Motion Magic: Mastering the Fundamentals of Motion Graphics in Adobe After Effects CC

1. 01 Welcome to The Class: Are you ready to take your admission to the next level? Welcome to Motion Magic, mastering the fundamentals of motion graphics in After Effects. This is the second class in my skill share series on Mastering Adobe After Effects. Hi, I am Ale, and I will be guiding you through this incredible adventure. I am a professional motion graphic designer with over 80 years of experience in the creative industry. In this class, we're going to be diving into the core principles of motion graphics, transforming static designs into smooth, eye cuchin animations. Whether you're a designer, content creator or aspiring motion artist, this class will equip you with essential techniques that make mission look polished and professional. In this class, we'll be covering four fundamental topics. We're going to begin by learning the principles of animation and how to incorporate these principles in our motion graphics. You're going to learn the secrets behind fluid, dynamic and realistic movement. Secondly, we'll cover key frames in the graph editor in after effects, mastering the tools that bring your animation to life. Thirdly, we're going to be covering shape modifiers in after effects. And in this module, you're going to discover how to transform basic shapes into stoning motion graphics. And finally, we're going to be covering text animation in after effect. And this skill will equip you with the ability to add energy and style to your typography. This class is just one piece of the puzzle. As part of my bigger after effects course, this class lays the groundwork for more advanced motion graphics and Veffts techniques coming up in this series. By the end, you'll be able to create smooth engaging admissions and gain the confidence to keep pushing your creative boundaries. Join me and let's bring your designs to life. Jump in and start admitting now. 2. 02 Class Projects: In this class, we're going to be working on seven class projects. In the first project, we're going to be creating a bouncing ball animation, exploring how to practically apply the principles of animation and working with keyframes and the graph editor in after effects. We cover all these in video 326. In the second class project, we're going to be creating an interesting animation of several icons, transitioning into one another using shape modifiers. In the third class project, we're going to be creating a simple logo mission by experimenting with shape modifiers and the transform properties. In the fourth class project, we're going to be creating an interesting shock shooter animation using shape modifiers. In the fifth class project, we're going to be creating a loading screen animation using shape modifiers. In the sixth class project, we're going to be creating an interesting animion of a fan displacing air bubbles as it slowly accelerates using shape modifiers. We cover all about shape modifiers in videos eight to 19. The seventh and final class project for this class is on text animeors. In this class project, we'll be creating a simple yet interesting text animation for our video composition from the first class in this series. We cover text and meters in videos 25 to 29. The project files will be provided for you, but also feel free to check out the first class if you have, as there is so much to learn there. I would love to see what you come up with. So kindly push your results to the class project section. See you in the next lecture. 3. 03 Principles of Animation: In this video, we will be exploring the essential principles of animation that will elevate your motion graphics projects to new heights. These principles originally crafted for traditional animation are just as powerful in the digital realm. Before we jump into the specifics, let's take a quick trip back in time. The 12 principles of animation were developed by Disney animators, Woolly Johnson and Frank Thomas in the 1980s. They distilled decades of animation, expertise, and research into these fundamental guidelines, ensuring characters and movements feel lifelike and engaging. While originally intended for character animation, many of these principles are incredibly relevant to motion graphics. Fresh up is squash and stretch. This principle will add flexibility and volume to your objects, making them appear more dynamic and live like. Imagine a bouncing ball. When it hits the ground, it squashes, and when it rises, it stretches. This simple tweak can make your motion graphics feel more organic and engaging. In motion graphics, use squash and stretch to emphasize actions like transitions, button clicks, or logo animations. It adds a sense of realism and appeal without complicating your design. Up next, we have anticipation. Anticipation is all about preparing the audience for an upcoming action. Imagine watching a character bot jump, lean back slightly, creating a sense of expectation. In motion graphics, anticipation can be used to hint a transition or an important event. For example, before a logo reveals itself, elements might pull back or shift to signal the impending review. This subtle cue makes your admissions feel more intentional and polished. Follow through an overlapping action and shows that different parts of an object or character continues to move even after the main action has stopped. This principle adds depth and believability to your animations. In motion graphics, this can be applied to elements like banners flotering after logo settings or shadows and highlights subtly shifting after a main movement. It creates a more cohesive and mutual feel, preventing your animation from feeling mechanical or abrupt. Arcs are more about natural movement. In the real world, most actions follow an arc path rather than a straight line. Whether it's a spinning icon or sliding text, incorporating arcs makes your animations feel more natural and visually appealing. Incorporate arcs in your motion graphics to avoid stiff and mechanical movement. This subtle adjustments can significantly enhance the aesthetic flow of your design. Slow in and slow out, also known as ease in and ease out, refer to the acceleration and discluation of objects. Instead of starting and stopping abruptly, movements begin slowly, speed up, and then slow down again. This creates a more realistic and visually appealing motion. In after effects, using easing functions can help you implement this principle effortlessly. It ensures your animiions feel smooth and professional, enhancing the overall quality of your motion graphics. Next, let's talk about timing and spacing. Timing refers to the amount of frames used for an action, while spacing is the distance between each frame. Together, they control the speed and fluidity of your animations. Proper timing can convey emotions, first movements for excitement or slow motions for drama. In after effects, twiching the timing and spacing can make your transitions smooth or snappy, depending on your desired effect. Mastering this will ensure your motion graphics communicate the right message effectively. Now let's enhance your animations with secondary action. This principle involves adding supplementary action that supports the main action without distracting from it. Secondary action adds layers of complexity and interest to your animations. In motion graphics, secondary action could be subtle animations like background elements reacting to the main action or additional effects that complement the primary movements. For example, when animating a button click, a slight glue or ripple can serve as a secondary action enriching the overall animation. Now let's add some flare with exaggeration. This principle involves amplifying actions to make them more dynamic and eye catching. Whether it's larger than live bound or an exaggerated spin, pushing the boundaries can make your motion graphics stand out. Incorporate exaggeration to highlight key element in your design, ensuring they capture and retain your audience attention. Staging. Staging is all about presenting your message clearly. It involves arranging elements to direct the viewers focus to the most important parts of your animation. Think of it as the composition in visual art. Everything should lead the eyes where you want it to go. Imotion graphics, effective staging ensures your message is communicated without distractions. Use contrast, positioning and movement strategically to guide your audience seamlessly through your content. Next up are straight ahead and pose to pose, two foundational animation techniques. Straight ahead involves animating frame by frame from start to finish, ideal for spontaneous and dynamic movements. In contrast, push by push starts by defining key frames of major poses, then filling in the in between frames for a more controlled and structured animation. In motion graphics, push to push is often more applicable. It allows for precise timing and smooth transitions, which are crucial when synchronizing animations with audio or other design elements. However, understanding straight ahead can be beneficial for creating more organic and expected effects when needed. Next, let's discuss solid drawing. This principle emphasizes the importance of creating objects and characters with a strong sense of volume, weight, and balance. Solid drawing was a key principle outlined by Johnson and Thomos to ensure animations feel grounded and believable. In motion graphics, solid drawing translates to maintaining consistent proportions, realistic lighting, and appropriate shadows. It ensures that your drawing holds up under various animations and transformations, providing a professional and cohesive look throughout your project. And last but not least, we have appeal. This principle ensures your motion graphics are attractive and engaging. It's not just about beauty. Appeal involves creating designs that resonate with your audience and keep them interested. Whether through vibrant colors, smooth movements or creative concepts, making your motion graphics appealing will help them leave a lasting impression. Now that you've covered these essential principles, let's see how to apply them in after effects. From using keyframes to adjusting easing, these tools will help you bring your motion graphics to life with precision and creativity. Remember, animation is both art and science. Blend creativity with these principles, and the possibilities are endless. Keep experimenting, stay inspired and happy animated. 4. 