Transcripts
1. Introduction - Why animate a logo?: In this premium lesson, I will show you how to create a logo animation like this one, step by step. Motion design like this can be used as an intrude for your YouTube channel, social media, or as an eye-catching for your business ads. If you have your own brand or business and feels a lot more professional, if you have a good logo animation or maybe you want to be an animator and you want to create animations like this as a service to your clients. I'm going to show you step-by-step how to create motion design in open tunes. Open tunes is free and open source software. So if you're just making your first steps with animation, or you want to create something for your brand or real quick without spending a lot of money. This is the tutorial for you. So what are you waiting for? Let's jump in and bring your logo to live.
2. What motion graphics to animate?: First of all, I want to present to you some options that you should be thinking about creating for your brand. The first thing you might be thinking of is an intro animation. Many YouTube channels have one and, and social media. It's also not rare that a brand has some kind of an opener way. You see the logo real quick before it goes into the content. To me, an intro animation has two functions. The first obvious one is to show the viewer your brand and your name to make sure that they know who's video are they watching? To see a name that they can keep in mind if they like the content that follows. But a good logo can also serve another purpose. It can explain what you do and what the audience has to expect from you. And I have two examples for you to show, both a very low budget things that I had to throw together with just in a couple of hours is an intro I created for a YouTube channel that has mostly about washable diapers, but also about how to raise kids environmentally friendly. And here we decided to focus on the mother baby connection because that is the emotional core value of that product. So that's why the intro is not really about diapers, but about this emotional connection of baby and mother. And here's an example for a very short lived YouTube channel that I had about using different webinar tools together to create awesome webinars in this one webinar software. And yeah, I really explained it through putting all those those different logos of different software and tools into one pot and melting it together. So this is an example for interests doing some of the explaining. But the focus point of the brand, however, you should always make sure that your intro is not too long because it can also cause people to stop here. If they don't like your intro, they might not watch the rest of your content, but you can also use motion design during your content. One of the most prominent uses is the use for lower thirds like this one to display somebody's name. But you can also use them to display some additional information. And for really important information, you might also have a full screen info card like this one. Then you could have an outro. It's kinda similar to the intro and that you want to make sure that the user sees what brands this was from so they can keep a name in mind. But you can also use the outro for a call to action. What do you want your users to do after they've watched your video? It could be something like please subscribe to my YouTube channel, please go to my website, please sign up for a webinar. So if you want your audience to do something after watching your content, the outro is a very important place to do that and it shouldn't be too many call to actions. Like I make this mistake sometimes to that at the end of my YouTube videos, I'm like, oh, please subscribe and comment. If you have a comment and 0, we have premium tutorials on Skillshare and by the way, support me on Patreon and this and that. And at the end, the viewer doesn't know what to do because they can't do all of these things. So sometimes it can be very important to make the decision. What is the one important thing that you want your audience to do? And just mentioned that one thing makes a lot more likely that your viewers actually going to do that, you also might have call to actions during a video, like a lower third that tells your Viewers to subscribe or comment or press like or something like this. One thing you also should think about before animating is, what format do you actually need? Your videos all be in white screen for YouTube or are you going to have mostly square or portraits formats for social media, you could either create a logo animation and white screen that you can just cut very smartly to the other formats. Or you rearrange the elements of your animation for every single format. That is an overview of the things that you can animate for your brand.
3. Types of motions to use: There are a couple of tricks and guiding principles that you can use to create interesting looking motion design. The first one is offsetting elements. It looks very interesting and elegant if you have many elements of your logo. So instead of just having the entire logo come up, it makes sense to just have the icon coming up the first line of text, the second line of text, and then maybe some additional graphic imagery. So you get a nice, interesting progression with different elements popping up at different times. One guiding principle is to group elements together but still offset them slightly. For example, you could have multiple elements of text coming from the left, entering to the right. But there's a little offset, a little delay. And you have a nice staircase pattern of one object coming to a stop after the other. This looks still very harmonic because all the elements were coming from one side. But it looks a little more interesting than just everything coming from one side at once. It gives a nice, interesting offset. If you want your animation to feel like there's even more of a variety and it's a little bit more wild, then you should have elements coming from different directions. So you have like different sides coming together. If you do that too much, it might overwhelm your viewer. But if you do it too little, you're logo is just dull. If everything just comes from one direction. That's not as interesting. Not only left and right are possible directions, but something could even pop up from the middle, like you have like a scale element in there or you have something coming from 3D space from behind the camera. So you have like a scale effect that comes from a very high scale and beginning and gets smaller. Two very important principles of animation, our overshoot and anticipation and overshoot happens at the end of emotion when an element first overshoots its final position and then settles in it. In real life, this happens because an element has to lose momentum first before it can settle in the desired position. Anticipation happens at the beginning of emotion, where an element builds up momentum by going into the opposite direction first and then into the direction it is actually supposed to go. Both of these principles are based on physics, but they also look very good in motion design. If you have a text that is a little bit tilted, then it might make sense to only move it along that same tilted axis like that. If you have a text being perfectly straight, then you can go straight left, right, straight up and down. That in most cases looks good and does the trick. If you move text along a path, then you should also make sure that this path is as simple as it could possibly be to create the impression that you are hoping for from putting the text along that path. So these are just some rules and guidelines that I keep in mind while grading my logos. Of course, there are always cases where you can break those rules, where if it works with what you want to achieve with the impression, with the feeling that you want to create, then you can do anything as long as you make sure that it doesn't look too overwhelming to the user. And you still have a period where the logo is clearly readable before you go into like dissolving it in whatever crazy ways you'll want to try. So in this premium course, you will see some of those principles in action while we're animating this logo, you will realize as you're practicing, as you're doing your first animations, you will notice some of these things on your own. And how different kinds of offsets feel, how different kinds of directions feel, how different kind of scale effects behave. You have to try that and test set for yourself. I just wanted to direct your attention to these sorts of things. So the best way that we can do is just get started with our project and start making our logo animation. By the way, I'll be very happy to see your work in progress. See how he offers logo animations come along and maybe I can even chime in and give you some feedback on them. I'm just share them either in the Skillshare project or on social media by tagging us as animator island, I'm excited to see the core things that you are going to animate.
4. OpenToonz and other animation software: In this video, I want to tell you a little bit more about open tunes. And if this is the right tool for you to use to create your animations. Now one big advantage of open tunes is that it is free. It's open source software based actually on software that was once commercial. So it has been used to create feature film animation. And because of that, open tunes is very professional when it comes to free animation software is probably the most professional of the bunch because it has a lot of options and the interface is geared towards professionals. So it's not a software that you open and then you immediately know how to use it. That's also nothing to worry about. If you follow this tutorial step-by-step, I will walk you through everything. It's just that if you say like I want to have something really easy, something really quick. And you may be more of a marketer and you just want something really quickly and you don't really want to learn animation, then you might want to look at other software that is geared towards amateurs. For example, a canvas. The social media post design tool now also has some animation features. And there's a tool called a wave dot video that helps you to create social media posts that are just a little bit animated very easily. Those tools have the disadvantage that you have less control over the exact way how things are animated. So me being an animator and whenever I work in those tools that are basically like PowerPoint where you switch on an animation effect. I'm always like, this is not exactly how I want it to be. So if you are a perfectionist, the solution would be to animate it in a more professional software like open tunes 0 and Canva and Wave video are not free. So it needs also to fit into your budget if you're just starting out, open twins might be a great option to not spend any money. You just spent the time learning it to create an animation. The other thing that I want to say though, is that motion design is usually done in a software called Adobe After Effects. And After Effects is part of the Adobe Creative Cloud. So if you own Photoshop and other Adobe products, you most likely also own After Effects. Again, it costs money, but that is the industry standard used for motion design. If you own Adobe After Effects, frankly, you should not do this tutorial because open tunes has some limitations and issues that we will work around in this tutorial and find solutions for. But it's so much easier in After Effects. So if you're paying money already for After Effects anyway, just use After Effects. It has so many tools that make texts animation a lot easier. And especially if you have dynamic text and you use Adobe Premiere to cut, you can change the text of your animation in your video editing software and stuff like this. There's such so many nice things that you can do in that very professional Adobe After Effects to Adobe Premiere workflow. If you don't have access to this and you don't want to spend the money on buying professional or very amateur animation software right now, then this tutorial is right for you. And of course, also, if you are learning open tunes, you just want to become a good animator and you want to practice more with open tunes, then this is also a very good exercise to practice the principles of animation. So I hope I could tell you a little bit where open tunes is on the software landscape. Once again, really is a very professional, very good software. But there is software that is easier and there is software that is more professional when it comes to text animation. Nevertheless, very powerful and we're going to have some fun animating this logo animation. Let's jump into the first element that we're going to animate.
