Master Premium Viral Motion Graphics in Adobe After Effects [Part 2]

1. Welcome! Start here: Want to create motion graphics that look slick, premium, and ready to go viral? Then you are in the right place. This isn't at the beginning course that teaches basics and stops. This is where we level up to full three D YUI style animations inside after effects. This is the second part of the premium viral motion graphic series. If you've already taken part one, then you've learned the fundamentals. In this class, we go deeper with more structured lessons, two complete short form video builds, and clearer step by step pacing design to help you level up. This class is designed for creators, editors, and designers who want to stand out in the world flooded with generic templates. With over ten years of experience editing videos for YouTube, managing two of the biggest channels in their niches, I know it works. I've spent years fine tuning the workflow I'm about to share with you. In this class, you learn how to break down and recreate the basing, structuring, animation logic of real viral motion graphics. Build Apple style UI motion from scratch using Dayot animation, camera moves and smooth transitions. Design original video ideas from scripting with RGPT to final expert with pro level polish, Master core animation skills and after effects, working with nos comps, graph editors, syncing, and more. To get the most out of this class, I recommend watching every video in order because every lesson built onto the previous one, pause and practice with me. After effects is best learned by just watching. You can also control the volume and the playback speed to learn at your own pace. If you get stuck you have any questions, be sure to drop them in the Q&A section below. Just make sure to check the Q&A section first because there's a good chance that the question you want to ask has already been answered in detail. At some point, you'll be asked to leave a review of the course. Please wait until you've had a good chance to really experience the material. Your feedback helps me improve the course and better serve you and future students. Thank you for joining me. I'm genuinely excited to see the animations you create and give you the confidence to bring your own through these stories to life. Let's jump in to the first lesson. 2. Tools You Need to Get Started: In this video, I just want to quickly go through the tools you need to get started. And specifically, there are two tools we'll be using. One of which is Mr. Horse, and the other one is FX Console. Let me quickly walk you through. So first of all, Mr. Horse, click on Try for free. There is no need to kind of put your credit card or anything like that. You just download it and use it for free. If you want to get everything Mr. Horse has to offer, yes, there is a paid version, but I never use the paid version. To be honest, I always use the free version. And click on Try for free. Download it for Mac and then install it for after effects. If you use Premiere Pro, you can also install it there, and I'll be using Premiere Pro to put the audio sounds later in the scores. So I have it set up for both after effects and for Premiere Pro, and something I recommend you do as well. Once you're in after effects, come to Window Animation composer. And it's going to float like this in a Window. You can just drag and put it in a specific location, then, let's say, motion graphics. You can use this letter to make it bigger, make it smaller, and you have a ton of stuff here. You have transitions, titles and typography, animation, presets, graphic components. If we go into Premiere Pro, it's sort of similar going to Window, but then go to extensions and Premiere composer. By the way, Motion Doc is also pretty good. Unfortunately, I don't use it because premiere composer is, like, super good, the free version. But if you want, like, a library free assets, you can also get Motion Doc and to clkonPremire composer. Similarly, it's going to float, but for me it's already here in place. And then I can open this up and I can go into, for example, the text boxes or transitions sounds, and this is where I'll be using the sounds. Next, we have the FX console. This is specifically for after effects, there's an equivalent to this in Premiere, but it's expensive, and this one is absolutely for free. Once you install it, go to Window, and at the bottom, you will have the FX console click here. So you can customize it. And you can customize your shortcut. So for me, it says control space here. You can put your shortcut over here and then click on a K. And now you can close this window as well. The great thing about this is, let me quickly create the composition. It's great, like a shape, for example. And let's say I select the shape and I click on our shortcut to activate it. This FX console is going to help us search for different effects. It's just it speeds up the process dramatically. So, for example, I can search for glow and you'll see that our shape will now have glow. So if I increase the radius, you can see our shape having the glow. So instead of me having to go to effects, search for, like, glow the dragging it here, I can just literally just click on our layer, search for it, and it's good to go. Now, you will also find some extra files in the downloadable resources section. So whenever throughout this course, I'll be mentioning that, go to the resources section. You'll find extra files there. If you have any questions, let me know. Butt than that, I'll see you in the next video. 3. Dissecting Viral Motion Graphics for Reels, Shorts & TikTok: Welcome. In this video, we're going to break down a viral motion graphic video. Let's jump in. First, I'm going to open Instagram, and you can get inspired by a lot of people. To be honest, I have a separate account for Instagram where I just get inspired. I started watching people who just create motion graphics, and one of the things that you can do and something I recommend you do either on YouTube on TikTok, whatever you start watching is going to be recommended to you. So whenever I open these accounts, I get recommended just motion graphics, just after effects, and I see people just doing unbelievable job. So this is something I recommend you do super easy. Go ahead and search, and you can follow with tons of people. But one of the best people that I found on Instagram is creator, creator unbelievable video. So in the first course, we got inspired by this person, and I'm still inspired by him. So we're going to recreate one of his videos. So let's take a look at this video. You can see that there's a lot of stuff happening on the screen, right? And when you watch for the first time, it's kind of hard to understand what's going on. And it's also fast, and you cannot pause it in a browser. And even if you're on a phone, you can pose it on your phone, but you cannot scroll and watch through every single frame. So in order to download this video, which is what we have to do. We have to go to copy Link. I'm going to go to this link, which is td.com, and it's a website where you can download videos from YouTube. But if I paste this link from Instagram, you'll see that it will give us a link to download it to download Instagram videos. So I'm going to click on this link, and it's absolutely for free. I mean, there's, like, a paid option to do it, but you don't necessarily have to do it. So we are going to download the video. Boom. And the video was downloaded. Perfect. Yes. So let's open it up and watch it frame by frame. Let's break it down what's happening. So we have text appearing on the screen, and in the very beginning, the text is blurred, and there are a couple of ways that we can do this. We'll see which for one works best. Mm, interesting. You can see that even these animations are not sort of perfect in a way. Because we have the word miss go before the plane hits the word. Hmm. Interesting. So we have the plane. Hit the words and there are some stars, which is something we can easily do in after effects. We have a little bit of glow, which is also very easy to do. Then we have a very interesting and elegant animation. The clocks pop up. Mm. Yes, this is very smooth. I like it. So you can see an interesting thing we have because the background changes colors, and while it's changing colors, like an outline around the plane appears like it's an emoji. They have lots of timers, and this one changes. Mm hmm. So one of the things that we that's not so straightforward is with these sorts of, like, very, very smooth animations that are bouncing like these ones. So these kind of pop ups that are flying around other than that, like, it's going to be relatively easy to do. Okay, it's gonna take some time, but there's, like, nothing that's really hard. So we have the text. Then we have these pop ups. Oh, by the way, the plane is three D. You can see that it's flying kind of beneath us and then starts flying up. So there's a little bit of three D work, but once again, we are going to easily recreate all of this. Okay, great. So this is going to be our project. Let's get into the next video where we are going to prepare our assets. If you have any questions, let me know. But other than that, I'll see you there. 4. Prepare UI Layouts, Fonts & Visual Assets for Animation: This video, we're going to prepare our assets and materials. So we have our video, and let's take a look at what kind of assets and materials we have to prepare. First of all, we need an icon of a plane. Then we need the clock icons, the Apple clock icons. We need the Apple font, as well, right? We need the images of the flags or basically the flags. Now, the important thing is that Aftereffects doesn't support Imoges and I'll show you a work around and then we'll just have the Yeah, so just a couple of things. We have the plane, the clocks, the Apple font. That's the same plane. Okay, in order to find any of these, I'm just literally going to go and search for actually, because these are emojis, we can go straight to the website. I'm going to show you the website. It's a website called JPEC optimizer.com, basically emoji to image converter. So we have to insert the emoji, for example, like plane. This is going to be our emoji, generate image. Let's make it bigger, like 500 by 500. Let's see what we get. So it's slightly cropped and I don't like the way it's cropped. What if we do we need more at the top, so we need to increase the height. Let's try like 600. Mm hmm. Nothing is crop. Just click and download the image. And by the way, the way you open emojis is control command space on a MacBook and if you're not a MacBook, just literally go ahead and search online for specific Emoji, like, like, France, Emoji. M MGPDA is a really good one. So we can just go ahead and copy it and paste it in, generate image. Perfect. Now we have France. It was England and France. Okay, so we're going to download this image. Search for England. Actually, let's try UK. Let's copy this one and generate download. Actually, I'm not sure if we have, like, Apple Clock. Oh, alarm clock, yeah. I think this is the one that was used. Okay. I'm trying to read. Oh, click here. Okay, let's see what we have. We have the plane. Actually, this plane doesn't have the white stripes around it. Sorry, not the white stripes. The blue stuff, this one doesn't have it. Let's search for plane, maybe here. Plain Emoji. Let's search for it like this. White, plain emoji. And let's just do it in the search results to see what we get. Sometimes it's good to use services like voto, for example, where they already have the prepared assets in advance. Mmm. Like, one of the ways, of course, one of the ways that we can go about after effects is we can change this color. We can change the blue color to white. However, because it's a bit of a gradient, like, you can see you can see, for example, here, it goes from, like, a light blue to darker blue. It's a little bit harder to do and, you know, the gradient here as that's why I'm searching for just the white plane because it's going to save us just a lot of headaches while we are going to be doing this. One of the things that we can do is we can go to a website called Sketchfab. It's this website, and we can search for all sorts of three D models. So it doesn't only work with after effects it works with other applications as well. So I'm going to put the downloadable ones, and I'm going to search for a plane. Search for white plane. Okay, so something like this, so you can see we have the three D model, which is going to be three D from the very beginning. Looks kind of similar to what they had. Maybe this one is slightly different, but we are going to download it. Let's just double check which HGPTkd which formats does After effect support, and then we'll be able to download because this one has a lot of different formats, and we'll see which one is the best one. Okay, FBX. So we are going to download FBX, which is the very first format. Let's unzip it, and this is our play here. Let's call it. Actually, we can just take it out and call it plain, rename it. The way you can rename is by pressing Enter. So that's kind of a shortcut to rename like this. I'm going to delete this, and I'm going to well, I'm going to give this plane. It's called this Emoji plane. This is going to be clock. This one is going to be UK. This one is going to be France. Okay, I'm going to delete the Zip file. And what we, this is the example video, so we have the clock, the Emoji the clock, the plane, the France, the plane, and the UK. Awesome. Let's double check that we do not forget anything. Perfect. So all the assets are now prepared. I'm just going to select all of them, and I'm going to create a folder with all the emojis. Let's call it video assets. Great. And we'll be able to just go ahead and use them. Instead of searching mid video or MIT edit, it's going to save us a bit more time and a bit more headache. So you'll be able to find these in the downloadable resource section. Just make sure that if you want to use these models, like for example, on the sketch fat website, it's important to adhere to their guidelines, for example. The license is the standard free license, and if I click on it, it's important to take a look at exactly what they allow and what they don't allow. Sometimes you have to do nothing. Sometimes, you know, on different websites, there are different rules, for example. Some websites literally require nothing. Other websites require to talk about the creator who created it to put them in the captions and descriptions. If you use that for social media. If you buy these models, oftentimes you don't need to do anything, but if these are three, it does require sometimes like a little bit of an extra step because it's free. It does require you to, like, share the credentials or things like that. If you have any questions, let me know. But other than that, I'll see you in the next video. 5. Animate Viral UI Layouts Step-by-Step in Adobe After Effects (Part 1): Now it's time to recreate the video. So let's jump into after effects. First thing, I'm going to create new project. I'm going to create a new composition that's going to be, let's say, how long was the video? Let's Let's see. The video is 9 seconds. Okay, so let's make the composition, the length like 10 seconds, which is going to be this video is square, but we are going to make it with 1080 and the height 1920. So this is going to be the ratio for social media. An important thing is about the frame rate. Some people struggle with frame rates. Honestly, don't worry about it too much, set it to 30. Long story short about the frame rates. 30 is the best one, in my opinion, because first of all, 60 is a bit too smooth sometimes, and social media will just eat the quality of that. It will lower the frame rates. Eventually. 