everything and hold down control and clicked on them to make them normal key films or linear key films. Rather Then what I'm going to do is I'm going to animate this as it goes. Okay, I'm going to anim this frame by frame. I'm going to go to the next film. Let me show the position, then go to the next film. Facts. I think the position should be here, except that it's going to temper with the revealed. No problem. I'm just going to go to the next stream. And then this, like this, go to the next stream, this look like this, to the next stream, and so on and so forth. Then we have this. We want to maintain this piece between the two letters. We see it's maintained here. We see that it's reduced here, so we're just going to drag it like this. Then we want to drag it like this, really like this, really like this and this. So good. I think we have everything working perfectly now. Good guys. And that's it. We have everything working perfectly. And that's just how we can create this beautiful colorful dian style mission. This will run it off for this video and we show, will connect to the next one by. 40. 39 3D Logo Animation: Hello everyone and welcome back to the cost. In this video, we're going to be creating something very interesting. We're going to be creating this logo admission. You can see on your screen right now, This is the logo admission for Cartoon Network. And this concept has been derived from the logo itself. We can see that the logo has been designed to be a cube, or two cubes and two cubes. We've then created an animation with that concept. Okay? We can see that we have two cubes routing, and that's basically our logo admission. In order to start, I'm going to come here and then start with a new composition. I'm going to name this mean. Okay, now this is our new composition. And the next thing I'm going to do is I'm going to create a new solid to represent my background. I'm going to give this the yellow color. We're going to drag this out like this. The next thing I'm going to do is bring in the logo, that's the cartoon network logo. We're going to lock this hit for scaled down. You should note that these files will be made available to you. All you need to do is just come to the project and the drag this in, this is the cartoon network logo. And then just drag this in. Then hit again for scale properly, scale this down. The next thing we're going to start with a new solid, So go to layer in the new ten, it by ten T, you do just that. I'm going to change this to block and then it okay, the heat for skill, drag the size down, let's opacity and then try to reduce this. Let's try to make this even for it evenly, fit it into our cube. Okay, make it fit perfectly. I'm going to take my time to make this fit perfectly. We have it fitted perfectly. I'm going to drag it to this point and then make our layer three layer. What I want to do now is want to create a cube solid. I'm going to come here and then go to custom view one to see solid in three this piece. Okay, the next thing I'm going to do is I'm going to just control D. First of all, I rename this front because it's going to be representing our front view control D, the bottom. Then select our anchor 0.2 and then just hold down control and try to bring it down to this point. Try to snap it down to this point. Then try to make sure everything snaps in perfectly okay. And then we can use our rotation tool, or hit R to do rotation on the X axis. You can use your rotation tool and then down shift to actually create a rotation to snap, To snap this, you can see that we've been able to snap this to 90 degrees. We can also of course the rotation to here and then just make this -90 We can see that this is what we have now. Then bring your anchor points once more to the point. The control D to duplicate and then make this named back. Hit R for Titan, make this minus one. Then do the same thing for your anchor points. Bring it to this point to make sure everything is aligned perfectly. And control D to make this top come in here, all we need to do is, again, heating R. Let's make this -270 degrees to create a perfect top. Then let's select this front. Let's bring our anchor points to side, like this side control. And rename this too to left at R for rotation. Let's rotate it along Y axis. Let's rotate it a longer Y axis, give it a 90 degrees or -90 degrees Tion along Y axis. Finally, bring the anchor points here, that's to the right side of this layer. And then control D to make this the left side, okay, the right side. All right, T. All right, and then hit for T. Let's along is and make this 90 degrees. You can use your orbit two to orbit around our cube. And how everything is pleased perfectly. So let's just go back to our active camera view. We now have everything lined out correctly for transparency. We take this back to 100 in the front. Now we have the front as black. Judging from our reference, which is the logo, the front is black. Then we want the back to be also, but we want to change the color for our top and bottom. Selecting the top and bottom. We want this to be white. Okay? Want to be white for the top, selecting the top layer settings. And then make the color white also for the bottom. The next thing we want to do is we want to create a new null object. Control of our shape here the new null object, then just call it the left side controller, We netell object. And then what we want to do is we want to centralize our anchor point for the new null objects. Heat control home or control rather. Then we want to bring it to the middle of