Motion Graphics: Master Motion Graphics in After Effects & Illustrator | F. Alamadi | Skillshare
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Motion Graphics: Master Motion Graphics in After Effects & Illustrator

teacher avatar F. Alamadi, Motion Graphics & Animations

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Course Content Motion Graphics

      2:01

    • 2.

      Introduction to Adobe Illustrator Interface

      5:57

    • 3.

      Creating the Environment

      19:09

    • 4.

      Designing the Rocket (Part 1)

      14:15

    • 5.

      Designing the Rocket (Part 2)

      10:11

    • 6.

      Preparing Illustrator file for After Effects

      3:37

    • 7.

      Organizing Illustrator file for Animate in After Effects

      6:44

    • 8.

      Preparing For Animation

      5:08

    • 9.

      Animating the Rocket

      17:39

    • 10.

      Adding Effects (Part1)

      22:08

    • 11.

      Adding Effects (Part2)

      23:42

    • 12.

      Rotating the Rocket

      27:52

    • 13.

      Render Motion Graphics

      4:45

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About This Class

If you like to learn more about "Motion Graphics" please watch this class as well:

After Effects CC: Master Motion Graphics & 2d Flat Animation

https://skl.sh/2WzbbkP

__________________________________________________________________________________

Motion Graphics: Make Awesome Motion Graphics in After Effects & Illustrator

Join this Class:

https://skl.sh/3kjWpvr

  • Do you like to learn the best tips and techniques to become a SUPER HERO Motion Graphics Artist?

  • Do you like to learn After Effects and Adobe Illustrator in 1 class?

  • Do you like to learn how to create amazing Motion Graphics and Animation from scratch?

In this class, we’re gonna create an amazing Motion Graphics together from scratch and so you don’t need any prior knowledge in these programs to follow along with this class.

YOU LEARN BY DOING:

In this class, you can immediately DOWNLOAD all project files. So you can learn by doing and you'll follow along and work on your own project while learning.

In the first part you will learn great tips, tricks and techniques in Adobe Illustrator. I’m going to teach you everything you need to know, from creating your first document to saving the final file to use in after effects for creating your final animation.

I will start by talking about the Adobe illustrator interface and you will learn how to customize it and how to add or remove tools in your interface easily.

then I will talk about some great tools you need to know for creating your amazing 2d artworks. We will create a great environment and a beautiful Rocket object together with some awesome tools and useful techniques.

In the Second part, you will learn how to import Adobe Illustrator file into After Effects and how to prepare and organize it.

You will learn how to create shapes, how to add keyframes and convert them to easy ease to have smoother animations, how to use Mask technique to create professional animations and much more.

We will add some great effects to our environment, you will learn how to add camera, how to distribute your objects in a real 3d scene, how to create and simulate 3d rotations, how to use Graph Editor to tweak your keyframes for creating nice and smooth animations.

So, By the end of this class, you will be able to create any type of Motion graphics and animation projects using Adobe Illustrator and Adobe after effects and finally, you will be able to render your final projects to share on the internet.

WHAT IS YOUR FIRST STEP?

Just Join This Class, and we'll see you in LESSON 1 ;)

https://skl.sh/3kjWpvr

 

 

Other After Effects Classes:

 

Motion Graphics: Make Awesome Motion Graphics in After Effects & Illustrator

 https://skl.sh/3pVlsGm

Motion Graphics: Create Liquid Motion Effects in After Effects

 https://skl.sh/2Zd9awA

Motion Graphics: Create Professional Lighting Logo Animation in After Effects CC

https://skl.sh/32MOGwV

After Effects CC: Create Stunning Video Transitions https://skl.sh/2DW1NRG

After Effects CC: Master Motion Graphics & 2d Flat Animation

https://skl.sh/2WzbbkP

After Effects CC: Create Professional Lower Thirds & Titles https://skl.sh/2Gv0ADC

Motion Graphics: Create Fake 3D Cartoon Logo Animation in After Effects

https://skl.sh/2IfU2bJ

Meet Your Teacher

Teacher Profile Image

F. Alamadi

Motion Graphics & Animations

Teacher

High-Quality Training: Motion Graphics & Animations

 

Hi,

I'm here to create online video classes to teach you how to create awesome Motion Graphics, how to use After Effects to create Lower Thirds, Titles Animation, Visual Effects, Slideshows, Openers,... and other interesting video effects in Adobe After Effects, Adobe Illustrator, Adobe Photoshop and so on...