5. Animating the wipe transition: In this section, we jump right into the cold water and we're actually going to animate our first element of our logo animation. We're going to animate this transition wipes. And after this, we're going to take a step back and think more about how you actually need to prepare your logo to bring it into open tunes. But I figured it would be fun as a nice little warm-up exercise to start animating something immediately. When you start open tunes, it has a little startup screen that it greets you with. And it has a default project that you already in, in the Sandbox Project. Sandbox project is great. If you do a quick test animations, you do your first animation experiment. But if this is actually supposed to be your logo animation, you need to create a project for it. And I'm going to show you how to do that. If you click on New Project for the first time, you might realize that there's only one project roots in the default open tunes folder, but you probably want to save your animation somewhere else. So we need to add a new project location first. And it's a bit confusing that you can't do this in this startup screen. We need to go into the preferences. And for that you need to close the startup, pop up, click on File Preferences, and they are find a checkbox to add custom Project Paths. And here you can enter a file path or use this button to navigate to a folder on your computer where you want to save your open tunes projects. Once you've done that, you will see the path appear here. You can add multiple paths by adding two stars and then the next path right after it. But I'm going to leave it with that one path for now. And yeah, if you're happy with the path that you said, you can just close the preferences, but you need to restart open tunes, quit and open it again. And after you restart it open tunes, you will see that under new project you now have your second project location and you can create a new project. In my case, I'm going to do a logo animation for a cafe. So let's call it cafe logo animation. All these paths down here, there's no reason to change it. Open tunes saves different elements of your project into different folders, your scenes, which could be the different motion design set you do. You could have one scene for it, your lower third, you have one scene for your intro, one scene for your outro. They all go into different folders and all the drawings and graphic assets that you load into open tunes. They are individually saved in different folders of the project, but we'll leave all these folder names with their default values and just hit, Okay. Now you can see that the safe in path down here also changed to reflect your project locations. And we are now creating our first scene. And we're going to do the intro. For the resolution. You need to think about what resolution you need most. I'm doing an intro for a YouTube channel, so I'm sticking with widescreen, 1920 times 1000 AD. But if you only need your intro for Instagram, or you might make a version of the animation that you've already created. You might want to switch it to something square like a 1080 times 1000 AT 24 frames per second is a good frame rate for animation. There are sometimes reasons to change the frame rate. For example, if all the videos that you are recording are in 30 frames per second, you should just stick to 30. If you have a weird frame rate, like 29.97 in your video editing software, you can also just go to the next full number, like 30 frames per second. If you have a gaming channel, you might go up all the way to like 50 or 60 frames per second. I'm going to change it to 25 frames per second because that is the frame rate of my videos. Make sure you have autosave switched on. This can be a real lifesaver. If open to its crashes, you don't lose more than the last five minutes. And with all the setup, we can create our scene, our intro scene. Very first thing we do is to create the shape that will be wiping across the screen. For that, we want to create a new vector layer. We can just click on this button and it creates a new level. A level is a collection of drawings and we can use the level name to make sure that we know what it contains. This. Let's just type wipe shape and leave it with that. You can make sure that it is a vector level and hit, okay, the cool thing about vector layers is that you can. Zoom in and out without the layers getting pixel. If you use a bitmap layer, the individual pixel will show up if you transform your animation too much. And by using vector layers, we have a bit more of a choice to tweak things after we've already animated them for this wipe, I want to create something like a diagonal shape. But of course you could also have another shaped like a wave or a leg zigzag lines. Anything you want. A good tool to create very straight lines is the shape tool. And we're going to switch it to the polyline shape because that allows us to set the outline of the shape individually. We can use pre-made shapes if you just want to have a rectangle wiping across the screen, but we want to have a diagonal lines. So let's do that by hand with our polyline tool. And with shift, we can make sure that it stays on a straight line. Click here. And now we are creating the angle of our WIP. Do something like this. Bacteria have to make sure it connects with the first. We can use the contour point editor down here to tweak our shape. We're not contend with it right now. We only have an outline. We can see through our shape, and we need to change that by creating a new color down here. Let's create a new style. Right now the style is black, but we can change it by picking a color with these color selectors up here. And those sliders can also help to find the color that you want. I have this auto settings switched on. So whenever I change something down here, it does change the colors. If you have auto deactivated, you need to create your color first and then hit Apply. So it's stored in the color swatch. Well, yeah, i'm I'm going to leave it on auto and find our first color. Now if you're working with an existing brand, you already should have a color palette that you can use for background colors. And you can pick from that. And you don't have to work with the HSV color system. There also is RGB color slider here, many brand guides have the colors listed with these RGB color values that you can then use for my mock-up coffee brand that I'm animating this logo for. We have this dark olive green background color. And you can use the fill tool here to fill it into our shape. The cool thing about vector layers and vector colors in open to answers that you can still change them. We can go in, select the fill color swatch, and change our background to any other color that we want. This can be very helpful in motion design. Your brand sometimes changes color. For example, if you have different sections of your videos or different topics been branded with different colors, you sometimes can just use the same animation and just change the colors around. I'm going to go back to the green color that we selected previously. I don't want to have an outline around it. So with this Select tool here, I'm going to click on the shape and select this transparent color. This will then be used as the outline color. And because it is transparent, you can see that there's no outline anymore. You know what? I actually do want to change the shape a little bit with the contour point editor here. Because this is the side where I want the animation to come into the screen. But maybe we also want to have an outs transition where we also want to see the angle. So let me pull this off at more or less the same angle. So first we're going to expand the exposure of this drawing, not sure for how long we needed, so I'm just dragging it out a little bit for now. This column, this layer currently only houses one drawing, which is the white shape drawing zeros 0000, one nature, we're going to add more white shapes. Those should also then appear here if we add it to the correct level, more about that in a second, but we can already animate this first white shape. This is actually the middle position. In this position we will have the logo animation taking place on top of this green fill. So we want the shape coming in from the left pause, so the whole logo animation can take place. And then we have an access to the right again. Before we actually animate anything, it's important to set the default interpolation method, how open tunes moves from one keyframe to another. And a keyframe is basically just saving a position and telling the computer, okay, on this frame you will have this position and 10, 20. However many frames later you have the second position and the computer can move between them, but it could move in a lot of different ways. It could immediately shoot out to full speed or a very gently start moving at faster and then it's slower again. And this is actually the motion type, but that we want. Most of the time we want an animation to gradually speedup and gradually slow down. And we can make this the default motion type in open tunes. To do that, we need to go to File Preferences. And in the animation tab, we can select a default interpolation method. And by default it's probably set to linear. We need to change this to speed in, speed out. So we need to keep this position at around frame 15. We can change all this taint timing. Later on. I just put the play head on frame 15. And either by pressing Z or the diamond shape up here, we can tell a computer to keep this position in mind. Now, with the animate tool, we can move the object around and cause the computer to save new positions. Of course not to frame 15. We want frame 15 to stay the way that we set it right now. We want to go to the beginning at frame one and set the start position for our shape. For that, you need to use the enemy tool in the position mode. And now we can click and hold Shift if you want it to only move along one axis and move it out of the way. This created a new keyframe on frame one with the shape being all the way to the left. And if we now scrub through, we can see that the shape goes towards the rights and stops at this position that we saved a moment ago, It's very important that you understand the difference between the select tool and the animate tool, the enemy tool that we just use to position our shape, actually moves the entire layer column and all drawings that are on there. The Select tool is used to select single strokes or areas of a drawing which is part of a level. So think of the columns of the layers as it's like in the good old days of animation. It's a glass plate where you can put the drawings on top of it. But then you can move the glass plate around and you move everything that's on these glass plates with it. That is what we're doing with the animate tool. So if you would put different drawings on that column, on that glass plate, it will also move them around in exactly the same way because it moves any drawing that is on that column. We can press Play and see what we have so far. I think the 15 frames were not that bad. I made it a habit to place keyframes always on uneven, on odd numbers. If you have a keyframe on frame 1 and on frame 5, you can always go in the exact middle. You can place a keyframe on frame three. And then you also, for an emergency, you would have the even numbers to, again go exactly in the middle. And the middle position animation is really important because with the middle position, you determine if something is moving in a straight line or in an arc that comes from that middle position. So it can be very important in animation to always have like a middle accessible to add more keyframes in. You don't have to do it that way. It's just that something I'm very used to it. So you will see me in the video all the time going like, Oh no, I can place a frame here. I have to go one the left or to the right to hit an odd number. We can play around with this transition a little more to change the feeling of it. If you're a bit confused by seeing so far outside the camera. This also this camera mode up here, which cuts of the screen to only show us what the camera sees and how the images will be export it. That makes it a bit easier to judge how the diagonal Wipe actually looks. There are a couple of ways in which we could change this animation. And to see what we're doing, we can also activate this onion skin up here, which shows the previous and the next frame showing through. And we can see that in the spacing here in the middle. From this frame to this frame, the spacing is really high, meaning this is a fast speed. And then here, this spacing later gets smaller, it's slowing down. By the way, you can quickly turn on in skin on and off by double-clicking on this onion skin marker here. And we can play around a little bit with the rate at which it is slowing down. For that, we need the function editor and one right to get the function editors to right-click on a keyframe is the function at tore down here. And yeah, this is what it looks like. We currently have our WIP laying in column 1. So we can click on that, see it here. And those are the two keyframes that we said. This is the keyframe we said with the keyboard shortcut or the diamond button. It told the computer to store all parameters, keep all parameters in mind, the position, the rotation, scale, and the shear. And on the first frame we only moved. The object with the enemy tool, which caused it to only save the position keyframe. But this is fine. This works for us. Now the easiest way to play around with how the motion fields is to go to the function curve editor. Up here. You get this nice mathematical looking thing with a mouse wheel. You can zoom in and out in the curve editor. By clicking the mouse wheel, you can grab the viewport and move around. And by clicking and dragging the coordinate system up here, you can also further change how the curve is displayed. Want to play around with the position data which we get point click on this red curve, which is a representation of these x values. If we want the motion to start and stop a lot slower and be even faster in the middle, we can drag out these tangent handles, makes sure it's more or less straight. And by doing that, you should now see that we changed how this motion fields. If see that it is a lot slower in the beginning and then gets faster, we can, I not exaggerate this even more? Maybe make the motion a little bit longer to frame 19 here to really see that. We could also try to have it come out at full speed. That would be a curve looking like this and then getting slower towards the end. Now you can see if we move our cursor up here to the beginning in green, we see this huge space in here, which means that it is a fast motion and then it gets smaller and smaller and smaller. And this is how it looks. It's just a sudden flash getting slower. Other option that we haven't tried yet is to start the motion very smooth and have it end at full speed. See it starts a bit heavy and then it's faster. I think I want to stick with the classic s-shape of it being very slow on both sides. And then you have the big swoosh in the middle of the animation. That's always a very elegant classic feeling. And we could also animate the WIP exiting the screen again, revealing the video image that might now be underneath. To create our little pause during which the logo animation can happen. We could just copy frame 19 with Control C for now is put it very close together here at frame 20 one. We can make this larger later on. So this would be the period during which the rest of the logo animation happens up here. But because we don't have a logo animation yet, Let's just place it here at frame 20 one. And then we want the WIP two exit again, but not towards the back to the left. It has to go to what's the right. We can do that by picking out a frame 43 to have it yeah, roughly be the same size and how we can use the enemy tool again, make sure we are in the position tool and drag it out hold Shift to make sure that everything stays along the same axis. And there we go. Let's have a look at the curve real quick. Oh, that doesn't look too bad. Sometimes those curves go very, very wrong and have some very weird moments in there, for example, especially here in the middle, you need to pay attention. These are the same values. But it could happen that if your curve is shifted like this, you still get a weird animation. We go here because this tangent is pointing up so far. To avoid this, we could also switch the interpolation method of this portion of the curve to linear interpolation to make sure it stays on this axis. And now you can do whatever you want with this tangent without breaking the other side. So again, we want the motion to be really soft. And also here we want the motion to and really softly. And I just now realized that my play duration is just cut off here at frame 31, my animation ends, but it actually still goes on to like frame 43. So make sure that this scene duration handle aligns with the duration of your animation. Now this should look a lot smoother even to smooth, because I didn't see that I still had a bunch of frames here. So let's make this a bit steeper. You could also, if you're not happy with the duration of your transition, you can change it in the timeline here by clicking and dragging those keys symbols around. You can also move more than one by holding Shift and selecting several and then clicking and dragging to move them around. Or you move them up here in the function editor, you just grab anything that is underneath. That is pretty useful. I wouldn't advise grabbing the keyframes here and dragging them somewhere else because now created a new key frame. We have the one that we previously had with still has certain rotation data and scale data, but it's kinda not needed anymore. And this is the position data that we dragged out. But, you know, it gets a bit messy. So either move the keys on the timeline or move the keys up here. But this animation isn't as interesting as a cookie yet. There's not that much going on. Yes. We can add a little bit of complexity, some more elements, even to this simple wipe.