our cube, of our left cube. Let's select our front. And then control old home to centralize our anchor points. Okay, now let's just copy the position for our front cube here. Copy the position control C, and then paste it on the position of our controller. We have it centralized like this, okay, but we don't have a controller centralized along the z axis. So I'm going to make this tree layer like this, I'm going to make a tree layer, I'm going to go back to our custom view to see this practically. As you can see, we just have this centralized to our front view. We don't have this centralized in the middle, and we actually need it centralized in the middle also. So I'm going to select the other side. Now this is the left side. Okay. I'm going to control a Tom to centralize this, what I'm going to do is I'm going to hit P for position. And I'm going to copy the position of zissis. And then come to our controller here, and then here. When I pace this here, you can see that we have our cube controller. Let me just name this cube controller instead of left cube controller controller. So we have our controller centralized perfectly. We now have it centralized at the middle of the cube. When you orbit around, you can see it at the middle of our cube. This is good. Let's go back to the active camera. What we want to do is want to select everything and parent it to a left cube controller. But first of all way to just duplicate this guy here, the logo. And then bring it up and try to mark out the letter C. Select our logo and then use the cube tool here to create a simple mask around our letter C. Okay, and then also make it a three D layer. Perfect. Let's just check our custom view on to see if everything is aligned perfectly. As you can see, everything is aligned perfectly. Go back to the active camera and then just select every thing here. Select the first one and then cool down, shift and select all the others. And then just parent them to our left cube controller. We can see that, granted, everything to our left cube controllers are for our left cube controller. And you can see that if we go to our active camera and then try to control our controller, everything is controlled by it. You can see that everything is controlled by it. Everything is working perfectly. Go back to our active camera and then what we want to do is g want to just duplicate everything here, including our controller. We want to duplicate everything control, we've duplicated everything. And then drag it above the left cue controller, or drag them above the left controller. Then what I want to do is I want to select every other thing apart from my background. I want to them, I want to she them so as to clean up the scene and try to create the right side of things. Select left controller and then we ne right cue controller, you're right. Keep control. What I want to do is, first of all, I want to change the top to white because we have the opposite of this on the right side, Just not that I'm trying to create the right side of things. Okay, for the top two, we can see that the color is white. Come here, color settings and then make this black. Then we also want to change the back. Is black to white. Then the bottom, which is we change it to black. Then the front which is black on the, change it to white. Of course, we don't need to work on the, on the left and right side like we did previously. I'm going to select our controller here and then just drag it like this to the right side. Try to fit this in here, Perfectly. Going to leave this like this for now. Then our cube now. All right, selecting our logo. Let us see. We want to hit for mask and then being marked like this. Okay. Marks to show the letter and then drag it back in place. This works. Let's just go to the custom view one and try to orbit around. And try to play with our right side controller to see if it works perfectly. So we can see that we now have our right side of the design. I'm just going to select everything that has to do with the right side. And I'm going to change the color here, the color of the layer to brown so as to differentiate it from the other layers. The next thing is just other layers. And then come to the Cainetk logo here. I want to just create a mask for our words Wards cartoon network. So I'm going to just create a mask here like this for cartoon, make this three D layer, then control D. Control D to create another one. I don't need to shift it actually, I just need to pit for mask and then the mask like this. That's the same thing I did for the letter. Which I shouldn't have done something minor, minor error. This is what we have now. We have this nor we now have this for network and this for carton. Okay. I can also just parent to the left controller, left cube controller, and also to the right cube controller. I can also bring this in place. Just bring it here. Bring this guy. Okay, this should be here, actually. The other one should be here. Good. But first of all, I don't want to see these two layers. This is pretty perfect. The next thing to do now is create our animation for the cubes. So I'm actually going to animate the controllers. Now we have the right side controller and the left side controller. So I'm going to start with the right side and the first thing to do is to hit R for rotation. But first of all, I'm just going to hide everything because I want to cleave. We now have this. First of all, we hit R for this guy and I'm just going to, let me just peep to see how everything comes up. Okay? All right. I'm going to start with the right side controller and position. We are limiting our T O X axis. We're animating along our X axis. I'm going to create a key frame here, 270 degrees. 