See full profile

Level: All Levels

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Transcripts

1. Course Content Motion Graphics: Hey everyone, and welcome to another video tutorial. In this class, we're going to create these amazing motion graphics together in Adobe Illustrator and Adobe After Effects from scratch. And so you don't need any prior knowledge in Illustrator or aftereffects to follow along with this class. In the first part, you will learn great tips, tricks and techniques in Adobe Illustrator. I'm going to teach you everything you need to know from creating your first document in Illustrator to saving the final Illustrator file to use in After Effects for grading your motion graphics. I will start by talking about the listeners or interference, and you will learn how to customize it and how to add or remove tools in your interface easily. Then I will talk about some great tools you need to know for creating your amazing to the artworks, we will create a great environment and the beautiful rocket object together with some awesome, yes, threads are tools and techniques. Then you will learn how to organize and save this file for use in Adobe After Effects. In the second part, you will learn how to import a certain file into Adobe After Effects and how to prepare and organize it. Then we will start the amazing part of this video tutorial, I mean animation part. And you will learn Min, great techniques about animating in After Effects. You will learn how to create shapes, had to add keyframes and convert them to easy ease to have a smoother animations, how to use mask technique to create professional animations and much more, we will add some great effects to our environment. You will learn how to add camera, how to distribute your objects in a real truly seen how to create and simulate two linearizations. How to use Graph Editor to tweak your keyframes for creating nice and smooth animations. So by the end of this class, you will be able to create any type of motion graphics using adobe Illustrator and Adobe After Effects. And finally, you will be able to render your final projects to share and the Internet. I hope you enjoy watching this course as much as I enjoyed creating it for you. Thanks for watching and see you in the next video. 2. Introduction to Adobe Illustrator Interface: Hi everyone. I hope you are doing well. In this video, I'm going to talk about Adobe Illustrator or interface. And the next videos, we are going to create our environment and the rocket objects. Okay, to start, you can click on this Create New button or from the menu Choose File New or press Control N. As you can see here, we have some presets like mobile, web, print, film and animation, and finally, art and illustration. Because I want to use my objects in Adobe After Effects. So I choose Film and Video Presets. As you can see here, we have several presets that you can choose one of them, but I prefer to choose this one, HDTV 1080 with 1920 in 1080 pixels, okay, here you can add a name to your document. Here you can customize the width and height. In this section, let's change units, two pixels. Here you can choose the orientation, portrait, or landscape. Let's choose landscape mode. Set these art boards option to one. And here for color mode, we have two options, RGB and CMYK. If you want to print your illustration, you must choose CMYK option. But if you want to use your designs in Adobe After Effects or other video editing programs, you will have to choose RGB mode. And finally said the raster affects option to screen. Ok. Now press the create button. Okay, if this is the first time you run the AWS rater, your interface and artwork will be something like this. If you don't want to have a transparent background in your our sport, simply click on this transparency grid button in Properties panel. If you can't see these properties panel from the menu, Choose window properties. Also, you can activate the Layers panel here or press F7 on your keyboard. Okay, now let's see how we can navigate in Adobe Illustrator. To pan in art board, you must press the spacebar key on your keyboard and then left click your mouse and drag around. To zoom back, press control minus. Or you can use your mouse scroll wheel. And as you can see, zoom level is decreasing in this zoom box. And to zoom in Prescott surplus. If you press console 0, your arts board fits on the screen, just like when you choose, fits on the screen option in this zoom box. And if you press control von, your artwork will be a scale to 100 persons. Okay, let's use feet on a screen option. If you don't want to see ruler around your art board, simply turn off these ruler button. Okay, make sure to turn on these three snap buttons. A snap two points as snap to grid, and estab two pixel. You can hide these veto ruler as well. To do this from the menu, choose View rulers, Hi8 video rulers. Unfortunately, it's out of my screen recording area now, if you don't want to see these types of action safe and the cross hairs simply in Properties panel, click on this Edit art modes button and then click on this earth both options button. And here you can turn off these two checkboxes. Shows center mark, show cross hairs, and show widow safe areas. Okay. If you can't see this console bar up here from the menu Choose window, control. As you can see, we can hide and show this console bar. Now, if you can't see all of these tools in your toolbox, choose window, toolbars, advanced. If you are in basic mode, you can see only a few of them. So let's switch to advanced mode. Again. If your interface is not like mine from the menu, choose Window Workspace. Essentially. If you choose another workspace, for example, painting, as you can see here, we have all panels that are needed for paintings projects. Ok. Let's switch to our Essentials workspace. Now if you want to change your output size and position, you can click on this Edit art boards botton. And as you can see, the artwork is in modified mode now. Or you can click on this small button here in toolbox, it's name is art more tool or press Shift O. Using these width and height boxes, you can change the art both size. For example, let's change its height. As you can see, the height number is changing and now let's change a width value as well. Okay, great. Okay, let's undo by pressing control z several times. Also, you can change the X and Y position of the art board by using these x and y boxes. As you can see, when I move this board, these x and y values will change as well. Okay, again, press Control Z. Okay, great. Let's see how we can create several art boards. Press control minus to zoom back a little bit. Hold the space bar key and click and drag to pan to the left side. Now hold the ALT key and click and drag these art both to duplicate it. If we hold the Shift key while dragging, we can move it in a straight line. Now we have artwork number two. If you want to delete it simply while it's selected. In fact, osmo tool button should be activated in your toolbox. Press Delete button on your keyboard, or you can click on this deletes art mode button in Properties panel. Okay, let's press the control 0 to fit the artwork to the screen. And click on this Selection Tool button to exit art board modification mode. Again, this was the introduction to AWS search or interface. In the next video, we are going to start the fun part of this class. I mean, creating our objects and environments. I hope you enjoyed watching this widow. Thanks for watching and see you in the next video. 3. Creating the Environment: Hey everyone, I hope you are doing well. In this video, I'm going to show you how to create the environment. So without wasting time, let's get started. Okay, at first, let me import my color pallets into Adobe Illustrator or use it to have a good colour reference for my designs. So from the menu, Choose File, Place or press Shift console p. Now let's select an import, this color palette. You can find this file in project files and import it into your Adobe Illustrator. Click here to place it in this corner. Hold the space key, click and drag to pan, and now move the color palette through the site. Let's rename the layer two color palettes. And finally, luck the layer. Okay, great. Now create a new layer and press console 0 to fit the artwork to the screen. Okay, now I'm going to create the environment at first. I want to create this kind. So click on this rectangle tool. And for the fill color, let's choose white for now. And for this through color, choose none. Okay, now click and drag to cover the entire arthropods. And immediately renamed a layer through the sky. Okay, now I want to add a gradient color through this layer. So click on this Gradient tool and then click on this sky rectangle shape. Now we have a nice Y2 black gradients. Let's press control minus to zoom back littleBits. Okay, now when I put my mouse besides this smallest square, you can see as small rotation through. It means if I click and drag, I can rotate these gradients to change its direction. By holding the shift key while dragging, we can snap it to 4590 degrees and I want to rotate it 90 degrees. Okay, let's move the entire gradient to the center by dragging this bar. Okay, let's move this square to the bottom edge of the earth more. And move this small circle to the top border. Okay, let's move this score again to align top and bottom of the gradient to the arts boards. Okay, to change the color of the bottom point, double-click on this circle. And the use of these eyedropper tool to pick a color from the color palettes. Okay, let's say this blue color. And for the top point, again, use eyedropper tool, and let's choose these top blue color. Now let's move this bottom blue circle to the top, elite salvage. Gregg. Okay, we have finished this guy, so let's lock this layer as well. Okay, now I want to create a few cloud layers. So let's create a new Layer. Press control 0 T's to correct clouds. I want to use a visa symbol sprayer tool. This tool uses a symbol as a reference to spray on the artwork. So before using this tool, we have to create a symbol. So let's activate these elites to choose a white color for the symbol. And for the stroke makes sure none is selected. Now hold the Shift and Alt case and then click and drag to draw a circle from this center. Now from the menu, Choose window symbols or press Shift Control, F L11. Okay, here it is. Less drag it on their layer panel. Close with these panels, we don't need them. Okay, now while these circle shape is SEE selected click-on these smart new symbol button to create a symbol from this circle and rename it to white. Okay, great. We don't need this circle shape anymore, so let's deleted. Okay, now while the circle symbol is selected in symbols panel, click on this symbol, spray or tool or press Shift S keys. And now let's click and drag on the art more to create a cloud shape using these small circle symbols. Zone back a little bit, and let's continue creating more symbols to fit the bottom area of the artwork. Ok, zoom back. Good. What's, let's add more symbols. Okay, great. Now let's use this symbol sizer tool. So click and drag to change the size of the circles and fill these holes between them. Ok, we can change the size of some of these outer circles to have more natural shape for the cloud. It's up to you. You can add more symbols or we can vary the size of the holes. If you want to make the symbols smaller, simply hold the ALT key and click and drag. I don't want to make them smaller, so let's release the ALT key and make them bigger. Again. Using this symbol shifted tool, we can move these symbols. This tool helps us to move and change the direction of the symbols. And so we can fill these holes using this tool as well. Okay, great. And using this symbol as cruncher tool, we can fill the holes. Ok, I think I need to use shifted to, to move some of these recurse. Okay, great. And let's use this as cruncher tool to bring them closer together. If you like, you can use this sizer tool to enlarge these outer circles to fit them perfectly together. Okay, as I said before, you can add more symbols to fill these holes. But remember that adding more symbols will slow down your computer. Okay, let's feel of these holes. Okay, great. This can be our first cloud. So let's rename the layer to Cloud one. Okay, if you want to change the color of this cloud, we have to change the color of this symbol in symbols panel. But before that, let's choose a color from the color palette. So use the eyedropper tool and pick a color and then double-click on field color box and copy the color code into memory. Now double-click on symbol. As you can see, our symbol is here. It's white on a white background. Let's select it and open field colored window and paste the color code here. Okay, now click on this small arrow, exits symbol editing mode. And this is our first columns. Ok, now let's create the second cloud. So let's create a new symbol myCircle tool to change the color. Press the icky, That is a shortcut for this eyedropper tool and for the color, lets choose a vase blue color. And make sure the stroke color is none. Now let's convert it to a symbol. So click on this plus sign in symbol panel and now renamed to blue one. Ok. We don't need it anymore solely as deleted. Now, let's create our second cloud. So let's create a new layer and rename it to cloud to. Now again, using this sprayer too, let's create our cloud layer. Let's use the sizer tool to change the size are some of these symbols. And by shifted tool, we can move them a little bit. If you need, you can use the sizer tool as well to change the size. Okay, lets put this ClO2 layer under colored one layer. I think we need to edit this section of the cloud through layer so we can use SQL cruncher or shifted to. Let's use as cruncher to make symbols a little bit smaller and also less use shifter tool to move them. Okay, great. This is our second cloud layer. Okay, now let's create the third clutter. So this time, let's select and drag this symbol over this create new symbol button. Now use the eyedropper tool and pick a color from the color palette. And copy the color code into memory. Double-click on the symbol selected. In field color box, paste the color code. And finally click on Exit symbol Editing Mode button. Okay, great. Now select the sprayer to create a new layer and rename it to Cloud three. Now let's spray or symbol and the art boards to create our third cloud layer. Create as many symbols as you think are enough. Now let us use sizer tool, and I'm sure you know what I'm doing with this tool. Tried to fill these holes. Ok. It's good. Now let's use shifter tool to move them. Just like this. And let's be form the cloud shape a little bit. Ok. Now move the Cloud three under Cloud two layer. Ok, I think we need to move some of these symbols to have a better shape for this cloud layer. Nice. Okay, great. We have successfully finished our clouds. Now to see what we will see on the final screen, let's choose View, stream view. By doing this, we only see objects that are inside the artwork. And also this will be the final frame in Adobe After Effects as well. Okay, nice results. I think we need to move this clade one layer to the bottom a little bit. And also we can move the ClO2 and clave free layers as well. Maybe it's better to move the cloth three a little bit to the top. Okay, great. And this is our third cloud chain. Okay, now let's add some details to our scene. I want to add some circle shapes in the sky. So exit 3M VR mode. I want to add a few simple circles here. So a lot of these three cloud layers create a new layer. Move this layer to the top. For now. Now, use the Ellipse tool and hold the Shift key to draw a perfect circle shape. Press control 0 keys to fit their screen. Let's change the position and maybe it's better to change the form of bits. Okay, and for the color first the icky and pick this color activates selection tool by pressing the wiki or choose it from toolbox. Ok, now let's duplicate this circular layer. Hold the Shift and Alt k's and their scale it down. Okay, great. Press the icky and pick this blue colour for this new circle. Okay, again, duplicate this circle layer. And using the Shift and Alt keys and scale it down. Use eyedropper and choose this color for the third circle. And finally, while this fourth Circle layer is, this is selected for us the icky, and pick the top color. Okay, now let's create a new layer and move these four layers inside it and rename it to circles. Nuts like this layer and in Properties panel change the transparency to 50%. Okay, great. Now we need to put this layer under these three cloud layers. If you want to move this layer, simply click on the circle and move it. And maybe it's a good idea to scale it in the x direction as well. Okay? And move it slightly upwards. Okay, that's it. So let's lock this layer. Ok, now I want to create a few more clouds on the top of the sky with another technique. So let's create a new layer and move it to the top. Here in this section, I want to create three more clouds using Ellipse tool. So let's use eyedropper tool and choose white color for our clouds. Make sure they're struck option is none. Now activate Ellipse tool called the ALF and shift keys and start creating some circles here. Okay, now selected all the ALT key and drag to duplicate it a few more times. And it's not a bad idea to change the scale for them to have different circles shapes. Repeat this process to duplicate an SQL circles to form a cloud shape. Okay, great. Now so it allowed these circles. And from the menu Choose window, path, finder or press Shift Control F9. Okay, let's drag this panel inside symbol panel. I now click on this unite tool to combine all of these circles into one shape. Okay, now want to cut the bottom