24 is a bit too smooth. So I do recommend setting to 30. In terms of the resolution, if you computers slower, I do recommend putting it as low as possible. So maybe for you, it would be 1080 by 720. Now, important thing about if you have, like, a very powerful computer, you want the best quality, you might think, Oh, yeah, I want four K. Well, yeah, you can definitely set four K, but once again, social media is going to just eat the quality of that. If you think about this, there are like, millions and millions of videos are uploaded every single day on social media. And it's just a bit too hard for social media to keep the same quality because these files are going to take some space, and they don't want to take so much space. And if you take a look at the video that we've downloaded, like, the video 9 seconds that's 348 kilobytes, that's less than a megabyte. Like that's very slow because social media works on the video to make it even smaller. So it cuts the quality. I'm pretty sure the quality was a lot better when this creator did it. So 1080, 1920, 30 frames a second at Pres new game. Let's go into the vertical workspace. If you don't have a vertical workspace, go into the default workspace, drag this thing to the right, drag it like this, hold it, and drag it to the right, then rearrange some of the other stuff, just drop it like this. Like, so like so and so we don't necessarily need the audio, so we can close it. Align panel is good. Effect is good. Properties is good. So actually, we don't need the preview. So we can keep it like this. I mean, if you want, you can put the effects, like, to the right, little bit like so. Okay. And then just go ahead, right click Save as new workspace, and it's going to be your new workspace. Just give it a name. In my case, it's vertical. And you can see the layout that I have here is the best for vertical videos. Let's call this the main comp. I'm going to rename it once again by just pressing on Enter or you can right click and press and rename, or you can see the shortt is Enter. Let's create a folder first. I'm going to create a new folder, and we'll call it AE airplane video. And I'm going to create another folder called AE. We'll put the video as it's here as well. And now I'm going to come to after effect press on Command S to save the video file, going to go into AE, and we're going to save it here, let's call it A E airplane video person save. So now our file is going to be saved. It's going to be saved automatically every couple of seconds. If you don't have that setup and then go into after effects. Settings, autosave. Save every 5 minutes. Number of projects, doesn't matter, but make sure to put it in hundreds person K, and now it will save you project all the time. And if after effects lags and the project just dies, you'll be able to revive it. It's only not going to save the last 5 minutes. Now that we have things prepared, let's jump it. Let's select our video assets and drop them here by having them all selected. Actually, it did not import the plane, but it's okay. We are going to create new folder. And, okay, let's select all of these, drag it into the folder, rename the folder called video assets to make sure things are organized. So now if I open the folder, you can see that we have our assets. So let's open the main composition, and let's see what we have. We have a white screen. At the very beginning, and then we have the text appear. I'm going to press over here. I'm going to press on Command Y to create a solid and it's going to be a white solid. C person came. And it basically creates like a background. It's going to be the size of the composition, f selected, let's search for solid solid settings. This is the shortcut. You can go into the settings. You can see it's 1080 by 1920, the same size as our composition. Let's search for an effect. We are going to search for change to color, and you will see that the background changes. It changes here, but here we have a cut. Of the background colors. But then here we have a change. So we are going to have a background change colors. This is the way we can do this because we can key frame the change of the colors. We'll have our text appear like so. This is done with a script called text Evo Script. It's this one. You can easily animate text with the script and actually really recommend it. It does cost a little bit of money. It's like $30 to get it. I really recommend it because it saves you a ton of time. We can do it by hand can take us a bit more time, but let's do it by hand. And I'm actually just going to copy this text instead of writing it. So I'm going to either click here or I can press on which is going to be shortcut through Command and you can see it selected. And I'm just going to paste our text and make it black for now. Also going to keep this font because this is the font that I like the most it's called Tasker, and you're free to use this font. It's one of my favorite fonts ever going to select it, and I'm going to put the paragraph in the center, and I'm going to center it. So now, if I type anything extra, it's going to keep things in the middle at all times. I'm actually going to ask CHADPT on how to animate the text because I don't always remember how to animate every single thing. Oftentimes, you just come to HAGPT and ask it, and it saves me a lot of time. Animate position. So this is going to be our final keyframe, and we are going to change the beginning keyframe. Let's come to hetGPT again. Then we have the blur. We have the opacity, and we need to animate the range selector. Under animated open range selector. Okay, here we have the range selector. Great. Keyframe the star property 1-100. Okay. Here's where we are at right now. Basically, you can just go ahead and copy these settings. So first of all, we have the start at zero and at 100. Offset is animated from -100 to 100, as you can see. Then we have the mode ad based on words units percentage, Ramp is super important. And you can see we have our animation completed. Now, you will also see that this animation is a little bit smoother, and it's a lot easier. I mean, we can definitely play around with this even further to make it even smoother, but it's also important to know that it's so much easier to do it with text Evo because literally takes like literally seconds. So I'm going to give that to you as an example because you can just go ahead and replicate it here. But for example, let's do it with text Evo. Let's put this one in the middle. Let's do it exactly the same. Now I'm going to run a script. So this is the script, and I'm going to open presets that I've already created for myself. Then let's do up opacity. Yes, for example, this one, we can still customize it a little bit. I'm going to press on you to open the animations to transform. And I'm just going to change the initial position. And we can also increase or decrease the decay to like this and increase the animation length. Yeah, so you can see this is exactly the kind of animations that they have. So very similar, right? Maybe still, like, a little bit different but, like, not significantly. Now, I'm going to press on P, and I'm going to lower it down. So you can just continue with the previous animation if you don't have the text if you do have it, then you can just go ahead and get it. Text, it was script. So this is the one you can go to AE script, get it $29. Really saves you a lot of time. You just saw it. Like, I spent about like half an hour going back and forth with TGPT just in the very beginning. Let's see what we have next. So we're going to think about these effects a little bit later, for example, like the gagem blur, and they also have if you pay close attention, they have a light sweep. This is something that's super easy to, but we can do this a little bit later. Let's just focus on the animation first. Okay. So then we'll have every single word just kind of going in different directions. In order to do this, we'll have to separate every single word. So let's see exactly where this happens. Like at what frame are we going to have roughly at around like 1.5 seconds. So let's call it, like, let's call it 115. The way I'm able to jump between different frames exactly is by pressing command and arrow Case. If I press Command Shift Rukeyse, I'll be able to jump by ten frames. Okay, so here we will have our plane crash into our text. So I'm going to split our text by pressing Shift Command D. By the way, if you're on Windows, instead of command, you just have to press control. So it's going to be Shift Control D, Shift Command D, shift control D, and we are going to cut it. So this is where the plane is going to hit our text, and we need to break down our text. And I'm going to duplicate by pressing Command D, once again, Control D. I'm going to remove text Evo from here and from here so that text D just doesn't influence anything. And I'm going to select the top layer, the text layer, and I'm going to delete everything that's to the writ of the first word. Basically, we just need the first word. Then I'm going to press P, and I'm going to put it in exactly the same location where it was. Duplicate this one again, and I'm going to do the same but with the second word. And I know it might be not very convenient, but this is just what we have to do to exactly do it like this. Duplicate again. Like, so now we can delete this one at the bottom, the text that was used just to align the text. So now we have all of our words, and now we can animate every single word. When we see this animation happening, when every single word is flying around, well, this is also done with null objects, and I'm going to show you how to do this. We are going to put a keyframe for every single text layer. We're going to come a little bit to the front. Now we can just press on V, and, for example, select this one and move it a little bit. Actually, you know what? Let's also select all of these and press Shift R so that we open the rotation and create a keyframe for rotation as well. Now I'm going to just, for example, click on Dont, drag it here. Something like this, and we just need to change the rotation slightly. So this is what we have. Boom. Great. I'm going to select all the keyframes, press FN, F nine, and I'm going to open the graph editor, select all the keyframes, zoom in by pressing Option or Alt on PC, and let's just do it something like this. Actually, in the very beginning, it has to move fast, right? Yes. So instead of it being smooth in beginning, we can do it like this. Great. We kind of have, like, sort of like an explosion, in a way, let's see from the beginning. Great. Also, an important moment is that when we have all the animations like put together, because there's going to be, so much, even if we have, like little imperfections, it's not a problem at all. So, for example, we can see that we have a pretty big jump here in the very beginning, but, like, nobody's going to notice that we'll have just so much stuff happening. I can guarantee nobody noticed that the word miss moved in the very beginning. Now we need to put our plane in. So let's see if this is going to work. We'll go to our video assets. This is our plane. Let's try to import it. Hmm. Interesting. The FBX doesn't work for us. I love hat GPT sometimes. I just gives a bit of a headache. So turns out we're not able to use FBX because we're only able to use FBX if we use the different render. If we use the Let's do something three D. If we go to Cinema four D or Advanced three D, then I'm pretty sure we will be able to do it. Let's just double check. A VX still doesn't work. Anyway, let's think what can we do here with this plane? Why not use the plane that we had? It's going to be slightly different, but it's not a big problem, so I'm just going to drop it in here. This is going to be our plane. Press on R, change the rotation 45 degrees or -45 degrees to make it straight. We are going to make it three D. I'm going to select a little text, press on P to make sure you disable it. So we have three D. Let's open it like this. And in order to work with three D, actually, I would prefer to go into horizontal workspace. We are going to set two viewers so that we can see what's happening. Let's make all of our text three D as well, aside from the white solid because we are going to create the camera later or not necessarily, but I'm just going to quickly explain how this works. If we have the white solid in two D, it's not going to be affected if we had a camera. But everything that's three D is going to be affected. It works with three D objects, for example, if we want to animate three D objects, but want to keep the background the same, then we just don't make the background three D. We just keep it two D, and it's not going to be affected in any way by the camera. So I'm going to select our plane. I mean, we'll have to play around a little bit with it. Let's make it just a bit smaller. Like, so let's change its position so that it hit. Actually, maybe we need to make it even, definitely we need to make it even smaller. So let's put it to, like, 50, maybe even 45, even smaller, 35. Yes, 35 seems more like it. I'm just trying to see if it's kind of the right size. Around here is going to be the final position. So let's put the position, scale, and which one of the rotation do we need? We need this one for the rotation. Okay, so we put the keyframes in, and now I'm just going to go back in time, move it a little bit down, make it a little bit bigger and change the rotation. Like, so Mm hmm. Great. Now we just need to move it even lower so that we don't see it in the frame. Great. And now we need to press FN F nine. Go to Graph Editor, make it super smooth. Once again, we need to make it super smooth in the very end, not in the very beginning, because it can fly out fast. Let's see how it flies. See if we have something similar. This is where in order to make it super smooth, battery smooth, we will have to use a bit of nulls. So we are not going to make it smooth here. We are going to press on command. We're going to select everything and press on command in order to make it linear because when we press N F nine, it becomes bussier paths, which is a lot smoother. But if I press and command, it becomes linear again, so it's not smooth at all, as you can see. And it's important for us to find a point where we have the text start moving, and at that point, we need to move it like this. And now here in the very end, we are going to create a null object by pressing Shift Option Command Y or Shift Control Alt Y on PC, and we are going to connect our plane, parent our plane to the null. And using our null, we are going to press on P. You can see we can change our object now. I'm just going to cut it here and delete. Once again, shaped Command D to make a cut, and I'm going to press P to set the position, and now I'm going to move it a little bit further. Why was it unlinked? Not sure, but let's link it again, position and change the position of our plane. Okay? It's going to let's see where these keyframes stop, like here. Going to now smooth this one, F N, F nine, come here, select, make it super smooth. So it's not smooth in the very beginning, but then becomes smooth. And when we add motion blur, which is something we can do right away, but it's going to take a bit more power of our computer, you'll see that the plane looks a lot better. And all the stuff with text looks a lot better as well, but we're not going to do it right now because it's going to take extra power for our computer. Right, so let's act everything by pressing Command A, and then I'm just going to press A until everything disappears. Next, we have the plane move with the text. There's definitely like a number of ways that we can do this. For example, I'm thinking about, like, precomposing this. What precomposing does is it collects all the layers that you have in another composition, and then you influence the whole composition instead of every single layer. Let's give it a try, and then we'll just figure it out in the process. So I'm just going to cut this one, the white solid. I'm going to go into layer solid settings and let's make this one. I know, let's make it black. So this one is white. This one is going to be black. We are going to make all of our text white by selecting it and making it white. Press on R for rotation. So we're going to put a keyframe for our rotation, move a little bit to the front, and move it a little bit to the left, too. Let's say -70, just to make things easy. And we're going to start the movement around here, press Shift and this line. This line by doing this way, I'm able to do the same as fit the screen. Basically, this is the shortcut to fit the screen. And if you're looking to learn shortcuts, you can search for keyboard shortcuts, which is this one, you can see