6. Multiple colors in the wipe transition: We will be adding multiple colors to the transition and we're going to try to be really smart about it. So we don't need to do the same animation three times from scratch. We're going to be reusing what we already have to make the animation more complex looking. So we need a new layer to place things on. You can right-click here and insert a layer above. And once again. And on this layer we can now copy and paste the transition multiple times for that, click on this darker parts here, and you can copy it with Control C and paste it here and again on the layer up here. Now you will notice that this broke the animation. The top layers do not have any keyframes on them, and therefore, the screen is just covered up by the shape because that was the default position that we had when we created the shape. And the thing is that drawings and keyframe data are independent from each other. If we click here, up here in this, this handle, and if we move the drawing around, you can see that the keyframes stay in place and vice versa. If we move this first key frame around, it doesn't move where the drawing is. So we need to keep this in mind. We need to copy and paste those key frames by clicking on the first keyframe, holding Shift and clicking on the last keyframe. I always click on the drawing, but I want to click on the keyframe up there. Now, this time it worked, It has all the keyframe selected from first to the last. We can copy that would control C and put it on the other layers. Now they're all doing the same motion. So it just looks like the thing we had before. What we're gonna do now is we're going to offset them. We're going to move both our drawing and the keyframes in a staircase pattern like this. So make sure that the keyframes and the drawings are stashed like this with at least two frames difference. It could be even more. It could be four frames or something like this. You can experiment around with this a little bit more once we can actually see something. Right now, We still can't see anything because they all have the same color. And we don't really see where one shape starts and the other shape ends. Also need to make sure that the exposure of my scene goes all the way to the last frame of all the animations. Now how do we get different colors? We have to go back onto a layer. Here we'll click on the drawing level and we see that we still have only one drawing. Those three wipe shapes here, they are all an instance of that same drawing with the green shape. So even if we would change the color of the shape here. And we can do this quite easily by clicking on the color and just changing it. But it's still going to change all the shapes to read because they are the exact same drawing. You can see that in the preview here. Whenever I changed them, they all three change. So what we need to do is we need to break the link of both the drawing and the colors. I'm going to show you how that is done. So let's say the last layer, the one up here, the last layer to show up is the color that we want to keep. So we need to change the other two. Let's go on the first layer. We need to duplicate the drawing that we have here by clicking on the first drawing in hitting D For Duplicate and the top right corner you can now see we have to wipe shapes now. Right now, they are both green. They still look identical. But now we have a second drawing that we can put on the timeline. And right now it's here. Now for the first keyframe here it's still wipe shape number 1. We can change this by double-clicking here and changing the name to wipe shaped number two. And now you can see that it is white shape number two. From beginning to end, the change the color. We need to create a new color swatch. Because if we would change this color swatch, it will change the color of all shapes everywhere. We need a new color that is currently not linked to anything. And we get that by clicking on the plus symbol here. And let's select a nice coffee around here. And now we need to fill this color to the white shape to drawing, to make sure that we are getting the correct shape to fill. You can click here in the levels panel on the WIP shape number two, and this is showing only one wipe shape. Now I just switched out of it. I need to switch back into it. This, this here is only that white shape number two, and we can fill it with the fill tool over here to have that second brown color. We're gonna do the same on this column, on this layer, I'm going to hit D. We now have WIP shape number three. We need a new color swatch here. And this one we can change to our sunny yellow. By clicking on the timeline. You go back from the focus mode of the single drawing. So we can go into the camera mode and hit Play. And now we should see it, sir, cycled through a couple different colors. Maybe we should make the offset even larger. The four frames, make sure you shift both the drawings and the keyframes. And now it's going through the different colors, at least on the intrinsic. Right now we don't see that the yellow and the brown layer, I'm moving at all because the green layer is just covering it all up. So we want the yellow layer to wait. And we can do this by selecting this and this keyframe command and also building a reverse staircase like this. And now all we have to do is make sure that the pairs have a similar exposure. Let's make this the same length as the shift here to have those four frames in between the keyframes. Let's add two more, this one and this one, 1, 2, 3, 4. And if we click play, again, the exposure of our project was to small, making sure it adds up. We can see that it starts and ends with these colorful wives. And you know what, even without a logo animation on top of it, we can already use this. Many YouTube channels use transitions like this to cover up a change of a topic. All right, I hope this didn't scare you off too much from the animation process. It can be a bit tedious. But affinity to click on the keyframes and make sure that everything lines up and you can play with your Curve Editor and with the key-frame time in forever until you have something that you think looks good and then you look at it a day later and then you think like maybe it should be a little slower or faster, but that is completely normal. And with an animation to like open tunes, you have the complete freedom to explore different timings and different animation curves. Next up we're going to have a look at the logo that we will be animating and show you how you could plan a little bit of an order. And then we're going to bring it into open tunes, build it there, and then animated.
7. Planning the logo animation: Now it's time to grab your logo and animate it. If you don't have a logo yet. I'm not really going to get into the process of how to design a logo because that is a whole big topic on its own. Designers spent literally months on some logos of your favorite brands. So there's a lot of stuff that can be learned about and try it with different logo shapes and fonts and all of this stuff that belongs to a good branding. The color selection is also a very big topic on its own, you can find tutorials about logo design and branding in general, for example, on Skillshare, I needed a logo though to animate. So I made this quick little exploration. I wanted to make a logo for a cafe. That's also something like a cocktail bar. So I got the idea of adding those, those cocktail elements to the Coffee muck, trying different shapes here of the coffee mach. And yeah, Ultimately, I landed on this logo. Now this is by no means a real logo development. If you were to develop a real logo, you would do this process for much longer. You would try many more different motives, many more shapes. But I wanted to have something fun and quick for this tutorial. So I just spent a couple of minutes trying that very simple idea and putting it in the best possible shape that I could do in just a couple minutes. Font selection is another big topic. So if you already have a logo, you should make sure that you have access to a file that has all the layers. Or you need to cut your file into different layers and export them separately. For example, as a transparent PNG or, and this is what we're gonna do right now. You can rebuild your logo in open tunes. This makes especially sense if you have like a vector logo and you want to do more extreme things with that, like zoom in and zoom in, zoom out a lot. You need the vectors of your icon to be in open tunes as real, actual vectors. So we'll take this idea here and we will rebuild it in open tunes. We're also going to have to select a fund for both the Moore machine written font up here and the handwritten font down there. We could also already start thinking about what animation we actually want to happen. This is your very first animation. You might want to just try different things in the animation software and that is fine too. But if you do this more often, you gotta feeling for what things look good. And you can already say like, okay, I want this come from the left first, then this to pop up and stuff like this. And you can already planned that in your head or, you know, actually you should write it down. So for the animation process, you have a very clear idea of layers you need and what steps happen one after the other. As a rule of thumb, it makes sense to group things together, but still, you should have many separate elements popping up at separate times because that makes a logo animation look interesting. If you have this pop up one thing after the other coming into the screen, It's just more interesting than just having the entire logo just be like, Oh, and there's the entire logo. That's not as fun. So for example, I could imagine that the very first thing we happen is we have this shape pop up. It's scaling up effect. That's going to be the first thing that happens. Then we're going to have the small plate come in from the right. The second thing next, the cup is coming down from, up here and then maybe all the elements, the lemon slice and the straw also coming in from the top. This first font is going to slide into from a mask. And last but not least, we have the handwriting, a peer. This is the seventh and last thing that happens. So this gives us a rough plan of how our logo looks like and what happens when, if you already have a logo, this could be your first assignment. Think about what parts should appear after the other. Should they come from the left, from the right? Should they scale up? Should they just fade in? But you could also say like, you know what, I can't imagine this right now. I don't know how it looks and feels when things come from the left and right or up, that's totally okay too. You don't need to decide. Now. You can also decide later or just do this tutorial and yes, see for yourself how the different motions feel that we're going to create here. So I'm excited to create the final look of this logo now in open tunes and then animated in the way we have planned, which I think will look pretty cool.
