Masterclass. Animate like the big brands

1. Introduction: Hey, friends. Welcome to the first lesson, a master class on how to create a professional intro for our top brands. I think some of you already know me. My name is Roma, and I go by the name Motion Ram. I have a YouTube channel specifically about motion design, and I've been working in motion design for the last eight years. And you might ask me, why are we going to develop an intro in this master class? Namely because through intros, brands are recognized people buy products Engagement increase as it grows. Brand recognition is very important, so it's essential to know how to create these intros, if we want to earn a decent living. So what will you actually get from this master class? During our training, we will learn how to create a professional intro. I will show you step by step from the very beginning in a simple way for beginners, how to create a professional animated intro and we will go through it step by step for all the nuances, for all the moments, for all the techniques that I use in this intro, and you will also learn to do it after that. Yes, of course, there will be complex techniques used, but I will try to explain everything in a simple way as for a beginner who has just literally started practicing there. After Effects, motion design and isn't very familiar with the program. It will be suitable even for such people. I'll do my best. I'll break it all down for you. In the end, you will receive a final professionally made video that you can even add to your portfolio. The structure of the master class is designed in such a way that I will show you everything from the basic settings to advanced techniques and all the way to the final render. In other words, I will guide you through this entire journey. So let's take a look at what we will create in the end. And the next question, if you're not sure whether this master class is right for you, I'll say this. This master class will be well suited for designers who already have good skills in design, but want to add more emotion to their work. This will also be suitable for people who are just starting to learn and want to quickly level up their skills. This master class is really great for those people and also for people who just want to learn who don't yet know how to do it and want to learn how to create like these cool ones, intro, and they have quite a bit of experience in motion design, but they haven't done work like this yet. This master class will also be a good fit for you. I also want to add how the training will be conducted. You might have seen the latest video on my YouTube channel where I showed a bit about how to create this intro. The training will look something like this, meaning everything will be explained in detail in equality, and step by step manner. I will guide you through the entire process of creating this intro. If you like everything, after watching the video on YouTube, you'll be able to join in. We will also create a chat, a closed community where I will be showing, telling, and helping. If you encounter any issues during the learning process, I think there will be minimal issues, but they can still happen. Move on to the next lesson and become a more professional motion designer. 2. Lesson 2. Basic Settings: Hello, friends. Welcome to the practical part of this master class. And during the training, you will walk with me on the path to creating an intro like this. This intro is about the level of animation you'd find in big brands like Google, Meta, or Microsoft and any other big brands. If you're new to after effects, don't worry because in the first lesson, we'll take a basic look at the after effects interface as we take you through the first steps to creating our intro. The first slide we will develop is not difficult to develop, so it will be a good start to familiarize yourself with the interface and create your first animation. In the following lessons, GT, we will go through various trendy techniques and the entire process of creating a full fledged animation project that will complement your portfolio. Of course, you don't have to repeat everything I did. You can also get creative and add some of your own unique up design elements or animation. I promise it will be challenging with me, but it will be very useful. Let's start this journey, the after effects program. In general, so it is self based, compositionally oriented. That is everything that we create. The composition is created first and then the entire design, and all the animation is created specifically in that composition. You can find a similar concept. For example, in Illustrator or Photoshop, it's the workspace. Basically, it's the same thing, just a little different. It looks different. Next, we have a part called workspace, which is where we can customize our workspace. For example, on my right side. Our workspace to suit our needs. For example, on my right side, there are various plugins here like motion, tool, easy copy, which we will also need in the future, but we'll talk about that later. On the right, we can also see the character tab, which is for our typography alignment. The paragraph is also for aligning our text. We can customize this workspace. At the very beginning, it will look like this, just like the default one. But if we go to the Windows tab, we can find all these panels that we can enable here. For example, we can enable a line, then we can enable, for example, the tracker tab and it will appear on the right side. We can also detach this panel and, for example, move it to another area. I already have my workspace set up so I can just click on my workspace. If you want to customize it, you open all the tabs and arrange them here however you like. Then we go to the Workspace tab and save it as new workspace. Then you'll see a new tab appear here. By clicking on it, you'll always have a workspace like this. If something went wrong, you can just take it back. The same goes for the Workspace tab. For example, I don't know, this panel closed and it closed. This panel, I can go to the Window tab Workspace and click Reset My Workspace to save layout. This makes it easy to return to my customized workspace. This app is very convenient. I recommend setting up your workspace to have all the necessary tools at hand. The next part is our composition where we will create everything. Let's create our first composition. To create a new composition, we can simply just click on this icon right here on the screen. Create a new composition or go to the composition tab and click New Composition. We select the settings four K 38 40 by 216-03-0340 by 2060 frames per second. Let's take, for example, a duration of 50 seconds, the duration of our composition, and we'll name it AI text. The intro text that is actually what we will be developing together. Here we have created our composition. We can scroll with the wheel, zoom in or out or adjust it roughly. You can see our composition. We also see that our composition has appeared in this left panel. All our files, all our folders, and all compositions will be stored here. You can also structure everything for convenience. You can create a folder, for example. Let's name it. Main, for example. And we can move our composition into the main folder. The next important part will be our timeline. This is the panel where we'll animate, create our shapes, create our texts, and actually create all the graphics, and we will be able to change any parameters right in the timeline panel also play our animation to see what we did. Everything is happening in this panel too. The last important panel for today is this top panel where all the tools we need for creating our design and our animation are located. The first tool is the selection tool. He will be our usual is needed to select something. Basically, that's it. Next, we have our hand tool. This is for moving something, for example, moving our composition or to move something there as well, usually for moving. Also see important tools that we will mostly use are like the rectangle tool, but there are also other tools hidden here. If you press harder and hold, the rectangle tool will appear rounded rectangle, Ellipse tool, polygon tool, and star tool. These are in principle, all the shapes we will need, and that's enough for us to create any design. The next tool is the Pen tool. Also, if we press and hold, we will see that there are other tools here as well. This tool is usually used to draw some arbitrary shapes. We will be using this in the future, and I'll demonstrate all of this to you. Also the next tool is that's the text tool. We'll be using it very often in this project for writing text because we'll have a lot of text and also to hold down and press. We have horizontal text writing and vertical text writing. In this project, we will only be using horizontal text writing. 3. Lesson 3. Getting Started. First Animation: So to demonstrate a basic animation. Let's draw a shape and animate it very simply so you can understand how animation is generally done. Let's select the rectangle tool. We'll click on it and choose, for example, the Ellipse tool. In any location like in this white area, which is on our composition, we click with the left mouse button, hold down shift so that our ellipse is equal on all sides and forms a perfect circle because if we release shift, if we don't hold shift, it becomes an arbitrary shape. But if we hold shift, it turns into a perfect circle. Let's draw a circle like this right away, our layer appears on our timeline. If we click on the selection tool, highlighted and press Enter, we can rename this circle for convenience. Let's name it circle. We can also see our anchor point. This is the main point around which all actions regarding the object will take place. All about all actions regarding the object to rotate with for example, the element. If you rotate the rotation tool, everything will happen around this point, anchor point. We don't need that for now. Et's go back to the selection tool. You can just press the shortcut KV and we go back to the selection tool. To make everything work correctly, we need to align this anchor point. We can align it anchor point tool like this manually. But if we don't have snapping turned on, then it might not align perfectly where it should. Anchor point. You can also use it very conveniently with the motion tool, which I already mentioned I would share with. Here's this little thing, which is essentially the same thing, anchor point tool, and we can just click here, select our layer, click here, and our anchor point will be centered. Next, we select our circle. It's selected, and we press the letter P in English. We click on this bell. Let's move to, for example, the fourth second. Right here. If you look closely, we will be at the fourth second. This shows exactly which second we are currently at. With our timeline indicator, and we set the second key. Here we see the position values. This is the position value for X, and this is the position value for Y. We will animate, for example, only along the X axis. For this, we just change this value, holding down shift so that the value changes faster. It will just be multiplied by ten. Now we move our circle, for example, to the right. We can also, if we want to animate along the Y axis, we can lower it down as well. And that's how our first animation happens. To play it back, we go back to the beginning with the timeline and press the space bar. Here we have created our first animation. Basically, that's how the entire animation is done in more detail. When we start creating our intro, I will talk about all the details, how everything is created, about all the elements. Let's move on to the practical part of creating our intro. 