the shortcut is for me option command and then this comma at the top. So if you click here, you can search for all sorts of shortcuts. This is the way you can learn shortcuts. Literally search for a specific shortcut when you do a specific task like a number of times and you'll be able to do it. So we have our plane turned to the left, and we're going to create another null, and we are going to connect our text to the null. So we are going to select our text and parent it to the null, press R. And if we change the rotation, this is what happens. So we're going to press the rotation here and here, like so. And then for the plane, when the plane turns right, let's put it to zero degrees, and we'll put another keyframe here, like so, and then we'll have the text disappear. So let's see. Now, let's just select the keyframes, press a fan of nine. Let's open the graph editor. Mm, yes. And while it's turning to the right, we'll have this thing appear. For this, we are going to create a shape. So we are going to create a square shape like this. Actually, for now, we can close this view, so I'm just going to click on one, and let's go back to vertical so that we can see things a little bit better. And actually, let's open the plane. Pressen and we are going to put our shape layer beneath the plane. Let's put it just in the very middle and then move it a little bit higher. I'm also going to present command or control, and I'm going to click here. And this way, we are going to center the anchor point of our square. It's really important because we're going to animate our square, and a lot of the stuff, like the front and all this stuff is going to happen with this shape, parental shape. To the plane. You will see that now you see what's happening, right? We'll have the background change. Let's come to effects. We'll have a change from black to hue saturation and lightness, and we are going to go from black to white. Okay? So let's press. So we have the key frame for the black. We'll come here and we'll become white. So this is the way we can do this. Let's just do F nine here as well. And at this point, for example, here, we can just go ahead and cut the text and delete the text because it's not visible anymore, so we don't even need it. Let's open the shape properties, and let's make it round. So we have the rectangle path. Let's make it round. Like, so when things around, it looks a lot more expensive. I've noticed that many, many times. Actually, shape, we have the stroke color. We're going to set it to none. And actually, our shape is going to change colors as well. So we can go ahead and copy the change color and paste it into our shape. Press Actually, let's press U here as well. Let's see if we can do it like this. But instead of going to white, it's going to become black. So we'll put the key frame halfway like this. And then here we are just going to make it black once again. Okay, so this is definitely delayed. Okay, I just copied this key frame and pasted it here so that it stays gray for a little bit longer. Now, we're going to animate our shape layer, and then let's rename it to black square. We are going to make things a little bit cleaner a little bit later. For now, let's just continue animating. Next thing we have is we have the plane moving a little bit, while it's moving a little bit, we have the clocks uppear. Couple of things we need to do. First, press on P, R. Let's chose the rotation first, and let's move it a little bit to the right. Actually, this is interesting because we need the plane to be connected the square. So let's delete the rotation keyframes for our plane. We're going to animate the rotation of this part. First of all, I'm going to unparent it, change the rotation. I'm going to parent the plane to the black square. So this is the beginning. This is going to be when it goes to the left. Then here. Okay, let's press a fan of nine, and let's double check now. We will be able to animate the movement of the black square, and it kind of jumping a little bit and moving around like it is here, minus two. And then here we'll put it to, like, one, zero. Let's press a fan of nine and see what kind of results we have. Now, I'm just going to move key frames a little bit so that it's more natural. I'm going to delete this keyframe that's just kind of stopping it at this point. Let's see what we have. And then we have the clocks appearing. So this one can be cut here. This one can be cut here as well. The plane is not cut yet, and the background, we'll leave it there for now. So let's have our clocks, lots of clocks on the screen. Let's make it smaller by pressing S. You can see we have the same pattern because we have the same amount space between different clocks. So these were animated in badge so a badge of three clocks. Three batches of three clocks. Instead of animating nine clocks, we'll just animate three clocks and then just duplicate them and then change the rotation. Let's give it a try. So we'll have the position. We can make it even better. We can change the position and we can also change the rotation. So it's going to start here. We're going to hide it behind the black box a little bit later. At this point, we are going to move this one up like so to the left. Scale, we can hide it by pressing Shift S, and we can change the rotation. So it's going to be like this. I'm going to just duplicate it, press on you, and I'm going to change the final position and rotation of this one. I'm going to put the rotation of this one to zero, then duplicate it, press on you and then change the position and rotation of this one as well. Select all of this, press F nine graph editor, zoom in and smooth it out. Okay, we definitely need to bit more space in terms of the keyframes. Let's select all the keyframes. Make these start very fast, and then move in very slow. Let's animate the opacity first, and then we're going to precompose. Shift T to open the T proper the opacity, press on opacity, move it a little bit to the right. And now let's select the first one, opacity. Then we go a little bit further, decrease the opacity on the first one, and then even further on this one. So let's see what we have. Great. Now I'm going to press Shift Command C, and this way, we're going to precompose, let's call it clocks. Going to just cut it to around here and we'll move it below the black square. So let's see what we have. Mm hmm. Go to duplicate it, person P, R, and now we just need to move it. Actually, we can change the rotation of this one a little bit to the left, once again, duplicate it, or change the rotation. You can see the anchor point is a little bit lower. What that means is that the top one starts going from here and the bottom ones start going from here as well. I mean, you can see the difference. Basically, the space over here and here is the same. Space between here and here is different. So we do need to change the anchor point. Just move it a little bit closer to the center. And potentially, I think we should go over here and then just change the positions slightly person, the final positions because these are a little bit too far. And because we are duplicating the same precomposed composition, it's affecting all of those. So I don't have to change it every single time. I just change it one end, and it's good to go. Then the plane is going okay, so we're going to change the shape of our square and it's going to go up and then down. These three, we can select them and cut them because we don't see it at this point anymore. Going to close everything else. Let's select our shape. Open it up, content rectangle rectangle path. Let's click on the size. Let's disable the basically increase in size in proportions. We don't want it to be squared. We will change the ratio to be like. So we'll come from here and we'll need to increase the horizontal size to probably something like this, and we need to change the position of it, press U, Shift B to add the position property. Let's move it up. We are going to press N nine, move to the left, select these, move them closer. They are using nulls here as well, and I'll explain you why in a second. It's der to create the very smooth movement. And now I'm going to create another null, and we are going to place it around here and we're going to connect our black square to this null. The reason why are doing this is because we have the plane going up with the square. But if we try to kind of change the position of it to make it lower, it's going to be something like that, right? It's not smooth at all. But while this animation is in process going up, we will use the null to make the square with the plane go down. And that way, it's going to be very smooth. This is the secret to smooth animation is using the nulls to just move it like this. So let's give it a try. Let's press on P. We're going to go from here to here and we're going to select, press F nine, quick here. Smooth it out, like so, and let's see what we have. Exactly what we need. Just need to play around with key frames a little. Okay, and in the very end, we can just make it kind of bounce a little bit, so we can make it go a little bit up, a little bit down, then kind of in the middle. So let's see. Let's see what's happening with keyframes here. Yes. This is what's happening. And F Nine. If I do F nine here, yeah, kind of went a little bit weird, but It's okay. So I'll just select all of these, made them a little bit smoother, and let's see what we have. I think that's exactly the problem once again, so I'm going to just duplicate this null and I'm going to connect the null that's controlling the black square to this third null. And while this one is going down to this position, I'm going to change the position and make it go a little bit up. And that's how we're going to make it very smooth. Yes, this is exactly what we're going for. Maybe we need to just move it a little bit to start a little bit faster and this one a little bit faster as well. Okay, then the background needs to change to white or to actually just like something like gray. When it goes up or here, we are going to put a key frame on the color. And and as it starts going down, it's going to become gray, very light gray. Yeah, something like that. Okay, the plane needs to disappear. We can just put it below the nulls. The plane. Actually, it goes a little bit up. So the plane doesn't only need to be parented, but also need to be tract, track matted. Sorry. So we'll select the plane. I'm going to press on Command S to basically, I'm clicking this button, but instead of clicking, I'm pressing Command S to open the track mat, and I'm going to track mat the plane to the square, and I'm going to enable the black square. And now, when this one goes up, we'll have the plane continue going up. So we're going to press on P. Put the key frame for the position, and here, have it go up, so that's exactly what they have. But the plane kind of disappears. I think it's more interesting when it just goes up. It's like jumping from a moving car. You will continue your movement. So that's kind of what's happening here. Now we have the England and France. Okay, so let's have France and UK be dropped. I'm just going to get to the final position, press on P. Going to move them both, a little bit up, press on S, make them both a little bit smaller. Press on P, select one of these, move it to the left. Select the other, move it to the right. And we're going to select both, and we're going to track mated to the black square, like so. And we're also going to parent it to the black square. So we're going to parent it Now we just need to animate this kind of bounce, select these present P put key frames, move them a little bit down. Basically, we are animating them independently so that they jump in a slightly different motion. So it goes up, then it goes down over here, like so, and then we go up again to basically the middle. Now F N F nine to make it smoother, and let's see what we have. Okay. The movement here is a bit huge. Let's make it a bit smaller. Maybe here, smaller as well. Okay, now we need to animate the text. And we can animate the text, and part the text just to the flags because the flags are already animated. France, put it in the middle. Let's make it black. We'll figure out the font a little bit later. Select France, press on P, move it a little bit up, duplicate it. P. Let's call this UK. Put it in the middle. Arrow down. I don't remember if we can use it here. Yeah, we cannot use it with this font, at least. So let's just download, like arrow down let's use something like that. Okay, let's use this one. Drop it in. Drop it in. Move it as, make it small. P. Great. And I'm going to search for an effect called color key. And this way, if I select the white stuff, it's just going to get rid of the white stuff. You can customize the color tolerance slightly. Depending on the kind of acid that you got from the Internet, it's going to be slightly different. Let's connect or text. Actually, let's cut it slightly. Actually, I'm going to select all these and I'm going to parent it to, for example, France. Well, let's see what do we have. Now I'm just going to track mat all of this to the black square as well. Like so. And let's animate France or UK. Select UK, select the arrow, press on P. This is going to be the final keyframe, and we'll do this one from here. And we're going to Fp Fn in it as well. Okay, we have another plane coming in from the top. Let's find our plane. It was here. We're going to duplicate it, put it on top. We're not going to link it to anything we're not going to print or track mat it to anything. It's going to be independent. Okay, so I'm going to just delete everything. Let's have it looked down. Move it a little bit up, and then we're going to animate it going down. I'm going to take a little pause because I've been working on this video for a little under 2 hours. If you have any questions, let me know. But than that, I'll see you in the next 6. Animate Viral UI Layouts Step-by-Step in Adobe After Effects (Part 2): Welcome. And let's continue editing. I think we should take a look at everything we have at this point. We had a little hiccup in the very beginning yesterday. So let's take a look at it. And let's take a look at the original Mm hmm. So first of all, things look a little bit better because they do have motion blur, which is something that you can see here. Like, you can see there's a little bit of blur on the England and, like, on the plane as well. Okay, so we had this hiccup in the beginning where we had our plane. Let's take a look at our plane. It's not visible because of the black square, but if we make the black square huge, that's a bit of a problem. Here's the thing we can do. We can just go ahead and come to the point where we have the black square, and we can just make a cut. And let's not track mat this one to anything. And let's not parent it to anything either. So we have our plane flying. Actually, let's go to the horizontal select the second viewer, and we will see exactly what's happening. This is everything that we have visible right now. And let's move it like this. It's going to hit it over here. I'm pretty sure we had no object controlling it. What if we parent our plane to the snow? Yes, I remember having that. Now I understand what happened. So because we parented our plane to the black square, remember, we had our plane connected to the noll to make it move a little bit up, like so, okay? We have, like, a little hiccup here as well. Actually, this is interesting. Why is the position of this one changing? Let's delete it. And I'm just trying to understand, you know, we have this little sort of movement right around where we have this cut, you know, this kind of little jump. And I wonder why this is. Let's just see where we have both of these planes. And just for this keyframe, let's move it maybe just a little bit up to make sure we just match it. Yeah, there are a number of ways we can do this. We can just create an animation from scratch where we can just match it. Let's see. Great. One thing, by the way, you will notice that I did sort of a shortcut in a way to create this bounce here. You know, when it's bouncing, the flags and things. It's not the best way that I did this. I mean, I did it the faster way, and they did it the longer way because you can see