270 degrees. And I'm going to just come here, come to about ten frames or more, then just, let's see, 90 degrees, make this -90 degrees, then come here and make this -70 70. We just want to repeat -70 here and then -90 Then we just want to give a little more space and then just make this plus 190 should do so that we have something like this. We're trying to inculcate overhangs rather we're trying to inculcate anticipations and overpasses. Okay. So we have an overpass here, we have an anticipation playing the admission, you just see a series of overpasses and anticipations. What I mean by overpass, in case you don't understand, is initially when we rotate like this, our rotation is meant to stop here. But we extend it a bit and then get back to where it's supposed to be. Okay, We have to overpass before the anticipation. These are the things I'm trying to create by having multiple key frames here. I'm going to have this at 90 degrees, I'm going to have here at 170. So we can see that 1917020 frames, I'm 20 frames for our overpasses and anticipations. I'm going to make this 190 again. 190-17-0190 Again, I'm going to make this 270, then I'm going to have a long rotation. Then I'm actually going to make this minus one. And then the other guy going to make this -20 Okay, then I'm just going to take this down to zero. This is what we have now. So when we easy ease these and work more on the key films, everything is going to look perfect. So I'm just going to copy this, copy our rotation and then do the pit on left side controller. Okay, we hit for the key films. Hit you to see our key films. Okay, I've copied the values for rotation on the right side controller and pied them to our left side controller so we have the same thing happening. Okay, in order to differentiate them or have the opposite of. What is happening on the right side, On the left side, all we need to do is to change the values for minus and plus. Where you see, you just change it to minus. Wherever you see minus, you just change it to plus. Okay? So we have the opposite of what's happening here. As you can see here, we have plus, 270 degrees. I'm going to change this two minus. I'm adding minus here, and then coming in here, I see it at minus, I'm going to add plus Sd, plus, okay. I'm going to add plus here. I'm going to add plus here. I'm going to add plus here. Should be 90, 90 degrees. So here I should be adding minus here also. Minus, minus, plus, and finally, plus. I'm selecting all my Q firms and from assistant as you can a little peep here to see what's happening. Okay. Minus, plus, and this also. This plus one. This minus one. So yeah, we have so far I'm little being spread out my key films similar to what we have here. Let's make this out so we can see that we have some tweakings. Yeah, I guess I discovered an error in my frame. I have this at 19900 and I now have, this. Should be 90. She'll be 20. Good. Yeah. So play around with your curves and bits. We have some minor errors we just need to fix. We're just going to go through them. Go through each and every frame, each and every frame to make sure everything is perfect. Okay? So this should be minus, this should be minus, this layer should be minus. Okay? And then this is 70 -70 This layer should be plus 70, this should be plus 90. I don't know why these errors exist this much. Okay, I think everything should work perfectly. Now, we can even make this as much as 56. This works, and I think we have something very close to what we had initially. So the next int do is just create a new, new null object to control control. And then I'm just going to unshy everything, I actually can't see my node object where yeah, this is my node object and I'm going to control old control whom centralize everything. Going to select my two cubes and pent them to my node object and the heat for skin bit. What I want to do is I want to get a key film on Ski. Just come here, so select everything here. Click Easy Ease. Thank you. Le delete this keyframes for. Delete this key Fm for think. I'm just going to, I'm looking at the skill admission here. Okay. I'm going to hit for skill then create key Fmesntkezo. Everything here easy. Yeah, that's what we have now, that's what we're trying to achieve. The next thing we need to do is to position, not the scale for a new null object. Ok, I'm selecting these and then dragging them here. Then we see that at this point, almost at 2 seconds, we see that our Cuban goes up and finally comes down. Just goes up and finally comes up. I'm going to just copy the key frames here. The piece them here. So this is what we have. We have an admission on our position. Okay, good. So I'm just going to My text. My text Les, that's this one and where is the other one? The network and also the curtin drag disappear. So yeah areas I'm referring to I want them to appear at this point. For this one control D, it's at this point and just lets the one before and then at this point for this one is what we have so far. No, that is for this video. As you can see, we've been able to recreate our three D logo animation and hope to see you in the next video by. 41. 