section of this cloud shape. So let's draw a rectangle shape here. Ok. Now select the rectangle shape. Hold the Shift key, and then select the cloud shape. Now click on this great tool. It's shaped builder tool, one of the wonderful tools in Adobe Illustrator. Now as you can see, when I put my mouse over these shapes, we can see three separate sections. Adult want these tubular sections. So hold the ALT key to see this minus sign beside your mouse icon. And now when I click on these two sections, Adobe Illustrator or remove them quickly. So we have created a nice cloud here with a few simple shapes and the great shape when their tool, okay, with the same technique, you can create more clouds here. So use Ellipse tool and create some circles. And as you can see, we can create clouds are fast and easy using this technique. Okay, try to create different shape for each cloud objects. Okay, now select all these circles and yes, unite them together. Again, use a rectangle shape. Select both of them using the Shift key. And activate shape builder tool and hold the ALT key and cut these unwanted sections. Okay, now, I think you know how to create the third CloudShell. Create a new layer. Use Ellipse tool. Okay, this time, I don't want to use shift and all kids to be able to create an elite shape and not a perfect circle shape. Hold the archi and duplicated several times. Change the size and position to create different cloud shape. Okay, great. Select our soccer's and unite them. Draw a rectangle shape, hold the Shift key, and select both of them. And use the shape builder to hold the ALT key to delete these two sections. Okay, as a quick tip, I want to say that you can change clouds shape easily even after using shape builder tool. To do this, let's zoom in a little bit and use these direct selection tool or press a key. Now you can click on each point and move it to change the form of this cloud. Also, you can move the handle as well to have more control over aids between two points. And you can click and drag this small circle on top of each vertex to change this sharp corner shape to a nice smooth curve shape. Also, you can select a point and hold the Shift key and use your arrow keys on your keyboard to move them. Okay, as you can see, we have several ways to modify our shapes in Adobe Illustrator. So use them to create awesome shapes. Ok, first the console 0 to zoom back. Okay, now let's move these clouds shape on the screen. For example, let's put this one here, and this one here. And this one here. Okay, let's scale down this middle one. Ok, now let's rename these layers. For the first one entered top Cloud one. For the second one enter top Cloud two, and the last one enter top Cloud three. Okay, now let's create a new empty layer and drag these top cloud layers into it and rename it to top class. Okay, now we can change the opacity of these cloud layers at once by changing the opacity of this top clouds layer. Now the opacity of them is 50%. Maybe you like to change the capacity for each layer separately. So press Control Z keys, and let's change the opacity of this layer two, for example, 75%. And set the opacity of this top gloss to layer to 50%. And let's change the opacity of this layer to eighty-five percent. And if you need, you can move them to a proper position, change their scale, and modify them. Okay, great. Now let's see the final result. So from the menu choose view to view. Okay, great, this is our final results. Okay, I hope you enjoyed watching this course so far. In the next video, we're going to create our rocket chamber. So thanks for watching and see you in the next video. 4. Designing the Rocket (Part 1): Hey, everyone will come back. In this video, we're gonna create our rocket objects. But before starting the design process, let's hide some of these elements to have a clean background. It helps us to focus only on rockets object. So let's height of these cloud layers. Now let's create a new layer. Rename it to rocket. Ok. Let's start designing the rockets. Activate Ellipse tool. For the fill color. Let's choose white. And for the stroke color, select none. Okay, now let's click and drag here to create art-based shape. Press the V key to activate the selection tool. Let's move it a little bit. Okay, now I want to use this anchor point tool, and let's click on this point to change it to a sharp corner. Okay, great. I need to separate this object into several sections and two, separate it. I need a new shape. I prefer to use an ellipse tool, but you can use a rectangle object as well. It's up to you. Okay, let's change its color to, for example, red. And now click and drag here to create an ellipse objects. Okay? If your objects are not aligned together, just select both of them using the Shift key. And now release the shift key. And this time hold the ALT key and click on the rocket body shape to choose it as the main object for alignment. Now we need this Align panel. If you can't see this panel simply from the menu, choose Window, Align or press Shift F7. Now in allowing panel click on this horizontal aligns center. Now our ellipse shape is aligned with our main object, that is rocket body shape. I want to separate this rocket body shapes several times, and I need some other ellipse shapes to separate it each time. So let's replicate it. Ok, select the ellipse shaped and drag it over this small create a new layer button. Hide these new shape for now. Okay, now select these two shapes using the Shift key. Okay, now to separate this rocket body, I want to use one of the best illustrator tools. I'm sure you know which tool I'm talking about. Yes. They shaped builder to. Okay. Now, as you can see, when I put my mouse over each section, that section becomes highlighted. Beside your mouse icon you can see a pause sign, but if I press the alt key, it changed to a minus sign. And now if I click on this top red section, it will be removed. Now released the alt key to be able to see the plus sign again. And now click on this top red shape and then click at the bottom part to separate them as well. Okay, now we have two separated objects. Great. Let's change the body color to white. Okay. Now let's show that replicated ellipse shape again, and let's replicate it once more and high this new version. Select this Elliott shape. Hold the Shift key and press the bottom arrow key on your keyboard to bring it down a little bit. Select both of these shapes. Us shaped builder tool. Hold the ALT key and remove this section of the ellipse shape. And now click on these two parts as well to separate them. Okay, great. Now let's change colors for this shape. So select the top section. Press the icky to activate the eyedropper tool and pick this color. For the second part, let's choose a color from the color palette. For example, let us choose a dark color. And for the third section, let's pick this color. Ok. Now again, let's show the duplicated ellipse shape. And they are replicated. And hide the new version. Select this ellipse shape and bring it down to somewhere like here. Okay? Now select the ellipse and body shape. Made sure this ellipse shape covers the top part of the body shape. If it doesn't cover the top part, then when the EU is the shaping their tool, we will have three separated sections instead of two sections. Now use the shaping their tool and hold the ALT key and remove these outer section. And finally, click on these two remains sections. Okay, it seems we need to change the body color again, so we'll select it and pick this gray color. Great. Now again, I want to separate the body from this point. So unhide the ellipse shape and the replicated again and hide in the aversion. Move it to here. Select these two parts. Shape builder tool and hold the alkene and remove this section. Released the ALT key, and separate these two sections as well. Ok, now for these Neo narrow sections, let's pick color from this top one. Now again, the applicant ellipse shape and hide the near version. Move it to the bottom around here. Ok. Select both of them and you know what to do? Yes. My shape builder tool and remove the section and separate these two remain parts. And for this section, let's pick this color from the color palettes. Okay, now I want to deform this bottom section a little bit. For example, let's hold the ALT key and move the left-hand tail to the right. Okay? Now let's create a new rectangle shape with a different color, for example, brown color. And click and drag somber light here. Press the V key to activate the selection tool. And let's zoom in. Select both of these layers and use the shape builder tool, hold the ALT key, and remove these two sections. And for this bottom part, let's pick a color from this part's OK. Now we can modify some parts of this rocket body shape, for example. Let me see. Yes, let's change this section a little bit. So let's select the Direct Selection Tool. And let's select this point and press the right arrow key five times to move it to the right a little bit. Ok, now let's change the handle of this point as well. And for this top section, let's move the bottom point. Press the right arrow key five times. Let's do it for the right side as well. Move the top point to the left, change the handle direction. And for this top section, move the vertex five times to the left. Okay, it seems we have at the real object here, let's bring it out and we don't need it, so let's delete it. Okay. Maybe it's not a bad idea to make these bottoms such an elevated b, the smaller saucer like these two points and move them to the top. Okay. I think the main shape of the bodies completed and we're ready to go one step further. Okay, now I want to design a wink for this rocket. So let's use pen tool. And let's click here. And here. For the third, let's click and drag to create a curved shape for the second edge. Now click on the third again to create a sharp corner here. And let's color here for the fourth. And finally, click on the first to create a closed shape. Okay, this is the first form of the wing objects, but we can modify it. So let's select these anchor point tool and click on this 0.2 activity and create a sharp corner here. Now click on this edge and drag to create a curved shape for this edge. And again click and drag this one and make a curve shape for this edge as well. For this top point, let's use direct selection tool and click on the points and then drag the circle inside a little wheat to create a smooth corner. Okay, great. Now if I select these shapes together, as you can see, we have a small intersection here that I don't want it. But first, let me move this point to the top elites helmets. Let's see the results. Okay, let's move some of these points to deform it again. Okay, great. Now, as I told you a few seconds ago, we have a small intersection here. I don't want it. So let's see how we can solve these problems. So select the buffer layers. Let's activate shaping their tool. And the amazing part of this tool, click on this gray section and drag the mouse over these small intersection area. Great. Now we combine these two sections into one section, and we don't have that intersection anymore. Now as you can see, this wing shape has been cut from the main body shape edge. Ok, great. Okay, now I want to design a few windows here over the body shape. So let's use ellipse 2D. And for the fill color, let's choose white. And for the stroke I choose black. Okay, now hold the Shift and all keys and draw a perfect circle here. Okay, now let's change the stroke to, for example, 1.5. Now select window and then body. Hold the ALT key and click on the body shape to selected as the main objects. And in Alon panel, click on this horizontal aligned center button. Great, let's zoom-in. Okay, I want to duplicate the circle shape. So from the menu, choose Edit. Copy and then choose Edit, pasting place. Now hold the Shift and Alt case and drag it into insight to make it a little bit smaller. Okay, now let's change the color of the inner circle. So change the fill color to black. Now I can copy the inner circle and paste in place it. Hold the Shift and Alt case and drag it inside. Okay, now let's move it to the right a little beats. Okay. Maybe it's better to make it a little bit bigger. Yes. I think it's okay now. Okay, now want to change the color of this shape. Let's use Gradient tool. Okay? And I want to pick a color from our color palette. So let's find it. Okay, now double-click on the circle and use eyedropper tool to choose a color from our color palettes. I prefer to use this top blue color for the left points. And now double-click on right side circle and take this bottom dark blue color. Okay? As you can see, we have added a gradient color to our window glass. Okay, I want to duplicate this Windows several times. So let's select these three parts. And in fact we have to create a new layer. Then select, write them inside the new layer. And finally move this new layer inside the rocket layer. Ok, now let's complicate the vase layer and zoom back. Let's move it to a proper position and scale it down. We need three small windows here. And let's put it up here. Maybe it's not a bad idea to reduce this threat size for these small circles. So less chance destruct value to one. And also for these two circles, change a stroke to one. Ok. Now let's like this new small window and the replicated. Move it to the bottom. Okay? Again, the applicant, and move it to have the third small window here. Okay, now I want to add a little detail to this big window. So let's zoom in and if I select the outer circle, you can see the sensor of this shape is here. Now let's add a horizontal and vertical ruler here. Okay, now I want to add a few small circle shapes in this white area. So let's activate Ellipse tool and choose black for the field color. And for this throat, choose none. Okay, now hold the shift. I'm all keys and draw a perfect circle here. Let's move it to the middle of the white area. Okay. And I think we need to make it smaller. Yes. Okay. And snappy to this horizontal line. Okay, great. Now I want to duplicate these small black circle several times in this white area. So while this black circle is St. selected, click on vases, Rotate tool. Hold the ALT key and as you can see now you have a minus sign beside your mouse icon and then click on the center print. Immediately routed window appears. Here. Let's enter 30 degrees for rotation. In fact, this is the angle between each duplicated circle. Now click on this copy button. As you can see here, we have a circle with 30 degrees rotation from the first circle. Now to create the other circles, simply press Control D several times to create ten more circles. Okay, great. We don't need these guidelines. So right-click and choose Hide Guides. Let's zoom back to see what we have now. Okay, great, nice results. Okay, I hope you enjoy it and learn new tips and techniques in Adobe Illustrator. Thanks for watching and see you in the next video. 5. Designing the Rocket (Part 2): Hey everybody, and we'll come back in this video. We're going to add a highlight here. So let's use pen tool for the field colours, select white, and for the stroke none. Click here first, and then click the second and drag it to make a curve edge. Now click on the second again to make it a sharp corner. Now click on the first and drag to make a curve which here as well, zooming to have a better and closer look. Use direct selection tool to move these points and adjust the handle of this top point. Okay. Let's use anchor point tool as well to adjust the edge and handles. Okay? I think it's better now. Use direct selection tool to move points to find the best result for this highlight shape. It's OK. Now, let's move this shape slightly to the right. Okay, now let's add a gradient to this wing shape as well. So selected and activate Gradient tool. And click on the object. Double-click on this circle and select black. And for the left point, let's select, for example, this white color. Okay, great. Now what did the obligate these ring-shaped to create the right wing. So select it and from the menu choose edit, copy, and then choose Edit pasting place. Now hold the Shift key and press the right arrow key on your keyboard to move this shape faster. Right-click on it and choose transport reflect. Unfortunately, this is out of my screen recording area. Now choose vertical for Axis option and make sure the angle is 90 degrees and then press OK. Great. Now let's zoom in a little bit and place it in proper position. Okay, now I want to add fire here at the bottom of the rocket. So let's use the pen tool. And click here to design the fire shape. Let's zoom in. Click on the second to make it a sharp corner. And then click the third. And then click the fourth and drag to make a curve edge. And follow this process for other points as well. And finally, click on the first to make a closed shape. Okay, I think we need to address some of these points. So select Direct Selection Tool and move some of these points. Okay? Now let's replicate this shape as it copy and then edit, paste in place. Then right-click and transform, reflect, and hit OK. Now let's move it to the left. Okay. Let's change the color to something like yellow. Okay. Now I think we need to move these two points to remove this distance between aids. Okay, now select the buffer shapes and use the shape builder tool to combine them together. Okay, let's deform it a little bit. Okay, it's better now. Okay, now I want to add the second fire shape. So use the pen tool. Select another color, for example, orange, and start drawing the second file objects just like the first one, with a little bit different shape. You know the process. So let's see this section faster. Okay, this is the second file object. Let's modify it a little bit. Okay, great. And finally