that they have like their bounce is a little bit smoother. And it's smoother because they use null object. And I didn't use null object. Or I did, but I used, like, one of those probably. We animated fronts. You can see the key frames here when it's just flying a little bit. And the best way to do this is to do it with null objects. I know this is the trade off that's going to save a little bit of time for me, so I'm actually kind of fine with that. But if you want your movement to be super super smooth, it's done with null objects. And once again, the important thing about the nulls is that the key frames overlap. When you have one movement, still in the process. The other movement stops, and this is the way you can create, like, super super smooth transitions or movements. This is not a very best example because we have two different nodes. They are animating different things, but this is the way you do this. When the key frames overlap, one movement ending while the new movement starts, and then it sort of, does it in a very smooth way. Let's continue. Now we'll have a plane flying from above. One of the things we can do with this plane is we can actually set it to follow specific path. We can animate it by hand, but you can see the movement of this plane is very smooth. And it's sort of following like a big circle. Our plane to follow specific path. Let's create a sold by pressing Command Y. Let's create an llipstool and let's select an lipstool and create a mask. And I'm going to press V, and I'm going to move it around. And I want our plane to follow, well, something like this path. Now we need to follow the mask path, and we need to open the position of our Emoji and paste it in. Let's see if it follows it. Yes, perfect. First of all, we can delete the black solid. And you can see that we have different keyframes here. And so this is important as well, because this is a regular keyframe, and this is regular keyframe and what's in between are not regular keyframes. So we have it rove across time. Basically, we can drag the last keyframes and the first keyframe to control the speed at which it happens. And we can also press a fan of nine and it's going to start slow. And then fly fast. If we select all of these, we just move them around. If we select the last one, you can see, we just make it appear on the screen longer. Next thing we need to do is we our plane to kind of turn with the motion of where it's going. So in order to do that, we need to go into first of all, we need to select it. We need to go into layer, transform, auto orient. Let's press on this. Orient along path because that's what we need, and that's its path. And you will see that it's looking a little bit weird in a way. Well, that's because we need to change its control, and let's turn it to D, a little bit easier. So I'm going to turn it like this and Great. Now we have exactly the kind of moment we need. Let me delete this part. While we have this part here, we'll have our plane move down. And while we have the plane flying, it will kind of drag these pop ups. Let's create a null object, shift option command. Why? Let's cut it over here. Let's call this one background. And I'm going to make this text white color want to make sure things are organized because it becomes a little bit hard to follow. We'll have the clocks. This color, it's okay because that's precomposed and it's easy to understand. The plane is going to be white as well for us, and while we have plane over here, it's going to be white as well. Black, square. Let's make it brown. So this can be one color as well. Let's make it green. Just so that it's a little bit easier. Let's see what this is disconnected to null number three. And you can see, because we have two null number three, we can also see which layer it is. So you can see it's eight dot. So it's this one. It's number eight. And we can actually rename it to, like, null three. And let's do this one null like four, for example. And now that I'm going to disconnecting null number three, okay? And I'm going to name this one null number five. I'm going to connect null number three to null Okay, this is connected to null number four. Okay, I see what's happening. So we need to connect it to nothing and connect null number four to null number three, because we have it like a pyramid. So we have our black square connected to number three. Number three is connected to number four and number four is now connected to number, we'll call this 15. When we have our plane move down, press on P, delete this, press P over here, we are going to move it down, press F N F nine. I'm going to duplicate null number five, and I'm going to parent it to null number six. I'm going to press on P. Delete this. And while we have this movement in process, we are going to move it up, and I'm just going to press FNF nine. Let's duplicate it again. Press on P, delete the previous keyframe, move it to something like this. Move it a little bit. Actually, we need to connect to parent it. Move this one a little bit down, duplicate, parent P, delete, start from here, move it to a little bit up. So let's press FNF nine for all of these. Yes, definitely, definitely better. Let's go to the graph editor, and now you can see the movement is very smooth because we have movement and start kind of it's overlapping. That's why it's smoother. So you can see the difference between the bounds when we had the bounds like here. It's not as smooth here, but this one is very, very smooth. Let's give it a specific color. Let's set brown, and we know that these are connected. So this and these four are connected. Great. Now we need for the new box to appear as well. This new box. So actually, let's copy this black box, we'll call black box number two, press on you, and we are going to delete absolutely everything about it. Let's go to the effect control. Yeah, we can delete the change color because it's going to be black. Let's change the position, make it a little bit lower the final movement, right? Maybe a little bit higher. Now we need to make it a lot bigger. Put the keyframe for the size, and I'm going to increase the size around. So let's also put the keyframe for the position so that over here, it's here, but then let's make it lower. At this point, I'm going to put another key frame for the size and the position. Actually, this is the way we need to do it. So it goes from basically nothing to here. Great. I'm also going to disconnect it to the nulls. And here, I need to basically decrease its size to zero, but I'm going to click on the size to see the line of where it is, and I'm going to move it a little bit up. Let's press F N F nine. By the way, one of the things you can do if you, let's say, like, go to a specific keyframe, you can double click on it, and you can actually change the smoothness of it here. So you can change it by let's say doing it like this and you can see what happens. Just one of the ways that you can do it. Instead of kind of playing with these handles, you can put, specific numbers. Let's make it smoother. As it's appearing, we need to make it a lot faster. Sure. Okay, and I think in the very beginning, we actually needed to be like this. As the planes flying, it needs to be fast, and then it kind of ends a little bit slower. Potentially, we need to get rid of the keyframe. Instead of moving up and down, we will have nulls control it. Select these nulls now. Let's duplicate them, and let's move them up over here. And just going to come to this keyframe and make sure it goes like this. Select all of these, make it here, press on you, and we will have this black square follow this one. This one's going to follow this one. Now we just need to change the overall position of it so that actually, we might need to animate the position. So let's go from here to the last position needs to be, like, roughly here. Mm, I see what happens. I see the big difference we have. Okay, so we do need to animate the position here. The reason for that is because you can see it. It stays roughly the word France at all times, and then it goes up. But for us, when we have the animation, it just grows up in a way, and that's not what we need. Eventually, we wanted to end here. And let's press of nine. Should be better now. Yeah, I'm kind of liking it a little bit more. Let's go to the graph editor and see what we have. Now we need all of these parts to appear. Let's come to where all the animations end and basically, now we need to rebuild this whole thing. We have this line at the top. Let's start with it. It can be rounded rectangle. We can select everything by pressing Command A, but pressing Shift command A, we can diselect everything. And now I'm going to draw it. And I'm going to put it in the middle. I'm also going to make it. What color is it? Like, dark gray? Let's come here and make it maybe a little bit darker. Okay, let's open its properties, disable this and make it just to be thicker because this one is a bit thicker. So we have this part, great, and we'll keep it blue. Good contrasting color. Just select everything. Now we need to make these stripes. So let's select these stripes and make them. Maybe we need to make it a little bit smaller. So once again, go into the path and decrease the size. We can use an effect called repeater. So we can go to add and search for a repeater. You'll see we have a repeater on the right. So let's go and customize it, transform repeater position, so we need to make it lower and then let's put this one to zero, and this one to Well, let's put it to 100. And now we need to increase the number of copies. And let's change the transform the position. Basically, when we have the transform properties of the repeater, we customize the repeater. But when we have the transform properties of the layer itself, which is always at the bottom, we can customize the layer itself. Counter closes. Port encloses? I didn't even see that there was any text, to be honest, the first time I did. I can only now see it. Great. So let's search for counter closes. Counter closes. Select all the text, make it very dark. You can get the fonts of Apple if you search for Apple font developer, and you can see that they have their fonts here. You can just go ahead and download and sold it in your computer, and you can see that this one is SF Pro. And I'm going to select it because I already have it selected, I'm going to search for SF Pro. And let's search for, like, a regular medium. Interesting. It's having this sort of delete it. Let's put it to medium and write gate gate closes. Not sure what the problem there was. Press and P, move it. Around here. Then we have boarding. So I'm just going to duplicate the text. And actually, let's select both of these and cut it so that I'm going to cut the shapes as well. Duplicate the text, press on P, lower it down. We have the word boarding, just going to copy it instead of writing it. Boarding, this one needs to be white and bright. Let's copy the gray one, move it up. P, boarding closes. We might need to select it, make the fonts a bit smaller, move it a little bit to the right so that it looks more like apple. I'm going to duplicate this shape, which is kind of this one, go into contents, delete the repeater, press on P, lower it down. By the way, we are going to make things, you know, set the colors and everything just in a second. Interesting. W color. Something like that. And now we're just going to parent everything to this black square. And we are also going to track mat everything. So I'm going to press Controls or olds. I'm going to track mat and enable it. We need to create a mask around the shape, precompose it, create a mask around it, sew and increase feather. The reason we are doing is because we don't have very sharp edges. Things are a lot smoother like it is here. Let me select these parts, the top parts, make it a little bit smaller, bottom parts, make it a little bit higher as well. Okay, so now we have all the text move. So now we need every single thing to appear one by one, or we can leave it like this. Depends on whether we want to, like, exactly animate it like what he's the interesting things I'm noticing is these pop ups appearing on the left one by one, and we can actually do a very similar thing. So we have it in this shape. The one that was precomposed. I'm just going to cut it and move it a little bit to the left, going to select it. And here, when we go into the shape, content repeater transform, we can animate the position of it like this sort of position, right? And this is going to be our final key frame, the one that when we have keyframe, well, let's come to the first key frame. It's going to come from, let's say, a little bit from the left. Let's see how we have it. Yes, perfect. We need to find our shape, which is this one. Great. Let's put the keyframe position in. So this is going to be the final one. Let's find where it is the final one here. And before that, we are just going to drag and drop a little bit to left, see what we have. So everything is great. However, it starts a little bit higher just because we have some of the animations go like this. So at this point, we can have it at this point. Actually, this is going to be our final keyframe, and this is going to be our keyframe, like, so let's see. Okay, for the sake of time, because this is tedious, boring, uninteresting, the same work that you can do on your own. Basically, you have to animate every single layer. And because it doesn't really add a lot to the video, I'm just going to leave it like this. But if you were to do it on your own, for example, we can use something like animation composer. We would go into let's find the word boarding, the big one, right? And let's search for actually, let's go into vertical. Now, let's go into horizontal, select one of your.Go into vertical, and we have our animation composer here. So I'm going to select our boarding too and let's make it smaller. Appear with calcium blur so you can put it in, and you'll see that it's going to appear with cadm blur. We can just make it a little bit faster. This is something that they have and they have a lot of times where sometimes the words just appear with animate tapacity. Sometimes the words appear with a little bit of this blur, which in our case, can be Gargan blur, for example, like over here, right, you can see that this word is slightly blurred. So we just do it hand by hand for every single one of those. I'm just not going to use it. Once again, save time because you know how to do it. We just do it for every single one of those. Now, let's see what happens in the end. This part goes down, then we have text appearing on the screen. We need this black square, and we need another black square, which is this one. So if a person P, both of these will go down, and on top of that, we need just like the shape layer. Yes, great. Let's create another null. Put this null to the top. Let's make it white. We need to connect the nodes that are controlling these parts. For example, I have this black square. It's connected to null number three. Number three is connected to this null. This one is connected to this null. This one is connected to nothing. So we need to connect the null number three to the null number four. So that's what I'm going to do. I'm going to parent it. And we should be able to press on P, move this one. Yes. Great. Now we need to do the same thing for the black square. So it's connected to looking at the hierarchy, this pyramid, and I'm trying to see which null is connected where. And now we need this part as well to be connected to this snull again. Great. Let's put the position in. Move it down. Press select these keyframes, press F and F nine, select this one, move it like so. Move this one, a little bit this keyframe a little bit to the start, a little bit faster. And now we'll have the text appear and the text is get your tickets. I'm going to use the text EvoScript once again. Let's do it down a pacitPlus word, and I'm going to press and apply. Get the tickets, and then we'll have the word now duplicate this text. And when you write opacity plus character, apply press and P, move it to the left. And instead of having so much text, I'm just going to put now Presson P, move it to the right. It's interesting that it's on slightly different levels, but it's fine. We can make it on the