8. Tracing or drawing the logo: So first you want to get your local or the scribble of a logo into open tunes. And the easiest way to do that is to just drag and drop it. First we need a new layer above our transition. And now we can just go to the File Explorer or Finder on Mac, click and drag and put our scribble into the timeline. It's going to ask us if we want to link to the location where the image currently is or if we want to import it into the open tunes project. And if you're not sure if the image will stay in that location where you got it from. You should probably just imported into the open tunes project. So open tunes pulls a copy into the project folder. Now this drawing is most likely a bitmap and not a vector layer. So if we scale this up too much, it's going to get pixels with two options to make this logo bigger. If it is a bitmap layer, you can use the Select tool to draw a selection like this lasso selection. And you will notice that it will just cut it out like from a piece of paper. Or you can use the Image Tool and with the enemy tools switched to the scale property, we can make this bigger and make it fit to the frame. But you will see that if you zoom into bitmapped layers a lot, they gonna get pixelated. Now if you already have your logo, export it into different layers, different transparent PNGs, you can bring them in in a similar way, create a new layer. On this layer, I'm going to put a transparent PNG. And we can import this as well as well. And as you can see, this is transparent and you can move it to where it needs to be with the enemy tool going through the position and scale tool, if your logo consists out of many elements, you don't want to move them all individually. You want to have one layer that moves them all. And the way to do this is you create a new column. So let's just put a symbol in there. On a vector layer. This is going to be the layer that moves everything when we move it. Now we need to make sure that whenever we move that one layer here, this one, that all the other layers that belong to our logo move as well. What we're gonna do is we go into the schematic view, and here we can change the hierarchy, changed the name of this column, two names. We always know what it is. You can see down here, there's the main layer with this controller here. And now we need to change the hierarchy. We want to make this the parent of both the brush and the scribbled logo. And we do that by clicking and dragging a line out here. And now we have a hierarchy. Those two layers, the paintbrush and the Scribble, are a child of the main layer. And now when we move the main layer with the enemy tool, it's moving both the brush and the scribble layer and our little help us symbol here. So this is how you do parenting your parent. All the elements of your logo that you imported to a main controller like this. And you use this to reposition and re-size your logo until it fits into the screen and is on the right position. So for me, I'm just going to undo all of that and get rid of the paintbrush here. I still need to create my final logo art and I'm gonna do it directly in open tunes. This might also be something that you should do if you only have a very small bitmap version of your logo that you've been using or the client only gave you a pixel is a mess. Then one of the best things to do, or one of the things that you might have to do is traced the logo in the software that you're using to animate it by tracing things into the vector layers. We also have the advantage that we can scale in if you just have a bunch of flat colors, which is kind of the fashion right now. A lot of logos only have shapes in one color. So this is perfect for a vector layer. You're going to see what I mean in a second as we put this logo into a finalized shape that we then animate, one thing we can also think about is our global color palette. If you work with an already existing logo, you probably have a color palette of 34 or five colors. And you can't use any more colors in your logo because it's already limited, limited to this color palette. And knowing this already gives you a big jump ahead, because you can just create those colors styles and then use those same 34 colors for all of the elements in your animation. I'm coming up with the colors for my logo a little bit on the fly. But as you have seen, switching out colors and open tunes is very easy. And if you do it smartly, you can have all those colors still be linked and try different variations Really quickly. But to really use this to our advantage, we should make sure that all of the colors are somehow connected and linked. So we need something like a global color palette that holds all the possible colors that we can then distribute to the single drawings or use in all the different drawing elements. And right now the WIP level has our most complete color palette. It already has those three colors, and I want to continue to keep using them. So we need to turn this into a global color palette. And we can do that by saving this color palette as a new palette. By clicking down here, we can then select the Palettes folder and yeah, give it a name and a little go color palettes. Now the cool thing that we can do is when we now start tracing our logo, creating our logo, we can load that color palette into the new drawing. So let's create a new layer and new column by right-clicking as always, insert above. And let's say we're going to start with the cup. So for the cup, I want to create a vector trace of the cup. So we need a vector layer here. Could also give this a name cup. There we go. Right now, this drawing level cup comes with its own palette. So to load the color palette that we just saved into our new layer that we're going to be using for the cup. We need to open under Windows the studio palette here and the air we can find the project palettes, and this is the palette we just saved. And we want to load these colors into the cup level by right-clicking onto the palette and choosing load into current palette. And the really cool thing is if we change this global palette, for example, we make the green a little bit brighter. We can save that. And we can once again, loaded into the drawings, watch this color swatch right now it's still dark because this is the local cup color palette. But we're going to replace it by selecting the global color palette that we created for right-clicking and load into current palette. And now watch the swatch. It's turning lighter. This way we can update all the colors on all layers, even after we've already animated everything, just makes sure that you load the global project color pallets into every drawing level that you create. And if you want to create new colors, It's best to create them here in the global color palette. So let's actually create a color for the cup that would be a very bright color, maybe an eggshell white, like this. You're going to save it. Overwrite the global color palette and loaded into the cup drawing level once again. Now how do we draw the cup? We're going to select the cup color. And once again, we'll be using the geometric tool in the Poli line setting. And instead of just clicking ones, which just gives us straight lines, we're going to click and drag to get softer lines. And what we're doing essentially when we're clicking and dragging is we are dragging the Bezier handle of a vector curve. Maybe let me do this with a black color that should be a little bit better to see. So we're dragging the curvature out here, and this is the actual line that we're drawing. So here we're also can click and drag and make a curvature that matches the top of our cup. Now this curvature here we need to adjust later. We actually wanted to be a sharp corner here, but yeah, we can't do this right now I think. So Let's just continuing set, setting the corner points. And we can click and drag and already fine tune the curvature down here. And then close this layer. Yeah, this doesn't look like our cup at all yet. We need to refine the tangent handles that we already set. And we can do that with this control point editor. Click on a point. These tangents are already broken, which is needed if we want to change the size of the tangent independently. And you can break the tangents free by clicking on one side holding Alt. And then you can move one side of the tangent independent from the other, and they are now broken so you can just keep clicking and changing them. If you hit Alt again, it merges them again, which is not what we want. In this case, we want to have a sharp corner over here. We can continue to refine our shape until we have the cup that we want or whatever your object you are creating for your animation. Of course, I said the wrong color here. We can use the selection tool to select our cup and make sure that it has the cup color. And then we can also fill it with the fill tool. It is completely closed and that, that is why it is very easy to close it. If you're drawing something, you need to make sure that the line is very close to being closed. The handle we're going to create in a similar fashion. We take the polyline tool and just trace the scribbles that we have, creating some tangents, usually at the peak of shapes. And again changing it, filling it. And this is all for our cup layer. The saucer here, the little plate would be on a different layer. So let's create a new column. And this time it's actually below. And very important, we want this to be a vector layer. If I want just start drawing, as you can see on how pixelated it is, this is a bitmap layer. We don't want that. So that's makes sure to create a new vector level every time for this, we don't have to use the polyline tool. We could actually use an ellipsis. There we go. Once again, we need to import our color palette by using the studio palette. Go here to that color palette, say load into current palette, and there it is. Now we can re-color this new layer for the orange, slice it into the color palettes. Actually before we load it, we shouldn't make a color for our orange slice. There we go. Save it. Loaded into the current palette, save that, and create an orange slice with the Ellipse Tool. If you hold Shift, it's going to keep the proportion. And we can also check autofill to have it immediately fill it with the color that we have selected. So boom, we don't even need to use the fill tool. If you want to reposition things, you need to use the Select tool. And if you click on the fill, it's stuck in a select anything. You need to click at the border to select the surrounding stroke. There we go. Right now I'm doing everything on frame one. So if you have the problem that you sometimes lose, what you're working on, it might just be that you switched to a frame that doesn't have exposure for the drawings that you were working on. Next up is the straw. And here we do the same game again. New layer above, new vector layer straw. We use the geometric tool and the polyline option. Let's use the green that we already have. So we load the palate into the drawing level, choose the green, and start drawing this straw actually close to down here all the way. Now we need to make sure that we change the tangent later after we've drawn the entire thing. Yes, it looks a bit wonky. We need to change that. With the old key. Breaking or merging the tangents to the layer order is not quite right. We need to drag it between everything. Yeah, switching off the scribble layer here with that icon, this hides it in the viewport. The I would hide it in the render when we actually export our animation. But yeah, this is actually, I like it for a logo that I just spend a couple minutes on. That is pretty interesting. All right, now on a layer at the bottom of all of these, we want to have this square that is behind everything. I'm going to use to geometric tool, going to use the rectangle this time. And again, I think this time we should have a new color for this. I'm not quite sure what color it is going to be. Purple colors. Sometimes it can look very good on, on green. Kinda like the Joker color combination. Again, if you hold Shift while dragging this, we're going to get a perfect square. I didn't load the color palette into the drawing level. Let's do that real quick. Oh, and you see the purple didn't come with it because we haven't saved the global color palette yet. So I click on saving it first, overriding it. And once again loading into, into the current color palette. And there we have it. Oh, and here it happened that I created a bitmap layer and in a bitmap layer icon just click on Align to recolor it. So we need to undo this. And let me create a new drawing level vector level square. Yeah, This was just a test to see if you were paying attention, loading the color palette, selecting it, geometric tool, rectangle, drawing it. And we have it. This is for two pink. We can tweak colors here in the drawing palette, but you should always carry things over. Let's try a bright blue for a change. How does that look? Yeah, that's kinda friendly. Now we have to copy that color back into the global color palettes so we can use it everywhere. So we're going to say copy and click in the global color palette and say Paste color. And this way everything is still in sync or can be soothed if we want to use that color in other levels. If you go to previous levels, for example, let's go to the straw. You see that it doesn't have the blue color because we haven't updated the level palette yet. And we can do this once again by right-clicking on the global palette and saying load into current palette. And it loaded the purple because we did not save this yet. We need to make sure that our global color palette is saved. Now we can load it into the current color pellet. And yeah, there's our color number 7. Now for the font, if you're hired as a designer to create your logo, you might not have the funding, might just be a vector file or a PNG file that you need to use. As it is, you just drag and drop it into open tunes and use it the way that it is. Or if you know what font it is and you have it installed on your computer, or you're just designing a logo. You can pick the font yourself, any font from your computer. You can download one from the Internet. And of course, you can also use it in open tunes to write a text. And then we can animate this text. There's one problem with texts and open tunes is that if you use the text tool, there are other tools to create text. We might have a look into that later. But if you use the text tool from the toolbar, you can only write your text once. The moment you click out of it, it converts it into a vector layer. So you cannot go in, click again and change your text. So that being said, you should be very sure right now what the words are that you want to write and you should know what font it is if you want to use the font tool. You could also look for a nice font. A very good resource is Google Fonts here at fonts dot google.com. As a matter of fact, I still have to look for a good handwritten fund for the parody. So part of the name, so let's write the name right here. We can see there's already a font with a little bit of a cursive handwritten kind of feel to it. We can filter the fonts. One very important filter is the categories. Here, I only want to see the handwriting's in my case. And in yeah, you can scroll through them and try to find a font that suits to what you are trying to do. This is more connected to website development and brand design and stuff like this. So you might already have a font chosen, but if you don't, Google Fonts is a very nice source to look for a font. In my case, I'm going to use pacific oil. Click on it, download the font-family and unzip this to install it on your computer. So on yet another column, I'm creating the first font up here. Insert above new vector layer. And you know why not already add the next one which is the hand written text. It should appear right on top of it. Yes, it does. Here we're going to write cafe and par, and I'm going to use the font months or rats, also from Google funds. And now the moment that I leave this or click anywhere else, this is turned into vectors. We can no longer change the writing. So if you misspell something or you're not happy with it, or you need a line break. You need to use the type tool. Yet again, I'm going to reposition this to a position where I'm happy with it because this was a scribble. It doesn't need to be a 100 percent precise. We're still, in this case, still finding the logo. But of course it will make sense. If you already have a logo, then you should probably be a little more careful to find the exact placing. Use whatever exponent you have from your actual logo. Maybe the text is in the color of the cup. So once again, we need to load this pellet into the drawing level. And now I can select the color. Oh, well actually, this would only change the outline. And you can see there's a very faint yellow outline right now. But I actually want to change the fill. So for that, I'm going to use the fill tool to set everything into the right color. On the other layer we're going to write d. So let me load in the color pellet real quick because I have it already open. I'm going to use this color. And this case we're going to use pacific Oil. And the size could probably be a little bigger, but we can still change the size after we've brought it. There, I click out of it and in that moment it's being converted. Can use the Select tool to draw a selection around it. I prefer the free-hand Lasso Tool. This also a rectangular selection that you can use and I can switch off the scribble layer to see what is going on here. Why not? Let's place the coffee bar in between the PVD diesel fund. Let's try it like this. I'm using the Select tool now because I want to keep the keyframes at 0 for as long as possible. And when you scale funds, make sure that you don't do this, that you don't stretch them. Because designers worked really hard to find a good proportion or the perfect proportion. So make sure that if you change fonts, you hold the Shift key so you keep the proportions as the designer intended them. And there we have it. If you are importing or tracing a logo that you already have, make sure that you have all the parts that you might be moving separately on separate column layers like this. And the first thing we're going to animate is this coffee and bar Font popping up from like a line here, moving up.