4. Lesson 4. Creating the Background: So friends, let's move on to the next part. Specifically, let's animate our first slide from our intro and let's delete everything we have on our timeline and start by creating a background. To do this, in this area, we right click Select New, then solid and we'll name it BG which stands for background. The name doesn't matter. It's just for better organization. I name everything appropriately so that if the project gets complicated, I won't get confused. Next, we need to add an effect. For color gradient, I use the FX console from video copilot to add effects. I'll leave you a link to download this plugin. It's very convenient because you can quickly add different effects. You can call up this console by pressing Ctrl and space. So we press Cotrell and then space and we type four color gradient. For now, let's arrange it randomly and change the colors to something like this light with a shade. Let's go with purple or blue. Next, we need to animate the movement of these colors in our gradient a little. For this, we open our solid gradient position and colors. Here we can see the position of each color and the color itself. To animate but not using keyframes, you can use expressions. Specifically, this is a small piece of code that automatically animates, or it performs some automated action for certain elements. In this case, we'll make our color move randomly based on its position. We'll use an effect for this, more specifically, the wiggle expression, specifically to apply the expression, we hover over this little key, this stopwatch and while holding down Alt, we click on. Let's write. In English, it's wiggle. Then the first value will be the frequency, for example, let's say the frequency, dorm fv, and then the second number after the comma. This will be a random distance. The number of pixels our position can move. Let's say we write, for example, 1,000 and that's it. After that, if we check, we can see let's make our color a bit darker for better visibility so we can see how this effect works. And here we can see it automatically moves around after playing. Let's turn the color back. And then we just right click to copy our three next positions and press K trail V. Then you can simply copy our expression and paste it into each position accordingly. V. Now, all our color positions, our gradient will move randomly with a frequency of 0.5 and a distance of 1,000 pixels. Let's make it a bit darker colors so it's more visible here we already have our animated background. Next, we need to animate our text. I have a certain text prepared here. I asked the GPT chat to write me certain phrases, certain words that relate to artificial intelligence, something modern that consists of one, two or three words to divide this into slides, I can easily use a certain phrase for each slide and not just sit there thinking about what to write. Usually, yes, I do that. I create some text and then build off of it so that it's logical and structured. I build off of it and just paste it into my project. 5. Lesson 5. Text Animation: Here we have the text for our upcoming slides, and let's start with the first piece of text. And I'll take this base layer, unlock your potential. Let's take type two. We're writing unlock. The the font will be DM suns. The size is apenaegula 210 and the spacing between the letters is -60. Let's make the anchor point in the center. We'll also center the alignment for the paragraph. Let's center that as well. Let's duplicate this layer with KettlDF now let's hide it. Let's write it. Your same. We'll duplicate. To have three texts. We'll make the last one left aligned so that when we change the word in the future, it will be written from left to right and won't shift. For now, let's align everything to the center. Let's turn on our previous words. And we'll position it like this. Let's add to our third word. Four color gradient. Let's lock the padlock so that our effects don't disappear, control, and we'll change it to some more interesting colors. I'm going to do everything in this purple blue range, so I'll be changing it to roughly these colors. I Then let's go also so that our gradient or rather our colors, they didn't move, they didn't disappear. Let's anchor the positions to our text. For this, we press this whole little bell, this whole clock, just like last time, just like last time and we write expression to comp. A and a semicolon. We copy this expression and paste it into all the following ones. And we can see that our color positions have shifted. We need to move them back about how they were now if we move our text, our gradient will always be anchored to the same positions of our text. Now we need to animate our text. Let's select our three texts, move them a bit and adjust this slider to better see our timeline. Let's open the position, press the letter P in English. Let's set our keyframes, we'll move to wait a minute, 15 frames. Let's set the second keyframe. Let's go back to the beginning with this button. With the shift, we drag it down. Our three text positions. Somewhere around like this, I think it will be fine. Let's select our keyframes. In the motion tool, we set the value to 90. Specifically, if we go over, this can be done manually, but I recommend using the motion tool. If we select our animation keyframes and go here, we'll be able to see. This is the animation graph. This means that there will be a value of 90 on this side and a value of 90 on this side. If we highlight again and change it like this, we will have everything. The animation is smoother and smoother or even linear, but we need the value of 90 for the animation to be dynamic enough. So we highlight our keyframe just for one text and we go back to the animation graph. If you don't have a graph, not a speed graph, then you can change it right here. From value graph to speed graph, just click here, right click with the mouse and you'll switch to the speed graph. So we need to find exactly where the fastest position of our animation is. It's roughly around here. Let's go back and we open opacity by pressing Shift plus T. Then we will see its position and opacity. We set a key. We move two frames to the right, set another keyframe, go back and set the value. Zero, we highlight and select the F nine button. And this is what these two animation graphs will look like. We missed it a bit. Let's adjust it. This is how it should be so that our opacity appears at the highest position right in the center. Here we have it with the first text. Let's turn off the other two for now. That's exactly what we need. Let's copy the opacity. It is in the same position that ours the timeline indicator shouldn't be standing still. We highlight the next two text and paste our opacity. A so far, it's coming out like this. Next, we highlight our three texts, here we have a value called offset keys or rather our layers shifted to the right. Here, you need to enter the value four step one, this will be applied to one layer. If we write two, then the next two layers will shift. This is how many frames we need shifted, and which way is this. Randomly to the left or to the right, we need to go to the right. We highlight all three layers we select this position and click on sequence, and we see our layers have moved four frames. Each after each. And now we have the animation ready. And to improve the dynamics at the beginning, we need to find out roughly where the animation starts. This is where it will roughly start from here. Go we need to move 15 frames. Left then the animation will look much more dynamic and will start much faster. The next step will be to write some additional texts for this word that we will be changing. Let's duplicate it for this. We will remove all the animation keys. We don't need them yet, they will be there and we'll rewrite this text. We can just double click on the layer and it will be highlighted so we can change it. Our text so that it can be changed because we have the paragraph on the left side, the text is written from the left to the right, right from this position. Let's write talent. Strength. In this particular instance, we are presented with a total of three distinct words that will in a sequential manner transform or change into one another. Here we go. To start, let's link our word potential to zero. Selected and add zero. We will animate the U object because we need the animation to start somewhere around here. And as we can see, we have another position here and the keyframes will overlap creating the animation, our Impossible. Let's rename this zero object to P one. So we will click on the position. Left bracket on the keyboard to move the layer exactly to the position where we have. Still on the timeline. We open the position with the P key, as I mentioned earlier. We set a key, move to about let's say around second, ten. We set the second key, and we animate it upwards. Something like this. We select the animation graph 90. At this moment, we need to bind the talent to zero. Then we duplicate our P one. We now have P two. We bind it. More precisely, let's move it approximately to 2 seconds. Here we can see that both potential and talent are moving. At this moment, we need to bind P one to P two. And now we turn on strength and we bind it to P one as well. We ended up with this little piece made of animated texts. At the highest speed, specifically. Let's highlight this zero object position right here approximately. Let's copy our opacity. The previous one was animated and we'll insert it into so we need to make it so that when the top text or rather this first text goes up, it disappears and talent appears. That is, we find the fastest point again. And we set on potential. Here's this opacity. But we'll change it in the opposite direction. To do this, we right click. Time reverse key frames. So our value will go from 100 down to zero. Let's copy our opacity again and write at this moment. Again, at this moment, let's insert our opacity. I will fade out like this and we'll do the same manipulation for the second animation. We find the highest point. We copy the first keys where we have the reverse. We insert it into our second text. Here are the keys where the review will be, we insert them into our last text. Here's the animation we end up with. The next step will be to animate a circle that will fly out from the bottom. Let's go ahead and draw it. We select the Ellipse tool and we draw it approximately roughly to the width of our composition. It will be roughly the size. Anchor point. Let's center it and align it to the center as well. Let's move it down. It will be roughly in this position. Let's make sure that the text doesn't get hidden. It should be at the bottom. Let's move this layer all the way down. But not below the background because if we move it down, it will just get hidden. Let's name it in the compass. We'll add a four color gradient to