same level. One thing we can do is we can click here, Impress and Command R and put a so called ruler. And now we can move this one a little bit down, a little bit to the right. You will see that we have the text move a little bit to the left, so when the word now appears. So it's done with two null objects as well. So we're going to connect, let's put this one just to the middle, get the tickets, create a null, shift option command Y, put it to the very top. Let's get the tickets to the null, press on P. And over here, when the word now starts appearing, we are going to move it to the left and then we're going to duplicate it presen P, which is going to create another null but this time, we're going to delete these keyframes, parent disnll to this one while this one is still moving to left, we're going to press and P. By the way, we're also going to connect the word now to this other null because both of these phrases or words are moving in the end, right? You can see it here. Boom, it's moving in the end. So we'll put that key frame, move it a little bit to the right. F nine. And then they have another null, we are going to connect it all. Then this very last null, we're just going to move things a little bit to the left. So a nine, so it's just shaking a little bit in the end. Let's watch everything from the very beginning. We had, like, a little hiccup here as well, once again. So let's open here, have the position key frame, and I'm just going to match it. Let's forge it from the very beginning. You can see there's a very slight difference in some of the animations. Like the timing is maybe slightly different, but overall, this is the way you do it. I want to do it with my font, but potentially we can do it just with Apple font. So let's search for SF Pro. They have a lot, so let's make it this color. You can see it's also a bit of a gradient. So once again, something we can do here as well, is we can command Y, create a solid. We can search for a gradient ramp. Let's drop it to the very bottom to where we have our text. And let's make it specific colors. So one of these is going to be like this and the other one is going to be very similar but just darker, so we can just decrease the brightness, right? Like, so. And then we can change the points. Basically we don't need to track mat the text to the gradient, but we need to track mad the gradient to the text, but because the text is like this, because we cannot track mat, let's call this one gradient. We cannot track mat the gradient to four different texts. So we need to precompose the text so that the texts are one layer, and then we'll be able to do it. So I'm going to select all the text, Shift Command C to precompose. We're going to track mad the gradient to the text and enable the gradient, exactly. You can see exactly what they have here. Just potentially we need to change the something like that, right? Now, track mat the gradient to the text with the text. Let's precompose, and now let's apply glow, increase the radius. We can also add glow around our plane. So let's find our plane. Now we also need to track mat the gradient, we need to track mat it to the movement of the plane. So let's parent it to the plane. Okay, when the plane is moving to the right, the text, let's press on T to select the opacity. And when it's turning right, the opacity is going to go to zero like this. Let's select this text here, which is, don't miss the next flight. And let's make it as F P, and let's search for just medium. What was the text like in the very beginning? Also, like, gradient ish purple. So let's search for gradient, just copy and paste it in. If you select the layer, you will paste above the layer. So that's why I selected don't miss the flight two or the other one at the bottom, because if I do not have it selected, it will paste it at the top. But if I select and paste it, it's going to paste it above the layer that's selected. We have our gradient and we need to enable to see it. Let's track mat it to our text. So for this one, we need to create another gradient. We're going to delete because you can see there's, like, dark, bright, dark, so we need something else. For that, we need four color gradient. Like so. And now, if we track mad it to our text by deleting this one, we have exactly the kind of effect that they have. Now, the only thing we need to add is this sort of, like, globe once again, select our text and precompose it with our gradient actually, let me cut the gradient here so that it's exactly the same length as the text. So let's precompose this, Shift Command C, going to select it, cut it. And let's search for globe. Let's see if it's going to work. Sometimes it might not work, and the reason for that is because glow doesn't work well with bright and bright. So we might we might have needed to add a shadow instead of glow. Shadow is very similar to the glow, right, it's just dark instead of white. For the clocks, we also need to change the timing of when these disappear. Oh, by the way, in terms of the text, I completely forgot because I was talking about the light sweep effect. So we actually achieve the same effect, and we can achieve the same effect by doing this. Let's apply a light sweep effect a little bit later when our plane here. And we can just search for light sweep, CC light sweep, and we just need to animate it. You can already see the effect over here. So we can change the light intensity. But what we need the most is to animate the width of it. We need to make it a lot bigger and we need to animate how it's going the position. So from center to something else, like so you can see the effect in the process. We can see the effect here as well, so we need to person you search for light sweep, and for this center, we need to move it. We need to move the center a lot higher, like far, far from the screen. Now, one thing you will notice in the very beginning as well is that the zoom in here. There's a very slight zoom. This is something that we can do, and this is something we are going to do with the camera. In order to create the camera, I'm going to press Shift Command Option C, and it's going to create the camera. I'm going to enable the depth of field because this is something we might use as well. I'm going to shift option command Y to create a null, and I'm going to connect our camera to the null. Now remember that the camera only affects everything that's three D. The reason it's out of focus is because if we go into two viewers, we'll see that our plane, let's see where our plane is. Our plane is over here, but our focus point is over here. That's why it's out of focus. Camera, the depth of field. Let's set the focus distance further for now because we might change in the future. We'll set it here. So we'll have the plane come onto the screen. This text, Okay, so this text is a little bit blurred in the beginning. So we might need to make this part three D. Let's make it three D, and for our camera, in the very beginning, let's set the focus distance to a little bit closer. We made the text three D, it must have been something else. It's this one. That's three D. So we'll start Oops. We'll start with our text out of focus on the screen, right? We can do it over here. It just adds a little bit of, like, drama in the very beginning. And let's do, like, a slight zoom here. So we're going to make our null three D, press on P position. Here, we're just going to zoom in slightly. Like, so press F N F nine, and make it smoother as well. Like, so Then we had this part, the England out of focus. There's something that we can do with the camera over here or we can force it with Gagen blur. It's going to be a little bit easier to just force it with Gajmblur because when we make it three D, it's going to slightly change the sizes of things, the location of things. So just to make it things a little bit easier, let's just do it this way. Apply Gaussian blur, blurriness, going to set a key frame. And this point, I'm going to increase it to let's say 50, and I'm going to copy this blur, and I'm going to apply it to K But for this one, I'm going to disable repeat H pixels to make sure it blurs everything around it. Okay. Let's see if there's anything else. Oh, and we have this gradient in the back at the end happening. We can duplicate our background and we can apply the four sorry, the four gradient. Let's search for gradient, four color gradient. We can delete the change to color, and so let's set it to white. We need a three color gradient, but we don't have the three color gradient. So I'm going to move that one far, far, far away. And here, let's select like relatively close, and that will work for us. So let me put the white one, like in the very middle. Actually, let's make this one white as well and bring it back. Let's bring it to let's say here. The other white one will go a little bit higher, and now we'll have these points animate. So we'll have 0.1 and 0.3, the ones that are colored. By the way, that's M, you can kind of move them around. It totally works. Let me open. So I have these two. These are going to be sort of, like, in the middle. In the very beginning, I want both of these to just actually, we don't need the color. We need the point. Yes. It's not the one that I needed once again. Let's disable this one, enable this one. Okay? This should be the one. I'm going to press on you to see both of them, or to the left. Let's see. Should work. Okay. Then they will come onto the screen, and then they will come out of the screen and roughly around here. Let's make them come onto the screen and out of the screen. And let's make it a lot smaller, slower. Let's move it a little bit lower so that it's not as saturated. In the end, I want to move it higher as well. Okay, we need to change the text color properties. By the way, if you don't have the properties, you can go into Windows and set the properties here. There it is. Let's make it dark, something like very dark blue, very, very dark blue. Let's take a look at what we have. Create an adjustment layer by pressing Option Command Y, and let's apply lumetri color. Let's lower this down to the very bottom. And then right before this transition, we are going to set a key frame for the exposure. Here, we're going to increase the exposure to one, and here we'll make it like zero again so that we have a little bit of exposure thing I wonder if we can apply glow here as well like this. Maybe we don't let's disable it metric color for now. Let's increase the glow the intensity and to like so. Then let's animate the glow radius and intensity going to press on you to see the values. So before we are going to put everything to zero, and here we are going to put everything to zero as well. Yeah, I think this is actually going to be better than the metric color. Basically, in the transition, so if you make a spark, it helps the transition because it doesn't just hide the transition, but it helps it to just appear, which makes it more interesting. And then we can drag these key frames a little bit, like, to the side. Maybe we can decrease the intensity here so that it does glow but not as crazy. Now I'm going to select everything, and I'm going to press here to add Motion blur, and we're going to export. I'm going to go into File, Export, at the Render Queue, and I'm going to put high quality with Alpha. Just put the name onto the desktop, main comp. Let's give it a try. Render, and a cliffhanger for you. You'll see the final result in the next video. So if you have any questions, let me know better than that, I'll see the next video. 7. Add Sound Design & Final Polish: Welcome. In this video, we're going to work on the sound. First of all, I'm going to go into Premiere and create new project. I'm going to click here to select the name, going to go to desktop, airplane video, PR. I like to create a PR folder to save all the premiere project files, and we can call it airplane Video created. Now, When it comes to audio, I recommend two websites. One is free, one is paid. Pixie B is a free option. Epidemic Sound is Beta option. Long story short, epidemic sound is better because they have budget and they're able to source high quality. With Pixabay, it's I mean, you get all sorts of stuff. There's very good quality as well. There are some really good quality people, but there's a lot more quality on epidemic sound, like, no questions. So if you have a bit of a budget, I recommend you Epidemic Sound, by the way, in the resource section, you will find a link for a 30 day free trial if you want to try Epidemic Sound. First of all, you have an extension to Premiere, so you can just literally go ahead and instead of going to the website, go and work with it in Premiere, you have music here, you have your generous moods, and one of the favorite things I have here is themes. So, for example, if we go into, like, travel, for example, with my clients, I'm currently working on the travel videos, and I like to come here and, for example, Brazilian carnival. You know how to listen to song. So just go ahead and try it out if you want to add than that with Pixie Bay, it's very similar. You can search. First of all, it's not only about music and sound effects. It's about, for example, three D models, videos, so it's B roles as well. And I'd like to recommend you a couple of things. First of all, if you search for Kirk orchestral on this website, you get some well, it's a genre of music that's just very interesting. Like, it gets it goes like, stratospherically viral on social media. And there's this creator as well, who's like, creates super just unbelievable music on this website. I really recommend this guy, and I also really recommend you searching for Corker Castro. So this is the song that I want to use. As you so I just press and download, download it and you don't even have to log in or anything. And you can read their license. So let me click on Download once again. You, you can learn about the license here. So I do recommend you to read the license that let's jump into premier and put things together. So first of all, I'm going to create sequence by pressing here, pressing sequence, create sequence, 1080, 30 frame second. Let's open the sequence settings by pressing in my case, Command K, but you can come here and press on sequence settings. And if you don't have a shortcut for yourself, you can press Option Command K to open the keyboard shortcuts. And here you can search for, for example, like sequence settings and put yourself a sequence settings short. Going to press Command K, and I'm going to put 1080 by 1920. By the way, this needs to be 30 frames a second. That's one of the ways to create sequences in Premiere. But if I come and take a look at our export, I can just click on it and I can press Shift N, and it's going to create the sequence out of the selection that I have. So I can actually just go ahead and delete the sequence. I'm going to select the afile press Shift B and call it raw. For the sequence, I'm going to select it, press Shift B, and call it see cis to make sure things are organized. Now, take a look at what we have, and we can go into the vertical workspace, which is for me, you probably don't have it in the very beginning. Actually, you don't have it in the very beginning. So in whichever workspace you are just like in after effects, you can go ahead and drag and drop things like that, right? I'm going to put it to the right to make sure I have it in the same location. And you can save the workspace, save Es new workspace, and then just go ahead and click on that. So let's take a look at our video. We have lots of lots of stuff, lots of stuff, but it looks great. Okay, so first of all, we have the text for this. Actually, I'd like to use a specific transition that I have here. You can find it in the downloadable resource section. It's a premiere project file. I'm going to import the entire project, and we have the NASA sequence. This is the one that we need, and I'm just going to drag and drop it. And this is actually what I was talking about to you earlier, for example, like here, you can see that it becomes blurry, metric color, the exposure is timed here. So if we take a look at the effect, you can see that we have the gaussian blurin we have the lumetric color, the exposure going up. And then for the sounds, we have the sounds as well. Sounds