9. Animating text sliding up into a mask: The first element we're going to animate is actually very simple. It's this text popping up from the middle of the screen and it's nothing really complicated. It's just a mask that the text is sliding into. And as soon as it enters the mass, it turns visible. And the way we do this is as follows. We find our texts layer, which for me is up here, still named them all. There we go. And we're going to need a new layer, which is going to be the mask for our text coming up. Insert above. And here we're going to create another vector level, texts on mask. And let's use this as a name for the column as well. Okay, So for the mask, we're going to use the good old rectangle tool and we can immediately autofill it. Just drag it over the text so you can't see it anymore at all. Maybe with a little bit space at the bottom, something like this. So we have a little bit of a gap when it's sliding up. It looks like we censored our logo. Oh, well, so in order to really turn this into a mask of, we're going to need to enter the schematics few. Once again, this time we need to switch it to the FX schematic view. And you can do that down here with this icon. This gives us the same layers, but they are now arranged for processing image effects. And the layers that we need is the Kaffee and bar text line and the text1 mask. If you're not sure what's an a layer, you can always click on this arrow to see a preview of that current layer. Now what are we going to do with this? We need our mask effect and we can create one by right-clicking add fx and go to mat. Mat in everything that is inside the mat is supposed to show up. The opposite would be met out. Everything that is covered by the mask is being masked out. But we want it to appear in the mask. So we choose met in. The source is the text and the text mask is the mat. Get rid of these lines over here by selecting them and hitting the delete key. And now we can plug this into the next sheet. And now everything looks the same. That is because most effects do not show up in the real-time preview in the viewport, we need to render our image to see the effects apply. And rendering just means that the computer is doing a finer processing of the image effects and calculating it in its final form, we can tell open to install, render this frame by clicking on the eye symbol up here. And now you can see we don't see the black bar anymore. We just see the text to check if our mask is really working. We could exit the render view to our mask layer and move it so that it only half covers our text. We can use the select tool for that. Now the stuff outside of the mask should not show up if we render it. Yeah, there we go. As you can see, the Texas only showing up inside of the bar. Let's undo this and get our bar back into the old position. And now we're ready to animate this. Let's grab the drawings of the text mask layer and the first text line and move them somewhere in the middle of the animation. And here we see the actually on top of the color that was sliding in. But let's just hide all these layers for now and have a look at how everything works together with the Wipe transition later. Now the animation that we're going to do is the text sliding into the black bar. So the position that the text has right now is our end position. So let's just set a keyframe for that. Somewhere here at frame 39, I want to be on the drawing layer of the cafe and bar text line. And here on frame 39 and gone ahead zed to create a keyframe. And now we saved this position where the text is inside the black bar. So let's go to the beginning of this segment and use the animate tool to direct the text down hold Shift if you want it to stay on the same axis. And now it exited the black bar. Now it's no longer visible, as you can see, it's shoving itself into the black bar. And you can even play it in the preview mode, or activate the preview mode by clicking the eye and you can hit play. And the first time I place it might be a little bit choppy because it's rendering the frames. But then you can just play it and see it appear as it will be animated later. And that's it. We have animated a text popping up into a mask. Of course, you can play around a little bit more with the Curve Editor if you want. Where's the right layer here? This one? Give me the function editor was starting to get a little bit crowded in here. So in the function editor, you can actually de-select layers that you do not want to see in the Curve Editor. There, we only want to see the text line. And now it's a little bit easier to see that it is over here. And we can make the motion a little softer. Or we could say that it just comes a full speed into the mask and only then gets smoother and slower. Let's have a look how that looks. We're still in the preview mode rendering. Yeah, that's nice and smooth in the end. So you can play around a little bit more with that. You can have, of course, texts coming from other sites. It could come from the top. Actually, that might not be bad if our logo I can just popped up. It might be a nice transition to have it coming from the top-down. And you could also animate the mask. You can have the text stay in place and the mask just reveal it somehow. So there are a lot of possibilities with just that one technique, but we still have a lot of other stuff to animate. So let's jump into the next thing.
10. Animating hand-writing effect: The next element that we're going to animate is the handwritten texts writing itself. And interestingly, this is not that much different from the texts sliding into the mask. But instead of animating the texts coming up, this time, we're going to animate the mask. So it gradually reveals the handwritten fund. And this is going to be looking like the text is just being written. So let's grab the handwritten text by clicking on this gray bar and pulling it over. It doesn't want to what is going on there? Oh, the layers locked. How did that happen? Yeah, you can lock layers if you don't want to touch them. Now we can grab it and would bring it over to somewhere after the text almost entered the mask completely. Something like here. This is where our animations gonna start. We don't know yet how much time we need, so just put more than enough there. And now the next thing we need is another mask layer. So with the timeline cursor being in a place where this layer's already occupied, we can directly create a new layer, mask, a new vector level. And this is going to put it right above into a new column. And here we have to do some actual frame by frame animation. Remember everything that we cover with the brush or any shape or any kind of content is going to be revealed. We basically have to retrace the font little by little, frame by frame. And we're going to be doing this in a very particular way. We want the motion to start slower, speed up, and by the time it reaches the end of the letter, get a little bit slower again. And we can do that by increasing and decreasing the spacings of our mask while it is evolving, a good way to think about eases is to always double the distances. So if we come from the other way round, let's say this is the entire stroke that we need to cover. Then we would basically always half the distances to get our spacing. And this way, we have spacings that are always increasing and decreasing. Towards the end. Let's use the brush tool and pick a brush stroke that is big enough to kind of be the brush that could have been used to draw this font. And here we have a tricky part already. As we are revealing this intersection, we need to pay attention that we don't draw a mask that is like this. These angles here would reveal part of this line, this one, which is not drawn until much later. So we need to create the illusion that there's only this one brush stroke here. And we need to avoid anything that gives away in the mask that there are dense here from a second line that is coming in much later. So the way we're going to animate this is as follows. We are going to increase the exposure time of the mask. You know, it can be the same exposure as the handwritten text underneath. Then I'm gonna do my first part of the mask, the first bit that reveals what's under there. And then I use my keyboard arrows to go to the next frame. And on the next train, we're going to hit D. And D is copying the current frame, but it is no longer a linked instance of that same frame. You can see in the levels, there now is a drawing one or drawing two right now there are still identical. But if I start adding a next segment, carefully avoiding revealing that there is another stroke coming up. We now have this first frame revealing just a little bit, and then the second frame revealing a little bit more. And this is how we're going to continue. It will go to the next frame. There, hit D to copy it. And now we can make a spacing that is double the size of the spacing that we had previously. Again, trying to precisely hit that intersection. I don't want my line to be too wobbly. It should be kinda smooth. That first intersection immediately being there really, really makes things. A bit hard to start. Oh, and by the way, once you are out of this intersection here, you can be more sloppy. You can just go over it like this. This wouldn't be a problem because it's only revealing the stroke underneath. So that actually gives us the cleaner stroke that is underneath. We don't need to pay attention that we don't wobble if we draw so far out of it because you know, the mask itself will not be visible, it will only reveal the drawing underneath. So next drawing, and we can just draw over. It. Just makes sure that this part here, this could be kind of curved and nice to create the illusion that this is just a brush that is currently forming itself like this edge is going to be one that is showing because this is where the mask just cuts off the layer that's underneath. Okay, next one and this time it's going to be even more. Next one. Oh, I need to hit D. There we go. Sometimes a sharp corners like this one. It can make sense to have the brush slow down a little bit because this is something that could happen while you are doing a handwriting. Then during the curves, there might be a little bit of a slowdown that could look very elegant. So here I'm decreasing the spacing again and a 2.5 or three frames that are kinda in place here. Before. I'm going to increase it again. And now we can be really sloppy with the cross-section because we already have the first stroke and now we can reveal everything in the area once we crossed it. And now we need to make an ease in slower and slower with the spacings being really close to each other. And now we have the p completely covered, which means that the mask should reveal completely what's underneath. Now of course, this does not look very good. So let's get the mask already working. Let me also increase the exposure for the other texts. So we have seen for the same amount of time, we need to bring up the FX schematic again by going through windows to the normal schematic editor here. And oh, we are already in the FX schematic. If you're not there, you can click down here to switch from the stage schematic to the FX schematic. And yeah, here you see our other construct, our other mask. We need to do the same thing for the handwritten text. And the other, the second mask, we need the mat in effect, Right-click at FX, Matt, Matt in, and the source is our handwritten text. The mask is our mat. Make sure that it is not plugged in directly, that these layers are not plugged in directly into the x sheet. Only the FX needs to be plugged in. And now if we render it with the preview I up here, you can see that the mask is revealing just that portion here. And as it continues, as the mass continues to grow, it does our handwriting effect and we can play to see it in action. Okay, we're gonna do the same thing with all the other letters and make sure to play around with the spacing. Really start with little spacings, then get bigger, maybe get a little bit slower in sharp curves. Yeah, this is an excellent exercise to play around with some spacing and to see what happens when you have spacing set up close together and spacing set are further apart. And now we have our effect setup like this. You can always hit play and just test if the latter that you just created looks the way that you want it to be before you continue. Oh, and one more important thing, most handwriting motions start coming from top to down, going to the right. If we would take it at a 100 percent precise, we should probably have started our p.sit differently, not with that swoop here, but we should instead have probably write it like this. That's another consideration that you need to keep in mind. So the a probably starts like this, that are like this. I think that is clear. D probably also starts here. So yeah, you can also pay off to think a little bit about where those letters I actually starting from and what would feel the most natural. Now, I think I like the P the way that it is because it's coming from the center expanding outwards. So you can break that rule if you have a reason, if you feel like that feels nicer. But oftentimes, it does make sense to keep in mind what is the realistic way? How would this letter realistically be written? Maybe try it yourself and see. So yeah, I'm going to do this now and speed this up in a time-lapse. So if you want, you can stick around and see a little bit how I create my spacings. Or you jump to the next element and start creating that animation. Okay.