it. More precisely, we can even copy it. Text. So we don't have to rewrite it again these expressions. We'll just change the placement. And we'll change the colors. Something like this. A We also need to animate the movement of colors on this shape. We click, select the shape, the circle, and press E twice. We add a bit of wiggle to this expression. Let's go. Too much. Let's write 1,000, for example. We are here. Probably won't be necessary to come. It's necessary. Just have this wiggle. Let's adjust E, the placement of our color positions. Yes, the animation looks good. You can change the frequency, a little for certain colors. They move at a slightly different speed because right now it looks very uniform. Now it looks more interesting. Let's also animate the exit of our circle. For this, we go to the beginning, press position, approximately about 20 seconds and we'll animate from the bottom. The animation graph is 90. Let's make it a bit more dynamic. It's still left like that. 6. Lesson 6. Trim Path. Additional Elements: We will also animate the stroke for our circle. To do this, we will duplicate our circle. Let's name it. Circle stroke. Let's just make it visible that will make it easier. Let's remove fill. Here we also need to remove the stroke from the previous one and leave this one. We also need to remove Bica the four color gradient. Here we see we have the circle. Let's make it approximately roughly this color. We will also add Trim pass so that we can reduce it where our stroke will start from. We can reduce it and move it. Let's turn off this thing so we can see where our circle is, where our stroke is. Here we can reduce it, for example, to twits next open, stroke in the ellipse, Tupper and make it have smooth starts on this side and on the other side. So we end up with this circle. We will also animate this circle of ours. Specifically, we can animate it in trim pass our offset. Let's set a keyframe slightly. And here, let's say a little bit more. Let's set a value like this. Here, we will have a little bit reverse to create some dynamics. Also F nine. But here we will create the animation graphs manually. To do this, we select this thing and drag it to the left and our animation graph should roughly match at the highest point with our position. It will be somewhere around here. At this position, we need to have this highest point as well. For this, we will pull the left side in here. Plus or minus it hits that our highest point will be here and here's the animation we get for the line. Let's duplicate this line. Offset. We'll move it like this, meaning we've selected two keys and we will have animation. Changed a bit too much like this. It will move the same way just with slightly different values. You can quickly change the values like this and here's the animation we get for the lines. Then we take these things away so that we can see everything we can do, what we can do, imine. Now let's see what we've got. A little bad, our time is rare. Let's probably make it either lighter or darker. Here's something like that. Let's slightly increase our line. Let's also draw a star here. It will fly out together with our little star just a bit later. Now I'll show you how to do it. For this, let's right click here and select new shape. Let's name it star. The et's add it. Star. Let's add fill. That is our fill. Let's choose four points. Here the values will be 1024240. These are roughly the values we need to create an interesting star. We'll position it roughly here. Let's reduce it a little. Scale We'll also add gradient. Here, we'll change the colors to something more interesting. You have to be careful to look exactly for which layer you are changing text because I just changed it for the text, not for the star. Here, let's have a star that looks like this. Let's copy this gradient from our star and we'll paste our star. It will have a more interesting color, the same one, we'll take it all off. Expressions. Like this. Now. Let's write the expression to comp here. Here have a star that looks like this. We'll also make it move out. We're animating the star from here. We also need to enter it into our old layers beginning right here. Let's highlight the position. We set the second key so that the distance is the same as the duration of our animation. Let's go back and move our star down. We set the same animation graph. For this, you can use easy copy because I don't remember, for example, what the animation graph is here. We highlight these layers, copy them. We highlight these two keys as well and we take easy and we end up with the same animation of our graphs, animations, exactly the same. Here we see, but now we need to move it a bit, create an overlay to the right so that our star comes out later. We'll also add rotation. To make it look a bit more dynamic and have some extra movement like this. Next, so that our star doesn't stop, I want to keep it going, continuous movement. For this, I'll adjust it roughly around this moment. Because we almost have the animation here, you can see it ends right here and I want to make it so that at this point it just keeps moving. To do this, I press CottrelShif D. I'm opening it, rotation, and I set it. I want to add an expression, time T multiplied by 15. For example, but we can see that something went wrong because we should have -1.1 degrees, we get plus 25. We said it to -26.1 degrees. Our star is toning right here at the toning point in exactly the same meaning that we have here. It turns out that it is moving and at this very moment, it will continue to move at a speed of 15. Degrees per second? Yeah. Yes. Also for this entire animation to make our animation a bit more, we can make the next step even more dynamic by creating a null object. Let's call it S one. And link it all the objects. Those that are already linked, we don't link again because they will relink to the wrong zero, the object that we need like this. Let's open a scale, set a keyframe and move forward to Let's set it to the fourth second. Let's set the value to 95. Here we set the value to 110. Let's select the keys. We'll press F nine, and here we'll also do it manually. Approximately. Here. At this moment, I want us to have the highest speed. Let's move to the animation graphs. We do approximately such an animation so that we have an animation graph about this moment. Even right here. A I won't touch this side much. Touch. Let's stretch our animation a bit. To do this, you can select two keys and drag this key with Alt. This is when, for example, now it's not so visible, clearly, but when you have a lot of keys here, you can just drag to the right with Alt and you have this animation will stretch properly to the right. 7. Lesson 7. Typewriter. Creating a Transition: The next step you need to do is to make the transition from these letters to the next slide. For this, let's animate these three words to the left. To do this, we highlight these three words. We press P. And it's done. Approximately at this moment, you can put keyframes for the position. Here, we haven't added any animation yet, so we just click on the stopwatch and here we simply set it on these diamonds so that the keyframes start to appear using Command Shift and the arrow key to the right, you can move forward by ten frames to the right. Let's move on, I think at 1 second and 20 frames, we set the key frames again and we animate it to the left. Yes, high we set the value to 85 and the prox. Similarly, at the fastest speed of our animation, we need to insert the position. Let's move on. Using just curl and the right arrow. We set our keyframe for the position. At the first one, we set it to zero. F nine, so that we have smooth proper animation without any animation graphs and nonlinearly as well. Oh, set correctly. No those values. Here, it should be zero. It should be 100. I use only two frames, about two, three frames to make the animation sharp but a little smooth. And we copy. Let's check if it's accurate. In the middle. In the middle, we copy this opacity for this text and this text. Let's do it from a small one, probably S. Let's check. Our animation shouldn't stop so it needs to start moving somewhere around here. Let's move this entire animation. Let's shift this entire animation. We press you to see all the keyframes for these layers and we move it to the right. Now, to shift our keyframes to the right, but we have the animation on these layers and we basically push the layers, so we need to shift them. Keyframes. You can use it like this as well, just to highlight our keys also use this panel. Shift it's shifting poorly. We need to specifically probably just the position. And then separately, the opacity. Everything is good now. Here we have a really cool text and it is at this moment that we should have the departure of this circle hours Aircus. Yes, it's connected to us. As one, we have no position, so we can just animate it. We're animating from the first key on the first text to the last key on the third text, and we create the exit. But we have the scale animated here, so we'll still have to deal with it. Let's rebind it to the new object right away, so we'll name it null object. Let's name it right away. P. This is for a better understanding of what will be happening. Using this square bracket we transfer this null object in that position where our timeline is. Let's move it over here like this. Let's open P and S with shift. Yes, we found it. The last keyframe of our third text and we push it out in position animating it roughly like this. Bigger here so that we have some background because of the circle. What do we have now? So we have a background. Uh huh, but we have the text. We need to unlink our text at this moment, here, here and here. Let's do curl shifting so that our text gets duplicated. And we click with Cal here on the pick whip and all the layers get unlinked. And now our text will move to the left. Uh huh, and we need to do the same for the star because we are going to animate it so this is the star rosefT with cruel or command. Let's click on Pick Whip. Everything has been linked. Also at this moment, we will animate our star. Uh huh, we cut four pillars. We press B. And we animate it down. The same animation graph, 85. Here's what the animation looks like. Next, we need to write new text. I had this Exactly. I don't remember what the text size was, but it should be something big. Bigger. A little bit like that. What font are we using? Uh huh. I'm using the wrong font. DM sense medium version. It should be. Let's even make it bigger so that only this part of the text, it was fitting into our screen. Let's align it a bit. So we'll animate it. For now, let's animate this randomly like this by position. One, two, three, four, five. And there will be a light exit from the bottom. I think we even need to shorten the animation. Next, we should have a transition this text will zoom back a bit and start moving to the left. The second part will disappear and reappear. For this, let's draw rectangle. Rectangle, fill approximately et's set the position to be the same as it is for our text. Let's throw it down. Something's not right here. Oh, no, everything's fine. It's just our text. There's a little letter P there. It's going down, so it seems like our rectangle is too small. We just need to increase it a bit. Somewhere