are really great. So if we come here, let's put it like around here. I'm just going to select everything. For these sort of movements or most of the time for the movements, you want to use swooshes. You can download the premiere composer. It's absolutely free. Just search for it online so I'm going to search for swoosh here. Probably for the slower one in the beginning. So let's see. Or maybe not. For the Light sweep effect, by the way, in the downloadable resource section, you'll also find my library of sounds, which I'm just going to drag and drop here Sci Fi. This is the one, I believe. Yes, this is the one. So I'm going to select it, then come here, select it. You can also press I and O. So this is going to be I. This is going to be O. If I go here and press on O, I'm going to select more. I'm going to drop it in and when it starts go on here. Oh, by the way, our clocks, they don't have the motion blur because they were precomposed, if you remember. And so we need to go into the composition and turn the motion on themselves, because we have motion like everywhere aside from this, but it's not a big deal, to be honest, people rarely notice anything like that. I'm going to use pixiway because everyone has version to the free options, but once again, if you want to the best quality, epitym sound is the one to use. So here, let's search for UI sounds and Okay, this is really good for when the clocks appear. Then when we have movement up, we are going to use swoohes as well, so I'm going to come to premiere because there's a sharper movement, I'm going to use this swoosh over here, which is a little bit faster instead of this one. There's even faster, but we'll see. Okay, this was great. I'm going to copy it by pressing Option or Alta on PC and dragging it. For This one, let's try to use this one for the plane, I mean, probably around here. And let's use the big swoosh around here as well when this part is moving down. Okay, let's take a look take a listen to what we have currently. Great. When our plane is flying, I want to use this swoosh, which is the shorter, which is this swoosh. Let's have a listen. Actually, for this part, when all of this kind of, like, jumps and bumps a little bit, I think it would be interesting to use something like tactile sounds like it's touching a little bit. So let's have listened to what we have here. I'm also trying to look at the waveforms and see if there are, like, bumps because bumps usually mean, like, there's going to be something. No. Mm. Something like this, yes, you can see there we have like four sounds. Let's just drag and drop it. Yeah. I also would like some sort of sound in the very beginning. Basically, what I'm trying to do is to find the sound for every single movement. And because there's usually no sounds for these kind of movements because it's not real. We don't have something like this in real life, we just have to creatively think about, okay, what can be like, close to that or just use our imagination. Sometimes it can be something you would never think that would work and it works. So it's just a matter of trying out and see what works. I know that's a little bit weird, but you can see there's, like, this almost like a water drop sound over here. And I know it's unrelated, but I can do this out with my mouth. There you go. That's my skills. Hm. I like this one. It's just simple, like, one note. And we can repeat this one at the very end when this appears. And then have this one. We have the now sick look from the very beginning. Great. Now we just need to lower the volume of everything. And by the way, it doesn't matter. If you use other application not premiere, doesn't matter. You can use the same you can use different applications. What matters is just kind of how you put everything together. Even if you use like other applications, it's not a problem at all. I'm going to select this press on G, and I'm going to press minus ten so that it's not as loud. For this one, I'm going to press minus ten as well. For this minus ten as well, although it's already at -20. Oh, yeah. This one is too loud, like -20. This one at minus ten, this one -15. These at -15. This at minus ten. This at minus ten, as well. This at -15, this at minus ten. Let's take a loosen. I'm going to use this song, and I'm just going to drag and drop it to our project selected. So this is going to be the beginning because we have a very short clip we need to find, like, the end. This is going to be the end, like this part. I'm going to appl this transition by present shift command D, and I'm going to make it smaller so that there is no, like, sometimes you hear this like bump in the audio. When the two audio files meet and they have loudness, there's, like, just like very loud. And in order to avoid this, you just have to put this transition and it becomes very smooth. I'm going to shorten this one like this, make this one like this. Okay. And I'm going to apply lower music for voice. This is the preset that I've created, and you are free to copy it. I'm going to show you it in a second. So this is the simple parametric Q, which you can search for simple parametric Q. It's over here. Just copy these settings. Basically, what it does is it lowers the heights of the music so that it doesn't compete with the voice, usually. Because we don't have voice, it's not really a problem. But if we want people to really focus on the sound effects. It can compete with sound effect a little bit. So if we do here, it's still really good. And we are going to select it present G, put it to, like, -20, and let's see what we have. Now, let's make it louder and Dover by ten. Oh. It's exported. Come to the very beginning Presson, I come to the very end press on O, and you will see that if I come just to the very end, we have this and presson O, we have this one annoying frame, and we can either move it like this or I'm going to press on O. There's one frame going to press left, O, this is what we have. Then I'm going to press on Export. And let's export it to desktop, press on Export. And let's see what we have. I'm going to open it. And let's take a look. Great, great. Love it. So this is how you do it. If you have any questions, let me know. But than that, I'll see you in the next video. 8. Congratulations!: Congratulations. If you are watching this, it means you've made it halfway through the course content. I know we've covered lots of congratulations to you for making to this point. And there's a lot more valuable content coming soon, but before we get to the next video, I want to simply ask you if you found value in this program up until this point to take 60 seconds to leave you on this review. Of course, I will immensely appreciate this, this will also help hundreds of future students in choosing the best program for them. So leave you feedback now, and of course, if there's anything I can help you with, let me know the Q&A section below. You're doing great. Keep going. And without being said, let's get to the next video. 9. Brainstorm Viral Content Ideas with ChatGPT: Welcome. In this video, we're going to generate viral IDs with HATGPT. Now, in the downloadable resource section, you will find a link to this specific HAI GPT. It's a custom HGPT that I created myself. It consists of a number of books and the best practices on viral idea generation. So you can go ahead and use it, and I'm going to show you how to use it. Well, in order to use hATTPT, it's always best to name them specific expert, and I want to give it as much context as possible. I brainstormed in advance, and I'm going to show you exactly what I did. So I ask JDPTGive it a prompt. Hey, JDPT, I'm creating a video. It's a motion graphic video in After Effects and you to come up with a list of different ideas. The mean it is that to create a script, the video will go viral. I'm going to put links in my social media bio description, and the video will go viral, then people will go and learn motion graphics. Now, you start coming up with a list of ideas. I didn't quite like any of these ideas. I decided to help JGBT move in the right direction, saying that it needs to be very, very simple because we are not going to have audio in that. Although we might do it, but we don't necessarily have to. Like, it's an extra step with audio because we need to combine the audio with motion graphics, so we need the timing to be precise. If we don't have audio with them, we can just go ahead and do it ourselves. Then gave me and list, and actually kind of liked this idea. Thinking need to be original question. Nope, everything is remix. The trick is knowing what to steal, learn how to in bio. This is kind of a great idea. However, that's not necessarily about motion graphics. And I was like, Yes, I like this, but let's make it even better. I told that I like this idea. However, we need to really tell people that they're going to learn motion graphic instead of being like, it's more like stealing an artist because the idea is, it's as if people will learn how to steal like an artist. The idea is behind motion graphics. And so, eventually, it came up with this script. Thinking to be original, no, everything you see is a remix. The trick, knowing how to design it, that's motion graphics. Learn after effects step by step and start creating today linking bio. I think we should add the word start here. Very beginning. And that's how it created the script very fast. So if you want to use this DT, you are welcome to do it. I'm going to go ahead and copy it. I'm going to put it in notes. So this is the script thinking to be original. Everything's remix. Tri how to design it's much graphs tar after fate, step and start. And start creating today leaking bio. Very well. So let me share a couple of things with you. Thinking need to be original. That's a question. People want to know answers to the questions. We're just trying to make it as simple as possible. Thinking to be original, nope. Everything you see is remix. And these three lines, these are really great because it kind of breaks the pattern of what people have. Oftentimes, people think they need to be original, reinvent the wheel every single time, but that's not true. You can remix a lot of things. The trick, knowing how to design it. We are going from the stop part, which is we're going from here to the snext part, which is actually, let me do it with nut color. Let's do it with, like, blue. Okay, so basically we have two parts of the video. We have a hook. We have a first part of the video, then we have a transition, and then we have the third part of the video. So this video is going to be under 15 seconds, maybe 10 seconds long, so very, very fast. I think we can create some very interesting stuff here because originality, there's a way to express it and how it looks and things like that. This is really good script. This is how you come up with ideas and Chat DPT, go ahead and use the viral Story lab. If you have any questions, be sure to let me know the QNA section, but other than that, I'll see you in the next video. 10. Build a Scroll-Stopping Motion Graphic from a Blank Canvas (Part 1): Welcome. In this video, we're going to build our video in after effects. So let's jump into after effects. First of all, I'm going to create a composition, make sure I have 30 frames, and it's 1080 by 1920, so it's vertical. Sometimes I get confused and it's not a problem at all. Even if I create a 1920 by 1080, it's going to be horizontal, I can just change the numbers later, and that's it. So here we have our video, I'm going to press Shift and this line to make sure I fit the screen. Now I'm going to press Command Y, and I'm going to create a white background. Next, let's copy the script. Copy the first line. Come to text, create a text layer. Think you need to be original. I will definitely come up with ideas on the fly because I just had an idea. Let's apply change to color effect, and we will go from white to black hue, saturation and lightness. Great. And in the very beginning, we'll have our text. Let's select our text, it's going to be white. Now, let's come to Google and search for lamp or not lamp. What is this one called? Maybe we need lamp drawing. Oh, it's called Light bulb. Light bulb drawing, Bingy. This is not Bingy. This is This is Bingy. Great. So I'm going to download this one, and I'm going to drag and drop it into after effects. So we'll call the main comp, the just main Comp, and then we will have a folder for assets. Okay, let's apply change to color here as well, and let's change it from Let's like the color of it. Hue saturation lightness. Great. P. Let's move it up a little bit. Think you need to be original. Actually, I'd like to put this text right in the middle and I'll have our lamp a little bit lower. Let's call the lamp lamp so that it's like this. I'm going to run text EvoScript. Once again, you can either get this one or you can do it the way I showed you in the previous project where you have to open it up and do it with the animate. So our text, I'm going to open presets and go up opacity plus words and apply. I definitely wanted to move a little bit faster, so I'm going to press on you to open the keyframes, see what we have. Let's decrease the delay a little bit so that it's and Let's put it to two. What was the next text we have? Nope. The reason why I'm doing a fast text in the beginning is because for social media, you just want to hook people in immediately. Other than that, if they are not hooked from the very beginning, you know, you lost them. Select or lamp. I want to experiment a little bit with glow. So I'm going to apply the glow effect, which is this one. Definitely want to increase the radius and the intensity. I'm trying to do here is I want to create a transition from this from black to white. And the way I want this transition to happen is the light will emit so much light. It's going to get so much brighter. It's going to make everything white, basically. And we'll have this interesting transition. For that, we need to make it glow. Sometimes in after effects, this happens when, you know, we can continue increasing the intensity, and it's not going to really increase the intensity. It's like it's stuck for some reason. And a very good plug in that's created for after effects called a deep glow, and I believe it's paid as well. I don't really have a deep glow, so I'm just going to show it to you. Pretty sure it's this one from A script as well. I know it's a really good one, so if you ever want to get it, you can come and check it out. But for this, we can just duplicate the glow. So let me see if I can copy the glow and paste it in Command D to duplicate it like this. Okay, now we're talking. So let's set a key frame on glow radius and glow intensity. We'll put glow intensity at two, and let's press on here. So this is what we are going to have duplicate it again. Command D. Okay. And I'm going to press on you again to see the key frames, right? So now we can see the key frames. And from the very beginning, let's have it at glow intensity at zero. When we come here, we are going to have our radius more. So for the first time for the first globe, we're going to have a small radius. For the second globe, we are going to have a slightly bigger radius, and for the third one, we are going to have an even bigger radius. Let's duplicate the third one, Command D. It's going to be even more. Going to press on you and you again. We need number four, and we need to make the radius even bigger. So let's see. Let's see. At what point do we have the maximum glow? Okay, so when the globe radius is at one, so it's important for us to put glow radius here at one because it's not going above one. Let's see. I'm also going to keyframe the opacity on the lamp. So Presson T, added the key frame around here, we'll put the keyframe at 100 and here we'll put it at zero so that this is what we have. For the solid, we need to change the color too. So I'm going to press on the keyframe here and I'm going to press U. Now let's change the color from black to white. Let's say when it gets to here, put a keyframe to set everything to white. Yes, very interesting transition. It's also a good thing because we had the text in white. We had our bulb in white. And therefore, when we have our background turn to white, then we don't even need to kind of animate