11. Animating the logo - scale pop up: Next up, let's animate the actual icon and how everything comes together up there. First, we need to drag all this stuff to where it is actually needed, starting somewhere before the text comes will have to change all of this later to also work with the transition. But what we're gonna do that after we have the animation of the ICANN finish, let's think about what is appearing first, and it will probably be the background here. And we wanted to pop open from the center. And to do that, we still need to change the center point if we use the NIMH tool up here and we use the scale mode, we can see that it is scaling towards the point down here. Actually, this doesn't look that bad. I kinda like it too. But let's have it start from the center. And to do that, we need to change this origin center point. And we do that by changing the image tool property to center. Now we can pick it up and move it up here, maybe like this. Now we can put some exposure in and do the actual animation. Once again, we know the end position. So let's just put a keyframe here. Well, we estimate our end position could be and hit Z so that the computer can keep the fully scaled box in mind. Well, let's get rid of all of the other things. That's just switch off the visibility for the text for now so we can fully focus on the logo icon up here. So with the end position set, we only need to send the beginning position. For that, we need to animate tool in the scale mode, shrink our box to 0. We can even type the value up here to make sure that nothing is visible. Now when we play it, we see the box opening up. We could add some more easing to everything going into the function editor, finding the layer which is column 6, and going into the Curve Editor, you could make the curve super-strong. Check how that looks. That's not bad. And here's another thing that we can do. We copy the end keyframe. This is the end position. Remember, where we initially want this whole animation to settle in. Copy it a little bit later. Maybe like this. And now we're modifying this frame which used to be the end position to be an overshoot, meaning that the box is getting a little bit to break first and then settling down. This is a bit too choppy after appearing, but that is because we set the curve so strongly and oh yeah, I mean, there's something very weird happening here. Why is this not speed in, speed out. Yeah. This is more what I was expecting. So let's adjust the curves a little bit till our animation has nice and smooth peaks everywhere. Something like this. And let's see how that looks. But timing is not quite right. Maybe this should appear early on. We can use for only half this layer activated in the function editor and everything else switched off. Yeah, Looks like it. We only have column 6 activated. Then we can grab those summary points up here to move the animation around. Yeah, this is nice.
12. Animating the logo - plate sliding in: Next we have that little plate coming in from the right. Later, we're going to have this blue square to be a mask so that none of our coffee icon logo elements are visible outside of this blue box. But for now, we'll just animate everything without masking off our elements. And you know, once again, get some exposure set in the end frame. This shouldn't be too long, something like this. Set a keyframe. And for the first keyframe, we're going to move the saucer off-screen or, you know, out of this box. So that later when this box is a mask, it is not appearing. For that reuse the enemy tool in position mode, we could reposition the center point to be here and the middle of the saucer. But we won't do anything that actually needs the center point to be there. I think I just like things to be nice and tidy. And one of the things is to put center points towards the center of the object or the bottom, depending on what you want to animate. So we move this off screen, and now it wouldn't be visible when we use the box as a mask for the animation here I'm want to try a different kind of curve. First of all, we need to make sure that we select the correct layer. This is layer column 7. Find the column sevens which of column 6. And now it can have some fun with the curves here. I like the ends to be really soft, so I'm dragging this out so that this gets even slower and slower and slower as it reaches the end. And here we don't want the motion to start softly, softly, but we want the saucer to come into the into the frame full speed. Yeah, wonderful.
13. Animating the logo - cup falling and tipping: Next we have the cup coming down. This a little bit confusing because we are leaving our layer order now. All these things that come later, the straw and the orange slice, they need to be behind the cup. But the cup is the next element that we animate at the point where the saucer is almost standing still, already giving us some exposure. And again, keeping the end frame in mind. So for the cup, I want to try something interesting and let's switch off the saucer so I can tell you, show you a bit more clearly what I want to try with the animated tool in center mode, I want to change the center point and I don't want it to be in the middle. That would be a classic center point or down shear, both very well valid center points. I want to try it in one of the corners so that I can, if I use the Rotation Mode, have like a little bit of a tip towards that direction. And I think it was going to give us a nice little overshoot once the cup hits the ground, I want it to be reflected up and then come to a stop. So it comes down, jumps up. What's that side? And then comes down again. You know, what would be really cool? We could also animate like a liquid splashing out here. But I think that's something for another day. So with the rotation point set up in this way, we're now thinking this animation backwards. So this is the post that it will settle in right before it will have jumped up into that direction. And before it jumped up into that direction, it hit the ground. Here, we can actually set the rotation vector 0 up here to make sure that it is, has really no rotation applied. And then we needed to go Up. Now, if we just move this cup now you will see that something interesting happens. We do have a keyframe here, but this keyframe was only set for the rotation. Meaning that the cup is coming down throughout the entire animation. Because here and here, we only set rotation keyframes by using the enemy tool and rotating the cup. You can see that in the function editor, we have the wrong column activated. Which one is it a column 10. So let's switch this off, column 10 on. And here we can see something interesting. So this is the end position that we created by using the keyboard shortcut Z. This heed all the elements. These are the rotations and that also makes sense. You know, the rotation starts after it hits the ground. It rotates up and then it goes back to 0. So the thing that is not quite right here is that the y position animation go, goes throughout the entire rotation phase. What we want instead is we want the cup already to come down to 0, down here, where the whole jump up through the rotation happens. So we copy that frame, that keyframe, we can select that and copy it and pasted here. Now you can see the cup comes down and then does the rotation chump. The timing is still extremely messed up. It's far too quickly here, but we can fix that by just shifting the keys around here. Now one thing I want to try is to have the rotation up. And maybe this is too long. Have the rotation up be rather short, and the rotation down could be a little longer. Let's see if that looks right. Yeah. Right now, it doesn't look right at all, but this is because of the animation curves. Now if you have animated a bouncing ball before, which is a very important exercise when you're animating, then you know that this kind of softness isn't always the right thing to do if we switch on onion skin. You can see that as the cup is coming towards the end, the spacing is getting smaller, meaning that our cup is slowing down before it hits the ground. But this is not usually how things happen. Usually if your Latin object go, it just gets faster and faster and faster. And at the point where it is the fastest, it usually hits the ground. So the spacing right before it hits the ground needs to be the largest. So how does it look in the curve? We first need to make sure that we are on the layer of the cup, which I think we already where and here we can see the problem. Now, the fall should start soft. Our captured fall faster and faster and faster. But The impact before the impact, it shouldn't, it shouldn't get slower again, so we don't want the soft curve here. What we want instead is we wanted to plummet into the end position. This, this is what we want. See this huge spacing here at the end. This is the kind of fall that we want. Now the thing with the impact is that the energy of the impact, this huge spacing is reflected back into the cup, meaning that and now we have to switch curves. This was the height curve coming down, and now the energy is turned into rotational energy in an instant. So we need to move that bats rotation up. So it immediately with a, quite a big spacing, jumps into the up position, this peak up here we can make very soft. And then again for coming down. This is kinda also like the fall, but we use rotation to create another balance fall. So this is the peak. And now it's coming down and getting faster and faster and faster and not slowing down. So this is how it looks. And there it comes to a stop. If you have a problem with not being able to create curves in like a V-shape like this. This might be because you have another keyframe here. Let's do that real quick. Let's set some more keyframes. Interesting. Okay, the tangents are already broken. Well, the thing that I wanted to show you in the problem that you might run into is as follows. You might have. This is the fall down off the cup. We want to make sure that the cup is going full speed into the ground. So we'll lift this up and you see what's happening. The curve is going into the ground here. We don't want that. This would cause the cup to go through the ground and then come somehow app again. This is weird, this is not what we want and this is because the sides of the tensions are currently linked and there's two ways to deal with this. We can either right-click unlink handles, and now they move independently. We can make sure that this is as close to 0 as possible. Or if we want to make sure that there's nothing moving after the cup reach the ground on the y-axis on the position data. Here, we can change the interpolation t type of this part of the curve by right-clicking at setting it to linear interpolation. There is no tangent anymore. Linear interpolation doesn't have a tangent. It always goes to the keyframe in a straight line. So we know that this is a straight line that there's no motion in the y position. After the cup came down. We haven't pressed play yet, have we? So let's see if the timing is right. Oh, this this is very nice. Can you feel the impact? Can you feel the ground? I really like that. I really this is nice. We are like there is not even a table in this background, but you can really feel, feel the impact. So this is the magic of working the curve editor in there right away. Yeah, so this is pretty nice. Let's watch it with the saucer activated. Isn't that nice?