I want to create the third fire shape. So use the pen tool, change the color to, for example, white. And again, follow the same process. Okay, great. For the final colors. Let's use our color palette. So for the inner fire shape, let's choose white color. For the middle one, lists choose Orange. And for the last one, let's choose this dark orange color. Okay, we are finished a fire shaped. Now select these three layers and press this horizontal aligned center. Here in layer panel, we have several extra fire shapes. So let's select them and then press delete key. It seems several small objects are remained after using shaping their tool. So select and delete them. Okay, now I want to add a gradient effect to the body to add a little bit simple 3D look to the rocket shape. So let's select these parts that form the complete body shape. Now from the menu and choose edit, copy and then edit paste in police. Ok. Now use the shape in there too, and combined of these shapes together to create one shape. Now as you can see again, we have some small shapes remained after using shaping their tool that we can easily select and delete them. Okay, great. It seems we have a small problem here. Let's see. Okay, we can solve this problem with shape builder tool. Okay, solved. Now, I want to add a gradient color to this shape. So selected active Gradient tool and click on the object. Now let's pick a color for the left side of the gradient by eyedropper tool. And now for the right, we have a black colour. That is okay for now. Okay, now I can change the mode for this layer. So while this object is selected from the menu, Choose window, transparency. And now let's change the mode to, for example, overlay. Its effect is not too much obvious, so we can change it. For example, let's set it to hard light. Okay? And now let's change the opacity to, for example, 75 persons. Okay, as you can see, we have added a simple truth. We look to the rocket shape with these gradients effect. Okay, great. Okay, now let's add our final detailed to the object. I want to add a highlight effect to the body. So let's duplicate this gradient layer. Change it's color to white. Okay, now I want to cut a V-shaped to create a highlight effect on the left side of the rocket shape. So select the Pen tool and click here at the top. And then here at the bottom. Now drag the mouse to create a curved edge. Ok. Then click on the second, and then click several times on the right side to create a closed shape. Okay, now so it both layers using the Shift key. Now U-shaped builder tool and hold the ALT key. Then click and drag over these two shapes to delete them. Okay, great. Now let's change the opacity to 25%. Or even less. For example, ten persons or even less. Five persons. Ok. First a control, 0 keys. Ok, I think we have finished the rocket shape finally, here in Layers panel we have this rocket object with all layers. Ok, now let's unhide all other layers to see the final results. Awesome, great results. Okay, I hope you enjoy it and learn new tips and techniques in Adobe Illustrator. In the next video, I'm gonna talk about how to prepare these adequately asserts or file to be usable in Adobe After Effects for creating motion graphics. So don't miss it. Thanks for watching and see you in the next video. 6. Preparing Illustrator file for After Effects: Okay, in this video, I'm gonna show you how to prepare these other will assert or file to be usable in Adobe After Effects. This file with the columnar structure is not usable for After Effects to create motion graphics. Therefore, we need to change the structure of the layers both. First of all, let's delete the color palette layer. We don't need it anymore, or you can delete it in Adobe After Effects. So unlock and deleted these sky circles. Cloud one, ClO2 and claw free or okay, each of them is on a separate layer bought this top clouds layer consists of three objects. Want to animate them separately. So we have to put each one in a separate layer. So let's drag them outside of the top clouds layer. This layer is empty now, so let's delete it. Now. The only layer that we need to work on is rocket layer. If I open this layer, as you can see, we don't have a small arrow beside some of them. So Arabella sets or doesn't allow us to drag that layer to outside of the rocket layer. So we have to do something that adds a small arrow beside them, just like these layers here. Okay, now to solve this problem, select the rocket layer and click on this small menu and choose released two layers sequence. Now as you can see, illustrator added a small arrow beside each layer. Ok, now you can drag each one to the outside, or you can select all of them to drag them to the outside of the rocket player. Okay. The record layer is empty now solely as deleted. Okay, I highly recommend you to rename these layers and give a corresponding name to each one. These will help you to find each layer easily in Adobe After Effects. So select each layer by clicking on this small circle to find it in art mode and then give it a proper name. Okay, let's rename this layer to body highlight. For this one, enter body gradients. And now let's rename other layers as well. Okay? For these, for window layers, we can put them in one layer because we don't want to animate them separately. So let's select and move. These three are small windows to inside the big window layer. And finally rename it to Windows. For these body parts, we can follow the same process. So let's select and move them inside the body layer and rename it to body. And now let's move these two wings layer under the body layer. Also lets move these three fire layers under the body layer, asthma. Okay, now our Adobe Illustrator file is ready to be imported inside Adobe After Effects. So let's save this file from the menu Choose File, Save As. And here, let's give it a name. And here, inversion section, you can select different versions for your file. It's up to you. Okay, our design process finished successfully. I hope you enjoy it and learn new tips and techniques in Adobe Illustrator. But if you'd like to learn how to animate Ely's scene inside Adobe After Effects. I highly recommend you to watch the next videos. Thanks for being with me so far and see you in the next video. 7. Organizing Illustrator file for Animate in After Effects: Okay, in this video, I'm gonna show you how to import and organize your AWS server file in Adobe After Effects. So let's get started. To import that file into After Effects. You can double-click here inside project panel, or you can right-click and choose Import File or press control. I now select the Illustrator file and press Import button. Okay, now as you can see here, we have an import can't section with two options, footage and composition. If you choose footage option, all our objects will be important as a single layer. And as you know, we can't animate our layers in the situation. So let's select composition option. Here in footage dimensions, we have two options, layer size and document size. If you choose documents size option, each layer size will be identical to our artwork dimension, which is not good at all. So let's select a layer size that in this way, each layer size will be identical to the object size. Okay? Now person, okay, Watson. Okay, as you can see here, we have a composition with the same name as our medulla sets of file and also a folder here which contains all edible asserts or layers. If I open this folder, you can see all layers here. If you change a layer in Adobe Illustrator and then save that file here, it will be after flexible update that layer automatically. But if it doesn't update, simply select one or all layers using the Shift key. Click and choose reload footage. Now all layers will be updated to the last saved version of Azuela search or file. I recommend you not to use and change of this original composition in Adobe After Effects for creating your motion graphics, in a sense, the applicative and add your keyframes, effects, and cameras to the new version. So now let's create a duplicate from this original composition. Select the composition and from the menu, choose Edit, Duplicate, or press Control D. Now select this new composition. It's returned key and rename it to, for example, 01 dash animate. Now create a new folder and rename it to source files. And write this original composition and its folder inside the source files folder. Okay, now open animates composition. Here in timeline we can see olive or Adobe Illustrator or layers. Makes sure your layer display type is in layer name mode and not on source name modes. Because if you set two source name here we will see layer name as slash filename, which makes our timeline elites deadbeat clutter. So I suggest you to click on this narrow area and set it to layer name. Okay, if you can't see these buttons and tools here, simply click on this small expand or collapse button. Now so like one of these layers, press control a and then activate this rasterized button for all of them. This makes our layers LD tidbits sharper in composition window, this sharpening effect will be obvious, especially when you scale up your layers too much. Okay, we have to change the body gradient layer mode again in Adobe After Effects, because after fixed cans on their ascent demoed applied to a layer in Adobe Illustrator. So we seal this layer with a great gradients color. Now select the body gradient layer and then click on this toggle suits modes button. Or you can click on this small button down here as well. And then in Mode column for this layer, select heart blight mode. Okay, now here we have the same result with Adidas rates were five. Now let's change the opacity for this sharp highlight layer. So select it and then press the T key to load the opacity property. Or click on this small arrow, open transport. And here change the opacity. Let's set it to, for example, 75%. And here you can see the result. Okay, to find these layers easily in timeline, let me change the color for them. So let's change the escalator to blue. And let's change the circles layer color to blue. And luckily as well, change the color for these three cloud layers to yellow. And let's change the color for these three top growth layers to orange. Okay, now I want to be able to move all the rockets layers at months. As you can see now, if I move the body layer, all other layers will stay at their position and they don't follow the budget layer. To solve this problem, I can parents all their rocket layers to the budget layer. So let's press Control Z. Now select all the rock layers using the Shift key. Now hold the console key and click on the body layer to the selected. Okay, now right-click on this narrow area and choose columns. Parents and link. Now click on one of these peculiar icons and drag it over the body layer. Or from this drop-down box, choose the body layer as the parent for all of these selected layers. Let us change the body Layer Color to, for example, green, to find this quickly. Now if I move the body layer, as you can see, all other layers will be moved as well, okay? While this budget layer is SC selected, press the AES key to load the Scale property, or you can open the transform. And here you can change the scale value to, for example, 60%. Okay, awesome. I want to bring the rocket up from the behind of these white colored, so these white colored layers should be on top of all rocket layers. So let's move this cloud one layer to the top over all rocket layers. Ok, as you can see now, our rocket is behind the white clouds. Okay, it seems Scalia is not in a proper position. So to fit it to the composition, you can change the position or change the scale of this layer, or you can select it and from the menu Choose layer, transport, fit to count. Now it covers the entire composition window. And finally, let's lock this layer again. Okay, great. Now we're ready to start the animation process. I love the section, so I highly recommend you to watch the next videos. Thanks for watching and see you soon. 8. Preparing For Animation: Hey everyone, welcome back. In this video, we're going to prepare the after fixed file for animation. But before starting animation process, let's do some modifications on timeline layers to have a cleaner timeline. And also it will help us to animate objects faster and easier. So let's get started. First of all, hold the console key and click on this numbers to change the display type to show the frame numbers. Instead of time code. I wanted to have an animation we 300s frames. So let's go through frame 299, that is frame 0. We will have 300s frames. Now press the Enter key to move the work area and handle to this timeline indicates or position. Now right-click on this narrow br and choose 3M camp to work area. Or from the menu, choose composition, composition settings, or press Control K. And here set the duration to 300 frames. Okay, now let's select the body Layer, press the P key to load their position property. And let's move it to the centre of the composition in x direction. So for the position x entered 960, and for the position y enter 520. When you want to animate an object in After Effects, I recommend you to use a null object instead of adding keyframes directly to the object layer. So from the menu Choose layer, new knowledge. Null object is an auxiliary object which cannot be rendered in After Effects. Ok, select it, hits Return key and rename it to transform. Okay, if I zoom in a little bit here we can see the anchor point in this corner. I want to move it to the center of the knowledge. So press the console, assaults and home keys. Okay, now let's change the position through, for example, enter at 964 aches and 634 Y. Okay, now I want to parent this buggy layer to transform layer, so activates parents and lean column. And for the body layer, drag the speakership icon over the transport layer. Now as you can see, if I move transform layer, the boundary layer and other layers will be moved as one. Okay, now let's make all these layers 3D society, all of them. And click on this 3D cue. And let's do the same process for these sky and circles layers and then lock them again. Okay, now I want to create some pre camps to make our timeline a little bit cleaner with fewer layers. So let's select these sharp highlights and by the highlights. And then right-click and choose. You can't think about princomp as a group. In fact, when we make a princomp from Sarah layers, it's like that we make a group from those layers. And when we move or add some effects through that princomp or layers that are inside the account will removed and the effects will be applied to all those layers as well. Now, let's rename this pre-cum two highlights and heats, okay? And make a princomp from this multi gradient and rename its body gradients. Activate these, leave all attributes, and press the OK button. Okay, again, layer mode is not correct for this layer. So open the body gradients PR camp and activates Mode column. And let's change it to heart lights again. Okay, close the princomp and now it's corrected in the main composition. Ok. Activate rasterize option for highlights layer. Let's pre-computed Windows layer asthma. Rename it to Windows and leave all attributes active and press the OK button. Pre-computer body layer as well. Let's pre-cum the wing right and being left. And now let's move these two winged layers under the body composition to have a tie deer and cleaner timeline. Okay, now activate parents and lean column. And make sure all rocket layers and precompile our parented to the body precompiled, it seems we need to parent this highlights pre-commit to the body apricot. Okay. I think it's better to make the body layer a little bit smaller. So let's change the scale value to 50%. Okay, it's better now. And finally, let's organize a VCE project window. So let's select all these programs we have created recently and make a folder of them and rename it to precompile. I highly recommend you to always keep your file structure and project window organized. Tried to name your layers correctly and create separate folders for your programs. Fortes important videos, images, and audio files. Okay, and finally, we are ready to start the animation process. So don't miss the next video. Thanks for watching and see you soon. 9. Animating the Rocket: Okay, welcome back. In this video, we're going to start the animation process. This is the most amazing part for me and I hope you enjoyed watching this video tutorial has been okay, let's get started. I want to start animating the rocket from frame 30, because I want to add some effects and small animations to the environment before the racket enters this screen. For animating the rocket, I'm going to use this transform layer. So select it and open position property by pressing the peaky. At the beginning of the animation, I wanted this rocket to be outside at the bottom of the screen. So hold the Spacebar key and click to pan. Let's move the rocket to somewhere like here, or even lower, maybe here. Let's enter round numbers. For example, two thousand and two thousand, four x and y. And now click on this stopwatch to create a keyframe at frame 30 for this position. Okay, Let's go a few frames forward, for example, to frame 75. And let's move the rocket to somewhere like here to the left. And let's enter round numbers. For example, 1, 0, 0, 0, 0, 100 for exposition, and 450 for Y position. Let's go a few frames forward again. Maybe frame number 130, moving to the left around here. And let's enter 750 and 700. Okay, Let's go to frame 200. Move it to the right, and let's enter one hundred, one hundred and four the y position, Let's move it to the top, for example, 570. And finally, let's go to frame, for example, 265. And in this frame, let's move it out of the