anything. It just completely disappears. So at this point, we can just make a cut and press into lid. And at this point, we can do this Kobe one. However, remember, we cannot use emojis in after effects, so it's important for us to go to Emoji PD, put the Emoji generate image. I believe we did 600 by 500 previously. So let's generate it or maybe vice versa. So this one. 500, this one, 600 generated. Yes. Just make sure that it's not cut at the top. Download the image. Let's drop it in and put it into assets. So we can call this one amp, and this one is going to be thumbs down. Thumbs down. So now we need to animate Nope. Let's come to T, and let's put our text in. Let's make it black. We can customize it later. We can put it like so, and I'm going to cut it to get rid of the part on the left. When way here, I'm going to once again, go to Text Evo and let's select something like left opacity plus character, and let's apply it. So it's going to collect this. While it's going to the right, we are going to have our emoji come from the right. So it's inspired by what we did with the previous video, going into Drag and Drop it and decrease it in size. So let's put this text in the middle, like so. Press on P, move it to the right. Make it a little bit smaller, and let's going to get rid of this punctuation mark, which is just driving me crazy. Hate it. Now, let's put it in the very middle at this point. And then when we have the thumbs down, move from the right. It's going to move the text to the left, and it's going to wiggle a little bit with the text. Something we did previously. I'm going to put a position key frame, and I'm going to move it out of the frame. Actually, going to do it vice versa, so it come F N F nine, going to select it, move it a little bit. Actually, we need to move it like so so that it comes fast to the screen. Let's see the final keyframe, maybe move it a little bit to the left. Great. Now I'm going to create a no object. I'm going to cut it, and let's have thumbs down and the word nope, both connected to the null so we can move our lamp down, like so. Let's double check. Yeah, so we can move both of these. And around here, I'm going to set a position and move it a little bit to the left. Go to nine. Going to duplicate it, parent this null to the second present P, delete this one. And move it a little bit to the right to the center. And let's do another one, P, delete, parent, move, and then move it to the center. Okay, maybe we need to just have a bit more movement. So this one needs to go more to the left. This one needs to go more to the right. Okay, something happened. Not sure what happened. Let's do it once again. So I'm going to parent, press and P, delete this keyframe, move this one, and move this one to the left. So let's double check that. Maybe we need to have this whole animation start a little bit faster. So let's have this one move a bit more to the left. Sorry, this one. The last keyframe of the first null needs to move more to the left. Then the last keyframe of the second null needs to move more to the right. The last key frame of the last null needs to move more to the left. Let's see if I move the key frames a little bit to the right, just to adjust the animation slightly. And potentially we just need to move the keyframes, slip a little bit closer to each other. Yes. Now, let's come to the graph editor and then just Oh, interesting. We have different graphs, so let's press N of nine, select all of these, and just drag them out a bit. So let's see. Okay, now we need a bit more space between all of these. Everything you see is a remix. Here, I was thinking about putting clips of social media onto the screen. I'm going to go to Instagram, going to take a screenshot. I think this is going to be a really great example. So we have a couple of things. I'm going to select everything, press and P. We have our screenshot of Instagram of social media. Great. So I'm going to press and P S and I'm just going to Do it like so. The reason why I'm doing is because I just want to have, overall what's happening. One of the things we can do is we can download kind of like the Instagram page layout and do it with Figma. It's going to take a little bit more time. If you want to learn how to do it, you can watch my other course on how to do it. Just come to my page and you will see it's about Apple UI designs. If you want to learn how to download UI designs or create UI designs and create sort of like Apple style glass animations, you can do it that way. Let's cut this one. I'm going to just remake it here very quickly. I'm going to deselect it, and I'm going to draw a line like so. And let me hide it for now. From this video, I'm actually going to create a mask by selecting a shape, and I'm going to select it like this. Now, I'm going to import the new Superman and I'm just going to make it the same length, and I'm going to track mad it. We're going to press Control S, and I'm going to track mad it to the shape, press on P on the Superman, make it a little bit higher. This is actually pretty good. You can see this kind of the Instagram layout. We can create another null and create this to the null. So we'll select this and we will parent it to the null so that I can press on P and move it a little bit down so it's more in the center of the screen. So this is going to be one color. Let's put this color for it. This is going to be another color. Let's do white for this. And for this part, let's make it black or something dark, something like brown. And for the background, let's make it white as well over here so that it's a bit more organized. Let's actually create a transition from animation composer. I'm going to go into Tarter precomps transitions. Let's have a transition. Something like this, we'll just put it in, and we will cut it over here. We're going to delete it. And we will add another screenshoot of flows about the Superman dragon drop it, press on P and S, move it to the right. D. Just so that I can see the age. So I'm going to cut it, move it a little bit down. Let's select our screenshot. Let's create a shape on top. Let's make the color of the shape. Why don't we make it yellow? Like this? In mode in the overlay mode, we are going to put multiply so that it's transparent, and I'm going to cut it here. Going to move it below the Zoom. Now, for this part, we also need a linear wipe effect. We will need to animate it. Let's see. The completion, yes, this is kind of what. Actually, we need -90 degrees, so that it goes the opposite way. And let's key frame it, press on you, come here and move these around now. So now we can customize this. Let's see if we can do it later. And now we'll have this highlight effect. Like so, let's take a look at close up. And we can also select these keyframes to FN F nine, so that it's starting and ending a little bit smooth. Beautiful. While this one is still happening, we mode like so, select everything press on P. While this one is highlighting, we are going to move it a little bit further so that the highlight takes a bit longer. And while it's doing this highlight, I'm actually going to select the screenshot and select this to press Shift Option Command Y to create a null, and I'm going to select these once again, I'm going to parent it to the nome and then I'm going to whilst it's doing this, I'm going to just zoom in on it, like so. And we're going to press F nine here, select these key frames, do it like so. Because we're doing the Zoom, the linear be changed slightly, so we need to change it here as well, like so. Let's see what we have from the very beginning. Think you need to be original. Nope. So actually, very like what we have here, everything from this part to the transition, now we just need to connect these two parts, and it's going to take it's going to take something for us to do it. We are going to increase the size of the Nope, like, really, really increase the size of it. The reason we are able to increase in size and it's not going to lose any quality is because it's an SVG file. Basically, detext and after effects is SVG and if I increase the size of it, it's going to if we have this button here, it means it's SVJ. It can rasterize. So if I increase the size, for example, of this part, we increase, and you can see it loses quality on the edges here. But because some of the layers have this button and we can click on some of it because nope has it, if I increase it in size, you can see the quality is super sharp, even though we've increased it in size, like a lot. And that's what's going to help us. We can basically increase it in size and do a transition this way. Sort of as if we're zooming in, but we're not going to zoom in really. I'm going to create another null, and I'm going to basically duplicate this null, press you and delete these keyframes so that I'm now able to control it without affecting any of the previous animations. I'm going to press shift S to side both P and S. Put the initial keyframes like this, and then zoom in and see what we have. Let's select all of this here, move it a little bit to the right. What if we come here and do it with O, for example, move it a little bit down so that we don't have the edges. Let's see. Smooth it out, select all the key frames, come here, select it, move it to the right, to the left. And when we have motion blur, it's going to look beautiful. So I'm going to select all of this now, and I will move it to over here. And here's the interesting part what we'll do. I'm going to select all of this and I'm going to extend it, like so, and at this point, I'm going to connect this null to this null so that when we, this is what's going to happen. Let's open these. Let's press on T to animate the opacity, press on opacity 100, at this point, and let's move it a little bit to the right. And let's do it like so. Yes, there you go. Screenshot, I would like to create a mask around it around something like this. It's controlled by this null, right? Yes, I'm going to duplicate this null, press on P, delete, delete, and I'm going to connect this null to this null, going to create the position, and we are going to move it down. And the reason why I created the mask is so that we don't have tabs at the top. So I'm going to move it down, select it, press N F nine, make it smooth. Let me select this one and make it smooth. Actually, we might not have to do it in the end there. What if we do it like? I have to press Command Z because the animation just kind of got lost a little bit. I see what's happening. I was being a little bit stupid because we don't have just P. We have P and S animated. That's why I was doing that. Okay, press P, connect Disnll to Disnll. And now when we move it down, select a fan of nine, do it likes. Let's see. By the way, when the snope happens, we can cut this whole part over here. First of all, we can customize the mask around here. So let's press on M. It's going to open the mask. Going to zoom out a little bit, select these two and move it a little bit down just like so that we don't have this part at the top. Let's create our text. The trick. Put it in the middle. Actually, I have an interesting way of animating this. The trick. Let's put this whole thing in the middle. And let's use the text Evo Let's go down opacity plus character, apply, press on, delete everything that's before this. And we'll have our text appear like so. Why don't we have this arrow, and we can create this arrow? I have this extension in Alfred called I don't remember what's called but like TF. If you search for it, online you can easily find it if you use Alfred down and it's going to create an arrow down, which I'm going to copy, and I'm going to create a text over here. It's going to be an arrow down. Put it in the middle. Press on P, move it a little bit higher. I'm going to duplicate this text, press on P, move it down, select put it in the middle. What I want to do now is I want the arrow to sort of get birthed from the phrase the trick. So it's like the trick is going to get pulled down, and then the arrow will appear. Let's animate position. P, it will come from here, like so. To make it even smoother, I'm going to put it here so that it's going to be the size of the letter T. And when it goes down, it's not going to be like on the side, it's going to be exactly. Like, this looks cleaner than this, just because it does because it's aligned perfectly. I'm going to press F nine here and mode, so just for organization purposes. Now I would like to create another null, cut it, and I'm going to connect these to the null. So the trick and the arrow down is going to be connected to the null P. It's going to go down a little bit very quickly. When this is going to appear, even quicker, it's to a fan of nine, is in. You can see that a lot of it is just playing with keyframes and seeing which animations look better, which ones look worse and just experimenting. There's no sort of secret to this. And as these went down, I'm going to duplicate the No. I'm going to connect this null to this null, press on P. To the keyframes, press the key frame, and I'm going to bounce it back up. And if nine going to really easy ease. Actually, when the arrow is going down, we should start this text. Okay, let's take a pause here. We'll see what we can do in the next video with this. If you have any questions, let me know better than that, I'll see the next video. 11. Build a Scroll-Stopping Motion Graphic from a Blank Canvas (Part 2): Part two, let's finish this video up. First of all, let's look at what we've created from the very beginning. A couple of things. First of all, I think it's going to be important to put the date here of the 2025 Supermanth because we highlight the 1978, but it's a little bit confusing at this point. I'm going to select our text, put 2025, and going to lower down the layer. Let's make it white. And for the font, let's put Tasker. You are free to download this font. It's free. You can find it online, and I'm going to cut it over here. And I'm going to parent this to null number one, the null that controls this huge zoom in. Great, great, great, great, great. Okay, then I'm going to press Command K to increase the time of the composition. So let's set it to 15 seconds. This is the part that goes out. Okay? So we can cut this part over here because it's out of the frame at this point. Then we have the trick, and let's do it, like so and shorten this one. Let's increase the length of the white solid, which is the background for us. Let's take a look at what we have next. That's motion graphics. I have an idea of how I want to present this. Basically, I want to create a shape that's going to act as a track mat, and we will reveal text with the shape, and we'll reveal it in an interesting way. So we're going to reveal these next two lines by using the shape. So let's create the shape. The shape is going to be rounded rectangle. So I'm going to diselect everything and I'm going to draw it. We will definitely have to customize it. So we'll put it in the very middle for now and I'm going to cut it. I'm going to first create this part and then I'm going to connect it to the previous basically to connect this and this. Let's make this black. Let's come to contents, rectangle path. Let's select all of this. Let's select actually we don't need the position. So we need the size and the roundness. Two keyframes, and here, I'm going to set the roundness to zero. And then for the size, Okay, let's keep actually, we do need the position as well. Okay, so we will put everything in the middle. Great. So this is how we have it right now. Let's copy this. That's motion graphics. I'm going to create a text layer and I'm going to write it over here as a pro. Let's set a regular medium. Okay, let's delete this. Let's start from the very beginning. I found that there is a problem. If we go from Tasker to ASAP, so just it's better to set the ASF pro from the very beginning, and then when we put it, it's good to go. So let's put it in the middle. Make it a little bit smaller. Let's do, like, the font size 65. Then I'm going to cut it around here. And now we need to customize the size. I'm going to disable proportional sizing, and let's change the position. Actually, let's change the position of this one so that it's in the middle. So. In terms of the size, let's decrease the horizontal