14. Animating the logo - orange slice landing: We want to take care of that orange slice now. So let's drag it over. There we go, Has this is coming to a stop. This animation could already start. We might be running out of frame soon, but we'll worry about that when we get there. Again, we know the end position, safe, the end position there. We can change this center point again if we once center to be somewhat in the middle. But it also won't really matter because I'm only going to use the Position tool to move it up outside of the box that's going to mask the animation. Here. We could actually have an ISS on the way down. You know, it's kinda, it's gravity may causing it to come down. But the act of a wedging the lemon slice into the rim of the cup might, there might be some resistance there, and we could justify that the lemon slice is slowing down drastically the moment it may impact with the cup. So what we're gonna do, we're gonna make a keyframe here. The moment where we have the impact, we hit Z. And let's move this one out a little more. So looking at our curves, again, we go into the function editor, this is column eight, going to find that in the function that detour deactivate column 10. Here we go. What we could do here is we could start with the classic fall. This is kind of the falling animation. And then here the moment it makes impact with the rim, its slowest down significantly. And it's just wedged in there. Like I almost feel like the Jews like like the sounder would make when it's squeezed in there.
15. Animating the logo - straw bouncing: Of course, we also have the straw coming down. And again, how lot of backwards animating today, this kinda, kinda interesting because you know, for logos, they have the end position there. You want to end in that final pose. And obey is kinda fun to work your way backwards, but it can be confusing in the beginning. So if you have a problem with that, feel free to animate your animation coming from the starting point. You don't need to animate it backwards. You just need to make sure that at the very end, when everything comes to a stop, then you need to make an extra check. If you really have the, the position where everything needs to be. So again, we set a keyframe for the end. And you know what, I want to do something similar like we did with the cup. Let's have a rotation points down here. You know what? Let's actually animate this. Coming from the top. There will be some interpolation that you need to ignore. I will try to just click in the timeline instead of scrubbing through it because we will see some broken animation along the way until we, we have all the keyframes set, it will look wrong. So don't let this confuse you when you hit play. We leave this here for now. You know, timing is also a thing that we concern ourselves with. Last, we need to make sure that the poses that we said are right first. So that last post we have, that first pose would be rotated upwards and all the way at the top there. Now, the second position that we wanna do is the straw still rotate it, but it's now inside of the cup. And a good thing to do, good place to do this is in this function editor, which layer is this column nine. This is the position data and this is the rotation data. We want the rotation data to still be the same. So let's say we're making our building our new keyframe here. We just copy the same rotation data here. And we are copying the position not from here, but from here. Because it already has reached the position inside the cup. Oh, this should be one over there. First position is up here, second position is down here. And the third position we currently have is the straw. Lean forward. This might already look okay. This is okay. Timing is not quite right. So this could already almost work. Would have to make sure, you know, because of gravity, we may need to make sure that the strabismus slowing down bla, bla, bla. But I want to try something else with you. So I want the straw to come down and then bounce against the cup. Like it comes down, hits the cup, those up a little bit and hits the cup again, uh, kinda like at double-tap saddle. This falls over, gets reflected, comes back. The first thing we need to make work, and we already know how to make it work is the fall down of the straw. And this happens purely in the position data, at least for now. This is the y-axis coming down and we already know how that is supposed to look. We need to have our slow beginning of the fall and then it needs to go into the ground full speed. Let's make sure that this last spacing isn't too big. And this can actually also be an indication like, hey, if we have this huge spacing here, our motion might be too fast. So we can make it a little bit slower by moving all our keyframes out. And we can do that by clicking, Shift, clicking, selecting all the keyframes, and then clicking and dragging and move it two frames over. And now, I mean the last spacing is still pretty big. Maybe like this. This time the energy is not deflected. It's, it's all taken out of the straw at once. But there's still room for the start of fall, namely sideways. And this is what we do with the rotation. We basically do another fall here where we have the ease up top, where gravity is kicking in causing it to fall sideways. And then we have an impact. Oh, we can't move the tangent handle a. Why is that? It's because these tangents, for whatever reason, are set to linear. Probably because we use linear earlier somewhere. We need to change this interpolation method by right-clicking and changing into speed in speed out. Same over here. And now we can move this tangent. Yeah, this is a lot better. And this time we have a deflecting motion. It's rotating against the rim of the cup. And there it's, this motion is reflected and the straw is springing back up into the other direction. To do this properly in the curve, we need to unlink the tangent handles again and create this V-shape here. This is correct. We need to have another slow down as it's coming back to the top of the rotation, like it's slowly rotating, hitting slowly rotating and slowly rotating and going back to what's the rim. Without slowing down. Now the timing is probably still off, but if we play, it does actually pretty good. Yeah, you can see that the curve, it really feels like it's slamming into something here and getting reflected and then coming back and just being stopped immediately because the strides so light, that is a very nice, It's a bit fast. So we should probably just add some frames. Maybe just to, maybe two is already enough. Sometimes just two frames can make a huge difference. Yeah, This could be it. First, Let's put some more exposure on make our animation a little bit longer so we have some time to really see it like this larger. Make this all line up with our current end. And we should also switch the cup back on. And now we can see how the ICANN is animated. Isn't that sweet? Really nice?
16. Masking multiple layers: Now we need to make the mask and the masking works so that we don't see the objects before they enter the blue area. For that, we need once again, the schematic view switched to the FX few here. And there we need to find the square, which is this one. And once again we need a mat. In effect, Right-click at affects Matt, Matt in. But this time we have multiple sources. We have the cup that is supposed to be cut off, and we have the saucer. But as you can see, I cannot put multiple into the same fx. We need to group the cup, the saucer, the straw, the lemon or orange slice into one group that can be processed together in the source slot of the Met in. And we do that by creating a new effects through Add Layer Blending, we need to find a certain kind of layer blending which is called over and over, just puts the stuff on top of each other. Let's put the saucer first. Let's get rid of this line. Then the cup, then the lemon slice or orange slice, and then the straw. Now we can plug all of this into the source and use the square as the mat. But also plug it into the x sheet because we still want it to be rendered. Let's click on the preview button. Oh, we did not pull the FX module into the she'd better. We can see it's being cut off. And yeah, That is wonderful. Oh wow, this takes a long time to render now, but it's doing what it is supposed to do. It's cutting off the elements as they come into the blue square. So with Preview mode enabled, let's go to the beginning of the animation and press start, and that should trigger it to render all the frames so we can have an actual preview of our animation. By the way, the reason why we still see the font is because we only switched off the layers here in this column that we don't see them in the viewport, in the real-time view port. But because the eye is still activated, we see them in the render. But yeah, the part that I wanted to see, the animated icon is looking really good. All that is left to do is put it all together with the transition. Makes sure that everything pops up in the right order. And then we're gonna do a quick little animation to get rid of the logo on the transition out. And then we're done with our little logo animation. So let's wrap it up in the next video.
17. Final timing: So far we have focused on every element individually, and now let's make it work all together. There's something very beautiful and interesting about things happening. Not one after the other. But, you know, a little bit stacked. There needs to be a little bit of one thing appearing after the other, but we can interlock it a little bit. And also we need to direct the attention. We might want the icon to pop up first and build itself. And then after all of this is done, as a next step, we might want to do the text coming in. So we direct the attention from the icon up here, down to a text. That will be one possible solution to do it. You could also have the text form and that somehow triggers the icon. There are many different ways to do this, and it's part of the fun to try different things and to see what works. So to make this manageable with all these many elements, Let's just deactivate All things first. Oh, I'm in the preview mode. That's why I see everything that's still has the activator that switch that off. And now we have an empty viewport. Let's focus on the element that we started with, the Wipe transition. So this should be here at the beginning of the of the animation. First, let's make sure that the offset of all of them is correct. And one way to do this is to click and drag and measure distances. Here, what we selected, it's going to tell us how long our selection is. In this case, we selected four frames and this year should also be four frames. Wonderful. Now let's check the duration of the wipe. This is for the brown one, which is all the way at the bottom. Let's see how many frames that one takes. So this is 19 frames. Let's check the yellow wipe if we can. This is 19 frames. And this is 19 frames. Wonderful. So they all have the same length. This is all how it should be. Now the transition we need to push out of the way because obviously after the green background appeared, we now want the logo animation to take place. So we just need to push that of this, all of this away to a later point. It's relatively easy to push the drawings out of the way. We can just select this part here in the middle and with this gray handle, push all the drawings further. But this is not going to push our keyframes. So we need to do this separately. Push all of this out of the way. And the keyframes we can click to select one hold Shift, click on the one down here. And now we have all of these keyframes selected. And we can push them far, far away and deal with that part of the animation later. Now, after the WIP, we want our animation to start with the icon and the icon animation. So let's switch all of that on a, again, the cup, all of this. And this might actually be in a pretty good position here. It could even start a little bit earlier. As you might already noticed, moving keyframes and drawings at the same time is a bit annoying an open tunes, because it's very hard to select both at the same time. It's very hard to move both at the same time. And frankly, I think this is much easier and other animation software. So here's what I found in the end to be working, okay, is by holding Control and clicking on the gray handle, you can select both the drawing with the full exposure and all the keyframes that are in it. And then you can move that around. Or if you just want a selection, you can hold Control before you click. Now click and select a part, and then move this around, grabbing it up there. Oh my God, this is so confusing. But yeah, now we can move it individually, at least outward. We cannot move it inward because there are drawings, they're already blocking the position. So I don't know, this is through a it is Control. Click to select it, going off control. Now we can move it forward. Control click to select. Hands off the Control key. And now I can move this. Start earlier. Maybe this should start even earlier. Keep in mind that we do not see the cup because it's currently outside of the blue bar. And the content can already show up to first the orange slice. A troll select. Yeah, there we go. For instance, the orange slice will select it, drag it out. Here we go. Now everything is here, belonging to the icon. Next up we need to think about when we want the text to appear, a cane I want it to appear or start appearing right after the straw jumped in because now everything belonging to the logo is here and we can start shifting the attention downward. So switch on the layer that would come up into the mask. You can shift the mask layer around. An acid is halfway there. The handwriting can start. So this is the font and this is the