04 Principles of Animation in practice: Hey, there. Welcome back. So in the last video, we learned about the principles of animation. And these are kind of the foundational ingredients that your animation or motion graphics has to have in order to make a lot of sense, right? So in this video, we are also going to be looking at the principles of animation. But in this video, it's going to be more of a practical thing, okay? I'm going to open a project which I worked on just a very simple project to help you understand principles of animation better so that we go through each scene together, and hopefully you're going to be able to understand properly how these principles can easily be incorporated. Into your work or into your motion graphics. So open your after effect and go ahead and open your project. So come to file and then open project. And now in your folder on principles of animation, that's Admission principles or six. You're going to see this After Effects file. It's called or title the Principles of Animission in practice, okay? So select it and click Open. Yeah, so this is the file, and as you can see here, we have several compositions opened, and these are just us trying to explain each principle of animation or at least most of the principles of animation. So the first one, we have to squash and stretch. Okay? So this is squash and stretch, and let me just play this scene. I'll just play the scene and you just see how we are basically explaining squashion stretch, right? So like you know, or you can observe, one of them has quashion stretch, while the other doesn't have squashi and stretch, right? So this one has the squash and stretch. I'm just going to hit the tinder key to make this big, okay? And just kind of sorry. Sorry for that, just kind of make this fit fit. So if I click this, you're going to see that it's squashing and stretching. So as soon as it hits the ground, it squashes. And then as soon as it's in the air, you see that it stretches, okay? So that's squashi and stretch. Squashion stretch is a principle that basically help give our animations weight, okay? For it to squash and stretch like this is basically telling you that this object has some weight. Okay? So that's squash and stretch. On hide the other one and hide one with squion stretch, you can see that this is just one without squashion stretch, and you can see how mechanical and just uninteresting this particular version is you get. So basically, this is what quash and stretch adds to our animation. It adds this realism, this believability to our animations. And you can see how incredibly different both of them are, okay? Just adding the question stretch makes things just turned out, basically. And then the next one is the anticipation. So anticipation, let me just make this big and full size. Yeah. Sorry, fit, not full size. So if I play this now, you're going to see that. Okay, this is the one without anticipation, I guess. Okay, this is the one with anticipation. So if I play this, you can see that this is the initial position. And I see before it goes to the main lotation which is this location, it first of all goes back a bit big. So this is first goes back a bit. Before it goes to its main location while this guy doesn't go back. Okay? This one just goes to its main location without going back. So this anticipation adds more realism and more beauty to our motion graphics. And let me just go ahead and enable and expose the keyframes, so you see how I made this. So I made this by basically admitting the position. So first of all, it's in this location. I just admitted the position to go back a bit, okay? I dimitd it to go back a bit and then finally go forward. But the magic comes here in the graph editor, and we are going to learn how to manipulate this graph editor in the next module. But this is where the magic comes in, you get. So the graph editor helps us edit our speed, and this enable us achieve the anticipation and basically add quality to our motion graphics. And for the quai stretch, let me just enable the keyframes for this guy. So we hit you to enable the keyframes. You can see that. For the squashion stretch, I just admitted the positioning and the scaling, okay? There's the position and the scale. So one trick with squash and stretch is that the volume of the object has to remain the same, even while it's squashing and stretching. So if you look at the scale, you're going to see that the scale here is 101 hundred, right? And now the trick is, whatever you do, make sure the addition of both scales still add up to 200, okay? Just like 100 plus 100 will give you 200. So it means at this point, at the middle point where it scratches the most, you're going to see that we have 119.8 and 80.2. Okay? So if you join the both of them, if you add the both of them, it's going to give you 200%, 200%. So basically, we are making sure that the volume remains the same. You get same also with these other keyframes here. Okay? This one, I can't really go to this particular keyframe. I don't know why, maybe because of the way. Okay, yeah. Now I can now I'm on the keyframe. Now you can see that it's 119.8 and 80.2. Well, you get, that's the middle one still. So this one, I will need to maybe adjust it to this point to this place before being able to go to it, right? So you can see that it's 80 plus 120. And 80 plus 120 is what it's 200. You get. So basically, that's the mechanic. So that's the concept of achieving squash and stretch. That's a rule making sure that the volume remains the same, okay? So we have anticipation and you've looked at what anticipation is, we have the follow through now the follow through is basically this simple animition and play it, so you see. In fact, let me make this big and fit to screen. Perfect. Okay, let's also make the resolution full. Okay? So you can see that this is basically a ball going from this position to this position, and it has this antenna, and you can see the antenna tangling, right, even after the ball stops moving. So this is basically follow through. Yeah, so this is basically follow through. There is nothing else I need to explain here. It explains itself. So let's go to the next one. Next one is the arc, and the arc is, of course, the arc movement, right? So this is the natural way most things move in reality. In reality, most things move like this. Okay? So they don't move in straight and in straight lines, like machines, okay? So we have the version without the arc. So if I hide the one with the arc, we're going to see that this is how the mechanical movement is, and this is just unrealistic, okay? It's just unrealistic. So Yeah, so that's basically it for the arc. And for this, I just had to animate the positioning to control or you, right. Okay, we can see that this is a precomposition. So if I just go in and select the both of them and hit you, you can see that it's basically the position, right? Position. This is the position. This is also the position, okay? Yeah, close this and go back. Yep. So that's the arc for you. Just go in and see the keyframes for yourself so you understand more. B these are really very basic concepts, and they are very easy to understand. Okay? So you won't have any problem understanding them. And this is the ease in and ease out animations in and is out animion. One of them has the easing, one doesn't have. Yeah, this is the easing and ease out, and this one doesn't have easing. So we can see that for easing, our object basically starts going slowly and then speeds up in the middle and then slows down. Okay? So basically, that's how things move in nature, okay? If a car wants to start moving, it first of all, starts accelerating gradually from zero, okay and then goes to the maximum speed. And then if it wants to stop, it decelerates down to zero. So that's basically how things move in reality. So that easing and ease out for you. Applying it to your animation makes things very believable and realistic. And this is the version without the easing. So you can see how interesting and just mechanic. This one moves. I just moves straight without any life in it. You get. So that's basically it for easing and easel. You have timing and spacing. And timing and spacing, of course, is basically the spacing between each frame, okay? So these circles are basically representing are basically representing the frames, each frame of this drawing, okay? So we can also see the spacing between them. Now, the spacing determines the speed. Okay? For these places that we have less of them, it means it's faster. You get so there is less drawing. For places where there are more of them, it means it's slower. So it needs more drawings to cover up for the slowness you get. But for this one, just going just going. In a constant speed, basically. So for a constant speed, it's basically the same distance and the same spacing between each frame. You know what I'm saying. Yeah. So that's spacing for you. That's sacent for you. Okay, let's go to the next one, second reaction. For second reaction, we have an animation here, and this is uh, our ball moving from point A to point B, and we have these lines that kind of show speed. You get these lines that kind of animit out and show speed in the opposite direction of our ball. It's a very typical way to show speed, okay? So this is basically an example of second reaction. It's a second reaction. It adds more life to the animation, but doesn't distract from the mean action, which is moving from point A to point B. So that's second reaction for you, very simple to understand. And, yeah, we have exaggeration. So for exaggeration, I just made an animation of a bouncing ball and the only difference is the bouncing is a bit too exaggerated. So we can see how exaggerated it is. So exaggeration can be good at times, okay? It can add a lot of drama. To our animation, add a lot of richness to our animation, okay? We can even use it to depict funny characters, okay, funny funny scenes, basically, okay? So that's basically exaggeration for you. We can see how extremely exaggerated our ball is in this scene. Yeah, so that's exaggeration, and then we have staging, and this is a typical example of staging. So this is good staging. For good staging, it helps the viewers understand what we are trying to pass well, understand the message we are trying to pass clearly and unambiguously. And it takes account of the most important items of our composition. So like you can see here, we can see the most important item is the main ball here, right? So it comes first, and then others follow. So they don't just come abruptly, they come one after the other, okay? And everything guides the viewers' eyes in a way that makes them understand everything that we're doing here without conflicting. So there's no conflict, there's no conflict. And if I hide this and enable the one for bad staging. You're going to see that there is a lot of conflict. So if I play this, you can see that everything is appearing. At the same time, all of them are competing for the viewers attention. So it means the viewer doesn't really get the full message. Okay? The viewer won't be able to get the full message, get the full gist here. So that's bad staging. This is basically bad staging. Okay, everything is just appearing at once. There's conflict. Nothing is more important than the other, you get. So that's a typical example of bad staging. And yeah, we animated this by just using by just using the positioning and then scaling and all that. These are very simple animations. And then we have the solid drawing. We have the solid drawing, and this is the solid drawing. Like we said in the previous video, the solid drawing basically is us presenting our drawing in kind of a treed way, right? With depths with shadows, with lights, okay? So that it adds realism, so that it adds realism. We can see this has been depicted with some light effects, with some shadow effects, and some shadows even on the ground, right? And everything is just admitted together and everything looks just good. Yeah, so that's solid drawing for you. And basically, these are all the ones we've illustrated here. So the ones that are left out are just the appeal and the straight ahead and pos supposed action. So for the appeal, of course, we all know that the appeal is just the attractiveness and the engaging ability of your motion graphics, okay, how engaging or how attractive your motion graphics is or your admission is. And for appeal, it basically encompasses everything from colors to slick movements to creative concepts, and more. Okay, everything you can do e extra thing you can do to make your animation stand out. That basically adds to the appeal of your animation. And then for the straight ahead, it's just a type of animation, which is frame by frame animation, which involves metal, drawing each frame of the animion, each frame of the admission, okay? And this is not something we're going to really explore. This particular type, it's not something we're really going to be exploring in this course, okay? We are mostly going to be exploring the pose to pose animation, just like the ones we have been doing so far. All of these are pose to pose because we define the first pose and then the last pose. And then we just allow the computer to generate the movement for us automatically. Okay, so that pose to pose animation and also the straight ahead animation. And this has brought us to the end of this video of this module on the principles of animation. So see you in the next one. Bye bye. 5. 