size. So we have it in the middle. This part is in the very middle as well. Great. Now, one thing we'll do is we will track mat this text to our shape, and we will make our shape visible as well. Now the interesting part about this is that when we let's say move, we will have our text appear only when we have the shape. Actually, for this part, we can even do like the linear wipe effect. Instead of animating the size and the position, let's do a linear wipe effect, linear. And actually, we already have it here for this one. So we can just go ahead and copy this effect from here to here. Great. Let's just press on you and we'll go 100-0. Actually maybe we don't need 100. Let's go from whatever this is. When I'm just finding the point where it disappears completely. So it's actually 82 instead of 100. The reason why I'm doing 82 and not 100 is because basically it starts from the side of the screen. It starts from here, and we don't need it to start from here because there's going to be a little delay. You will see that, you know, it takes some time to get from here to here, and we don't want it. That's why we're doing it. And the same thing in the end, right? We need to find a point where it's fully visible. So it's at 17. That's motion graphics. Great. I'm also going to come to the graph editor, and I'm going to smooth it out a little bit, like so, and I'm going to let's select this one and speed it up a bit more. Actually, I like to go to the graphics and make it even smoother. Like, so so we have that's motion graphics, and by the way, I'm going to press on P, and I will move it a little bit higher because we're going to have text a little bit lower. The reason why I'm able to move the position of the shape layer, even though we have a keyframe is because we key frame specific shape within the shape layer. So let's take a look. I know it might be a little bit confusing. Let's open the shape layer. So we have the shape, which is rectangle, and we keyframed the position of the shape itself. But then we can also animate the whole layer. So under this layer, we can have multiple shapes. This is the reason we're able to move this position and have this position separately animated. Let's select the other text. Learn after effect step by step. I'm going to duplicate this text, press on P, move it a little bit lower, paste the text in. It's still going to be track matted. Basically, it's the same effect. And at this point, we need to make it a little bit smaller so that it's roughly the same size as the text above. It's one of the ways that kinetic typography or just in general, typography works is when you have text the same size, it just looks beautiful. And we'll see that in a second. So that we have different sentences going to different sizes in terms of, like, the font, but it's going to be aligned, sort of like boxed, and it's going to look very, very beautiful. So we need to go to our shape, and I'm going to increase the size to something like this. I'm going to come here, person command R to open rulers, set a ruler over here exactly to where the top of that is. And for the position, I'm going to lower it down. Like, so, actually, we need to decrease the size a little bit because it's too much. I'm just trying to see that this space at the top and at the bottom is the same. So we need to decrease the size even further. And for this part, let's increase the roundness slightly. And also, let's decrease the font of this text and potentially move just a little bit up. And now I'm going to move it further. And let's do F N F nine. Now, let's add the last text, which is and star creating today, linking bio. Actually, I quite like the animation we had here and because we have very similar setup with the arrow. Okay, so why don't I just copy these everything with nulls as well. So duplicate everything with nulls. Now, it should work if I just put it over here. Press on A to select the k point. And let's change the enco point of one of the nulls. Let's select one of the nulls and this text, and we will be able to move it. Okay, let's see. Here, in the very end, instead of having the word trick, actually, we can just increase the length of this to, let's say 16 seconds and increase the length of this so that we have the animation, this animation. And now we can start animating today. I'm going to select this text and put it in the middle. Link and bio let's see. So now we need to go from here to here. I have a couple of thoughts in my head. Let me just put it together, and then I'll give you an explanation. Okay, so I created a solid layer, and I was able to just move it from the top. So I just find the point until it's just out of the frame. Then I make sure it just comes back to kind of its original position, which is 540 by 1960. If you ever forget this, you can always just create another solid. Put a keyframe for that solid. And then put the key frame a little bit later, create the first keyframe and then just move it out of the frame exactly what I did. And now, for this part, actually, it would be great to change the text. Basically change every single text color here. So for the shape layer, we are going to select Y. For the texts, we are going to make it. Let's do black. But for these three, we need to actually make it white. So basically the opposite. Let's take glo. Okay, I'd like to move all of this to start a little bit faster. I want to delay this arrow and movement down to a little bit later. So as I understand, I can just copy all these keyframes and move it a little bit later. Let's see the arrow. Let's press Shift T so that we have the position and the past at the same time going to add a key frame of 100, put it around here, and here I'm going to put it at zero so that we actually don't see it. When we have the animation here, because it's exactly fitting here, it's not a problem, but when we do it a little bit further, I think it's going to be better to do it like this. Let's see everything from the beginning and then we'll see what we can do about this. Okay, I like everything aside from this part needs to happen faster. So everything we have here, we just need to move it a little bit to left. Okay, great. And now we need to move everything a little bit faster even here. That's motion graphics. I feel like it's important to emphasize and have 2025 appear because right now it doesn't appear. So let's put a key frame for opacity and here, let's head it to zero. Let's see. I know what we can do here. We can just change a couple of things. Change the formatting of the text slightly because the text looks it's all kind of the same and we want every single layer to be slightly different so that we can know that it's different. Otherwise, it just looks like it's just one big piece of text. And potentially we just need to move this thing up a little bit. So if we change the position of this so that there is a bit more space, it's a little bit more let's try to add a couple of effects, for example, glow. Link in Bio, I'm going to search for glow. Let's copy this glow and paste it everywhere, aside from Link in Bio. Let's see. Hmm. Maybe we should get rid of this glow. Maybe we shouldn't add it to everything. So let's just add it to the bottom text. We'll select this and this and paste it let's see if there's anything anywhere else we can add it, for example, like here for this text. Thinking need to be original? Nope. Let me come here. And for Lincoln Bio, I would like to I'd like to make it a slightly different color. So slightly maybe like blue, maybe darker blue, lighter blue. So this blue. If there are any ways that you'd like to improve this video, if you have any thoughts, you know, please welcome in the cuna section below. But other than that, let's export these videos. I'm going to go into File export at the enroQu I always recommend people to set high quality with Alpha because if you have something transparent, it's going to be transparent. If nothing is transparent, it's not going to be transparent. So these are the best settings that I found to work for me, and I recommend it to use for you as well. So high quality with Alpha, just set where you want to save the video. Person save, person render. Let's render. Stop wait, wait, wait. We forgot to add motion blur to all of this. This is going to be even better. Okay, now let's export it. So Export at the Render Q. I'm going to just delete this. I'm going to overwrite the main come, replace, render, press okay. Let's see the final render in the next video with Motion blur. If you have any questions, let me know, better than that, I'll see you in the next video. 12. Mix Music & SFX for Sound Design: Finish this video up by adding the music, adding the sound effects. And before we get to it, let's watch the video itself after we exported it. Looks a lot better with motion blur. I'm just going to drag and drop it here, press Shift N, press, select the first one, press Shift B. This going to be raw, press on the second one, Shift B, and let's call it. Sequences. By the way, you can press on like Command plus and minus to change the size of each of the tracks. And then one thing you can do is you can go into settings. Save preset, and then you can put yourself a specific shortcut for one of the presets that you have for the track. For example, see if a press K is going to be small track height preset. So if a present K, it's going to become the way I like it. Because if it's big, for example, if press Shift plus, you can see, we can drag and drop the opacity accidentally. I hate that, so I present K and make this part smaller. Let's come to Pixels, searches search for something electric. Editor's choice. Honestly, I wasn't I didn't know where I was going with music for this video, but this is pretty good. I'll start with the end because it's kind of easy to addhe. Let's start from the beginning around here. Mmm. Actually, this is pretty good. So now we have our songs. I'm going to select it, press Option or Alt on Windows. And with the arrow case, I'm going to move it down a little bit so that we have a couple of tracks for the sound effects, and I'm actually going to just mute it. For this, I want to have, like, a very loud zoom here, swoosh. Probably we need to use this one. Or, you know, we need to use maybe this one. The big one. No, this one's too long. Let's use this one. Okay? So let's find the part where it starts to zoom in. And add another one. Copy it by pressing Option or Alt. And then here for the highlight effect, we are going to use the marker from the SFX folder, which once again is in the downloadable resources section. So this is the marker. I'm going to drag and drop it. And let's see. We need to make it a lot quieter, so -25. When it goes down, I'm going to duplicate the ssh. And then when it kind of goes down, I want there to be sort of like a click in a way, We downloaded some of the UI sounds earlier. Maybe we can use like this. Let's good toy. Then for this part, I'm going to use swoosh, as well. For this, we can actually use a marker for the white part. Maybe we need to end it a little bit sooner than it actually ends like this. And then for the last part, let's try to use this sound. When our shape becomes a little bit bigger, let's try to use this sound. Then for this button press, we can use this again. Move it just a bit further. Now, in the very beginning, I want there to be I'm not sure what kind of sound this is, but it's sort of like light sound in a way. Not night light or maybe it's not light. Maybe it's like stretching sound. Okay, let's try to use this one at the top. Going to download it, drop it in. And I want it to be when we have the transition. So something like this. And then for this part, let's use swoosh. Well, maybe we can use another swoosh, this one. Or when it's going like, from side to side, we can use this sound that we've downloaded previously. Okay. Actually, I'd like to use this sound in the ban as well. Mmm. Let's do it like this. Make this one quieter by -15. This one is pretty quiet as well, -20, okay? These, let's do -15. Actually, this one minus five extra. Okay, these -15, this minus five this This minus five is G, minus five. Okay. Let's take a look Listen at everything. We need to make this one louder. Let's put it to five. Pretty good. Let's take a listen with everything. Let's do like -15 for the song. Let's use the lower music for voice. Oh. There you go. Well, that's how you do the sound. I'm going to come to the very end over here and going to select here and I'm going to press 02, select it, go to Export, and I'm going to export. One thing I recommend you to export with is, for example, you have priests here that you can save and recommend you to just copy these settings. This is much source because if you export from after effects, you've already created the right composition after effects. I recommend hardware encoding, profile 4.2, frame sampling, then for bitrat encoding. Recommend setting to something like 19 because social media is going to compress the videos even further, so there is no need to have a high B trade. Then for effect, I recommend you to apply a QT Gamo compensation lat, just select. You can find it in the downloadable resources section. The reason for that is because if you don't have it, so let me just disable it. You will see that the colors are going to be slightly different. I mean, you cannot really see because we just have, black and white. You can really see it, but basically the color is less saturated. Without it, there's a big difference, and I really, really, really recommend it. So find that in the downloadable resources section, export, and this video is ready to go. So let's export it. Take a look at the final main comp, final export. Let's take a look at the final video. Great. If you have any questions, let me know. But other than that, I'll see you in the next video. 13. Capstone Project: Build a Viral Motion Graphic for Social Media: Come. In CVD, I want to quickly walk you through your capstone project. I just want to say right away that there is no pressure. Sometimes people feel like there's, like, a need and they have to do it. But, you don't have to do anything. You don't have to do this project. It's just something I really recommend you do because that's the best way that you can learn. And not only you, if you create a project and you share a couple of details about the project, about what you've learned, your struggles, or just anything you want to share, might help other students learn better as well. The reason for that is because let's say you have a struggle, you overcome that struggle and the struggle is different from some of the struggles that I have, if another student has the same struggle that you had, it means that by sharing your own experience, you will help other students just because they'll be going through the same thing. It's just something I really recommend. There's no specific criteria. The only thing recommend is for you to practice whatever is best needed, either for your work or whatever skill is lacking the most for you, just go ahead and practice that applod that Skillshare project and share just a couple of words about your experience. Have any questions, let me know, but than that, I'll see you in the next video. 14. Last step!: Congratulations to you. You are nearly 100% done with motion graphics for social media course. There are just two small steps you need to take. First, take action. As Kafuha said, a journey of 1,000 miles begins with a single step. So if you haven't already, take your first step by editing your first video. All the best information in the world means nothing if you don't act on it, and even small steps lead to massive outcomes. If you found value in this program, I would really appreciate if you can take 60 seconds to leave you honest feedback. I will be immensely grateful to you, any feedback will massively help future students in choosing the best program for them. Although this course is complete, your journey has just begun. I'm excited to see edits online, so be sure to keep me and fellow students posted. Remember, I'm here for your success. If there's anything you need, don't hesitate to reach out on the Q&A section below. Thank you again for choosing me as your instructor, wishing you all the best and looking forward to seeing you in future courses.