around here roughly and round it off. Let's go with 175 that works. Here's this moment. A rectangle should appear. We put our bracket to carry. Text. We'll do more after that and then we have the same gradient on our rectangle, find our gradient on the circle, copy it. We have the gradient on the star, not the star on the circle. We copy it and we paste it onto our rectangle. We can do it. Exactly the same. As we need it. But now there's a moment we need to remove our circle at this point, completely crop all the circles. We'll be left with our background. Let's link our text to this moment. Up to this point. Like that. And let's do scale here, 25. Too much. 25. I even think that I should increase the rectangle. Oh, let it be like that. Let's reduce it, scale. Or no on the contrary, I'll increase our text even more. I'll highlight two keyframes, move them a bit over here. Right at the moment of the appearance, we need to set the scale of our rectangle and here is the scale. Here, the value will be 100 at the next key, the value will be let it be. Here. Something like that. Here our Tia text should start to move left with our rectangle. We animate rectangle three, four, deep like this so that we have some left. Our rectangle is a bit lacking here. Now, let's fix it. We select our rectangle. Keyframes, let's set the value to 85 as well. Our text has probably shifted a bit. Let's fix it like this. It's still too much, so it's better to just move the rectangle. Let's unbind our text. Now. We'll move the rectangle like this and we anchor the text back. This is just to fix the incorrect placement of the rectangle. Now it looks decent. Now we need to make this text disappear. For this task, we will use a few more words. Opacity animator. If you click here on the opacity animator, et's mark a small value like this lower so we can see if the animation is working in which direction and if it's correct. But so that the text doesn't completely disappear, so we can make some adjustments. We need to. Here we have the tool is indeed This tool to fade out. We can choose in general to fade out by index. But no, let's just leave it as it is. Percentage this tool. Here, like this, we will have a value of zero, animate from zero. We need the animation to sync with the rectangle. Zero. Yes, we need the animation to be synchronized with the rectangle. We place the key frames in the same spots, and here we set the value to 49. We copy our graphs, animations, put it here. And let's not forget to change the opacity to zero so that the animation is fully executed. And here we see how nicely the text fades away. So our next transition will be to the same text, but just in a rectangle. For now, let's everything we have here, we'll cut it. We'll shift D. Let's create a new layer. Black, which is a square bracket typically used. So here we have the text is a power. We write is power. Align, the anchor point. Align. We can even make the text smaller. 250, we copied the same gradient. We insert it onto the text. We'll just position it a bit differently. Something that we're creating a rectangle. More precisely, we add a shape rectangle. Let's add a fill. We're moving it down. We're changing it to a color this purple, but with a hint. We're changing its size. Let's write that this is a rectangle so we don't forget we're changing its size. Approximately, let's make it 300, but we'll make it a bit bigger in this direction because we will have a star on the right, something like this. There's the star. Something like this. We'll add some rounding. We can easily copy our star here. A square bracket to move it, we remove all the keyframes, all the bindings on crop point. We place it in the center and align it. I should appear somewhere around here. And we remove all of them. We just need to remove the rotation and scale, and we position it's somewhere. Here, we even have a smaller scale. We'll have a star like this. So we will have a transition happening from this text to this one. For now, let's turn this off. We'll also crop the rectangle. This is how the transition will happen from this text to this one. Then we need to so that the animation doesn't end abruptly. About this point, it seems like everything is bound to the scale. No. This is our rectangle. We have a shape. Then we need to bind it to a new null. Let's create a null object. We'll move it to a two, and we'll bind the shape, meaning our rectangle. Let's also rename it to rectangle. We'll bind our rectangle to S two. The text doesn't need to be bound because it's already bound to our rectangle. Also a bracket approximately so that we know from here that the animation starts and we create the animation based on the scale. And we move on one, two, three, four, five. And we create the animation, I don't know. Let's try it at zero. We highlight the value 85. I'm setting the value to 85 everywhere so that our animation runs plus or minus at the same speed. I make the same time segments so that the animation runs shorter so that the entire animation is more or less similar to one another and the overall style essentially turned out to be similar. Then we find the highest point animation. Here and here we need to cut it. What do we have left there and delete it. Let's move this here. And we also need to create an animation for the second text. We also highlight all of this. Oh, more precisely, we create a null object so that it is centered. We cut it here as well. We set the animation. We open the scale. We animate it, for example, from hundred 50. We copy the animation keys. Easy. Link more precisely, we go to the last keyframe or somewhere beyond the animation and we link our rectangle, text, and our star to the null object. This will be S three. This is how it turns out. We have this part animated. This part is animated, this part, and at the highest position, it just becomes a match cut. I just gets cut off and it looks very smooth animation. This is a technique that I use in most of my animations. This is the database that needs to be used. I go use it. 8. Lesson 8. Stroke Width Animation. 3D Position Transition. Light Sweep: We also need to create an effect like a big explosion or perhaps I don't know the appearance of such lines or something like that. For this, we'll take our rectangle as the base. Let's duplicate it. Let's key the line. Let's turn off the fill. I didn't add the line. It's not there, so we just need to add it. I added the line. Now let's set it to solo mode. Let's make the line size. About 40. Yes, next, we copy the gradient, setting our gradient. Something like that. Add it, Gasml. The value is approximately about 150. So here we have the animation bound to three. We need to create an animation based on the scale. Somewhere around here, probably. Approximately around 750 or so. Let's see what we get not in solo mode. Let's add for our stroke animation, we open stroke stroke width, and we set the reduction to zero. Let's set the animation graph the same one. Let's duplicate this. Rectangle stroke, let's set the value. 500, for example. And let's duplicate it again and set the value. Well, 300 We'll do an offset. Two. Probably five frames will be too much. Let's set it to three. They seem to be that way. Wait, which one do I have? The biggest. Let's make our rectangles a bit wider. So they differ a bit in size because you see they overlap. When is one? Let's do it like this in general. And we will be doing an offset on the rectangles. And our animation needs to be dynamic. Dynamic. Let's even make it two frames. And we won't do the animation like this, but we'll do F nine. And we'll drag it all the way to the right while holding Shift, something like this, perhaps, or maybe something similar. For the quick let's add some more. Two Maybe we should well, let's try a bit. Let's try to continue the animation to make it smoother. We'll add opacity at the beginning to have a soft soft appearance. F we just copy and paste it here and we have opacity appearing just like that here. A I think I put in the wrong values. Reversed from zero to hundred. Let's replace it. There, that's already not bad. Next, we need to make sure that yes, we are losing ours, the star, we need to extend it. Next, we need to perform the transition. Such a Zoom. The transition to the text for this, we need to animate either by scale or by position. So let's link all the text in the star linked to the scale of eight is three and we'll set a new zero. I called it ES three or Pit approximately here, our animation sequence ends and it is expected to start again because we will have an acceleration period, animations for this. We need to turn it on. Our rectangle star in three D, it's in three D, and it seems like it's in three D. Then let's work on the position, and we'll add orientations. That is rotation. We need our start to enter the center of five. It entered roughly in the center. Bike and we do the maximum Zoom. Maximum cd Zoom. A little. So for now, let's pull back a bit on some of the rotations like this and like this. Okay. Well, let's make a graph for it. Animation 85 for now. We're definitely lacking some power here. Let's add a little bit more, perhaps just a tad more indeed, just a bit more. Here we have there should be a transition here so it's not centered. At this moment, it should be centered, we move over here and just randomly slide to the left while holding Shift and see if our star is too much. Let's pull back a bit. Missed it again. Somewhere around 1,000, I think it will be. Oh, it's hitting the center. Nice. At this moment, we find where the fastest position is. Somewhere around here, let it be. A little further from the fastest positions. You can do it this way too. When transitioning, you can't really see it and we cut off the star. Text. In principle, these zeros can also be used for a better understanding that's where our specific animation ends. For the next transition, we need to create a new composition. Okay. Let's name it perhaps, for example, slide oh one, there will be the text auto made. Success. Let's align it to the anchor point. This text should also be aligned to the right paragraph and this one to the left. So that if we want to change it to some other text, it will be easy to change and our animation won't break. But like this, let's add zero and we'll align everything basically to the center. Next, we'll add to our automate the gradient that was already there, we don't have to come up with any new gradients and everything was in one and in the same style. You can only do toco bind so that during the animation, our colors don't run away anywhere. Compi value. We copy this expression with the right mouse button and paste it into all the color positions. We return them back because they got a bit misaligned due to what we inserted expression. For now, let's remove it specifically the word success and we'll work only with automate. Yes, let's turn it on. The shortcut is Cutrol R or Command R, and let's mark it roughly so we remember where our word will be in the future. For now, let's turn off Kitrol or Command and the quotes which are on the right side of the keyboard next to Enter. You can turn it off and on. We'll work with this. For now, let's move a line and center it. And let's set the scale one, two, three, four, five, as always, animation 50-125, let it be 150 even. We set the animation