05 Getting started with the Graph Editor: Hey, there. Welcome back. I'm really excited to have you in this module because in this module, we're going to explore some really interesting or fun stuff, in my opinion, okay? So in this video, we are going to be learning about the graph editor here in After Effects. Now, the graph editor is this really powerful tool, which is used to fine tune your animation of properties by visualizing and manipulating keyframe interpolations. So that's basically what the graph editor is. And without further ado, let's get into it. Okay? So right here, I'm just going to go ahead and create a new composition. So let's name this composition one. Kit, okay. And what do I mean by visualizing and manipulating animation properties? Okay, let's explore this by just going ahead and creating an ellipse to create an ellipse. Okay? You want a perfect ellipse. Let's just give it my favorite color, as you may have noticed, which is this color, okay? It's actually our brand color as well. So hit for skill. Let's kill it. Okay, let's not skill it. Let's just, um, let's just see Okay, let's kill it, actually, because I want to use the simplest, the simplest form of animation. If we animate the position, it's going to be creating good animation on X and Y axis, and that could get a bit complicated. So for now, let's just kill it. Okay, so let's just bring it to the middle. Control all home space to centralize the anchor point, then, control home space, sorry home key or command home key on the MAC to centralize it. I'm just going to hit S for skill and then scale it up to this level, right, 175 to this kale. And then I'll just come on the first, second, create a key frame. Yeah, go on the zero second or zero frames, and then just make this T. Let's make it 20. Okay? So you're scaling 20-175 0.1%. So select the both of them. In order to go into your graph editor, you need to select both of your QFmes. And first of all, you can actually give it an easy es, okay? But that's not necessary. You don't necessarily need to give it an easy es. You just have to select your Q frames, and then click on this button. This button where it says the graph editor, right? So just click on it, and you'll be brought into the graph editor. Now, this is the graph editor, and we use the graph editor to fine tune and manipulate our animations. Okay? Now this is what we call the value graph. You write clicka you're going to see some options, you're going to see that Edit value graph has been checked. So this is what we call the value graph, and we're going to come to that later on, but right click and then select the speed graph. And this is what we call the speed graph. Okay? So what I'll do is I'll just go back, actually. I'll click back to see my keyframes and then easy ease them first of fall. So I'll easy ease them. Okay? Give them Easy Ease. You can hit F nine for that and then just click back to your graph editor. So clickb and now you see this curve, okay? So what I want to do is select the both of them now and just do this and do this. Okay? So let me just play my admission. If I play my admission now, you can now see that. Instead of just giving us normal uh skiing up and down. Sorry scaling from ground up, just like this. It's now giving us more interesting scaling, okay? It's now giving us more interesting skiing because I did this and did this. Now I'm going to come to that to the explanation of why we did this and what is the basic working principle behind why it behaves like this, okay? But I just want you to be able to go into the graph editor and then see some of the things you can do, right? Now, here is the graph editor, and I'll just make this bigger. Okay? Now, in the graph editor, of course, you know what I did? I just hit the Tiller key to make this bigger, right? So now in the graph editor, we have these buttons. Okay? We have the easy ease out button. We have the easy easy in button, we have the easy ease button. In fact, we don't need to look at all of this because in the next video, we're actually going to be learning about this, because these are just types of key frames which you can write add to your graph editor. Now let's look at the types of graph editor and then what they do. Let's look at what they actually do, because we are kind of getting a bit too fast here. So we have the value graph and also the speed graph. Now, let's start with the value graph. So click and then go to Edit value graph to see the value graph. Now we see this is a value graph. Now, the value graph displays the actual numeric values of a property. Now these are values such as the position values, the scale values like in this in this case, or the opacity value or whatever value you have created kefens for over time. Okay? So the value of the property over time. Okay? Now, this is the time to which we play the admission. Okay? So it basically shows how the properties value changes from one keyframe to another. Remember our Q frames are in time, right? We have zero second or zero frames, and then 1 second, right? So it shows how the keyframe value changes over time. So this is how it changes over time. This is the graph, basically. Okay? If we just have normal graph, let's say we turn this. Now, if I hit control, an control and click, we're going to turn this back to a normal linear graph. This is called a linear keyframe, okay? So it's now a linear keyframe. Now, if you go back here, you're going to see that this turns from a curve to a linear graph. Okay? So this value graph basically shows how the property okay, changes from one keyframe to another. So it goes from zero to this number, from zero to this number. So this is the scaling. This is the scaling. So remember, the scaling is 175.1, right? So it goes 0-175 0.5 0.1, rather. Okay? So now, this is the t axis which shows the value, and this is the X axis which shows the time. So now this is 0-175 0.1. Shows the value on this axis, then we have from zero frames to 1 second, which shows the time. Okay? Yeah, so that's basically the value graph, and you can adjust your keyframe, adjust the interpolations and the movements by basically manipulating this graph. Now we can take our pen tool and practically add more keyframes to our graph and do a whole lot of other stuff. Okay? Now, if we add more keyframes, it means we can now adjust our graphs like this, like this. Now if we select one of these keyframes, you see that these buttons get enabled it means we can click and then turn our keyframes to one of these types of keyframes. So we can do this basically, and you can select this and do this basically. Okay. Now, these yellow ts are called handles, right, busier handles, and they are used to kind of edit the movements of the object, kind of edit our graph. And if you're familiar with Photoshop and Illustrator, most especially Illustrator, you will of course be already familiar with the handles, because they are used with the pen tool as well in these software. So we are basically editing our scaling. Now, this is what we've been able to achieve because we manipulated our value graph. Okay, so that's the value graph for you. Let's just delete these keyframes and go back to our speed graph. Now, in order to go back to your speed graph, you know what to do. You guessed it. Click here and then Edit SpeedGraph. So click on Edit SpeedGraph and here we are on our speed graph. Now, what is the speed graph and what does it do? What does it display? The speed graph displays the speed or the rate of change of a property's value over time. Okay, so for value, it's value over time. For speed graph, it's speed over time. So it basically shows how quickly or how slowly the property is changing at a given time, okay? And like the value graph, we also have the Y axis which shows the speed, and we have the X axis, which shows the time. Guess it, we choose the time. Okay? So for speed graphs, speed graphs are mostly used for controlling acceleration and deceleration. So if you want to accelerate and diluate an object, let's move in from this point to this point, we will normally use the speed graph to control that. Now, let's just create a duplicate or maybe hide this guy for now, and let's see this practically. So we're going to create a new shape layer and then create an ellipse, select my selection tool and then hit P for position, and create a keyframe here, and then come to 1 second, and then move it from here to here, just like this. Okay. So select both keyframes and then click here. And first of all, let's just turn this to Easy Ease. Okay. And then click here to view your graph. Now, this is your speed graph, and you can see that, if you play it, it comes from here to here just in this speed, right? Just in this speed. Basically an easy speed. It starts slowly and then speeds up, bits in the middle here, and then just slows down and disluts and stops just like this. Now, the magic comes when we select our keyframes by markey selecting like this to select a keyframe like this, and now you see those handles. Now these handles do the magic, click on them and drag. And click on this guy also and drag. Now, let's play and see what we've achieved now. Now you can see that we started very slow and then sped up here and disilratd. Okay? Now, it has totally changed the value of our animation, okay, the quality, okay? So it adds a lot of beauty to our animation. So this is an example of the kind of magic we can achieve with the speed graph, with the graph editor. Okay, so it's used for controlling acceleration and disluation. It's also used in creating easing effect. This is an example of an easing effect as well, and then creating smoother animations. So you can see how smooth our animation is now. Okay? So that's the graph the speed graph for you. And then the value graph usually comes in handy when we want to do precise value adjustment, when we want to create actions like bounces. So it's really good for bounces. And we're going to look at how to create a bounce effect with the speed graph very soon. And then it's also good for transitions. Okay? By basically adjusting the curves, you can create smooth or abrupt changes in property values. And that's basically the transition. And we have a module on transition where we cover transition in detail. So you kind of understand what transitions are how to use them, how to create custom transitions, how to even use preset transitions, and transitions from plugins. So we have a model on that, and we use the graphs to kind of create stuff like that, as well. We get. So that's basically it for the graph editor. Now, we're going to create our example for a bouncing ball. So one more time, create a new shap layer, new shape layer and then just create the ball. Just like the others. And now we have our ball. Let's go ahead and bring our ball to the middle, keep align our ball to the middle. Center the anchor point and then align it to the middle and bring it here first. And now just creates a keyframe for position. So create a keyframe. And for position, you know, we have the X and Y axis because when an object moves, it either moves in the Y axis or in the X axis. So it means