screen. Let's pan a little bit and move it to somewhere like here. For example, 104 exposition. And let's move it a little bit higher. For example, let's enter negative 700 for Y position. As you can see, our rocket rises from this point. We will have a rotation here at the center of the screen. And finally it will go out from this point. Okay, now I want to modify this path to have a smooth rotation here. So select all these keyframes, right-click and choose keyframe interpolation. And here for these two drop-down boxes, Let's choose Bezier option. Okay? As you can see now, we have two handles in each keyframe. I want to modify this path to have a nice circle shape here. So let's use this Convert Vertex tool and select this fourth tool. And now click and drag on this keyframe to create a nice curve shape here. In fact, I'm looking to make a circular shape. If you want to move these keyframes on their screen, use selection tool. Let's move this keyframe a little bit to the right to have a smooth circular path here. And you can move the handles as well to be able to move the handle separately, hold the Alt key and click and drag the handle. Okay, I think we have a nice circular form here. Okay, now let's play the animation to see what we have so far. Let's go to frame 25 and then press the B key to a snap their work areas starts handle to this frame. Now hold the Shift key and click somewhere around frame 265 After Effects will snap the timeline indicator to the nearest key frame, which is frame 265. And then press the N key to snap the work area end handle to this frame. Now after effects will only play the animation between frames 25 and 265. Okay, now I want to play a ramp reviews, so let's decrease the resolution. This will create ramp review faster, improve your panel. We can set a shortcut for playing the ramp review. By default, the shortcut is a spacebar, but you can change it to Shift Spacebar or numpad and so on. I prefer to use a space bar key. Now, you can press the Spacebar key or press of these play a stop button. Okay, it's good for the first try, but we can make it more interesting. I think it's better to have different speeds in some positions. Let me show you something. If you look closer to this animation path, you can see some dots here. With these small dots on the pass line, we can identify where the speed is high and where the speed is low, where the spaces between these dots are getting smaller, it means the speed is decreasing. Now I want this rocket to enter the screen at higher speed. So here the distance between these points is greater and the closer it gets to the circular shape, they lower their speed. And as you can see, the points are getting closer to each other. And when it goes out of this circle, I want it to speed up. And as you can see, the distance between these points increases. Okay, let me change the handle of this keyframe a little bit to change the animation path. Okay? Let's ascribe in timeline. Okay? And maybe it's better to change it a little bit as well. Okay. It comes from here. Rotate and exit. Okay, great. Now I want to modify the speed of the rocket to do this, select their position property and click on this Graph Editor button. Here in Graph Editor we have two axis, vertical axis shows the speed value, is shows a speed value by pixel per second escape. And we have a horizontal axis that shows the frame number or in fact time. Here we have a curve that shows the speed of the motion. Make sure you earning added speed graph mode. Also, we have another mode called value graph that shows the value of keyframes. I don't want to change it, so let's switch back to Edit Speed Graph mode, okay. I want my rocket to have a highest speed when it enters the screen here around frame 50. So I want to have a highest bid in frame 50, and the speed will gradually decrease as it approaches the circle. So let's lower these keyframe so that at the beginning of the movie in-frame 30, we have a speed with 0 value. Their speed will gradually increase until frame 50. Now let's move this handle to write a little bit. Now move the handle of the second key frame to the left to have a peak RAM for him, 50. Okay, now as you can see here, the spaces between these dots are changing. As I move this handle to the left and right. Now the rocket will have a higher speed in frame 50. And when it gets closer to frame 75, their speed gradually decreases. And as you can see, the speed graph reflects a VCE motion nicely. Okay, now let's move and modify handles of these keyframes to have as smooth as speed transition in these keyframes. At the bottom of the graph, as you can see, we have almost a flat line that forces our rocket to move at a constant speed. And after frame 200, I want to speed up the rocket again. So let's bring down this last key frame and move the handle to the left. And finally, let's move the right hand of the fourth key frame to the right to have a nice and smooth speed transition in this keyframe. Maybe it's better to move this handled to the left even more. I think it's okay now. Okay. Now as you can see, the space between the points gradually decreases, which means our speed also the cruises. Here in this circle, we have almost a constant speed and we can see that the distance between the points is the same. And when the rocket wants to leave the circle, as you can see, the space between the points increases, which indicates that the speed of the rocket is also increasing. Okay, great. Let's press the spacebar key to see a ramp review for this animation. Okay, nice results. To see the animation in full screen mode. Put your mouse over composition window and press the TD key on your keyboard. Okay, great. We can change the form of the animation path a little bit. For example, let's move the handle of this bottom keyframe. Something like this. Let's see the results. Okay, I think it's okay for now. If you need, you can change it again later. You can select and modify key from handles to have different speeds and results. Tried to have a nice and smooth transition in this speed graph to have a good result in your animations. So modify these handles to get the best results. Here in front 30 we have 0 value for speed. Then it increases gradually until frame 50. After that, the speed decreases until frame 75. Then we have almost a constant speed until forever to hundreds. And after that, the speed increases again until for m 225. We have the highest possible speed when the rocket goes out of the screen. And finally, the speed decreases again to 0 value in last frame. Okay? Now if you want to move the animation path to another place on the screen, simply click on position property to select all of its keyframe. And now we can click on one of these keyframes in composition window and move the animation path and you can put it wherever you like. Okay, I think it's not a bad idea to modify the handle of this bottom keyframe to change the motion path when it enters the screen. Okay, great. Let's see another RAM preview. Press the Spacebar key. Okay, but let me lower the path a little. Okay, let's change this key from position as well. I mean forth keyframe position. Okay, great. Now you can move keyframes on the screen change keyframe handles in composition window and in graph editor. Even you can move keyframe positions here in timeline to get the best results I have shown you the way. And now it's your turn to practice to gain more experiences in creating animations in After Effects. Okay, now I want to add a rotation to this rocket in this path. In fact, I want to align this rocket to the path at the beginning and ending of the animation. And when it's inside this circle path, I want to change the rotation. So select the transport layer. Press the R key to load the rotation properties. And here I want to rotate this rocket in z-axis. So let's keyframe this Z rotation value. But before adding more keyframe to this layer, Let's add some markers to this competition to find keyframes easier. So hold the Shift key and click around frame 30 to snap timeline indicator to this frame, the selected transform layer. Now from the menu choose Layer, Markers, addMarker, or press the star key on your numpad. Okay, we have a marker here. Now let's go to frame 75 and press the star key on your numpad and do the same for the other keyframes as well. Remember that if a layer is selected in timeline, when you press the Starkey after fixed, we'll add that marker to the selected layer. Now again, select the transport layer, press the R key, and let's go to frame 30. And let's see the rocket at this frame. I want to align the rocket to the animation path. So let's rotate it here. Let's change the 0th station to, for example, negative 25. And create a keyframe here. Let's go to frame 75 and change it to 30. After Effects will create a keyframe here automatically and go to frame 130. And let's reverse the rotation value, may be ten. Okay? Let's go to frame 200. Reverse the rotation again two, for example, I think negative 50 is okay. And in frame 265, let's rotate it to find the best value. May be 0 is okay, or maybe negative 15. Okay, let's modify the handle a little bit. Okay? Okay, now let's see a ramp trivial. Okay, it seems we need to modify a z rotation keyframes and curves a little bit. So let's select our rotation keyframes and right-click keyframe assistant and select easy, ease or press F9. Okay, now while I'll rotation keyframes, RSC selected sewage to graph editor window. Here only select Z rotation property to show its keyframes. And now I want to modify keyframe handles, but this time makes sure we are in edit value graph mode. Now if I click on the handle, as you can see, only these handle moves. In fact, they move separately from each other. If you want to move these 200s together, you have to use these converts, vertex tool, click and then drag to create and move handles together at the same time. Okay, let's move these handles LE tidbits to have a nice and smooth transition in z rotation path in each keyframe. For the third key frame, we can click and drag. And here let's add LTL gets overshoot. It means we will pass the value after frame 130 a little bit more, and then it will decrease again. Okay? And let's add a little bit overshoot in frame 200 as well. So click and drag and change the handles angle to make an overshoot after frame 200s. So it will rotate a little bit more after frame 200, and then the rotation will change to a positive value again. Okay, let's see ramp review. Okay, great. Here I think we can change the handles angle a little bit. Let's find the best angle for Handel's. Okay? Okay, I think it's not a bad idea to add keyframe here in frame 222. Okay, Let's open graph editor again to see what we have here. Okay, it seems we need to change the handles here. So click and drag with converts vertex tool. And okay, I think it's better now. Let's see a ramp review again. Okay, and in full screen mode. Okay, great. I'm satisfied with the results. You can walk on it even more. You can Open Graph Editor for z rotation and change the curve shape and handles angle to get the friend's results and to have a nice and smooth transition in your position and rotation animations. Okay, as a final touch, let's add a little bit offset to our rotation animation. This will improve our final results. So select Transform layer and press the Uki to load all keyframes properties. Now select all z rotation keyframes and hold of and shift keys and press the left arrow key on your keyboard to move an offset your keyframes ten frames to the left. Now move the work areas start handled to be before the first frame. And now let's see this result. Okay, great. I want to avoid to have position and rotation key frames in the same frame. This will improve the final result. In fact, by doing this, you remove mechanical style from your animations. Because in real-world, when an object wants to move and rotate, these two actions never happened at the same time. Okay, awesome. I'm totally happy with the final results. In the next video, we're going to add great effects to our environment. We will add camera and some interesting effects through clouds and much more to have an alive backgrounds. So don't miss the next amazing video. Thanks for watching and see you soon. 10. Adding Effects (Part1): Okay, welcome back. In this video, I'm going to show you how to add animation to fire layers. Then we will learn how to distribute layers in through the space. And finally how to add an animate a camera to have a real through the space in aftereffects. Okay, as the first step, let's work on these foyer layers, and let's add a wiggle animation to each layer to simulate a fire effect. But before that, let's talk about anchor points. So let's zoom in a little bit. And let's increase the resolution. Okay? When I select one of these fire layers, as you can see, the anchor point is here on the center of the layer. Let me change the color to make it more obvious. For example, purple. Okay, now here we can see the anchor point. I want to escape the fire from the top point somewhere around here. And scale it in this direction only. So the anchor point shouldn't be here, because if I escaped it, it will be escaped from the center. I wanted these foreign layer to be escaped from this top point. To do this, I want to use this pan behind tool or press the y key. So put your mouse over the screen axis and move the anchor point in Y direction until you get to this top point. Okay, now let's do the same process for these two other fire layers. Activate pantheon tool and move the anchor point to the top. And again for the last Fire layer. And now if I scaled this fire one layer, as you can see, it will be escaping from the top and not the center. This is what I was looking for. Okay, great. Activate the selection tool again. Okay, now I want to animate these fire layers using a visual effect that is consoled by one slider. To do this, let's add a null object, hits Return key and rename it to control. We can move this null object to the corner of the screen. Let's put it here, ok. Now from the menu choose Effect. Expression controls a slider control. After Effects immediately opens, this effort controls for you. But if you can't see it simply from the menu and choose effect, effect controls. Or press F3 on your keyboard. Ok, now click on this small lock button to hold this panel open for the control layer. Now if you click on the other layers after vex keeps this panel open for you, click on a slider console property and hit Return key and rename it to, for example, fire escape. Okay, now I want to control the Scale property of these fire layers by this fire escape slider. So as the first is the select the layer and press the AES key to load the Scale property. Click here to hide these chain button to be able to change the scale value was separately in x, y, and z directions. I want to animate a VCE fire only in y direction. So we have to hold the X and Z values constants on 100 persons. So hold the ALT key and click on this stopwatch. After Effects will create a script for this property automatically that's deleted. Okay, I want to animate a scale in y direction using a visual effect. We'll add random values to scale y and it will simulate a fire effect for us as we get expression in After Effects is a piece of JavaScript code that's allowed to move a scale and roots eighth a layer back and forth in a random fashion. So let's write several lines of code here. We need a variable. Let's name need VK, VK equals to wiggle 25. The first parameter is frequency, that defines the number of times you're layer will wiggle per second, this case 25 times. Now are the comma and then 15. The second parameter is amplitude that defines the how much it will move up and down, this case 15 pixels. And finally add a semicolon and heats Return key. Here we have three parameters for the scale, a scale x, y, and z. I don't want to change the scale x and z. The x axis is to the right and the z axis is perpendicular to the plane and outwards. So let's type an open bracket for the first parameter, that is scale x. And as I told you before, I don't want to change it, sold as entered 100 persons. For the second parameter, I want to use the weak variable in After Effects as scale. X is the first parameter that we refer to eat with number 0. A scale y is the second parameter and we refer to eat with number one. And we refer to as scale z with number two. So now when I want to use regular effect as the second parameter, so I have to write week open bracket, one, close brackets. It means we consult the scale y with the visual effect. And finally, let's write 100% as a scale z value. Okay, by default, we can animate the visual effect. To solve this problem, I can multiply the scale value with a number, and I can solve this number by this firing scale slider control. If I enter number one for this slide, there are a scale of one to be changed. If I enter a number below one, it will be scaled down. And if I enter a number bigger than one, it will be a scaled up. So let's multiply this scaled scraped by their slider value. Click-and-drag respective icon over the fire escape slider. Now after effects, we'll multiply our current scale value by a number that is defined in these slider. Okay, great. Now my slider value is 0, so my scale will be 0. Why? Because I have multiplied the scale value by a 0 number. Now if I scale it up, let's enter 0.2. So my scale will be multiplied by 0.2. Let's multiply it by 0.5. This is the results, okay? If I multiply it by one, now we have 100% for this scale value. And if I multiply it by to, my file layer will be a scale 200 persons. Okay, for now, let's leave it at number 0. Ok, let's use this code for other 24EI layers. So copy this script and then select these two fire