mask revealing it. Starting here. We might want to keep the mask and visible. Now, let's select all of this. Hit the delete key so the exposure is the same. We can just shift it to be Visible nice and long. And then we need to think about when we want things to disappear. So the handwriting is still going on. Up until this point. We definitely don't want the Wipe transition to already starts here. We only want that to happen after the handwriting is done or whatever Exit animation we do. So after the high handwriting is done, we need another 10 or 20 frames to make sure that everything is seen while it is still. And then we need to think about how we get rid of everything for a nice transition. So here at the end of emotion hour control. So here at the end of the motion, let's see if our selection technique works. We hold Control. Click down here somewhere to rack that open, make sure that we have everything selected. And now we click without holding Control, click here and move this out. There's a little hole appearing here, but that's fine. We can fix that. So let's put that where we think the transition will start. Maybe a little earlier. Maybe not, maybe here. While we are added, we can also make sure that this is 19 frames. Remember this in transition took 19 frames. We can check if this is also true for the transition by just dragging a selection over it. And fair enough, It's 23 frames. It's too many. So here we have our 19 frames to fill this large gap here of the shape having disappeared. It gets from green to yellow because there's this hole in the drawings. We can go up to this point here and hit this button, fill in empty cells, and now it filled it up all the way to there. Alright, another selection holding control dragging. And now without holding control dragging up here to pull it out. And there we need a four frame offset, 1, 2, 3, 4. Then we make sure that this is 19 frames long, does not. Now we can use that offset here, four frames. That's what it needs to be. You need to fill in the holes. They're there. And last but not least, 234. This should be 19 frames. Yes. Again, fill an empty frames. There we go. In the real-time view port, we do not see the mask. So let's switch on preview mode and have it renders through this gonna take a little while, especially in the part where we have so many masks. And something is still not right with the blue square. Let's have a look at what is happening here. Oh, it's not showing up because the connection isn't here. See if that works. Yeah, that was a simple solution. Okay. Now let's render it through. Oh boy, of course we don't want to see the masks in the render. Oh, actually, we do. We need to switch the eye on, but we also need to disconnect them from here. So wear the masks. All the hand-written text stuff just broke here. So weird. Okay, so here the text mask is going into the exceed that makes it visible. That should be this bar here. If we remove that, yeah, we see that the mask is still active, but it's not being visible because it doesn't go into the sheet. And then we have this mask here that needs to go only as a matte into the mat in effect of the handwritten text. And now everything is back in order and we need to start the render again. Let's try something with the handwriting starting first, maybe also starting earlier. Let's take all of this. Make sure it's starts earlier. And the cafe and bar part start later. Okay, So shifting things into an already exposed area is a problem. So let's just get rid of the exposure here, there. And now we can shift it to wherever we want, holding Control while we selected. And they're not holding Control or common. I'm clicking up here. My God. Okay. So having this start even later, maybe here. Let's try that. Oh, what happened here? We also made a hole here. Fill in empty frames there. Okay, so, so let's see how this looks. Now that we have all of these frames buffered in preview mode, Let's try to fill out the moment where we want the logo content to disappear before it goes into the outer transition. And I feel like a good moment would be right about here. Here's where the logo should start to disappear. And we created one thing earlier, this main controller that we can now use to move everything at once. So let's say our animation starts here at frame a 151. We don't even need to see the control. I think we can just set keyframes anyway. Yes. So let's just set a keyframe for everything at this position 0. And we also need to make sure if all of the things are connected to the main column in this schematic editor. And they're not right now only this scribble is connected to the main controller. But we want everything that is not part of the wipe to be connected to the main controller. So it's important to be in this schematic stage, schematic, not in the FX schematic that we have been. For all masking, we want the saucer to be in there, the cup, the straw, square. All of that text and Masking. Okay? And now when we move the main layer, and it's a bit confusing because right now there's nothing in there. But we can still move it with the animate tool. And as you can see, everything will move. Oh, we forgot the orange slice. Let's try to find that real quick. There it is. How did we not see you? There we go. I think I wanna do a little bit of an anticipation, like it could go up first and then down is we have an anticipation. It could also go to the left and then to the right because everything is going to the right. But I do like to mix accesses like this. Like if we have a motion to the left, I also like to have a motion up and down. So let's try that first. This time we're actually animating forward array. So it starts here at frame a 150 or a 151. Air goes up, let's say a 157. You're holding shift, so it stays on this axis and then it goes down this off-screen. Okay? Now quite the right timing, it can be even longer and we need to change the animation curves. We need to make sure that we have the right layer. We have the layer name. Main. Here it is in the function editor. We should be able to see, yeah, this is the curve. So we want this to turn into something like a fall. So this needs to definitely go up. We can make this even softer here at the start. This let's see how that looks. We might have to adjust the curves even more or the timing. It could be shorter. I was misjudging the timing Here. Okay. And now the WIP transitions can actually start earlier. Oh boy, how, how, how are we going to do that? Now? Let's just move the keyframes and the exposure separately. You can start even earlier. I think the WIP can even like almost touch the logo. There. Hi, Yeah, let's try that. Can decrease the exposure. We don't have to since the elements are off-screen anyway. But no, come on here and see how that looks. That transition. Maybe it shouldn't touch it like that. That is a bit too much. So let's have all of that over one and I'll have this whole for. Yeah, This is what I imagined. Okay, let's render this in the preview mode. And there we have it. This is our beautiful, wonderful logo animation. And in the next video, I'll show you how you can export this and import this in a video editing software so you can use it as an overlay that actually slides over a video.
18. Export of an image sequence and import in DaVinci Resolve: Before we export our animation, we should make sure that we don't have any stray layers or artifacts or anything that we don't want to export. And we should also make sure that we only export the area that we actually need. So the wipe is already gone here. We can just close our playback area to here to the moment where everything is gone. Yeah, this is where our animation ends. And in the beginning, there's also this main controller that we use to position some things. We don't really need to have anything visible here so we can just delete this. Oh, look at that. It got rid of the keyframes that we add placed here. Well, we're still somehow animating it. Okay, so we're just going to switch it off. Apparently you cannot animate layers that do not have a drawing in it. So we just switch it off and now we have a very clean start and a clean end. Okay, yeah, this is the area that we want to export. We're ready to render this for real, not just preview. So click up here on Render and change your output settings. Very good format for your export would be a PNG sequence. And you can change the format of your exports here to PNG. Make sure that in options you have the Alpha channel, export it. That means that if there's nothing covering up the screen, this video or this image is transparent, so they can actually be a video underneath here that we will have the Wipe transition go over it. If you don't have the alpha channel activated, it will export the white as white. But we wanted to be actually transparent. So everything else seems to be correct. We need to make sure that this is the format that we want to have. If you only want to export an area of your animation, you can change that area here. You can save these settings as a preset, so you can always change to them by using the drop-down, up here. Now we can render this. And here we can check if the transparency worked by switching in this checkerboard, you can see that we have an actual transparent area. Needs to buffer the frame first before it can play them fluently. And now we can just hit play and see if this export is as we want it to be. Yeah, everything looks great. So where did this actually save? It, saved in the project folder. You just need to navigate to that location. There's the cafe logo animation and they're in the outputs folder. We can see the image sequence. It's one file for every frame of our animation. And this looks a little bit confusing at first, but this is exactly what we need. So just always keep that in a folder. Before you import that in a video editing software, you might want to take it out of the outputs folder, because whenever you render something in open tunes, these images are going to be overwritten. So it's a very good idea to take all of these images out of this folder and into a separate folder where you are cutting the video that needs the intro as an example for how to import this in a video editing software. I'm going to use the Vinci Resolve. It's a free and very powerful video editing software. We are, Let's create a new project. I prepared a little example video that I'm just going to drag in real quick. This is a very important message. I imported my video, how a filmed it, and it has a different frame rate from the default project settings. And usually you do want to change this. You want your project to be in the frame rate of your video material. And we talked about this a little bit at the beginning, that your animation should also ideally be in the same frame rate that your video material was created in. Then you can do classic video editing stuff like shortening your clip. Personally, I'm more familiar with how the edit mode fields in da Vinci resolve because he can just grab the sides and change them like this. Now for the image sequence that you should pay somewhere where it can stay, whether video software can always find it. If you import it into the Vinci Resolve, you need to make sure that you're not in the cut or media workspace. Because if you import it to the cut or media workspace by just dragging and dropping all the images. Just select all the images, drag and drop them into the media pool. Up here, it will import every single image as an individual image. This is not what we want. We want Da Vinci to input this as an image sequence video file as one file only. And it only does that in the edit mode. If we now select our drawings, drag them in, you will see that it only imported one single file that we can track and drop into our scene. This frame rate is not correct. We need to check the clip attributes and it is set to 50 frames, which is the frame rate of the video material that I recorded with a very high frame rate. I need to make sure that the image sequence is imported with the same frame rate that we export it with. So I set this to 25. Now, that intro just got a lot longer years. Another thing that we have to do after the intro covers up my video completely. I can just go in and cut this here, drag and drop it over. So now the integral is playing and after the intro is done, I can start with whatever i1 to happen after the intro just makes sure that while the wipe is an action, days a little bit of an overlap because there are, there is a moment where the wipe is still going on and you have video is peeking through from below it. And this is how this looks when we press play. Yeah, it's a little bit choppy, but if you export it and even if you play it just a second time, you will notice that the frames get buffered and the playback will get a lot smoother. And that's how you create an intro animation in open tunes, export it as a PNG sequence and import that in a video editing software. Please let me know what you think about this lesson by writing a comment or a review, I really want to know what I can improve what you liked. And of course, I'm also very curious to see your projects use the hashtag animator islands when you post your work. You did following this tutorial on Instagram or Twitter so we can find it. And if you're watching this on Skillshare, there's also a way to submit your work right? Under this video. I'm looking forward to see what amazing things you create it. If this is really the first time that you are animating, I hope I could help you to dive into this topic and stay motivated. And yeah, I have other tutorials which are little bit more about frame-by-frame animation, if that is interesting to you. And I hope to see you again soon in one of my classes or on my YouTube channel. In any case, keep on animating.
Ferdinand Engländer