we are going to have two values for our position. So create a keyframe for your position and then select your guy and then just right click. Sorry, not right. Click, select your guy and then go to the graph editor, and then just view value graph. And now we can first of all, actually create our first bound so that we have more data. It's easier to work like that. So let's first of all, create our first bound. So it's just this guy going up. Just like this. Okay? And then let's select our key frame. I fat let's esas them before viewing our graph. Now this is our speed graph. Now we see that the adjustments happen on our Y axis. Okay? This is our Y axis, and this is our Y axis. That's the green line you're seeing here. But this red line, it's our X axis, and we have no animation happening on it. So one thing we can also do is right click on the position. And then separate dimensions. Now, if we separate dimensions, we are going to have separate difference for X axis and YXs. So for Xxs you can see that just treat because we have no animations on it, but on the YXs you can see that this is how it looks, right? Yeah. So select our frame here, we can give it an easy ease, make it look like this, and then take our pento put the keyframe here and basically move our Q frame up. Okay. Do this. Select this guy. And for this guy, let's just see. Let's see. Let's see. Let's give you. Okay, let's not that. Okay, I think we can just basically adjust the handle here manually. Good. Now the next thing we want to do is take our guy here, our pen to and create one more keyframe. So one more keyframe and take our selection two and do this. A. Okay. Well, let's split and see. Good. Now you see what we are creating, what we've created, rather, with just this adjustment of our value graph. Now we can keep creating more keyframes to create more bounces, okay? So create one more here, create okay, not yet. Let's just work on this one yet for now. So let's create our interpolation. I just undid that. Okay. We have our third bound, and let's create one more here. You can always use the short Code. This is V, shortcut for selecting our selection tool is V. Sometimes I just find it weirdly easier to select tools by just clicking on them rather than using shortcuts, but it's way better to use shortcuts. We can hit P, We can not P actually for pent, it's G, not P. G for our pent and then create one more and then hit V and click A and adjust a curve. So let's plea and see what we have. We have this. Yeah, basically, you see that our animon starts very much, okay? And then it bounces and then just dies down. Now, let's create the final one here, and then let's make it actually die. Okay. So let's also make this guy less conspicuous. So also with this one. And also with this one. Yeah, so let's plead it and see. Play. Yeah, so you see, we started very well with a bigger bound with a big bounce rather, with a big bounds then we slowed down. We slowly died the bounce in, right? So you can just click here to go back to my key frames. I could even make my composition longer. Just control key for that, maybe give it two more seconds to make it this 5 seconds and click so as to see that our poll stays stagnant on the ground for a while before starting to bounce again. So let's see what it looks like. Yeah. Yeah, so, guys, that's it basically for this video on key frames. And I'm going to save this. So graph editor so that you get access to this graph editor. Okay, eventhough they are just really simple projects. I'm just going to save that and have that available in the folder. Okay, that won't hurt. So guys that's it for this video on graphs. And I hope that after this video now understand what graphs are and how they work, okay? So that's it for this one. See you in the next one. Bye bye. 6. 06 Keyframes: Hey, welcome back. In this video, we're going to be looking at keyframes, types of keyframes, and we're going to learn what they do and how to use them here in after effects. Okay? So go ahead and open your folder, so go to file and open project and then come to your folder on keyframes and the graph editor, oh seven. And right in your folder, you're going to see this folder for keyframes and the graph editor inside your folder, inside your folder. So just go in to keyframes and graph editor. That's without oh seven and then select this after effects file, these keyframes and the graph editor, and click Open. Yeah, so this is the file. And in this file, we have illustrated the types of keyframes we are going to be looking at. There are seven of them, and we're going to use this file to learn about the types of keyframes, okay? So, like I said, there are seven of them, and we're going to start with the first one. Now, this is the linear Keyframe, okay? Let me just make this big. And this is the linear keyframe. And so the linear keyframe is just a basic kind of keyframe. And this is how its graph looks the speed graph. This is how the speed graph for the linear keyframe looks, and this is how the keyframe looks, okay? The keyframe looks just like this diamond like this, okay? So if you create a keyframe, this is how it's going to look. So let's try it out and see, create a new shape layer. And then let's create an ellipse. Okay so let's create an ellipse. And now let's create an animation for the position to position, hit P for position, then click to create a keyframe and then come here to 1 second, and then let's just move it to this point, to this position. Okay? Perfect. So it's moving from here. To here. Now, if you look at your keyframes, you select your keyframes, you're going to see that this is just what I have set here. This is a linear keyframe and if you look at your graph, you're going to see that your graph looks just like this. Your speed graph looks just like this. That's the linear keyframe for you. That's a linear keyframe for you, very simple. Nothing special. The movement is just mechanical, just mechanical like we've always looked at in previous videos. That's the linear keyframe for you. Now let's go to the next type of keyframe. Which is the easy es key frame. And I'm just going to piste the shep I copied from this composition here to control V. To place the shape layer with a linear keyframe, right? So it hit you to enable or to reveal your keyframes, and let's just select these keyframes. Now, we are looking at the Eazy Es keyframe. Now, let's hide this guy for now and then hit the tiller key to make this big and just fit this to the screen. And now the Easy Ease keyframe is basically one that looks like this on the speed graph, and this is how the keyframe looks. And it starts basically slow. Hit the movie and starts slow from here, okay? And then speeds up goes to its maximum speed at around this time and then slows down or diluate to stop at this time, at this time. So that's basically the easiest keyframe. It's the one that helps us create a very organic kind of movement, which is natural in real life. Okay? Yeah, so this is the EZ Es keyframe, and this is the symbol. This is the short cut F nine on your keyboard. And now let's just go ahead and see how to create the EZ keyframe. Now the trick is, after you select your keyframes like this, you right click and go to Keyframe Assistant and EZ. You can also do F nine. And if you go to the graph editor now, you're going to see that our graph looks like this, okay? So we're starting just enable this. So we're starting slow and then we spit up at the middle here and then we disiluate Okay, so basically, that's the easiest key frame for you. Let's hide this guy, and we don't need to hide this one. Let's go to the next one, which is the easy Es in. So Control V to paste our shape layer with the linear qframe so that we don't have to always recreate them, right? So it hit you to reveal your qframes, select the both of them. And in order to create an ese in keyframe, you create your Q frames, and then you write click. And then, sorry, you write click on the keyframe and then go to frame assistant and then es in. Es is in. And this is the short called Shift plus F t. Shift plus F t. So this is the easy is in keyframe. This is the symbol like you can see here, you can see here. Okay. And this is how the graph looks like. So it basically starts very fast and ends slow, okay? It starts almost immediately and then ends slow. So let's look at how the graph editor looks. You see this is the graph editor, it starts very fast and then speeds up at around here and ends slow, okay? Yeah, so that's basically the EZ Es keyframe. All of these keyframes have their use cases, right? All of them have their use cases. Okay? Yeah, so that's it for the Eazy E's in keyframe. Now the Easy Ease out keyframe is basically the opposite of the Eazy E's in keyframe. I will hit you to reveal my keyframes. Like both of them, right click on it, and then click on them and then go to EZ Es out keyframe. And it's basically the opposite of the previous one, which is the eases in keyframe. Okay? This is the the symbol is a symbol, this is a graph. This is a control. So it is the command or the shortcut. That's Control F nine or command Shift F nine on the mark. Okay? And now this is the graph. It starts very slow and then speeds up to the end to an abrupt stop, or to a quick stop just like this. Perfect. So that's the Easy Ease out keyframe. Now, this is a more interesting kind of keyframe, and let's paste our shape. But for this guy, let's delete these keyframes and create new ones. Okay? Now, what is the linear continuous keyframe? Let me just make this maximized so that you see the the symbol. Now, this is the symbol, and this is the graph editor, the speed graph. And what this one does is it acts between two conflicting keyframe controls, and then the conflicting keyframe controls are kind of merged into a single keyframe control, into a single keyframe control. Now how do you do this? Now, just select your shape and then create a keyframe for position and then come to say 15 frames and then bring your position here. Your position here, first of all, I think we don't have our ankle points at the middle. So let's just bring our ankle point to the middle. You can use a shortcut for that. We're just going to use the ankle 0.2. Perfect. Select my selection two. Now let's create the keyframe. Create a keyframe then go to 15 frames, bring your keyframe here or bring your shape here. I'll just hide this so that you don't get confused and come to 1 second, and then being the keyframe here and then come to 15 more frames, 15 next frames to 15 next frames rather, then create this other keyframe like this. So we have this move. Okay? Now, what I want to do is select all our Q frames and then we click on them, and then keyframe assistant than easy Es let's turn them to easy s and go to the graph editor. Now we see this the graph editor, and let's say we want to edit these keyframes. Now, we see that these are conflicting keyframes. It makes it very difficult for us. In fact, it we can't manipulate our interpolation because of the nature of these keyframes. So how do we solve this with the linear continuous keyframe? What you do is you go back and then just hold on Control and click on this or command and click and click one more time. So when you see this round, when you see your keyframe turn into this round icon, you have created your linear continuous keyframe. So do the same thing here. Click Control, hold down Control and click or command and click once and click twice. Now let's select all our Q frames and then come back here. Now we see that our conflicting keyframes have emerged into a single keyframe. So we can now edit our Q frames or edit our interpolations, by just focusing on this single keyframe, right? The single