layers and press the S key. Ok, hold the ALT key and click on the stop watch, delete this script and paste the code here. And for the third file layer followed the same process. Ok. Now we cancelled the wiggle and scale values by this slider. But you can't hide this chain for fire three and fire two layers to be able to change these numbers separately later. Okay, now let me change the color for these layers. For example, blue. From now, I animate these Firefox with this fire escape slider. So let's go to a frame, for example, 75, and change the slider value to one. And let's add a keyframe here by clicking on this stopwatch. Now let's go a few frames for vD, for example, frame 120, and change it to 0.25. and as you can see, our fire layers are getting a smaller. Okay, let's go to frame 200 and change the slider value to, for example, 1.5. Okay, let's change the resolution and now let's see a ramp review to see what we have now. Okay, great. Now let's see in full-screen mode. Okay, great. Now let's modify our animation a little bit. So select console Layer, press the Uki to load all keyframes. Select these keyframes. Keyframe assistant, easy, ease or press F9. Okay, now let's make this file animation a little more interesting by adding some key frames to have the effect of increasing and decreasing the fire escape when the rocket is in this circle path. So let's go to frame, for example, 130 and change the slider value to 0.35. Let's go five frames forward and set it to one. In frame 140. Change it to, for example, 0.01. for frame 145, let's enter 1.5 in frame 150, change it to 0.2. For frame 155, enter 144160. Let's enter 0.2. Okay, now let's see a ramp review in full-screen mode. Okay, awesome. We can change the vigor parameters for R3 fire layers to have different random scale values. So for fire one layer, that is our White Fire Layer, press the UK T2 times. Now let's change the vigor parameters to 15 and for example, ten. For fire to, let's enter 2015. And finally for fire three, let's enter 3020. Okay, now let's see the result. Okay, great results. I love this effect of increasing and decreasing the foil rescale. This adds a little more detail to our animations. As a professional table tried to add some of these small tweaks to your works to add more layer of animations to your motion graphics. Ok, we don't need to see console layer on the screen so we can hide it from this corner. Ok, now let me show you how to add a camera and distribute these layers in real 3D space in After Effects. First of all, let's change active camera to custom view1. Now press the CQI on the keyboard or click on this unified camera two. And as you can see, Allah, when objects are in a single plane, if we left-click and drag, it can rotate or orbit the camera around the layers. If you right click and drag your mouse, you can zoom in and zoom out the camera. And if you middle click and drag your mouse, you can pan to the left and right. Ok. I want to distribute these layers in 3D space. So let us start from the bottom. Layers, unlock their sky and circles layers, select day sky layer and press the peaky to load the position property. Let's change the Z position value to push bucket into the space. For example, let's enter 500 for zPosition. Okay, it's a proper position. Now let's move the circle layer to back. And for zPosition, let's enter 404 KClO3. Let's change it to 200. For Cloud two layer, change it to okay, let's change the Z position for Cloud three, it should be 304. Cloud two layer change it to 200. Now, as you can see are layers are distributed in 3D space. If you click on this camera button, you can see different options for the camera. For example, if you select track XY Camera tool, as I told you before, you can move camera in x-y plane suddenly like you pan the camera. If you choose unified Camera tool, you have all these cameras Transform tools in your hands. Just use left-click, right-click or medically to access each tool. Or you can press the C key to switch between them. Okay, now I want to move top clouds layers for top clade one. Let's leave it in its current position. For chocolate to less change Z position to, for example, 400. And for top clock three, less change Z position to 250. Okay? Now as you can see, we have a nice distance between our objects in 3D space. Okay, great. Now let's switch back to our main view. I mean active camera view. Okay, as you can see, because I pushed back these layers, we need to scale them up to cover the entire screen again, especially for the sky layer. So let's change the scale for Sky layer two, for example, 130 changed the scale value of four circles layer to 1104, ClO2, and claw free, let's change the scale to 110. Okay, great. Okay, now I want to animate these layers in x axis. So select the top Cloud one layer and the Lets go to frame 0, less change exposition to 350. Answer the keyframe here. Then let's go to the last frame and change the exposition to, for example, 500s. Because our keyframes are linear and as you can see, these two keyframes are like a Dyamand in timeline. So our object will move in a constant speed. Now for the top ClO2 in frame 0, let's enter 100000. So the keyframe, let's go to the last frame and change it to, for example, 150. As you know, when an object is further away, it seems to move at a slower speed. So to simulate it, I move top ClO2 less than to upload one. Now for topical A3 in frame 0, let's enter 106 hundreds. So the keyframe go to the last frame and change it to, for example, 1700. Okay, as you can see, our top cloud layers are moving nicely. This layer that is near the camera moves faster. This cloud moves a little bit slower, and the middle one moves very slow. Okay, now I want to give the scene a little more to the field. To do this, I'm going to add shadows to our cloud layers. So let's select Cloud one layer and from the menu choose Effect, perspective, drop shadow. Okay, for the shadow, colourless peak, a dark blue color from the sky. You can also choose a black color. It's up to you. Let's increase the distance. For example, 50. Let's increase the softness value because as you know, clouds don't create sharp shadows. So increase it to 75. And let's change the direction to 75. Okay? You can decrease the capacity if you like, for example, 14. And let's change the color to maybe a little bit darker blue. Okay, now I want to apply this shadow settings to another cloud layer. So select these shadow effect and from the menu and choose edit copy. Now let's select ClO2 and paste effect. Now our second cloud layer drops shadow over the third cloud layer. You can apply the shadow effect to the third cloud layer as well if you'd like to. Okay, now let's animate these three cloud layers. So select Cloud one and let's go to frame 0. Open the position property. And so the keyframe here. And let's enter a round number, for example, 900. Let's go to the last frame and change the exposition to, for example, 10000100. Okay? As you know, objects that are closer to us seem to move faster. Okay, now I want to animate ClO2 in opposite direction to add a little bit diversity. So in frame 0, set a keyframe. And there are 704 exposition. And go to the last frame. I decrease the exposition because I want to move it in opposite direction of the cloud one. So let's enter 600. Now let's scrub in timeline. Okay. As you can see, they are moving in opposite directions. Okay, now for cloud A3 in frame 0 at the keyframe, enter 1254 exposition. And for the last keyframe, let's enter 103 hundreds. Okay, now if I scroll up in timeline, you can see that this front cloud moves faster. It moves 200 pixels. The middle cloud moves a little slower. It moves 100 pixels. And the last cloud moves very slowly because it moves only 50 pixels. Okay, let's add a new layer to our clouds. So select Cloud one and from the menu choose Edit, Duplicate, or press Control D. Let's change the position a little bit. So I'll select all position keys by clicking on position property. Click and drag the layer in z-axis and bring it forward somewhere like here. Okay? Now if I scrub in timeline as you can see, Cloud one and cloud for are moving in the same direction. But I want to reverse the direction for Cloud, for soul, select all keyframes again and right-click and choose keyframe assistant, time-reverse keyframes. Now they are moving in opposite directions. Now let's change clawed four ELE TLB to have different look. So unlink the Scale property and change the scale x from 100% to negative 100 persons. Ok. Let's also change the color of cloud one. So from the menu, choose Effect, generate, feel immediately afterwards adds a red color to it. Let's pick a color from cloud for, And then let's change it a little bit to a bright grey. Okay, now we have little difference between these two clouds, okay, now, as you can see, the shadow color of this cloud is changed as well because the field effect is below the shadow effect. So simply drag this field effect over the shadow effect. Let's change its color a little more. Okay, now I want to apply a new effect to our clouds to have more motion on the screen. And this will add more details to our animation. So select Cloud one and ineffective and preset panel fine turbulent displays effect and apply it to the layer. Let's close these effects. Now change the size value to 50. Hold the ALT key and click on the evolution stopwatch. Did it visit script and enter time, times 13? Now, if I scrub in timeline, as you can see, the form of the cloud monolayer is changing. Okay, Let's do the same process for Cloud for added turbulent displays. Change the size to 50 and add the script to evolution property. Time, time is 35. Because this cloud is closer to the cameras, so the turbulent effect should be more obvious. Yes, the shape of this clade also changes over time. Follow the same process for Cloud two. And for this grip enter time times 20. And let's apply this effect to the Cloud three layer as well. And for this group, enter time times ten, because Cloud and Cloud three are so far away from the camera, so they're turbulence effects should be less obvious. So I use a smaller numbers for them. You can add this turbulence displays effect to these small top clouds as well. It's up to you. Okay, now I want to add an animate, a camera. So from the menu Jews layer knew camera. Here I leave the settings as they are, but you can change them if you like. For example, maybe you like to use different focal length volume camera. Ok, now let's go to frame 0 and opened their position property. And let's change the Z position to, for example, negative 2700. Go to the last frame and change the Z position to negative 2500. Now as you can see, we have a slow movement into space in z direction. Okay, now let's see a ramp review to see what we have made until now. Let's see it in full screen mode as well. Okay, awesome. I'm satisfied with the results. Okay, I hope you enjoyed watching this video so far. In the next video, we're going to add more interesting effects to the scene. So don't miss it. Thanks for watching and see you soon. 11. Adding Effects (Part2): Okay, in this video, I want to add a piece of cloud to simulate the effect of splitting cloud when the rocket exits from behind the clouds. So let's create a new composition or press Control N, rename it to cloud the rocket. Leave also things as they are and press the OK button. Okay, now in animates composition that we click on body composition to open it up. So like this layer and copy it into memory and paste it in Cloud Rocket composition. And let's rename the layer to cloud rockets. As the first step, we must put it in the center of the composition to do this press Control Home keys. Now I want to move this anchor point from the center to this bottom point. So click unpin behind tool or press their psyche. And now hold the console key to activate their snap mode. Now you can simply snap the anchor point to these points. In this case, I want to snap it to this middle bottom point. Okay, now I want to animate these object. I want it to come from the bottom to the center of the screen and go back down again. So let's go to frame 0. Create a keyframe here, and lower it a little. For example, 10000300, in-frame 50. Let's bring it up to 800. Now let's go to a frame, for example 75, and again bring it down to, for example, 10000. Okay? Select these two last keyframes and convert them to easy ease. And leave the first frame on linear type. Let's take a look at graph editor. Okay, great. Let's go to frame 100 and press the Enter key to move the work area and handle to this frame. Now let's see a ramp review. Okay, great. Now I want to add a vehicle effect to position and rotation properties of these objects. So hold the alkene and click on position stopwatch. And let's add a legal code. Here. We go. 52. Ok, now we have a small legal imposition, property. Now let's add a vehicle of I2 rotation as well. So press the archi and add the vehicle code to this property as well by holding the ALT key and clicking on rotation property. Now for this wiggle, let's type wiggle 105. Now you can see a nice visual effect for these objects. Okay, now I want to animate the Scale property. So press the Escape key. Go to frame 50. And olig their scale. Create a keyframe here. Let's increase the scale x here a little bit. So let's change it to 125. Now let's go to frame, for example, 85 and change the scale x to 300s. And change a scale why to 75? Okay. I think it's better to bring it down even more. So open position property and in-frame 75 changed position y 210000100. Okay. We can change it if needed. Okay, now let's animate the opacity property. So in frame 50, opacity should be 100%. And in frame 85, let's change it to 0. Ok, and then convert these to keyframes to easy ease type. Ok, press the Uki to see all the keyframes properties. It seems I forgot to convert scale keyframes to easy ease. So let's do it now. Let's scrub in timeline to see the results. Okay, great. Now I want to add a few effects to this object. But instead of adding effects directly to the object layer, I'm going to use an adjustment layer. If I click on this toggled transparency greet button, you can see that this adjustment layer is transparent. For your information, adjustment layer is a transparent layer and it applies effects to all its underlying layers. Okay, let's rename it to effects. The first effect I want to add is field effect. So from the menu choose effect. Generate field. As you can see, these Adjustment Layer applies the red field color to its underlying layer. I don't want this red color, so let's change it to, for example, bright grey. Now let's add a Box-Muller effects. So in effects and preset panel, let's find it. Type fast. Yes, here views. While the effects layer is selected, double-click on this effect to apply it to the layer. Ok. Let's change the bilayer of radius 25 and change the iterations to five as well. Okay? Now I want to add another effect called turbulent displays applied to Adjustment layer. And four amounts value enter 25 and change the size value to 50. And let's increase the complexity to, for example, 2.5. okay, let's scrub in timeline. Okay, nice result. Ok, now I want add another effect to create more Claudia style to the object. So find the scattering effect and applied to the Adjustment Layer and increase the amount of value to, for example, 150. To have a better look for scattered effect, we have to move it above the fast Box-Muller effect so we can put it above Facebook's polar or even before Field Effect. In After Effects, winner effect is below another effect. It means bottom effect will change the effect of top layer. In this case, Facebook's Blair will Blair, they're scattered effects. If I put a scatter effect below the fast boxplot layer, as you can see, we have shocked dots around the object because fast Box-Muller cannot effect the bottom layers. So we have to put their scatter over it on top of Facebook's bilayer effect. Okay, let's see the results. Okay, great. Now I want to add another effect. This time, I want to apply it directly to the object layer. In fact, I want to split the this cloud object into two sections from this top lines. And the rocket will come out from the middle of this splitted parts. So to do this, I will use an effect called a split. Let's apply this CCS plead to the Cloud Rocket layer. Okay, increase the split value to 100. Then click on this button and then click here on top of the cloud racket layer to put the point a here. Then click on this button and put the point P to somewhere like here. Okay? Let's enter round numbers for the x value, enter nine hundred sixty and two hundred and four point a to B here. And for the point B, let's enter nine hundred and sixty and zero to be here on top of the composition window. Okay, make sure to activate this rasterized button for cloud racket layer. Because if you don't activate it, we will have another effect that is not what we are looking for. Okay, now in frame around 45, I wanted to animate the point a. So let's create a keyframe here. And let's go to frame, for example 65. I want to increase it to, for example 700. Now if I scrub in timeline, you can see the results. Okay? First the UK and convert these keyframes to easy 0s. Okay, great. Now let's see what will happen if rasterize button is off. Yes, a wierd effect. This is not what we are looking for, so make sure to activate it. Okay, we have completed this section as well. Now we can go back to the main animate composition. Okay, now let's add a rocket cloud composition to animate composition and drag it under the cloud one layer. Let's change the layer color. Okay. And let's find the exact frame that the cloud is splitted. Yes, maybe around frame 57. Now move the layer two here where the rocket comes out from behind the clothes. Also, we need to rotate it a little bit. Okay? And I think we need to offset the layer in timeline to find the best frame. I want to have the cloud to be splitted exactly when the rocket comes out from behind the clouds. I think it's okay now. So let's see a ramp review just for this section. So let's move this work area and handled to somewhere like this frame 85. Okay, I think it's better to tweak it a little bit more. So let's bring it down even more in French 75, for example, to one hundred and three hundred. And maybe we need to move points a little bit more in frame 65. Let's change it to 10000. Okay, now let's go back to animate composition and see another ramp review. Okay, but I think this split effect is too much, so let's decrease it. Maybe it's better to change points. A y position to 800. Another ramp review. Okay, it's better now. But we can reduce the speed as well. So let's select all these right keyframes, hold of and shift keys and press the right arrow key to move these keyframes ten frames to the right. Let's open animate competition again to see a ramp review. Okay? Maybe it's better to offset this composition and littleBits. Okay? Now let's move the layer in competition by arrow keys. Activate this toggle mask and shape path visibility to see active layer in composition window. And maybe it's better to change the rotation a little bit as well. Maybe negative two new one. Okay. You can move, rotate, scale and offset, at least composition if you need it. Okay, now let's see another ramp trivial. Okay, great. I think you've got the main concept. Now it's your turn to work on it. Change positions, rotations at offset, and modify keyframes and so on to get the best results. I think it's better to put it. But in Cloud one and clawed four to remove the shadow effect of cloud one over this small Claude and combine it with Claude one. We can add a field effect to this Cloud Rocket composition and assign the color that is identical to Cloud one layer. So absolutely feel of AC to Cloud Rocket layer. Now pick a color from Cloud one by eyedropper tool. Novae have same color for these two clouds. Ok, Cloud for is closer to the camera, so I want to add a blur effect to it. So find fast box bilayer uploaded to Cloud for layer and change the border radius. 