graph to 85. And we move it just like this. Just a little more. This is the animation we need the animation graph should be right here for one more frame as it can be. Next, we need to create the animation again with the scale, but so that the text returns to the same position and to the same scale it was before. And for that, we can do the following. We forgot another guideline, the size of the text itself. Like this and like this. For that, let's connect the ultimate to zero. It's happening at about this moment. Let's give it an animation with scale. For the position, we set the scale. Position, one, two, three, four, five. This is approximately what scale 70 will look like. The position will be fully to the left. The scale will be smaller, probably around 65 approximately. Let's make it approximately 67, I moved everything incorrectly. The word fits perfectly. Let's set the animation graph to 85. It's all messed up here. Then we need to align it. Align won't work, so we have to do it roughly by eye to do it. In the center. Here's the center of the word, let's move it a bit more. Almost there. This is like this. At this moment when the text will be moving, we need to bind a second text to the null object and also create an animation. Let's move it here. This is what the animation will look like. But let's give it an additional position animation by position. Like this, maybe by opacity. Let's see now. Let's not forget to copy the animation graph and also paste this text so that the animation is the same, and we'll do that. The animation was the same and we'll do that. A little offset. Here at this moment, the highest speed will duplicate our text, not unlink anything, but just remove the gradient and there will be a smooth transition from the gradient to the white text. They remove the gradient from that text. Control F three or rather F and on Mac we remove it so that we have the controls effect, and then we remove the gradient. One more frame. Shift it. And a little bit of this one. Here, let it be roughly this animation. For now, let's turn everything off. That's how this run should be. Two types like light sweep. For this, we'll use a little bit of another little thing. Let's create a shape rectangle, fill approximately of this size so that it matches the height of the text and it's so narrow and we'll add to it. Gradient. We'll also shift it a bit. We're breaking down the rotation. We can even reduce the scale. And we need it to be. Let's be more precise like this. This text appears somewhere all this moment should run through this shape. The animation graph, think the same one. But this one should not just run like this, but like this and we'll add a blur so that we have There was such a effect. Oh, I applied the wrong thing to this. Blur, not upwards. And the value. Now I'm setting it to 150. And we'll add exposure. I like sweep. Let's rotate the position a bit to one side. It should be roughly the same as our rectangle. I'll add light intensity. We'll decrease edge intensity. Edge thickness, smooth mode. This is how it should look and we'll create the animation just like that, somewhere around here. Somewhere around here. Let's set a key. And somewhere around here where the rectangle as well. Animation keys. Let's create the animation graph like this, the same. And what do we end up with? We end up with something like this kind of I even think we can rotate it back a bit. Select two keys. No, that won't work. Oh, no, there is here, a shiny moment is added and duplicate it once more and move it to the right. This is the moment we have. I remember too much, a bit blurry. And maybe change the animation schedule a little to something like this. Manual Like, to make the animation start more. Rather, in the beginning, there was it's like this, something like that. 9. Lesson 9. Transition with Page Turn: The next part of our animation is what we need to do. The page Turn effect to do this, we'll add our slide one composition by simply dragging it over to this icon and then our composition will be created within the new composition. That is, in fact, we got a composition. It's just a quicker way to create a new composition within a composition. For the page flipping effect, we will also need to create another composition. We'll create it later. Now we will create the actual page turn effect using the effect. Cis I Let's set the settings. Front page. Then here we'll choose classic UI, fold direction 85. Let's go with that. Fold radius 1,000 and light direction, let's set it to 60. Let's move our page, turn position somewhere around here. At the moment when the animation is finishing? Well, let's say somewhere around there. At 20 seconds, we set the fold position. Keyframe, let's move. Let's say 1 second and ten frames. We also set the second keyframe. We move the animation about here so that our page disappears like this so that it completely disappears. Also, let's create a new composition. Let's name it slide two, and we'll just add a solid to let's add this gradient here. Let's go in. T, let's literally copy and paste it onto our Let's rename our one slide. Here it is on the page. Turn. This will be our slide two, and we insert the gradient here. We'll probably make some darker colors. Let's duplicate our slide one, go into the page turn composition, duplicate our slide one. Next, let's fix it. Or rather let's select slide one first. Let's rename this one too. You can rename it here. It doesn't affect anything. This is still our slide one. Or let's just replace it rather with slide two. Like this, you can highlight it. Let's just go back. You can simply highlight it, hold down ALT or option on a Mac and drag it here, and it automatically replaces it with another composition. Let's copy our CC page turn from the first slide and paste it, we'll go to the timeline here and paste it with Ctrl V right at this moment. But we remove the keys. Just click on this. A little clock, and then we select our two slides, slide one and slide two. We press the E button to open our added effects. Let's fully open it. All the effects. We start binding this to the parameters of this effect. Just drag and drop it right here so that the effects on slide two repeat the effects from slide one. For the effects on Slide one, everything we change will also change on slide two. Later, you'll understand why I'm doing this. Here is the fold direction. Fold radius. That's it. So we still need to make one change. Also on slide two, we choose not front page but back page. That's our slide two. This was the other side, like our pages because our page actually has two sides. This one will be the first. If we switch now, you see we get the other side of the page, and let's animate our charts, animations for the keys Fnine. And let's simply create an animation chart like this. Yes, it's too fast. I think we need to stretch the animation a bit more on frames. It might even be like this. In general, we probably need to do it like this here so that the animation starts and ends as smoothly as possible. I'm a bit suddenly And we have the animation. Yeah, we have the highest point here. This needs to be so that the animation starts, but it doesn't have time to begin. Something like this doesn't have time to start. Here's something like this. So that our first animation happens and immediately the next one happens. Also, we see that the animation is running, but we have nothing on the backside. For this, we need to turn it on, select here in slide two. I forgot to select slide two instead of slide one. And then we have this appearing and we need to set the back opacity to 100 so that we don't have a gap. Into the text, into the front side. We set the back opacity to 100 and also so that we don't have such a strong difference from the back side. On this side, we need to make the colors a bit darker. Let's go here and adjust the colors completely, almost black, such types, almost black with purple shades, purple or blue, something like that. And we'll tweak the animation graph a bit. Also, there was one moment. Our page starts, it doesn't start from the end. In order for our page to start the right point a bit, from the bottom, you can use the effect corner pin, but we'll add it to a separate adjustment so that the whole slide would be animated. Let's rename the pin for clarity on what this F three effect is. Let's fix it, lock it in so that this effect, the controls don't disappear. Let's select the corner pin. And you can just move it a little like this. And here we can also move it a little Here we can see that our page is starting. It's more accurate, and then we'll also add animation to the corner pin, specifically this one. Upper, right, right, top, and lower, right. So that's the right, right, bottom and right top. More precisely. Let's press U. Let's move over here. And we'll animate it to the animation sequence, bring it to life and make it part of the animation. It's roughly like this here. And here, let's carefully and meticulously copy our animation graph with precision and care and then smoothly and precisely paste it into our cornerpin animation. Yes, it's a little deformed here. Our text. You know, let's just go back anyway, you know. To the beginning. And it will start from the beginning. A little then let's lower it down. And here it's fine. Then we'll just lower it a bit so that it animates down. Let's push this further. So that the page more wrapped from this side. Maybe like this. Let's try a little, even in a different way. Let's do it like this. Basically, during a fast animation, it won't be visible and let's fix it. The animation graph. This is roughly what we need. We can still play around with that a bit, but I think this will be enough for understanding. How does this effect actually work? Because you can click for a long time and then make it worse? So we take our page torn and insert it here. At this moment, we press the square bracket. And here's what we end up with. Here the animation is cut off in the middle and just like we did before, we want our slide animation to start from the inside from the inside plus minus more precisely so that here's the highest point of the transition. This is exactly so that at the moment of the match, our text also had the highest speed and appeared. And here's what we got if we put it all together with the previous slide. Here's a wonderful animation, a great transition. 10. Lesson 10. Dynamic Typewriter: So the next part is that we also need to write the following text. It will be for us. The following are the detailed cluster results. Let's make an approximate size. Let's say 250, more than 350. Let's place it somewhere around here for now, a straight bracket. We add the effect using e console. We add the blinking cursor type writer, console effect. This is a basic effect that is in every after effects, and we have a slider added here, which actually animates our text but we need to do it a little differently. If right now it animates the entire text, we need it to animate one word first and then animate the second word. Somewhere around here. Let's say around this point. Here is exactly 50 half. Let's set a key frame. Let's select our three keyframes and set the value, about 90. Let's select these keyframes. Let's see what we have so far. A little let's extend this animation. Let's fix it. Let's extend it to about 2 seconds. Let's select the keyframes at ten frames and hold Alt while selecting the very last one to be more precise, the keyframe. We're stretching our animation to about what we need. But we have an animation here. It stops a lot. It needs to not stop. To do this, we select the keyframes and go to the animation graphs. We select this middle point. This is the middle keyframe. We hover over it, right click and click on keyframe velocity. Here we have a function called continuous. We click it, click Okay, and now this keyframe connects these two animation graphs. In order for our animation not to stop, Let's raise this point a little bit up. Let's see what we've got. Now we have a bit of slow motion animation. Let's rewind a bit. A next, I'll even increase the text size 12 15. 