keyframe and the handles. So now, this is what we now get.This what we now get. Now, it means we can select our keyframes and do basically adjustments to them just like this. I still gets a bit tricky, but it's way better to adjust your interpolations like this. Now let's play this and see. Now, this is looking weird, actually, but this is just to prove my points that we have now merged our conflicting Q frames into single frames, and now it's easier to work with them. You get but of course, you can take your time to achieve better looking curves. And that's the linear continuous keyframe for you. Just hide this and go to the next one, which is the toggle hole Keyframe. Now the toggle hold keyframe is a type of keyframe that is really weird. Let's just make this full screen or maximized and fit. So this is the toggle hold keyframe. It basically is indicated by this square icon, and this is just the graph. This is just the graph. Now, what is this keyframe and what does it do? Now, this keyframe has no interpolation between keyframes. Okay? It has no interpolation between keyframes. That's the funny thing about the toggle hole keyframe. The value remains constant until the next keyframe is reached. Okay, so it's used when immediate change in value is required. Instance, it's like turning off the light. Let's say you want to animate turning off the light, right? You need immediate interpolation. So you don't want to have interpolation between keyframes. You just want to have the action and then have the reaction. So in cases like that, you are going to be using the turbo hood keyframe or in cases where you just want an immediate action, immediate action. Okay? So let me explain this even more. Now let's piece our ball. I just hope it's still copied. So we hit you, and we have it from here to here, right? We have it from here to here, Perfect. Now, how do we do this? We actually need to delete this one to delete the second keyframe. And in fact, let's delete all the keyframes and just bring our ankle point to the middle because I feel really weird doing this with my ankle point here. So Onco point is in the middle. Now, create a keyframe on position. So click here. And now after you create your first keyframe, all you need to do is write click and then go to Toggle hole Keyframe. So click on Toggle hole Keyframe. You can also see that the short cut is Control Alt click. So you can I just did that. You can create your first Keyframe and then Control Alt and click or Command Alt and click, and then go to the next time. Which is 1 second. And then take your object to where you want it to appear next. So you just leave it here, and now you see that we have our togo hole Kiffme created for us. Now, means we can just play and see that immediately we have our guy here. Okay, we have our guy here when the time, of course, reaches the togo who if. Now, if we go to the graph editor, we'll see that we just have a straight line, just like what we have here, right? Perfect. So that's the togo hole keyframe for you. Let's hide this and go to the next one, which is the rove across time keyframe. This is a very interesting one as well, and similar to the linear continuous keyframe. Now for this, let's take the linear continuous keyframe shape layer, select the shape layer for the linear continuous keyframe, select it Control C. To rove across time and Control V, okay? To hit you to look or to see the key frames. And for this guy, I want to remove the keyframe on anchor points we don't need, so hit you and hit you. Hold on Control and click to make these normal qframes one more time, and then go to our frame editor. And first of all, let's hopefully I hope this works. Let's just click on them and EZ E and then go to the Keyframe editor. Yeah. So we can see that it worked. We have our ship like normal. Oh, we have our frames like normal, okay? Like how they should normally look, okay? So this is what we have. So this is a complex scenario where we have conflicting keyframes also. So now we are going to turn our conflicting Q frames into roof across them. Now, what is the roof across time and what does it do? It automatically turn conflicting keyframes into in betweens into in between to create smooth motion without the need of manual adjustment. So that's what the roof across time does. So how do we do that? We do that by going back to our keyframes, selecting the ones in between, the conflicting ones. So select them, and then we click and then rove across time. So click Rove Across time. And now you see that they've been turned into in between. Now, if you select all of them now and go back to the graph editor, you're going to see that they are now just in between, right? They are no longer conflicting. So we have then looking like this, you can basically do this and do this. And you would select them and further work on them we get. But for now, I don't want to do that. So if I play, you're going to see that everything goes in just perfectly. So that's a roof across time t frame. For you, and you can see that it's quite similar to the linear continuous keyframe. But in my own opinion, it's way easier to use as compared to the linear continuous keyframes. So that's it for keyframes in after effects. So everything will be saved and you have access to this file, of course. So that's it for this video guys on key fames. See you in the next one. Bye bye. 7. 07 Class Project 1: Hey, there. Welcome back. So in this exercise, we're going to be covering something that helps us practice what we've learned under the principles of animation and keyframes and the graph editor as well. So we're going to be recreating something in this video. Now, just click to go to your folder. And in your folder, you're going to see this bouncing board PfeFle. You don't need to open it just right click and preview it. I'm just going to click Open to see it in my player. And this is what we are going to be recreating, okay? So, we can see that the ball starts from up and bounces to the ground and we can see a bit of exaggeration, the bouncing, okay? In the expansion and contraction, you get. So we see a bit of exaggeration. We see a squash and stretch. We see a follow through, right? This antenna is following through the movement of the body. We see second reaction. Okay, there isn't second reaction, but basically, we can add that in our own exercise if we want, okay? But we've seen a lot of things that we studied under the principles of animation, and we have used keyframes. We have used the graph editor to achieve all of this, okay? So the idea is refreshing our memories on what we started in the previous module and also in this module. Okay? So this is what we're going to be creating in this video. So just close it and you don't need to bring anything in. All you need to do is create a new file, a new composition rather. So create a new composition and then create your bow. Create your bow, you can just go ahead and create a new shapeler and select our ball and create our bow. Our ball needs to be this big, this big. And can go ahead and choose our color. Of course, you know my color. So let's just choose a color that looks like a color we've been using. That should be something like this. Okay. Yeah, perfect. So select your selection too. And now we have to move our ankle point to the middle, right? To select your ankle 0.2 and move it to the middle Perfect. Now the next thing we have to do is create our antenna. So for antenna, we also need to create a new ship layer. So, create a new ship layer, and let's take our pen tool and let's come here. And I think I first of all, hit Control R or Command R to bring up my ruler so I can click and drag out guide you get. So this guide, the aim is to have my guide in the middle of my ship, right? So just like this. You can zoom in, have it just in the middle of my shift perfectly. Then we can have one other guide just here to serve as the ground level or the ground plane. You get this our ground plane, and this is the middle of our ship. Perfect. Next, we have to create our eyes. So we have to select our ship layer. Let me just rename this to main ball. Okay? Main boll. Perfect. Now we select our ship layer and select our ellipse and create our eyes. This is our eyes. Give it a white color. Take your selection tool and just move it to this point. And we want to now select our ball and then come into our contents and select our ellipse two, which is our I and Control D to duplicate it and just bring it to the left hand side and pull it down shift so as to bring it to the left hand side on the straight line. Perfect. So this is what we've got. And yeah, so the next thing we do is create our antenna. And this is the ship layer we created for antenna. You select the ship layer, select your pent. You can hit G for your pint, and just click here. Yeah, you can click here and here and then hole down shift. Sorry, I was just do that. Click and then Ho down Shift and then click. Okay? Click here on the name, make this feel less. Then come in to the color to the stroke color and give it a stroke color or something that is really dark, okay? Perfect. And then for the size, let's maintain let's maintain seventh for now. Now, just go ahead and resize my that's the length of my antenna, while holding down shift, okay? Perfect. Then go to my selection to select my antenna, move it while holding down shift to the middle of my shape like this. Perfect. Select my antenna one more time. That's the shape for Minne and we can see that the anchor point is here to click on the pan behind two or ancho 0.2 and bring down co point right here. So we want it right here because we want the rotation to happen from here. Okay? Perfect. So this is what we've got now. You just delete this guy and expand our view and fed this. And this is what we've got now, okay? Perfect. Well, let's go back and start our animation so we can see this is what we've got. So let's start our animation. First of all, I want to just hide my antenna for now. Okay, I don't want to deal with it for now. I just deal with this guy first, okay? So we want to animate our ship to bound, right? We want to admit our ship to bound, and we want it to come from up. So we're going to go to let's see 15 frames. Let's see 15 frames. Yeah, let's start with 15 frames. To go to 15 frames, you can coll down shift to snap your crusa or your time to specific frames, to the start of specific frames, like a 15 frame like this, okay? So hit P and then create a key frame, and then go back in time and just move your shape up so that it starts from outside the fil, right? So it's like this. Yeah. It goes like this, bounces up and then goes back up, right? We have this bounces up. So it bounces down from up, and then we go to the next 15 frames. This should be the next 15 frames, and then it goes back up, right? Yeah. So the next thing we do is just work on our scale to create our squash and stretch effect, right, our bounce effect. So this is what we've got for now. This is what we've got for now. So, select your ball, hold down shift, and hit S to open the scale value, the scale property, okay, that's added to the position property so that we see the two properties side by side. Now, I'm just going to come here. And when the ball is here, actually want it to be squashed. And like I told you in the video on squash and stretch, the secret or the rule to squash and stretch is that the volume has to be the same. The volume has to be the same on both X and Y axis, okay? So we want to first of all, on link the constraints, okay? That's the one that connects the width and the height, so that we can go ahead and adjust the height separately and the width separately. You get to undo, undo. Now we have to take note of the skill value. Now the skill value is 200. That's 100 here, 100 here. So 200. So whatever you do, it has to add up to 200. So first of all, I'll bring up my calculator. So that I have my calculator here because I need to be doing calculations, right? So here we need to have it squashed so we are going to have it expand like this. Okay. So we wanted to bid exaggerated. So we see now it's 156.6, right? 