40 Fake 3D Animation: Hello everyone, and welcome back to the cost. In this video, we're going to be creating this fire D effect. This is a fire D effect of a house moving. Okay. When I introduced you to Fred, I said, we're going to be creating a fictreD effect. Okay, this video, we're going to be doing just that. We're going to be creating a fire effect. This scene was designed in B Illustrator. The files are provided for you. I'm going to go on and import the files. As to start working on the project, click and try to import the file. So you have to come to this fixed D mission folder and then select this file. And select Composition, Routine Layer sizes. And then import. As you can see this is T. I'm just going to actually import ET gain. Now we have our file imported. And I'm just going to do, click the composition to open it up here. This is the composition we have from How to be Illustrator. The next thing I'm going to do is select every layer here and right click. And then create ships from vectorliers. Drag your vectors or your new ship layers above your vectors, then select your vectors. Select all of them and delete. That's it. And I'm going to come to conpusion settings and make this composition 6 seconds long, 6 seconds long. To drag everything out like this, lock this layer, this is the background layer to lock it, I didn't have any need for it. And now I'm going to hit path for a type path here to open the path properties for all of the layers. Then let's create a key frame here. Create a key frame at the U, just going to come here. Then the film just drag it up, come to the Du and do the same thing. Can come to the last frame. Can do the same thing. Yeah, you can see we have this. I'm coming to my first frame then. And then I'll then try to create my fake three D effect. Okay, look we're trying to achieve. Here is a look we're trying to achieve is the initial look. So the first thing we'll do now let this layer then just come here. Then just just select two key frames here. Or rather ship two ships here. Drag them out like this. I need to have something similar to this. Just do exactly what I'm doing right now. Okay. Just let every point here and then just drag it out like this to be and have this. Okay. Next is to select this of Lea here you just try to bring to the side fitted in like this drug. This sounds like this fit. The next thing I'd like to meet the chimney here. You need to drag it out like this and then drug this points out like this. Drug this out like this, Drug them out like this. So you can see we've been able to achieve progress on the building. So I'm going to just continue with the windows and doors. I'm going to just do the same thing for the windows and doors. Sitting with this door too hard, you just have to understand the busy concept and repeats the same process for even complex stuff. You can use this effect to achieve a thing tree D head, that's a toning character head of effects. You can use this to achieve a whole lot of things, a whole lot of effects of effect. Just take this, bring this guy here. I'm willing to come on, enable rulers here or control R, so as to align these properly. Okay, need to do this for, these are the ones here. I'm going to do this, these last two windows here. So guys, as you can see, we've been able to achieve the shady effects on this house. I think we need to make the house along this side. We need to do the effect for this, for this window. Let this too. And then set key frames rather our points and just drag them out. I talk them out like this. Then let's just make our building a little bit longer. Yeah, so this will do, so this will do the before we go far, I just want to create a new shape layer and then create a ground level, ground level like this. It's going to disseble the fen, this color. Let's make this five pixels. Let's make this eight pixels. Let's take this to the bottom. Yeah, here we'll do. So What we want to do is we want to create a key frame for our skill and then we just want our skill to like this. Yeah, so we'll leave it like this. Then continue or three D animation. Type in path to bring out the part properties. Then we're going to animate. Let's animate these for this guy. This guy. Let me just select the points here. Then we're going to have to drag it this way. The clouds won't animate too much because of course, we, clouds don't really move that much because they are big and they're in the sky. We make it like this. We need to do the same. Select our points. And then come here. Drag them out like this. For these other points. For this other cloud, we select our points here and then them out like this. Good. So we're going to unmet our grasses. This grass will come. Yeah, we'll just take a peep from, you can see the portion of our grass. Initially, you'll see that it's located here and it's located here. Then for trick red, it has to come here. Yeah, definitely. Yeah, this is the correct one. So we have to admit this one to look like that. Our grass has to come here. Just like how we have it here, come here. This guy, I also love to move like this. This guy, you guys love to move like this. I love to be even smaller. Yeah. So this works. So we're only left with our trees and we're going to by this tree has to move like this, move like this. This other one come here. This one has like like this. It has to go almost behind this building here. Yeah, it has to go behind this building, and then this guy has come this way. So I'm just going to select the boot layers. The boot of them and just drag them down. Dug them down, it's good. Behind the house. Okay. Yeah, see this works. As you can see guys, we've been able to achieve our fake three D effect. What we want to do now is just come to our last key film, then copy of first key film piece, first key film piece. Do this for all other