12 50. Let's precisely align the angle point with our composition and accurately. We'll create a moment like this. Let's select these two keyframes, go to the animation graph and find where our highest point is. Let's put it right here. Let's be more precise. We'll take the scale, set a keyframe for the scale, and move to the next keyframe. And we'll set another keyframe and we'll create a moment like this. Let's select the two keyframes and right click, then click on Toggle Hold keyframe. If we, for example, drag this keyframe here and click here, I don't know, maybe set it to 50, then the animation between the keyframes doesn't happen. It only occurs when we hit the key itself. Well, basically, we can leave it like that. This is how it will happen. Dynamic animation. Why did I do that? It's precisely so that at the peak moment, the second key of the animation performs. This scale is exactly at this moment, not smoothly namely, dynamically from 50% scale, straight to 100%. We'll also add a bit of dynamics. Let's go back here. We press Shift P. We set the first key, we also set the second key, and we set the third key. Let's move on or perhaps rather we might delete this key for now, like this. At this key, we're animating to the right. Then to make it done properly, we'll just set a key here so that the animation moves at the right speed and the right distance so we don't have to guess what number to specify for the position. Now we set a key as well. We copy s animation graphs from the first three keys. We paste these linear ones, highlight them, and press easy. What do we have now? Now, an additional animation appears on the loan with the same type of delay. But our animation won't stop at this moment. There will be this double dynamics. Let's see what we've got. This is how the animation turned out. It's wonderful. We also need to add let's copy it. More precisely, we have this one. What kind of solid is this here? This solid. Let's trim this solid. Or, no, let's just duplicate this one instead, and we'll move it up. But let's move it under this page so that probably I didn't happen. Yes. No, that doesn't fit. We definitely probably need to push this solid down here. And make a black solid on top. This is crazy. Something isn't quite working out for us. We probably need to add a solid here. I need to see where I have the empty space. We probably need to add it here. I forgot to add the solid. Just black. Now everything should work out. I forgot to add it. And if we now Oh, yes, now everything is working. We have placed the solid underneath. We need to move it somewhere here so that already during the reveal, this lower solid was indeed showing up. And let's just move it somewhere probably. Here's this moment, our second text. Maybe just a little more. Now we need to add this gradient as well. Let's just copy it from this text. Let's duplicate our one text. Let's add a gradient to it. But it was a bit darker in our example. Maybe something like this will happen. We need the gradient to fade. For this, this gradient was fading away. For this, let's draw a rectangle. Let's have a rectangle like this. We'll move it here and also select this rectangle. Let's take the rectangle tool. We'll use the create mask tool here and we'll draw a mask that covers the entire area just without this small part. That's because we're going to be doing some blurring here. This blurring we'll find more so that it smoothly takes away this gradient. We have mask smoothly. It took away this gradient. There was a slight blur Let's take this for faster results, for now, let's turn off this text. Let's turn on this thing because our track mate is hidden and we'll take it. We'll do it. Track mate. This is how it will fade away. Great. Animate. Our position masks approximately, I think we'll make a slight shift at the same distance like this. This is where it should start somewhere from here. Let's set the animation graph to 90 millimeter to the right and make sure it is properly aligned. Let's make it 80 for the speed we'll turn on the second text. But let's make its color black. Well, it's a dark type. Let's see what we get. Maybe even the mask, I don't know. Let's make it even easier 70. Like something that would also make the gradient fade out during the transition. This is how it can be done. Next, we need to create a certain animation, one that will also add more dynamics, more graphics. For this, we'll take the rectangle tool and we'll quickly draw rectangle here, something like this should be fine. To the size of our text. Let's align the anchor point. Let's duplicate it and move it here as well. Let's set the opacity to 50 so we can see where our rectangle is. That's it. You need to make the rectangle to occupy approximately the size of the word. All right, let's go with that. Plus, it will be okay. And let's set the opacity back to 100. For now. Let's send to the anchor point. Let's move it here for now, like this. And next, we need to animate these rectangles by scale. Oh, something went wrong here. Got it. It should be at this point. Let's turn off second rectangle and let's animate the first rectangle. Let's give him anchor to the right side. Let's take the scale. Let's unlock it. Set a key frame one, two, three, let it be. So let's go back, set it to zero. We set the animation graph to 85. Control Shift D at this point, we change the anchor point to the other side. We delete the scale. Let's set the keyframe again. One, two, three, and we set it to zero. We set the animation graph to 85. Let's move here. We're moving the second rectangle so that it starts from here. Similarly, the anchor point goes to the right side. Scale. Keyframe, unlocked, one, two, three. Done. We've set the keyframe. We've moved to the beginning. Here. CIU. Animation graph 85 85 Cro shifty scale. We take the key away, put it back in one, two, three, so that our animation graph doesn't get messed up. Like, it's better to take the key out and set it to a new one. Again, we set the key. We're moving it here. We set the encore point to zero and the animation graph to 85. And let's see what we've got. The animation is a bit too static, so let's move these keyframes. Here are these? We'll move the keyframes. I don't know how it will turn out. One, two, three, four, five, with half the animation, and we'll trim it. And so that we don't have to set these layers manually, I'll just do it like this. I'll select all, hit the keyframe assistant button, sequence layers, and there they are set up. Here's what we will get. And now this moment the text needs to disappear. To do this, we'll create a moment like this. Let's add an animator for opacity. Then Let's take zero. Oh, we don't. We added it to that text. Here on this one, on the second one on the black Opacity animator. Here we select words. Index, la. More precisely, let's set it up like this so it's visible. In the meantime, let's do this one too. Transparent, so we can see what's happening behind the rectangle. And at this moment, let's set a keyframe. And here we set one. Oh, more precisely. We probably set one right here. We don't touch this one. Here, more precisely 300 here. Here we set one. Here we set two. We separate. We take Togo old key frame. And we do the same right at this moment. Let's set What do we need? Yeah, I got a bit mixed up. We'll fix it now. All right, let's remove these rectangles because they're just getting in the way. Let's not simply use percentage. We'll take This is what we needed. We set the start. It's 50 here because we have two words and we do the same thing. At this point, we set a keyframe and here we make it 100. You can get a bit confused with these indices. We separate the keys and do toggle hold keyframes. Now we turn our rectangles back on and here's what we end up with. We're turning the opacity. Oh, I was supposed to do this here, zero. Really messed up again. That's it. And maybe we can even shift it a bit like this. To make the animation a bit more dynamic. This is what our animation looks like, for example, I don't know. Let's change the color of the rectangles to black. 11. Lesson 11. Transition to Shapes: You can also do this kind of manipulation. Here we have a little there will be a moment, for example, to speed up this animation a bit and add some dynamics, you can shift it. These two top shapes, rectangles, right here, so that when the animation is running, the disappearance of this first rectangle so that the second one appears. This will look more dynamic, like this. But then you need to move it. Opatsiy. This right here. Let's add gradients. Let's add some gradients. Gradients. Now, let's take this gradient. Let's copy it. And we'll add it to all the rectangles to the existing ones in our design to ensure consistency. Yes, great. And now we need to draw some guides. To outline a specific area where the animation will take place because next we need to draw a specific slide. Animation. Well, let's go at this point. And also the animation here will not go to zero, but let's say it will go to Ten too much. For example, let's make it 55, and we'll outline it. Let's turn on the guides with Ctrl R or command, R, and outline approximately this area. Type imaginarily and somewhere after this thing after this thing, somewhere here will be the end of the animation. And we need to do this moment. Next, continue this rectangle. So animated. At 100 even more than that we need from this much. And we will also animate the position and we'll just simply move it right here. Here, the animation graph is 85. Here two is 85. That will be good. And we need to copy our star that we created earlier. It's either that one or I think we can Let's take all the keys. And we place it exactly. Right here. Maybe we'll adjust it a bit. Gradient. We also need to draw more like three rows. Actually two rows so that we have three rows. Let's copy this rectangle, so that it was the same size. Let's move it here. For now, let's remove all the keys. And we'll blur it like this. Let's copy it one more time, and we'll move this one to the top. Let's change the gradient in it. And let's change the gradient for this one, as well. Let's move our colors back a bit. Let's change it. The gradient is on, let it be. Blue one. There's also a problem with the gradient here. It seems to have disappeared. Let's copy it here and we'll paste this entire rectangle so that the gradient is the same. Okay. It turns out like this, and we also need to draw two more random shapes. This let's create shape Let's add a field. Bill. Here will be some little