156 point. Okay, so 166. So 166, we wanted 166. So it means we're going to see 200 minus 166, which is equal to 34. Our height has to be 34, 34. And this is too much. Actually, this is too much. So we don't want it to be 166. And first of all, you see, you have to create a keyframe, right? You have to create a keyframe. Let's take it back to 100 and see. So let's see 121 40. Yeah, let's say 140 for an exaggerated view, and then create a keyframe here. So 140. Sorry, create a keyframe here. So 140. And then we then have to do 200 minus 140, which is 60, minus 140, which is 60. So this guy has to be 60. Then has to come down to touch our ground plane. So this is what we've got. And then white here, white at the middle we have to adjust our dimensions one more time. So let's make this 140 and let's make this 60. Okay? So it comes 60-14140 to 60. Sorry, yeah, 60 to 140, then 14060. Okay? And then for this, let's make this, let's see, 101 hundred. So it starts normally and then squashes, sorry, and then stretches, and then squashes when it hits the ground. Okay? So this is basically the cycle you want to repeat. So the next guy would be this keyframe, Control C controvstress keyframe, and then the next one will actually be this keyframe, I think. Let's copy this guy and see Control C contrav because it's going to stretch or it's going to squash after going up before it goes down, right? It's not going to be normal again. So we have this Okay, we have this. Yeah. So that's what we are going to just recreate. And now let's go to the next key fims the next 15 films, right? So that's here, here, and then here. Perfect. For this, we have to actually have to copy this Control C, Control V. So yeah, I have to copy this and go to the next key films. And we have to bring it up. But this time, we don't want to bring it up up to this point because, of course, the bouncing will reduce because it should be decelerating at this point, right? So let's go ahead and add the stretch or squash effect. So we've got this. We've got this. So for here, we're going to have it stretch. Tro C contra V. Then for here, we're going to have it squashed. So this squahstrg also has to keep reducing. You get also has to keep reducing. Let's first of all, finish it up. Over here, we're going to have a stretch over here, we're going to have control C, control V, squash. Sorry, sorry, sorry. Not a squash. But here, we're going to have a stretch. And for here, we're actually going to have a squash. Sorry about that. So just contro V, actually. So we've got this. We've got this. And then let's just bring it down. Okay. Let's bring the guy down to 15 trims. Let's bring him down. Yep. And then let's come here to 15 more films. And, okay, let's, let's not go to 15 more films. Let's just work with this for now. So we have this sorry. So we have this, this and this so for here, we're going to copy this guy and piste. And then we're going to copy this guy and piste. And then we're just going to come to the 15 next frames and then copy this first key frame and paste, right? Yeah. And for the position, we're actually going to move it here, just like this so that we have this let's go over this gradually. So from up, it comes down, squashes, stretches up, comes down squashes. I think this squash shouldn't be as much. So for this, instead of 140, 160, let's make this 130 and 71 30 and 70. And the position also has to get adjusted the bit. Okay. Perfect. And then for the next guy, let's still maintain 71 30. Okay? Or let's maintain 120 and 80. So it has to keep reducing it gradually so that when it comes here, so 81 20. So when it comes here, it's 120 and 80. Okay. And when it comes here, let's try 81 20. Again, Okay? Or let's try something less. So let's try 110. Or let's say 115, one on five. Okay, and 85, right? Am I correct? 85 plus 115 should be 200. Let's see this 85. I'm not good at Mt actually. 85 plus 115. Okay. Sorry, 115, not 155. 85 plus 115, that should be 200. Good. So five plus 15, 200. So for this guy, let's also give it 8515 and 85 enter. For the position, you have to also adjust the pollition Perfect. And for the last guy, we don't need to adjust any other thing. So let's see what we've got now. Okay? So this is better. Maybe the initial bounce was a bit too much, maybe this guy is a bit too much. That's the second bounce the initial, that's this guy. So maybe we just bring the position here, okay? Or maybe here. Okay. So we have this. Alright, pot for two, we select everything, and let's easy ease them. Okay, let's easy ease them. Or at least yeah, let's easy ease them first. So easy is everything. And let's try to play them. Yeah. So you see how sweet our mission looks now, right? So let's select all the key frames here. That's the scale key frames. And let's just do a bit of offsetting. So let's just offset the one film apart one film part like this. And now let's bounce it. Yeah, we see it looks a bit better, more realistic. Perfect. So that's it. So the next thing we need to do is enable high our antenna, our antenna. So select your antenna and click on the Pi weep button. That's the parent pick weep. So click here and drag and drag and drop it on the main ball. Now, this feature, parens a ship layer or a layer to a certain layer. So it means if it's parented, it means this guy now will follow our main ball without needing to admit this guy. So it's going to follow the transformations of our main ball. You get. So let's play it now and see. Now we can see that the antenna is following the transformation of our main ball, right? So you can see the bounds, very sweet bounds. Now there's one more thing I want to do. I want to just create a new shape layer. For this ship layer, I want to just create this something that looks like this. Sorry, I actually should be a rectangle, click and drag. Okay? We want to create a ground plane. So click cae to hide the stroke color. Click care to add a field color, and let's just choose this very faint gray hidkay. Select your move to or your selection too and just now just remove this guide, so that we have this perfect. And the next thing is select your main ball, and we want to first of all, create another key frame for position and then go straight in time and then just move it to its new position, which is here. So we have this Okay. But first of all, we want to actually add anticipation. Yeah, we want to actually add anticipation. So for that, we are going to just select this keyframe. Then for this keyframe, first of all, bring it to the left hand side, like this. So we have this. Perfect. Before it finally moves to the right hand side. It seems I did something. Okay? Not really. So we have moved to the left hand side and then back to the right hand side. Just like this. Pulling down shift, of course. So we have this Perfect. Now we select three key fimsHo down check to set the third one, click here for the graph editor, and now we have to start modifying our graph. So we want something that looks like this. Okay, and select this guy and do like this so that we have, perfect. Perfect, tool. So let me just maximize my gravity so you see what I did. So this is what I did. Just make sure you replicate this. Okay? Just replicate this and you'll be good to go. Perfect. Perfect. So back to our Q frames. Key the tinder key to maximize back or to minimize back. So with guard Perfect. This is sweet. I even love this more than the original version I created. Perfect. So what we want to have now is our antenna rotating at different points because it's not just going to stand stagnant while all these movements are going on, right? So we want to first of all, close this. Okay? Then hit R. Maybe we just first of all, hide this, hide the ground clean. So we just enable the shy and then enable it on the layer to hide it. Then select your antenna, hit R. And select this guy and hit you to see the key frames. So for your antenna, you want to first of all, have it. You want to first of all with the key frames or create a keyframe for rotation, create a keyframe and then come forward in time. And when it hits the ground here, you want to just create rotation. So select your rotation too. Maybe do something like this. Then when it goes up, you do something like this. Correct. Then when it hits the ground, you do something like this. It goes up. You do this. I hits the ground. You do this. When it stays stagnant, then you do this. Okay. And then when it goes backwards for creating the anticipation for this major movement, you can bring it like this. And when it finally moves to the main location, you can bring it like this. And now let's just hit Control F. Sorry, Control K and make this composition 8 seconds long. Hit Okay. Make this bigger. We want to just expand lengthen our layers. And then finally select our antenna and do some final I just met like this. Perfect. For some reason, I can't see my background. This is my background. I can't see it. What happened to my background? This is my background, my background play. Okay okay. It's actually not as long as they are. That's why. So this is my background. Yeah, perfect. So I'll just enable the shy feature one more time. Now let's see what we did. Okay? It's not looking perfect, but let's first of all, easy ease them. So easy ease them key fims and then let's start adjusting their positions. So I mean, first of all, select all fins. Let's start with this one to select them. And now we want to have it looking like this. So let's see this. Yeah, this looks better. I'm holding down ls to expand the length of the keyframes so as to see the effect I get. Select these guys hold down holds to expand them or contract them. So I think we should go ahead and visualize our bound symbol one more time to see how the antenna reacts. Okay? Yep, so I think we are now getting the right results. Okay. So we actually want to select our que frames here. Go into the graph editor. Let's just do something like this. Sorry, select this guy and do something like this. Yeah, I think this should work. Go out. Yeah, maybe you could create two more rotations before it finally, I think we should do one more rotation, this before it finally settled. So select the three of them like this and then just expand them pulling on Alt, of course, or option on the mark. Okay? We want to expand them. Yeah, so this is we better. Is we better, we better. Yeah, so this movement is way better. So that's the follow through the follow through, this is we better. It control S. Save this as the bounce effect or the bound exercise or just bounce exercise will do. So you hit save. Yes, guys, so that's it for this bounce exercise. We can do more by adding maybe a shadow, okay, or lighting effect to account for the solid drawing animation principle. And we can also add the secondary action if we want, so the secondary action could be just this speed, the speed lines that go the opposite way of our ball, right? So let's just try to add let's just try and add these things right now. So create a new shape layer. Then for new shape layer, we're just going to add, we're just going to create a drawing. So from here, pull down shift to here, remove the field color and give it a stroke color. The same color as our shape here. Perfect. Select your layer, and then we can move our ankle point to the middle if you want. We can use the