layers, Sorry, just select them one by one, huh? Yeah, so this works. Finally, I want to animate our smoke here. First of all, I am going to give you a ingredient feel. I can give you the ingredient feel through this, please, by adding ingredient effects. Or I can just come to effects and then type in ramp ingredient. Ramp ingredient, and then just drag the effects on it to you here and here. White also play around with my ingredients to make it fit perfectly well. I think I'm going to delete this and I'm going to just add ingredients here. Okay, so that we have this apple neglaceppneglace. Reduce the opacity here. Yeah, this is good. Then come here and type in wrap, add the weave rap effect, make this zero decrease. Okay, I'm just going to, as you can see we have a smoke. You can also just to transparency or opacity of the entire layer here to make it less conspicuous. Just do we with this that it is basically it for this treaty effect. So that's it for this video guys. Okay, I have one final effect that you can add. This is the inner shadow effect. It's a layer style, you can just select everything. Then click and then come to layer styles, and then add the inner shadow. Then choose your color, and then add a noise to it. And you're going to achieve this effect. But I'm not going to do this for this version. You can add it on your own. I've just tampered with something here, but that's not going to be a problem. Just come to file and work piece. Then we say default layout. That's it for this video guys. Hope you've learned something new and interesting and hopefully it's going to help you in the future. Hope to see you in the next video. Bye. 42. 41 Modern Data Visualization: Hello everyone and welcome back to the course. In this video, we're going to be creating this modern data visualization. This is a very trendy way to display your analyzed data. You display your data graphically in order to present it to your viewers or your audience. This is a trend way of analyzing data. There are many ways you can analyze data or you can create these graphical admissions of defects. You can use pie charts, you can analyze, or you can bar charts, do a whole lot of things. The limit your creativity, creativity is the limit. There's basically no limit. For this video, I'm going to just walk you through the process of creating this, okay? And you can use that knowledge to create any other one you have in mind or you want to create. Start from a new composition. I'm just going to good composition settings and turn this to 1920 by 1080. Okay. Composion, color should be white. You can see that. First of all, we have this background. We have this world map illustrated. I have provided every file you need, just go to the project and import them. This is the world map, It's PNG, you just drag it and reduce the size. And then for opacity, reduce it this much. The next thing we want to do is create these circles, okay, to just come to your ship to here. And just create basic basic ellipse and give you the field color. Remove the, remove the field color actually. And then give you a, let's give you a Sk of red color then Just met this big O for the anchor point. I'm just going to control to centralize it. And then control whom to centralize our ship to align our ship at the center for skiing in and then just kill it up. Just try to achieve what we have here. Okay, something similar to what we have here. Let's just copy what we have here for this guy. Consider we was struck of 56, Su 56. Then we had to duplicate, duplicate it and then scale it down the bits for the second one was struck of 76 76, scale control D, and scale it down the bits for the third one that was shock of 1212, just pieces out properly to make sure there is equals piece between all of them. For the last one we have shock of 158. The 158 fixes, what I'm going to do is just slightly make these bigger. I need to speaker. What I will do instead is I'm going to just copy what we have here. Then just delete this one. I'm going to just piece them here to make everything every process fast. Okay. I'm just going to type in three parts. Okay? And then just delete the trim parts for each of them so as to have us screte them from scratch. Now I've deleted the trim parts and we can just, we can just position our ships here. The next thing to do is to have these are the ships. So I'm also going to just select them and copy and piece here. And then hit you for key film and then just delete the key films for now. And same for our text here, our texts contro, just them here. Also for the key films. Let's just delete them for now. Position our texts properly. You guys, I'm going to create a new no object and I'm going to just connect our ships to our non objects so we can control our ships with this no object. Then I'm going to type in our percentages Control D, duplicating this. Then I'm going to make this 35% control D. Again, create the percentage symbol. I'm just going to trim our composition to this point. Trim comp, work area and yeah, what we have so far. So four our ships, I'm just going to duplicate them. Control D, then send them behind and give them a true color of grey. Just this shade of grey. You're just going to make the true color this color. And then I'm just going to them to clean up my composition. Select your ships, then you just select one. Then come here and add a trim path. Okay, a trim paths. Call the twin frames then. Okay, I think we've added, we've selected the wrong ships. Selected the wrong ships. Just delete. Okay. We need to actually work on