thing. We'll probably scale them down a bit and we'll place it right here. Plus minus, I don't know what rectangle this is. Let it be the star or rectangle six. And we'll copy this gradient, put it on this star, but let's move everything like this. Actually, let's make a reverse gradient. So that now our color transitions to this color. And here we'll draw a circle right over here. Approximately in a manner that is about this size give or take, a little smaller. We place anchor point central. At least let's name it circle. Next, we need to convert this ELPS into an ELPS path so that we can modify it. We simply go here, just click on Convert to Bezier Path, and here we have it. We select these two points. We right click and we make it open and select this point and we get something like this. Have Let's duplicate this huff. And here's what this little thing will look like. Let's simply copy this gradient already. We'll do the same so that the color matches exactly, and here we'll copy this one. It matched perfectly. And here, we'll just copy this one. Oh, we copied the wrong one. And something like that. We need to animate this whole thing further. Here, we have animation of this rectangle. It starts from here. Let's move it to the 15 second marks. Everything is smoother and we have a smooth second of animation. Let's animate the star as well. Set two keyframes. Let's go back to first one. And we animate to the end. Animation graph 85. And we'll add rotation And we'll add a little offset. The animation is a bit too fast. Let's extend it a little. This is already looking good and now you need to create the animation. Of these two things, the rectangles. We're setting the anchor point to the right side. Let's animate scale and position to the same distance, about this. Let's even make it longer than we'll do it so that it's exactly 1 second and ten frames. We carry these two rectangles to the right. And we set it scale. Let's not make it Zoo. And there, for example, 50 Animation graph 85. Also, this mirror, we'll link it to this. We'll be our main one for the animation. And this star will also animate the position. Let's open the position. We set the second keyframe and approximately, we'll animate it somewhere around here, animation graph 85. We'll add an additional animation. For this one, the other half circle, we'll animate a bit further so that we have this minimal offset. Also, the animation graph is 85. Now for this let's create a small offset. And this will be our first one. This is our rectangle, and this is our star. Let's start with this entire offset and circles. And we'll move the rectangle like this so it's clear this rectangle and these halves. Rectangle and this star, that's what we'll do, offset. I don't know. Let's do it like this approximately around it so that the distance is roughly the same. And too much. Let's do it better. So after all, this top seem should be a bit more logical. So let's find this. Rectangle, then we'll have five. So it's clear. Here we have a large offset. Oh, no, it's small. We're doing all this by keys. Okay. So let's duplicate it to separate this piece of our rectangle. We know exactly where our animation starts. Then we have Rectangle six and star six going into place. Rectangle. Five. Zero, the one that is the very first. This goes to this place. This goes to this place, but the rectangle needs to be extended, not duplicated, so it doesn't disappear. This one, if it stays like this, it will just disappear. I will be like this, but the animation will be connected and here it will be. Then we have to take it away. The animation from here, this will be correct. Let's see what we've got. I think we could move it a bit. To the right. That's it. Not too much. Oh, let's keep it that way. Let it stay like this after all. Maybe I'll even turn it back a bit. I Let it be roughly this moment. Let's continue with the footage we have. Oh, not frames, but shapes which we have shortened so that we don't lose animation. And next, we just need to create the exit animation. Everything goes to the left and everything goes to the right. For this, let's do it. Just zero. Let's add the object. Let's bind this to this null object. Let's create another null object. We'll bind this it to the object or element we are working with ensuring it is properly connected. And we'll create another null object, and we'll bind this main shape to it. And the shape, we're not binding the second half because it's already bound to this first half of our circle. Let's see where it ends. Blues Minus animation, somewhere around here. From here, I think we can start animating. Yeah, we're just taking the position. Two, three, four. Let's do it that way. Let's animate. Let's highlight then OSCosi to the right. As you can clearly observe, the OCOsk is definitely to the left. Animation graph 75. Maybe a little further. Here it is approximately. That's how it turned out. Here's what the animation looks like. 12. Lesson 12. Echo Transition Effect, Bulk Transition, and Logo Animation: So we also need to create the next transition, like, to do this, let's write some text. This is stay ahead of the curve? The size is approximately 250 for now. Then if needed, we'll change the size. For now, let's position the text roughly like this. Anchor point in the center line also in the center. Here we had three zeros, three narrow objects. We find the fastest point. At this particular point in time, everything will completely vanish, therefore, let's delete. A, let's delete all of this and we will have a black background right at this moment. Our text will start to appear. For this in that example, there was a simple typewriter animation. Let's give it an animation size just like in the zoo objects. The animation curve is also the same, so the animation transitioned at the same speed. So we'll copy it using easy copy and paste it. Here's six with a flowing sequence in this context. Next, we need to draw a few more details. Shape. Poly star. This will be a star, but a different one. Let's add a line. Now, make it arbitrary for pains. And size. Size. For now, I think, approximately, something like this. And this kind of rounding For now, let's keep it something like that. Next. Trim path end. Let's set the number to 20. For now, let's turn off toggle masks so we can see only the part that we have left here. Next, we'll move on to taper. Taper is only available from version 22 or 23 of after effects. If you have an older version, this effect won't be available and we'll set the lens start value to 60 and the end lens to 60. This will be something like a little thinner moments at the ends. This creates the taper effect. We also need for that so that our line doesn't change when we hit the rock. We need to insert an expression. You can just Google it. Here's the expression. And we insert it into stroke with. Now when we are going to scale it, our star, our stroke will remain plus or minus the same magnitude. Let there being something like this. We also need to animate the offset. Interim pass. Multiply by 30. Duplicated. Here we'll change it to time multiplied by 30 plus 90. That's what we need. Next, the old one, which will duplicate will write nolo the fourth one. We'll write plus 270. To have the same step, our star, it changed its position essentially by the offset. Here we will have this star animation. Cool. Let's highlight all the stars. Let's change the color to purple. Here, that maybe something darker. Something like we'll trim it, of course, or just move these layers over here. We'll duplicate it, move it to NAs, and we'll add it to all Chandler to create such an effect glow. We can't do very big things here. Gatianblur because it completely blurs our stroke. So let's highlight these four stars and increase their stroke. Let's increase the stroke and increase. It now blur. So it should have that kind of effect roughly. Maybe we'll reduce the stroke a bit by 25. It looks cool. We'll move these stars under the text so that they don't overlap the text. The next we'll create an animation, the gradient, specifically so that when writing, it then appeared with the gradient, white text. Let's add, for example, regular gradient ramp. We'll slightly and carefully move the positions of the gradient like this and we'll also give it this kind of color, more of a purple. Let's swap the color so that it's underneath. I and maybe change the color a little for our stars because it's too bright and overlaps, maybe something a bit darker. Like this, let it be more like that in the background. And maybe I would reduce it a bit blur the line, I think is also a bit too big. I want something more like this easier so it doesn't hurt the eyes. So here we have one text with a gradient. And we will also make one text without a gradient. Let's duplicate this. Let's just delete it. Gradient. And now we need to draw a mask that will reveal our text from gradient to just plain. To do this, we'll draw using the rectangle tool just like we did before. So rectangle. Then we turn on mask mode. And we carefully draw a mask like this. We apply a blur to it. There, for example, at 2:50. And we will need to animate. For this. So let's create this text. He must be like this, just Alpha made and this text should be attached to the mask and should be trach mate. Yes. I just I made the mask on the wrong side. So we have the rectangle at this moment. We'll move the mask somewhere around here, like this. And then you need to animate the position of the mask like this so that our gradient completely disappears somewhere around this point. Let's also copy the animation graph. Easy. So this is the animation we get, and we also need to add a zero object. This will be some kind of Nath scale. I don't know. Let's go with S ten. I don't remember what S we had there, as three. Let's go with S four. So we don't get confused anymore. Approximately we'll place the keyframes for the scale at the same distance. Now, and we'll set the animation keyframes. Let's make sure everything is okay by immediately linking everything to the null object, and then we'll increase the scale. For example, at 1:50. Let's check if everything is okay. Yes, the animation graph is there. Let's just reduce it a little bit more like this and make additional animation for everyone of stars. These ones, we'll link the new null object. Si we'll link it, of course, to S four, and we'll also animate it additionally. We'll write AD for the translation and also the same animation graph. Yet. Let's take More 125. Something like that. So we have a bit of a parallax effect so that the star is visible in the background. It moves a bit faster. This will create such an effect. And right away, we need to make a transition so that the star doesn't stop. We'll bind this sum scale to another null object. Let's call it a six and the way right now, somewhere around this moment. Let's start animating to zero to a value of zero. I guess that's what I think the same animation graph. Yeah, something that maybe even faster. 