short cut. If we want, I just find this easier sometimes. So we want it looking like this, right? So it starts moving So we want it to kind of start from here, right? Perfect. Maybe even select our guy here and reduce the size. Okay. And then select our shape. Let me make this eight perfect. Then open it up. Open content. Open shape, open stroke. And I want to enable Tipper to open tipper. Just enable Tipper. Sorry, the tipper should be something like this. Zoom in, not this. I think the tipper should be this. Okay, perfect. So close the tipper and we want to enable create a trim part. Okay, we haven't spoken about trim parts. In fact, I think we shouldn't do this because we are going to be ahead of ourselves. In fact, let's just do this. Let's do this. So select your shape and then come here where it says add, click here and add trim parts. Now, this is what we call shape modifiers, and that's what we're going to be studying in the next module, but I just want us to just do this quickly, okay, not really look at it in detail. So what you need to do right now is at this point, come at this point, and we have what we call the start and the end, okay? So you want to be animating the end. So animate the end from here. And as it goes like this, you want the end to go like this. You also want to start to be admitted too. So as it goes like this, you want the end to go like this, but you also want the start to be admitted to click on start and then admit it to 100, just like this. Okay? So you want to select both of them or all the keyframes, right click EZ or F nine. So this is what we have. Okay? So this is how I created the second reaction in the video and principles of animion. Okay? So we see how this looks nice. All we need to do right now is just duplicate this guy, Control D, Okay. And for the duplicate, you just need to move it up like this. You have to select the anchor points, right? And then for this, you have to just move it maybe a bit forward like this. And then Control G to create a duplicate, pull down shift, and move the copy to the downside to the low side like this so that we have this. So we have it looking like this. Okay. So that's our second reaction. Perfect. And for our solid drawing, select the guy. That's the main ball. And let's see, let's try giving it the layer styles and inner shadow layer styles. So inner shadow. Okay? Yeah. So inner shadow will work. So open the inner shadow options. And for the angle, let's give it this angle. Make the angle 319 degrees. For size, boost up the size. Okay. And for opacity, reduce opacity. And I think we can even do more. We can actually do more. Yeah, we can. So what can we do? What more can we do? I think for the distance, we need to work on the distance. So for the distance, we can do this. Post up the distance to 30, and we need opacity one more time, maybe to 40. So hit the tiller key, go ahead and make it fit and play. So you can see it looks more like td, right? So that's a solid drawing. So basically, we're done with our exercise here. There's nothing more to do. And I want to just enable motion blow to select your guy here and your antenna and enable motion blow down this motion blow. And we've spoken about motion blow before enable motion blow and let's see what we get with motion blow. You can see the motion blow. So if it's too much, you can just disable it. And then control to go to the render Queue and click here to specify location. Let's just select the bouncing ball video and let's just add a bouncing ball exercise. Okay, then hit save and hit render. Perfect. So our render is done, and we can go to our folder. And this is our This is the one we created. This is our own mission. So if you want, you can enible motion blow for the second reaction as well. But that's, by the way. Yeah, so this is nice. I like this so much. Include our calculator and save. Okay? So the file we made available to you, so you can go in and see how I handled everything personally in case you get stuck at any stage. Okay? So with this, we've come to the end of our exercise, guys. See you in the next one. Bye bye. 8. 08 Merge paths: Hey, there. Welcome back. So in this video, we're going to learn about the merge part shape modifier. So go ahead and create a new composition, and let's name this merge part. So merge parts. And the first thing you have to do is create a new ship layer, create a new ship layer, and let's go ahead and draw out an ellipse in our new ship layer. So we have an ellipse. And while selecting a ship layer, go ahead and choose a rectangle so that we have another rectangle drawn inside the same ship layer, okay? So the first rule is to have both ships which you want to merge inside the same ship layer. Okay, you have to have them inside the same ship layer. So if you open our ship layer, we see contents and we see rectangle, we see ellipse. Both of them are in our ship layer. So in order to add our merge part shape modifier, all we need to do is come to ARD. So click on ARD here. That's under your ship layer and then come to merge parts. So click on merge parts. And what merge part does is it merges our ship layers. Okay? It merges our ship layers. Now we have our rectangle, our ellipse, then we have the merge parts. So you can just click here to open the options and you see on the merged part we have modes, right? We have the Add mode which adds shape together. We have the subtract mode which subtracts one shape from the other, okay? And then we have the intersect mode, which intersects our shapes and then leaves the intersection. And we also have the exclude intersections mode, which excludes the intersections, okay? So these are our modes, and much parts can come in handy for a lot of things for mostly creating complex shape designs that you normally wouldn't be able to create with the conventional shape tools, right? Now, we can see that in our content, we have the rectangle, we have the ellipse. Now, let's go ahead and change the location of our sheet. So we have the rectangle on top and then the ellipse. So let's bring the rectangle below and change the mode to subtract. Now we can see that, we can actually see it. Let me just go ahead and do this and do it one more time. Okay? So first of all, I want to have the mood to subtract. So this is the current mood, right? The circle is subtracting from the rectangle. So if we move our rectangle below our circle, we can see that we are getting the opposite. Okay? So that's how this thing works. So it means with our merged parts, we can go ahead and create stuff like this like this, which I'm just going to create now. So we'll create a new ship layer. And you know ship layer, I'm just going to create two ellipses. Okay, and then select the second ellipse and just arrange it like this. So we can see that this is ship layer two, and we have two ellipses, right? So go to add and merge parts. And then under moods, just select, subtract. So we are bringing the second ellipse below the first ellipse. You can see that we've gone ahead and created a half moon, right? Go ahead and created a half moon, basically using our merge parts. So the merge parts can come in really handy, especially in creating complex designs. Now, let's just hide this. Okay. And let's create one more thing. So we have a ship layer tree, and then let's go ahead and give this a stroke color instead for field color. Give it the stroke color and then remove the field color. And let's just have a duplicate to control D. We cannot control D, actually. Let's delete this let's go into our ship layer tree, select our rectangle here and control D. So it duplicates it inside our ship layer. And then let offset the position like this. Okay. And let's go to ADN merge parts. And then under merge parts, go to mode, and let's see, subtract. And we can see that it didn't work. I made a mistake. Let me just undo this. I made a mistake, actually. I selected the rectangle two and added the merge part inside the rectangle. So you have to select the ship layer, not one of these. Okay? You have to sect the ship layer. So you add the merge part to the ship layer, not one of these ships inside the ship layer. So select the merge part and then go to add select the chip layer and then go to add and then merge parts. Good. So you see what I'm trying to see, what I'm trying to create. Now we can see that we've been able to create this design, and the strokes no longer matter. Okay? For individual shapes, everything is now merged. So we can create complete complex designs with strokes, and then just add the merge parts to basically add everything. And we can go ahead and animate individually as well, because we can go into these shapes and make changes, right? We can still go into these shapes, go into the stroke, edit the stroke color, edit opacity. And we have all of these stopwatch icons, which enables us to, of course, create animations, right, create key frames. So that's the beauty of merge parts. That's the beauty of merch parts. So it means we can go into our march parts and do more stuff, right? We can do more stuff. We can subtract if you want, and this is what we get with subtract. We can intersect, and this is what we get with intersect. We can exclude intersections, and this is where we get with that. Yeah. So basically, guys, that's it for march parts, and that's it for this video. Hope you learned something new and incredible. So see you in the next one. Bye bye. 9. 09 Offset Paths: Hey, D. Welcome back. In this video, we're going to learn about the offset part shape modifier. So go ahead and create a new composition and imtOfsetP and hit okay. Perfect. Now, go ahead and create your shape layer, and I want to use a star for this to select the star to and draw out a star. Just of this size and just align or centraize the anchor point by holding down Control Alt and the home key. Okay? Perfect. And control home to center the shape to the middle of the composition. And in our shape layer options, just click on AD and go to offset part. And you're going to see a new option appear here, which is offset part. So open it, and these are the set of options you get for offset part. We have the amount which does this. Okay. It increases the amount of the offset, and we have the line joint, and we have different options for this. We have the minter joint, we have the round joint, we have the bevel joint, and this is basically the kind of joint we get on our angles, okay? So we have the minter limit, and then we have the copies, which increases or decreases the number of copies we get to have. So this is what we have with copies adjusted and also the amount. So you see, we can create really incredible animations with this, okay? So just undo that do that and then do that and do that. Okay, so, okay, I also undid the offset part. So go ahead and add it back, and let's see other options. So we have the copies. We've seen the copies. We have the copies offset. Okay? So we have the copies, and we have the copies offset. So this is the offset between the copies, between the copies and also the main star in the middle. Okay? So that's basically it. Let's go ahead and choose different for this minter joint, let's take it to minus and you see what we get with minus. Let's try other ones. Let's try the round joint. There's a round joint. This is what we get with the round joint, and we have the The mint limit doesn't work for the round joint, of course, then we have the pebble joint. This is what the pebble joint does. I prefer the round joint, and you can see that we can actually animate all of these properties. We can animit all of these properties. It means you can create a really cool type of animation right here. Okay. So we can start from here. You can start from zero. Let's start see the number of copies from here, so create a keyframe, go to go to 20 frames, and then boost up the number of copies. So we have this two d, and then we can have it come from here for the number of copies, create a keyframe and for here, we can just boost the number of copies up like this to 58. So we have this, perfect. And then for the amount, we can create a keyframe for the amount and then maybe boost up the amount to 74 and bring the keyframe here so that we have this. Okay. And then when it's here, maybe we just reduce the amounts. -36 is too small, so let's just reduce the amount. Like this now you can do a whole lot of things. It mustn't be really what I'm doing. It mustn't really be what I'm doing. I'm just trying to create something that will show you this at work. Okay? Select all your key frames right click Easy Ease. Sorry, not this. Easy Ease. O F nine. Okay. So basically, this is a very simple animation, and this is just to show you what is possible with the offset part shape modifier. Basically, guys, your imagination is the limit with this tool. You can use this tool to do a whole lot of things, and we're going to go through exercises where we see how we use these shape modifiers in real projects. Okay? So that's it for this video on the offset paths, shape modifier. See you in the next one. Bye bye. 10. 