these ships, not these ships. So we need to. Me to select these ships and control D, then send them behind and give them a grease true color. Okay, this is what we have. Let's make the yeah, this is just a T for our means. Okay. So I'm going to sh them now. We select our real ships, our mean ships rather. Come here and add a trim part, a the trim parts and open up the trim parts. Let's try to the end. If we want to create a key frame for end, then make this zero to it. Ms. Select every frame, all frames. And then as mission, the next thing to do is just come here and copy our trim parts for this ship. Then control here, come first time and then controvtrotrome. All we need to do is clear on with our trim paths values, with our end values to creates variation. So this is what we have so far. So every them, just close them. The next thing I want to it our ships here, I want them to s, or to scalp. After ten films, we to open them up and then, and then select all of them. You know, when you open them up, open the ship layer up, then select all our ellipses. Open them up, come to transform, then create a key film for skill. Then make this zero. Select all key fumes, an easy ease. Select all the kitchens once more. Make them easy, easy. We want the admission to open faster. So, so this is it guys. I also want the same admission happening to tour moons here, our text layers here. We're going to hit us for skill, then really keep him here, come to come here. And then just make the ski zero. And select them here. Then right click, easy, easy. Just select the Q frames and drag them out like this. Good. So far so good. We're making progress. We want to, we want to animate our percentage values. Okay, Our percentage values. We want this to reach 0-35% We on the others to read from zero to their respective percentage values. What you have to do is come here and then click on the value here. And come to your effects and presets. And type in slide the control, slider control and add the slider control. Then open up your layer here and come to text. Open up effects up slider control. What you want to do here, you want to pull down at there, on the stopwatch icon here, okay? You just hold down Alt and then click it. Then you then use this period tool here. And then to the slider control. Okay, the slider here. Now we're going to type in an expression here. You're going to come here and then type in math, math, then period and round, then open parenthesis and then come to the end here and then add parenthesis. And that's it. You then have this animeting from zero. If you adjust your slider control here, you see our text. Animingi actually wanted to start here, so we want to start here. Starts from zero. I'm going to name this, okay? All right. I'm going to leave it at 35. We come here, let's just come here and create a key frame here. Then come 15 frames in time and then make this 35. Okay? I also want to limit the percentage icon or the percentage symbol. I want, I want it to come here. I want it to be at this position here in time. And then create frame on position when it's ten. I want to move it like this in is 20. I want to move like this. Yeah, that's it. I don't want to select the both layers, these layers and compose them and type numbers. Let's come here and create a region of interest like this so that we have this happening. The next and final thing is we want to Duplicate this. After duplicating this, we want to make a three more copies of this. And have different values for them. Now this won't work with a simple duplicate, because when we duplicate this and edit the value, it's going to change the value we have previously. There is a way to do this, we have to use a script. I've also included the script in your project folder. The numer of the script is true duplicator. It's a free script. In order to load it up, just come to file and the scripts and then script run script. Now you can see in the folder we have the true comp duplicator and then just open it up. Just click open. You now have the interface like this if you want you, I thought you should be able to slide it in to make it stick, but we just use it like this. Come to your project and sting numbers. Composition. Come here and you see it says copies. This is the number of copies you would like to duplicate. Let's make this one for now and then duplicate selected. Now we've made one copy. We can see that this is the new copy. You can just drag it, then we can now duplicate one more copy. Or you can just duplicate two more copies. Can duplicate two more copies. These are the two more copies. Have this one here and have this one here. Of course, you can use the ruler to align your elements very properly. Yeah, this works. You can close your true duplicate tunnel, and now we have duplicates of our numbers. Next and final thing will be to change the values of these. Okay, let's make this 45 45 grey. We don't change it like you just come here and then change this to hit you for key frames. And then come here, make this 45. I forgot, I thought it's a normal text layer. Now you see it's been changed and this guy is still 35, it's not affecting that one. Let's make this 15% to see the key frame. And then maybe 15% here. See we are 15% maybe 10% maybe 10% We actually have to animate our. Okay, let's delete these two key frames here, then create, create one other key from here, like this. And do the same for this one. Hit you then deletes the unneeded Kifmes. Yeah, and for this one, I guess this will work. We've been able to achieve our objective, which is creating this modern data visualization. As for the video guys, hope you've learned something new and hope you're going to apply what you've learned to future projects. I would also love to see the various projects you can come up with with this knowledge you've learned so far. Hope to see you in the next video. Bye. 43. 