90. And we need to draw the text. It will be now. The mask along which the text will move. So here's our text. Here's this text. White. Let's select this text and draw approximately like this, a mask using the Pentopiate this. Like this. So something like this. Even maybe we'll pull this a bit more over here. We'll round this one and this one using this tool. This is the convert vertex tool. Oh, no, just this one. Let's do this convert vertex tool, or maybe this one. Let's give it a try. That will be the mask. Next, we need to create shape. This will be simple. Ellipse. Let's add a fill to it. We'll set the size to 1,000. Add a gradient tram. And we'll add a purple color just to make it more vibrant. Here we'll add a lighter purple. Let's write due *** value so that our position doesn't get messed up. Let's copy this expression. Let's insert it into the end ramp. Let's adjust the placement. Next. Let's add an effect. Echo. Composite in front. Now let's move it somehow so you know what this object is and then we need to animate it and we can animate it using this very mask that we have on the text. Specifically, we need to take this mask, its path, and copy it and paste it into position of our shape. It will turn out that our shape will be animated along the path of the mask. That's it. Forgot one point. We need to increase the number of echoes so that something appears. When it starts to move. Let's do a little bit. Probably. We need to do it. A larger delay number, let's add some zeros. Oh, zero. One, two, three, four. So let's get started. I got messed up again. I don't remember what date it is. Composite in front. This and let's insert 85 here. That's it. Yeah. It was significantly in the animation timeline. Here's the cool thing disk. Now we need to animate our text in the same way. Using Text pass options. Let's select our mask one. We find first marching, we return back. At this moment not at this moment. Let's turn off the shape for now. It was the reveal of our mask. Now we need to do it right at this moment. We're trimming the mask. Text. We're going back to approximately roughly to the point where it was previously to the original state. Somewhere around here. Now, right from this moment, we need to animate first this nuns margin and also move this shape here. This is exactly where our animation will start. That this text reveal animation ends and the animation starts. We take it and press you and we set the second key, right. We need to animate the text roughly like this. Like this until the end. And we'll insert the same animation graph. No, we need to see what we will have. Let's reduce the amount, echo. Basically, it matches. Just. We also need to animate the size. Let it be from 50, up to 1,000. The text will kind of increase like this. Right. The shape is probably just a bit off. A Now we will fix everything. You can do it like this, then it will be just right. It will fit into our shape. Let's leave it like that. It looks really cool. And we'll return the echo number. And here's what we end up with. Let's play it. And it was a mismatch in the text. Let's do it this way. We'll correct the text. Oh, it's okay. And here a little bit. Move the shape, two frames to the left like this and the fastest points, the fastest positions, right here. We need to trim the text like this and trim the shape from this side using the old key and the square bracket. Here's what we'll end up with. You can also trim the stars so they don't get tangled up there. Underfoot. You can even make it. A longer delay. It will be a longer, more interesting animation. How it gets attracted. And it turns out such a cool three D effect. So we're leaving this as is. Somewhere at this moment, we need to make a new transition. Do this, we will create a new composition. We're writing the text. Start today. So let's precompose this text. Using cutreal shifts. And so we'll make it approximately this kind of composition. And somewhere around probably like this, maybe a little less so that we can just add this composition textually added to it. CC repetile effect and copy it to the right and to the left. You can even make it smaller. Plus minus X will look like this. We duplicate this composition. We place it approximately here and we duplicate another composition and we place it approximately here. We add a simple gradient to the central composition. That's enough too. For example, something like this. And now we need to animate all of these. So this will be in the center to animate all these texts. We open the position. We're moving on. I don't know. Hey, it will be about 20 seconds. And we pull everything to the left. To the left. And these two texts, the upper one, and the lower one. Let's pull it a bit more. And we set the animation keys at 90s. So we'll make these a little smaller. These are also too much. I skipped ahead. And here we need to reduce it a bit more. Maybe not to create an effect where the top and bottom text moves faster. The animation will look like this. Let's add effect. Bulge A here about this size, almost a ball approximately in diameter or so plans to capture the entire text. And here's a cool effect. Yes. And we'll also add adjustment layer. This will be our mask on which we'll draw our mask. Et's make a blur. Let's add blur, force, motion blur. Let's do an invert and we'll do feather. So that the types stay in this area, you can see just That's it. On the sides, it was blurred at the edges, but in the center, the text was plus minus normal. Let's just add a little bit like this. Motion blur samples, shutter angle. Then it creates a cool effect, this effect, right? It does put a bit of a load on the system, but that's fine. I think we can use it. And we'll add it somewhere at the moment, I think, right here. Somewhere at this moment when this disc is already moving to this point, we'll trim it. This is our composition. Let's name it. Slide 03. This is slide 03, and we'll also find the high point. Somewhere around this moment, we are trimming and we drag it here. Too much. Probably, Troski added. That's too much. I'll probably tone it down a bit. The animation graph is at 85 and you can also have fun with speed. Of this whole thing, maybe add a little less animation. I'll add less shutter angle, look at what I've reduced because it turns out that if there isn't a sharp animation, but rather a transition into a very sharp animation, it should be a bit smoother. Here's something like that. Next, we'll do it. Scale right away. Let's add a zero object. Scale. Let's link text to S one somewhere around this moment. We need to start animating to, I think, let it be up to 40 we're like this. But 5 seconds in. Animation graph 85. Maybe we'll make it even smaller. Also at this particular moment, we'll slightly and carefully reduce the bulge to exactly one. Also, the animation graph is 85 so that there's a bigger inward collapse effect. We find where we are the biggest inward collapse effect. Right here. We cut everything little shift D, and we write, for example, your site.com, or any other final text. For example, about this size square bracket and we simply just hang it on this Actually, we won't hang it on the S. Let's better attach a new zero so that we can fully manage with this animation text because we don't need such a strong animation for Ss. Let's set two keyframes. For example, let's set it to 80 about this size, and then one and 20. Maybe even a bit bigger because it turns out that this text is very big while the text is small. Maybe let's make it 150. Like that. But we also need to stretch it further. Let's set our text to 85 and so that our text scales a bit further approximately. At this point, we had another zero object. We said it's scale to about 5 seconds, and we also write 90 maybe 85. A linear animation graph, maybe. Let's go with that. Maybe nine. This will be better with Ess. We need to find the moment where it will transition nicely like that to transition into this other scale. We probably need to stick with linear after all. We select it, rotate it with Getrl and just use the left mouse button to switch it back to linear. Here, it transitions smoothly from our animation on the scale, just a linear Zoom at this moment, let's even do this. Let's drag it to 6 seconds so that we have some leftover and we can do it for him. We still need to bring it down a bit to 70. Too much. 75. It should be roughly the same speed as where it ends here, but it's moving a bit too fast. Here's something like this. We'll also add the logo. I'll just add my logo. You can stuff it into the composition like this. I'll add the invert effect to make it white, and I'll scale it down a bit so it's roughly the right size to the size of the text, maybe even smaller. I will tie my logo to a three so that it moves together with the text. And I'll create the same moment, like I did back then, I'll just draw some kind of shape. I will draw him a picture. A mask. I will make a mask feather. And I'll do it. I'll turn it off for now. Oh, no, I'll turn off the logo. Create text. Yes, that's right. Just Alpha made. I will make a logo Alpha invert made. And where's our animation. And here comes the text. And roughly at this moment, you can animate the mass by position. Too fast. Yeah, the Pfizer mask seems too big. Or you can simply do it like this. I'll duplicate this mask. I'll move the logo to the second mask. And I'll link this mask to my first mask. I'll flip it. Visiting for now. Oh, no, all right. I'll rotate to 2080 degrees. I'll delete the position, link it to this mask, and I'll drag the second mask. Where's my first mask? I'll place it directly here, and I'll drag the second mask roughly here, right here. And I'll drag the second mask roughly here so that it just cancels out. And it turns out that the position. And then we just need to do it. Alpha not Alpha invert mate. It will turn out that the text will completely disappear and only then the logo will appear. Because if there's a moment when it's just text, they're linked to one mask, so it overlaps a bit and it turns out to be more interesting, nothing interferes with each other. Such a nice transition. Even so I'll reduce it. The value to 70, And I'll reduce the logo a bit. So that it's roughly the same size as the text? Let's take a look. Here's the final result that we ended up with. A 13. Lesson 13. Final Render Settings. Proper Export: And basically the final part is, well, the render of our promo. We've done everything already. We just need to render it. For this, you can just use the button. B calls and P N to select the render areas, that is our workspace area. Here we press B at the beginning, for example, we click in somewhere around here. You can render using the encoder. We click File Export. We can send it to the encoder if you're using it. But also basically, okay, in the render queue. Here we select best settings. You can render it halfway. This will come out in full HD or you can do it in four K. We don't change anything here. Here we select the h264 codec. This is the best compression. The file itself won't take up too much space and will be of normal quality. Also, if you have an Alpha channel that is transparent, you can add the Alpha as well. But for that, I think you need to choose quick time and then add the Alpha. Because H 264 is the same MP four. It doesn't support the Alpha channel. Here we also click Okay. Here we choose where we want to save it and the name of the video itself. Final. And we click Render. And after that, we have the rendering of our final video, which we can upload somewhere or show to someone. That's all. Thank you for watching the master class. That's all. Good luck.