254 iterations enter five. Now it seems it's out of focus of the camera. Nice effect. You can reduce this blurry effect. It's up to you. And let's apply this effect to Cloud one asthma. So let's copy the effect and passive over the cloud one layer. And let's decrease this effect a little bit. Change boiler radius and iterations to three. Okay, great. Now let's see around premium. Okay, I think it's great now. Okay, now I want to add a few lines behind the rocket to emphasize its speed and power. So let's use pen tool. Change field, option to none. And for the stroke color, choose white. And set a stroke size to three. Okay, now click here. And then click somewhere around here to create a line. As you can see after for excretes a Shape layer here. And let's rename it to line one. Let's change its color to be visible easily on the blue background. Let's zoom in a little bit. Okay, let's move it to a correct position. Ok, this is the anchor point of this line shape. So press the Control Alt and home keys to move it to the center of the shape. Now I want to animate this line. So open it and click on this add arrow and select the stream path effect. Okay, now it's time to animate. So open entry and path one. Here we have two options, start and ends. You can animate the line with these two parameters. Let's zoom in a little bit to see what they are doing. With n parameters. We can cancel the endpoint. And with the start parameter, we can animate the start point of the line. Let's create a keyframe for end here in frame 205 with 0 value. Go to frame 225 and change it to 100 persons. A scrub in timeline to see the effect. Ok. Now for a stored property in frame 210, ADA keyframe and change its value to 0. And let's go to frame 230 and change it to 100 persons to see what's happening here. Let's solo this layer by clicking on the solo button. Okay, as you can see, if you have a nice and simple animation for this line shape. To make it a little bit more interesting, select last keyframes and right-click and keyframe assistant. Easy ease. Now Open Graph Editor. And now select and write these two hundreds to the left. Okay, this is the results. Let's see a ramp review just for the section. Okay. And as a result, OK. Turn off the solo button again. Okay, let's adjust the angle of the line. So select the converts vertex Tool. Hold the Control key and click and drag this endpoint. It's better to put this line shape layer on their rocket layers. So drag it under fire three layer. Now it's behind the fire layers as well. Okay, let's move the anchor point. So activate the pan behind tool and hold the console key and snappy to this corner. Now, to create more lines, simply duplicate this line. Press the archi and change the rotation property for this new line. And let's change its position to somewhere like here. Let's scrub in timeline to see the results. Okay? Okay, I think it's better to move fire layers a little bit. Okay, now let's see a ramp reveal. Ok, great. I think it's not a bad idea to add another line shape in the middle of these two lines. So the applicant line to novae have line three shape. Now move this line to the middle of the other two lines. And let's use converter takes Tool. Hold the ALT key, and move the last point to increase the length of this line. Also, we can add offset between these lines. So select all of them and press the yuki. Now select these keyframes. Hold the ALT key and press the right arrow key to times to offset these key frames. And then add two frames offset to line three Shape Layer keyframes. Ok, now let us see around premium. Okay, great. Okay, now let's add to spiral lines as well. This will add more details to our animation. So activate Pen tool. Let's go to frame 205. Now using Pen tool, click and drag several times to create a spiral line shape. Ok. Hold the control key, move handles and point positions to create a nice and smooth spiral shape. Let's change the layer color to be able to see it better. Okay, let's rename it to line four and put it under fire layers as well. Okay, now I want to copy animation from one of these lines shapes and pass it over lung for shape. So open tiling path one from line three, shape. Copied into memory. Go to frame, for example, 205. Now select line four layer and paste the animation. Now press the Uki to see the keyframes. Okay, great. What let's move the anchor point to this corner. It seems we need to move it. So find the best place for this line shape. Let's move it a little bit more. I don't want it to be in the same line with other lines. So we need to change the rotation to have a distance with this line. Let's move other line as well to find the best position for our line shapes. Ok, good. Now we can duplicate this spiral line. Open Scale property by pressing the ski. And I'll link this scale chain button. Change scale y two negative 100. And now change the rotation to find the best angle. And let's align it with a rocket body and line for shape. Ok, change the position of line to a little bit. Okay, we can offset this. Line four and line five layers a little bit in timeline. And we need to change the rotation of line five a little bit more and move Line five layer even more. Okay, great. We can also change the opacity for these lines. So select line five and press the T key to load opacity property. In frame around 230 changed opacity to 0. And so the keyframe. And let's go to frame 210 and change the opacity value to 100 persons. Okay, convert the keyframes to easy ease. Click on opacity property and press the control C to copy it into memory. Now select other lunch amps. And while you are in frame 210, press control v Keys to pace the opacity keyframes. Okay? It's not a bad idea to add offset between line four and line five. So moved line five a few frames to the right. Okay, nice results. Okay. Now let me change fire animation a little bit when these lines come out from the rocket. So in frame around 190. Let's find the control layer. And in effect controls panel. Press the Uki to load keyframes for consumer layer. Now move this key frame to frame 190. Let's go to frame 205 and decrease the fire Haskell value to 0.25. Now let's go to frame 210 and change it to value two. And in frame 215, change it to 1.5. Ok. Now let's see the results. Okay, good. Now let's see a full ramp review for this animation. So double-click on this bar to cover the entire timeline. Okay, awesome. Okay. I think it's better to move this Cloud Rocket layer to the right. Ellie, tell beets. Okay, great. Okay, I think you know what to do now. So go ahead and try to modify this animation to get the best results. Okay, now I want to add a vignette effect to this motion graphics. It improves the final result. So let's create a solid layer. Select a black color and click on this may come size button. Then rename it to vignettes. Now, I want to add a mass to this layer. So while the solid layer is a societal activate Ellipse tool and then double-click on Ellipse tool to create a mask for this layer. Now activate this inverted checkbox to invert the mask. And now increase the mask feather to, for example, 500s and decrease the opacity to 25 persons. Now you can see the difference by turning off and on this layer. Okay, now let's see a ramp review to see the final results. Okay, great, I'm satisfied with the results. Okay, I hope you enjoyed watching this course so far. If you want to learn more techniques, please don't miss the next video. Thanks, watching and see you soon. 12. Rotating the Rocket: Okay, in this video, I'm going to show you how to add 3D rotation to a rocket with a simple technique. By adding 3D rotation to some elements, you will improve your motion graphics to a super high level animation. So without wasting time, let's get started. First of all, let's go to frame 0, select Transport Layer, and pressed the Uki to load all keyframes properties, in this case, position and z rotation. I want to bring the rocket object to the center of the composition in frame 0. And as you know, our composition is 1920 in 1080 pixels. So its center is nine hundred and sixty and five hundred and forty. And now changed z rotation to 0. Okay, maybe this question has crossed your mind. Why I created keyframes in frame 0 and not in other frames. For example, frame 100s, if I change position of this rocket object to nine hundred and sixty and five hundred and forty. And also I changed rotation value to 0. Now if I delete these keyframes, my rocket objects will not go back to its previous position. And as you can see, my circular path will be destroyed completely. So I prefer to use frame 0. Ok, let's hit control these arrival times. Okay, and now let's go to frame 0 again. Okay, now I want to create a 3D wink layer. Here we have two V-in compositions. I don't want this being left, so let's delete it. Select wing right and hit Return key and rename it to wink one. Now double-click on it to open its composition. Let us change the resolution to fool. Select this being Layer and turn on the rasterize option. Let's rename the layer two wings center. Okay, now I want to add analogic. So from the menu Choose layer, a new null object, rename it to controller. Now from the menu choose effect, effect controls or press F3. Click on this button to hold this panel open while I am working with other layers. Now let's add a slider to eat. So from the menu choose Effect. Expression controls as slider control, and rename it to rotation control. Now, I need the camera as well because I want to orbit around this week in this composition. So from the menu Jews layer, new camera and leave the settings as they are. Okay, as the first step, I want to move the anchor point of this being object to the bottom. I want to put the anchor point at this position under this corner of the wing. So select Japan behind tool and move the anchor point to this position. Let's zoom in to find the best place. Okay, great. Now let's change the layer color to, for example, blue. Okay, now let's duplicate this layer, so selected and from the menu and choose Edit, Duplicate or heat's Control D. Let's rename it to being T1 or wing top one. Change the layer color to yellow. Now to replicate this layer four more times to have 5D abdicated layers. Now let's abdicate being sensor again. Bringing it down. Change the layer color to, for example, purple, and rename it to being down one or being d1. Now duplicated four more times. And let me rearrange the layers to have when demon layer at the top and being D5 layer at the bottom. Okay? Now I want to add a field effect to this being censored layer. So from the menu choose Effect, generate field. I live its color to red for now. Okay, now for this controller layer, I want to change the slider value to 0.5. okay, now I want to change the rotation of these yellow layers, but each layer will have its own rotation from the bottom layer minus this slider value. Okay? First of all, let's select all layers by pressing control a and make all these layers 3D. And now select this being central layer. And all of these yellow Layers press the R key to load the rotation property. Okay, now to see what I'm doing here, let's switch the camera to custom V01. Press the C key to change the camera tool and orbit around the objects. Okay, as you can see, all of our layers are placed in a flat plane. I want to add a little with rotation to each layer to create a 3D Luke wing. This is one way to create 3D objects in After Effects. As you can see, when I change the excitation of a layer, it's rotates around the x axis and this will add a 3D look to Arvin. Okay, as I told you before, I want each layer takes its excitation from the bottom layer, and then I want to minus it by the slider value. So hold the ALT key and click on this explanation of being T1 layer. Delete this code and to connect this x rotation to the bottom layer, click and drag to the speakership icon over the exploitation of the bottom layer. Then type in minus and again drag peak clip icon over the rotation console, a slider. Now as you can see, being center x rotation is 0 and the rotation of being t1 is 0 minus this slider value, which is 0.5. So it will be negative 0.5 degrees. If I zoom in a little bit in composition window, you can see that when T1 is rotated negative 0.5 degrees. And if I change the slider value is rotation will be changed. As a quick tip, if you want to change a slider value with small numbers, hold the Control key and click and drag over this slider number. And if you want to change a slider value of its large numbers, hold the Shift key and click and drag over there slider number. Okay, let's change this by their value to 0.5. again. Now let's follow the same process for the other yellow layers. So hold the ALT key and click on exploitation of being T2. Activate the scope and drag this pickup icon over the extra rotation of the bottom layer, which is being T1. Add a minus sign and write pickup icon over the slider value. Now as you can see, x rotation of being T2 is 0.5. degrees less than V01 T1 x rotation. So it will be negative one degree. In fact, each layer is 0.5 degrees different from the previous layer. Ok, let's continue the process, connect the exploitation of being T3, T2, T2, and add the minus and drag the pickup icon over this slider. Okay, repeat the same process for the V01, T4, and T5. Okay, great. Let's see what we have now in composition window. Great. As you can see, we have five duplicated layers that each layer is rotated 0.5. degrees relative to the previous layer. Ok, now I want to repeat the same process for purple layers, but this time I want these layers to be here on the other side of the red being centered object. So make sure you have selected these peripheral and being central layers and then press the archi. And now I start from being down one layer. This time, I want the excitation of this layer to be as much as the amount of excitation of the top layer plus vz slider value. So hold the ALT key and click on the stopwatch, delete Viscoat, and connect its excitation to the exploitation of the top layer. Two have the same rotation value and then I want to add 0.5. degrees to eat. So we have to add a plus sign and then drag this big fib icon over this slider. Now as you can see, we have this being D1 layer here at the other side of the red layer with 0.5. degrees rotation. Okay, let's repeat the same process for the other being down layers connect exploitation of being D2 to exaltation of the top layer. Deletes the code, add a plus sign, and click and drag the pickup icon over this slider. Ok, here we can see these layers rotated to create a 3D being shaped. And finally connected being D5 to wink D4. Okay, let's see the result in composition window. Okay, good. As you can see, our ten layers are beside the being censored layer two for R3, the wing shape. Here you can increase the slider value, for example, to number one. And here we have a thicker through the vein with more distance or rotation between each layer. Or it can decrease the slider value to have a thinner til the wink. It's up to you. Okay, let's set it to 0.5. again. Okay, great. This is good results so far. But if you look closer, you can see that all of the top corners of these layers are in the same line. But I want to add a little with a smooth edge to the top of the wing shape. To do this, I'm going to use the Scale property. Although this process is not necessary, but I suggest you to do it and add more details to your objects. And this will improve your motion graphics production