42 Conclusion: Hello everyone and congratulations on your completion of the course. I'm very much happy to have gone through this journey with you and I'm very much grateful that you've chosen this course out of all other motion graphics courses out there. It really gives me a sense of fulfillment. And I do not take this for granted. I quickly want to talk to you about improving your skill as a motion designer. And in regards to that, I will introduce you to three platforms where you can find quality, creative content that will help you improve. Honestly, the only way you can improve is by actually doing what you've learned and doing it over and over again. There is no other way. And when starting off as a beginner, you need to put in a lot of, a lot of work to help you really build your skill and improve. Okay, so I'm just going to go right away and introduce you to these platforms I'm referring to. It's possible that you have seen them before or you know about them. Okay, so the first one is Gribble. This is Dribble. This is the interface of Dribble, even though this is not the home interface. Have come here and have searched to the motion graphics that you see so that we see results for motion graphics only. As you can see here, we have more than 10,002 The motion graphics designs more than 10,000 That's a lot and a lot of content. When you hover around them, you see the mission. They're all an emissions, they're all to the emissions done mostly with after effects. There's a lot you can learn, there's a lot you can copy from them. The truth is, as a designer, you do a lot of copying. You have to look at creative contents, look at the way other designers have actually gone through the same problems, and then try to solve yours in a similar way. Okay, copying is not bad for a designer. You just have to see what other people have done and then probably improve on it. Okay. The greatest creative contents that have been created are not devoid of copying. Every designer looks at key studies. Okay, These sites can really help you improve your skills. I'm going to please some of them here. When you click on the project, it's going to open like this. You can see this log animation. We can see a lot of the principles of animation which we've studied in play here. Close it. Let's look at this one also. Logo and emission are a lot of them. The list is endless. You can actually create an account here and then you can follow the person that's the creator of this work. And you can like you can see the work and then you can also hire. This is also a place where you can get clients to actually patronize and build your experience. You see very cool stuff here. We can keep going and going and going. The endless is endless. Can go to the next. And as you keep going, it's going to keep loading. Okay, this is the first place I want you to come and look out. You never regret being on per the other place is what we call hands. Hands behind is also a place like dripper. They are basically similar. Okay? They're very similar. They're two very similar sites and you can find very creative content in all of them. Okay, just look at this one random leak and you can see that this is UI design. We have an admission here, close this. The way hands works is that people upload whole projects. If I open this up, you're going to see that it's a whole project. It's a whole project. That's another difference between hands and, and you do mostly find projects. You don't find whole project, You find probably the aims. Yeah, the admission also. But for hands, when you come here, you tend to see the whole process. Like for example, when we open here, when we go down, you tend to see the whole process. Let me just screw down. Now from here, you see that the creator has shown us his process, right, from sketch, okay, right from sketch to vectorization and so on and so forth. So that's one difference with them. Okay, this project is Lugo emissions. This critter has compiled a number of logo animisions to present. Here you can see Logo Mission 2019. As we scroll down, we see different logo animsionsee, these are things we've covered. You see the lectin effects, the lectin mission which we've covered a lot of things including morphine principles of animation and so on and so forth. Okay, as you can see, this is morphine. This symbol just morphed into this symbol that's basically for this keeps scrolling down and a lot of contents to behind the very popular platform with millions of cris. Also finally, other site, this is called Vimeo. Vimeo has a lot of critical contents, also a lot of critters on Vimeo. I've searched for Lug. When we open the result, we then see that the logo animation, please. Yeah, that is a good one. There are a lot of contents. You can see on Vimeo. Vimeo is a very good one. There a lot of critters on Vimeo and you can find very creative contents on Vimeo. To these are supposed to help you improve your skill of motion graphics. Hands and me, all of them are good. All of them are good. My two top most recommended however, are dribble and hands. That will be for this video guys, and also for the cause I'm very much happy once more to have gone through this journey with you. Stay tuned and keep creating.