quality in Final Render. Okay, let me show you how to properly select being Center and our top yellow layers. First, the SKA too low, the escape property. The selected layers. Okay, are being central layer should be at 100% escape. What's, let's rescale other layers. So for wing T1 changed a scalar value to 98%. As you can see, each layer will be escaped from this bottom corner because we have placed the anchor point in this position for when T2 enter two units is smaller. I mean 96 persons for being T3, again enter through units as smaller than previous layer. I mean, 194 persons for being T4 entered 92%. And finally for wing T5 and third 90%. Ok. As I don't want to escape these layers in X axis. So let's hide these scale chain buttons for all layers and change x scale for these layers to 100%. Of course, it's up to you. Now they have 100% scale in x axis. Okay, now let's repeat this same process for these bottom purple layers. Select them, press the Esc and change the escape from 98% to 90% from the top to the bottom. Hide these chains to unlike the scale axis, to be able to change each scale value separately. And finally changed the scale x value to 100% again. Okay, let's see what we have here. Yes, as you can see, we have goods of aids on both sides of this being center objects. Let's hide these camera and consoler layer to see more clearly. Okay, great. Don't forget that if you create more layers on each side, for example, ten layers on the left and ten layers on the right, you will get a more accurate 3D object. So I suggest you to add more layers with a smaller distance or rotation between them to create a nice, unbelievable 3D objects. Now I want to go one step further. I want to use colors to add more through the Look to the edge of this wing shape. So I'm going to use some colors to create a soft, gradual look for the topic of the wing. In fact, we are going to create something like highlight effect at the top edge of the wing. So your 3D wing objects look more real in this scene. Okay, let's see how we can do it. Let's change the fill color of the being sensor object. So let's change it to F6, F6, F6. So the middle layer is almost white. Now. Now let's add a color through being T1 using a field effect. And for this layer, let's enter this code, D9, D9, D9, a bright grey color. And if I zoom in here, you can see that I'm going to create a gradient effect from the central layer to the next two or three layers. Now let's add a field effect to being T2. And for this one, let's add this color c f, c, f, c, f. Okay, great. Here we can see a nice gradient effect that will create a highlight effect at the top edge of the wing. Okay, now let's apply these field effects to the other side. So select t1, copied the field effect into memory. Now select the D1 layer that is on the other side of the being censored layer and paste the field effect. Now copy the field effect of being T2 and paste it over being D2 layer. Ok, we have successfully created R3, the wing shape with a nice smooth and highlight effect at the top edge. If you want to have more curved shape and highlight effect, you can add more field effects to being T3 and T4 layers and change their colors to have a nice gradient effect at the top edge of the wing. Okay, now we can go back to our main animate composition. Okay, now I want to duplicate this being one composition three times to have four wings and to have a wing on each side. First of all, let's move its anchor point to the center of the rocket shape, which is the centre of the composition as well. Because if you remember, I moved the rocket layer to nine hundred and sixty and five hundred and forty position. To have a visual reference for the center of the composition, let's show the ruler and add a vertical line and 960 position. So from the menu choose View, show rulers or press Control R. Now let's zoom in a little bit and change the resolution to fool. Make sure you have Info panel here. If you can't see it from the menu Choose window in foo, or press control to. Okay. Now click and drag from the left vertical ruler to the center of the composition until you see 960 number in x value of your info panel. Okay, my line is at the center now. Okay, now I want to move the anchor point of the wing shape to the center of the rockets. So activate Pam behind tool and move the anchor point in X axis until you get to this blue line here. Zooming to make sure your vertical green axis, which is the y axis, is exactly over the balloon ruler line. Okay, great. Now the applicant being one layer three times. So from the menu choose Edit, Duplicate, or press Control D. Now let's rotate these being layers. So select them and press the archae for being one, leave the viralization value at 0. For having to change the y rotation value to 90. Set the y rotation of being three to 180. And finally four being four, enter 270. Okay? Now we have four wings and one being on each side. Okay? If you see where these things are on the real tree decomposition, lets select the body composition and let's switch the camera to custom VO1. And now let's pan and orbits ran the rocket shape. As you can see, these four rings are around the rockets objects. If you switch to the top view. This is our body layer. Let's change its color. Or by the object is here. And these four rings are placed around the body object and rotate them around this body object to simulate the rotation of the rockets. Okay, great. To be able to rotate all four things together. I'm going to parent being 234 to being one layer. So activates parents and link column. Select these three layers and parent them to being one layer. Now let's go back to active camera view. And if our retained to being one layer in y-axis. As you can see, other three layers will rotate as well. Okay, for these rocket compositions, I mean, highlight why the gradient windows and body compositions. Don't forget to turn off these rasterized buttons. They are on. As you can see, we will not have the correct result for the wing layers. In fact, our wings, which is in front of the body layer, will be hidden. So make sure that rasterize option is off for these compositions. Okay, now let's rotate being one a little bit to check it. Yes. As you can see, when a wink is in front of the body, Vicent seats, and when it's behind the body, we can't see it. Great. Okay, now let's drag all wing layers and put them at the top of the rocket compositions. So they have to be at the top of the highlights composition. Let's rotate being one a little bit. As you can see, our wings don't have any thickness. To solve this problem, we should turn on Rasterize button for these four layers. Now if I rotate it a little bit more here we can see the thickness and the highlight at the top edge of the wing layer. And this adds more to the sense to our objects. Okay, great. Let's change the rotation of being one to 0 again. Okay, now I want to rotate these windows around the body as well. So select the Windows composition and I move it to the edge of the body shape. Let's check it. Yes, it's located exactly on the edge of the body. Now let's rotate it around the y-axis 90 degrees. Okay, now I want to move the anchor point of this competition to the center of the body or to the center of the composition. So use the pan behind tool and move the anchor point to the center. And police the green y-axis exactly on the blue line of the ruler. Why did I do that? Because I want to rotate these windows composition around the center of the body shape. Now, let's rotate the windows composition. Ok, as you can see, we have a problem here. I want to cut the this Windows layer from the edge of the body composition. So to solve this problem, let's duplicate body composition. Rename it to body mask, put it at the top of the windows composition and less change it's Layer Color to, for example, to orange. And now click on this toggle suits modes button. And for Windows composition in track mud column, choose all formats. Now as you can see, only that part of the Windows composition is visible that is inside this body mask layer. And so my Windows layer is cut from the age of the body shape. Okay, great. Let's hide these two columns. And click on this small button down here. Okay, now let's rotate Windows layer to 0. And to bring this big window position exactly above this wing, less rotate windows competition a little bit, maybe around negative ten degrees. And it's not bad to lower it a little. Okay, awesome. Now if I rotate my wings, as you can see, Windows layer does not rotate. How to solve it? Yes, we have to patent the windows competition to wink one composition. Now if I rotate the vein one layer, we can see that Windows competitions with rotate asthma, Great. Okay, now if I rotate being 12, for example, 50 degrees. As you can see, our Windows composition covers of this highlight effect, because this Windows composition is not in the same position as the highlight composition. If you remember, we have changed the anchor point of the windows layer and we rotated. So z position of this layer is not at 0 value anymore. So Windows competition is in front of the highlight composition. To solve this problem, select the highlight composition. Press the peaky and change the Z position a little bit until you can see it in the front of the windows layer. Maybe negative 19 is a good value. Okay, now you can see this highlight at the top of the windows composition and it improves your motion graphics level a little bit more. Ok, we have worked on Windows, wings and highlights. Now it's time to work and protecting the wings and windows. So select Transform Layer, press the yuki. And we don't need these two key frames at frame 0, so let's delete them. So the racket returns to its first position. Okay? Now as you can see, the only thing that we need to do is adding the rotation to the wings and Windows composition. And the only object that we need to rotate is being one because as you know, other ring layers and also Windows layer are patented to the wing one composition. So select wing one and operand rotation property. Now I want to animate it in y-axis. So let's go to frame, for example, 13. Change the y rotation value to 0 and certain keyframe. Now let's go to frame, for example, here in frame 110. And that's rotated a full 360 degrees and even more, maybe 180 degrees. Let's scroll up to see the rotation. Okay? Okay, now let's go to frame around 210. And let's reverse the rotations. So changed the first parameter to 0. And for this one enter ten degrees. And finally, let's go to frame 250. And let's increase it again to have twofold rotations and 180 degrees. Okay, great. When I create a ramp review, you will see the result. For now, select these three keyframes and convert them to easy ease. Now select the rotation property and in graph editor. Now here we can create overshoot as well. So select converts vertex tool and click once, and then click and drag to adjust the handle angle and make an overshoot after this keyframe. And you can change the handle angle for the next keyframe as well. And finally, let's modify this handle for the last keyframe. Okay, great. We have completed the rotation animation admin. Okay, now let's see a ramp or trivial. Great. Awesome. I'm satisfied with the result. Okay, you learn how to create a 3D rotation to simulate to the objects in the scene with a few simple techniques, you can work more to find more advanced and complex ways to create 3D motion graphics in aftereffects. Okay, before we finish this video, let's add a few more modifications to the scene. I think it's not bad to bring down this rocket path a little bit. So select Transform layer and then select all position keyframes. And using the selection tool, move this animation path to the bottom alittle bit. Okay? Or even more. Okay, great. We can lower clouds layers a little bit. So let's select cloud for and press the peaky. If I move this layer here in this frame, aftereffects creates a keyframe for this position, which I don't want it. So let's delete list keyframe, click and the position property. And if I move it after flexible, create a keyframe at this frame again, I don't want it also Soviets deleted again. So let's select keyframes and move timeline indicator to a frame that we have a keyframe. For example, frame 0 or frame 300. And then lower the layer. Ok, repeat the same process for cloud Vaughn, even for ClO2 and Claude three. Ok, great. I think it's a good idea to copy shadow effect from the cloud to cloud three. Ok, now we have a shadow effect for Cloud three and it will add more true descends to arsine. Okay, let's scrub in timeline to find which part needs to be corrected. I think it's better to change and increase the fire escape in this frame. So in frame 210, less change fire's scale to 2.5. And I think we need to move these lines shapes a little bit. They are not aligned with the body of the rocket. So select our lung champs and moved them to find the best position. Maybe it's a good idea to offset them a little bit. So select them and move the layers in timeline to find the best frame and move them to the lab to see them a little bit sooner. Great. I think it's okay now. Okay, we finished the project together, so let's see a ram preview. Okay, awesome, nice results. Okay, I hope you have enjoyed watching this course so far, and I hope you have learned lots of tips, tricks and techniques in Adobe After Effects and Adobe Illustrator. In the next video, I'm going to show you how to render this motion graphics so you can publish your final video on the Internet and let other people enjoy your engaging motion graphics. So don't miss the next middle. Thanks for watching and see you soon. 13. Render Motion Graphics: Okay, in this video, I'm going to show you how to render your motion graphics in Adobe After Effects quickly. First of all, let's select and double-click to open all of these programs. And now for each composition, make sure these motion blur Watson in France of layers are active, then it on in all compositions. And for this competition, press the Control a to select all layers and then activate the motion blur for them. Okay, kilos of these compositions. And now inanimate composition, Select All Layers and activate motion bilayer for them. And also don't forget to activate these composition motion blur button as well. Okay, now it's time to render our motion graphics. As you know, these animated composition is our main composition. So select it and from the menu, choose composition. Here we have two options. Add to Adobe Media Encoder queue and add to render queue. If you have Adobe Media Encoder installed on your system, I suggest you to use this option because you have a great program that will render your aftereffects projects quickly with high quality. And also you can use great video compressors like h point V64 that can reduce your file size dramatically if you don't have a the way media encoder. So use the second option which is add to render queue. Ok, here we can see run there Q panel, and as you can see, aftereffects added your main composition here to the render queue. In this panel we have three main sections. Render Settings, output module and athlete to clinic on the best settings. Set the quality to best, set the resolution to fool. So you'll find all widow size will be identical to your composition size, which is 1920 in 1080 pixels. And set the frame rate to the first option, which is 29.97 frames per seconds. And press the OK button. In output module section, click on their lossless option. In Format section, we can choose the video format. You can choose AVI, JPEG sequence, PNG, Photoshop, QuickTime, or TGA formats. I prefer to use QuickTime format. Now click on format options button. Here you can see lots of great video codecs. I prefer to use animation codec, which creates a very high-quality widows. And of course, the final video will have a large size as well. So you will need a video compressor program to compress your videos. If you have, it's going to 64 compressor in this list, you can use that because it will create a high-quality widow with a small file size. Okay? If you want to have a transparent background for your motion graphics, you can use these RGB plus alpha option, but because my background is filled with color, so I don't need Alpha channel, so I use RGB channel. If you're motion graphics has an audio layer, you can select this audio output on and use this section to adjust the audio options. Okay? And finally in output two section here we can select the destination folder type a name, and the format is cooled them as well. And finally, press the Save button. Okay, pressing the render button, opened their main composition here makes sure that your work areas start and end handles are set correctly to cover your entire animation. I want to render from frame 0 to 265. Okay? If you go to frame 222, you can see that our motion blur is working nicely. Okay, let's go back to render queue panel. Everything is ready, and now let's press the render button. Okay guys, congratulations, we have finished this motion graphics together. I hope you enjoyed watching this course, and I hope you learn not subgrade tips, tricks and techniques in Adobe After Effects and Adobe Illustrator. If you want to learn more about After Effects, Motion graphics, and so on, please visit our portfolio here on Skid share, and I'm sure you will find us upgrade video tutorials GET will help you to improve your skills to create more engaging animations, motion graphics, and to the arts. If you enjoyed this course, don't forget to write a review and rated, and I hope you find it a five-star rating course. Thanks for being with me until the end of this course, and I love to see you in my other courses as well. Okay, Have a nice day and goodbye.