10 Plucker and Bloat: Hey, D. Welcome back. And this quick one, we're going to look at the Ploce and blot shape modifier. So go ahead and create a new composition emit plokey and blot. Okay? Yeah. So the pluck and blot modifier just inflates or deflates our shapes. Now, let's see how this works. Go ahead and create a rectangle. And let's apply the ploker and blood, select the shape, go to AD and ploker and blood. So now we see that this helps in inflating our shape just like this or deflating our shape. And we can take this to the extreme. And if we do take it to the extreme, it gives us some really cool shapes like this. Okay? So we can see that this was initially a rectangle, but we've created a star from it, okay? And the amount is, of course, animatable, and the amount is the only option. So it means you only have one option to work with, which makes things even simpler. So basically, that's the pluck and blot. You can admit your shape to screen the keyframe. Screen the keyframe from 18. And then put one frame. Sorry, go to 15 frames and just push this up and see what you get. Push this up to 164 and give it easy Es F nine, so this is what we get. So Blood. Now let's see how this shape performs, how this effect performs on different shapes. So let's create a rectangle or square and then let's go ahead. Now while in the shape, let's go ahead and add other other shapes. So this is rounded rectangle, and then we have an ellipse. I'll just arranged them. Okay, I think I created the wrong size for the ellipse. So create my ellipse, just the size, move it in position. And then create my polygon. My pentagon, right? This should be a pentagon with five sites, one, two, three, four, five, pentagon, and then my star. I feel we could create one more polygon with more sites. So for this, let's create a pentagon first and then just change the number of sites. So let's make this. Yeah. So it's now an octagon with it side. To select my ship layer, go to ARD and then plce and blot. Now we can see how this effect works in all of them. Now, let's go ahead and work on the scale. Sorry, not scale. Open the pluck and blot and work on the amount so that we see the effect on each layer. Okay? So this is the effect on each layer for 54% amount. 22% amounts. And if you push this to the extreme, we can even have more radical shapes, right, more radical shapes. Yeah. So basically, that's it for the plug and blot, you can see that the possibilities with this tool is really endless. It's really endless. And we can use this to animate stars. You can use this to animate a lot of things, a lot of things, basically. So we're going to use this also in the exercise part of this modio so you can see how we can put all of these into use. So that's it for the plug and blot. Hope you learn something new and interesting. So see you in the next one. Bye bye. 11. 11 Repeater: Hey, D. Welcome back. In this video, we're going to learn about the repeater shape modifier. So go ahead and create a new composition and nimt the repeater shape modifier or the repeater it okay. Go ahead and take your ellipse too and create an ellipse. Create an ellipse. I'm pulling down shift to create a perfect ellipse. And then just center your ship. Perfect. Now, go ahead and add the repeater shape modifier to select your ship modifier layer or your ship layer and go to add and repeater. Now, this is the repeater, and what it does is, of course, it repeats our ships like you can see here. So open the repeater options and we first of all, have the number of copies. We can increase this or decrease this. You can even admit this, let's see, from zero copies to say eight copies. So we go from this to this, okay? And we have the offset. Now, the offset is basically the offset between the copies and the original position. Okay? So we could have, say, from zero to or maybe not from zero. Let's say from not 60. Let's just delete this. Let's delete. Let's make this zero. Okay? Even though we should not be animating this. It's too early for animation, but you get the point, right? We can make this come from here. See from 4.3, then delete this guy and bring this one here. So from 4.3 to say, -3.7, so we have this. Okay? Perfect. And then open your transform. Well, before you transform, we have the composite. Now the composite basically has two options below and above. And this controls how the copies appear on top of each other. Do they appear on top of each other or below each other, right? And now we can see that because, of course, it's strokes, right, so you don't have to worry about that, but that's what the composite does. We have the transform properties for the repeater, and we have the uncle, of course, you know, the uncle, we have the position, which you know. Now the position this is what it does, even though it's a pretty simple concept, but this is what the position does. Okay? So we could emit from 100 to C like this. And we also have the horizontal and vertical position. So this is what the vertical position does. Okay? So you can have it like this as well. You can have this eat like this. So you could even have it like this. And then have this to zero so that we have that looks like this. Perfect. So that's the position for you. So we have the scale, and this is what the scale does, it increases or reduces the copies, just like how you can see right here. Let's make this zero. Sorry, not for position for scale. Let's make this zero or 100 rather, 100. So we could have from 100, then maybe here, we can boost up the scale to one, two, two and back to 100. Perfect. So you can see that your imagination is basically the limit in this. You can admit all of these and create incredible custom animations. We have rotation. This whole rotation does. Okay? The whole rotation does, we have the opacity, so we can animit the opacity. We have the start opacity and the end opacity. Okay? So we can animit all of these parameters and create incredible stuff. So I feel like animating the position. Sorry, the rotation, let's see, zero, and then we go here and then just boost up the rotation like this and then come here and then make this back to zero so that we have something like this. We can select everything here and F nine. You know what? We can basically start offsetting some of these key frames to create even more custom animations. It is all by the way, just to show you what is achievable with the repeater. So that's the repeater for you. These are the options you get. And yeah, just go in and try to create something incredible and share your work with me. I would love to see what you achieve. So that's it for this video on the repeater. See you in the next one. Bye bye. 12. 12 Round Corner: Hey, guys, in this video, we're going to learn about the round corner shape modifier. And this is my animation from the last video on Repeater, and you can see that I just modified it a bit, and this looks kind of cool. Yeah. So for our next ship modifier, which is the round corner, just go ahead and create a new composition and let's name it, of course, round corner. And this is a really simple shape modifier, okay? Now, let's go ahead and create a rectangle to create a rectangular shape and just centralize it. And in your shape modifier, come to add and add the round corners shape modifier. Now, this is the round corners options. So click Open and you only have the radius. Right now, this is what it does. Basically gives a shape around corner. Whatever shape we have gives it around corner. So this can come in really handy. We can turn our rectangle or square into an ellipse and back to a square. Okay, select everything, right click. Easy Ease. Come to the graph editor and do this. So that we have. Yeah, basically, and this works for every other ship. So you can go ahead and experiment with every other ship, whatever type of ship, whatever custom ship you want to experiment with, okay? So that's a round corner ship modifier for you. Very simple, very precise, and very cute. So that's it for this video. See you in the next one. Bye bye. 13. 13 Trim Paths: Hey, D. Welcome back. In this video, we're going to learn about the trims, shape modifier. This is one of my most favorite shape modifiers. Here in after effect. Go ahead and create a new composition and then let's name it the trim parts. It, okay. And let's create our shape. Now, let's go ahead and create an ellipse and go ahead and add the trim part shape modifier. Trim parts. Perfect. And this is what the trim part does. It basically trim path, trims our path, whether it's a stroke path or we have a field. Even if we have a field, it's still going to trim it just like this. Okay? Yeah, and we can use this buttons here on the ellipse to change the direction of our start point. Okay? So we have the trim parts, just like this. So we have the end. Sorry, we have the start, and then we have the end we have the end. So we can animate all of these. We can animate or start. Then I end. So we have this. Okay? Easy Ease. We can offset our parts or key frames rather and have this. Or we can do the opposite and have this. Okay? So that's the string part for you. We have the offset, and this is what the offset does. Okay? Is what it does. Create the key frame I'll just copy this. Control C, Control V. So we can do a whole lot of things with the trim part. We have the trim multiple shapes. So if we have multiple shapes, we can also we can also adjust how the trim part works for each of the ships. Apparently, it works for all of the ships together at once. That's because we have simultaneously, right? So if we have individually, you're going to have it work for each of them individually. So that's basically this option for you. And yeah, so these are all you get with the trim parts. We can use the trim part to create some really crazy effects. So for example, we could add multiple shape modifiers to create different complex effect you get. So we will have this, for example. And just add a trim parts to it. Okay, so that we have it starting from here to here. So create keyframe here come in time and make this 100. You can create one from here, come in time, and make this 100. So select everything right click. Easy, so you can see how easy and sweet this looks. Spread out your keyframes. Maybe I change the cuve to look somewhat like this. You can see how incredible this looks. Really incredible. Yeah, so that's the trim part for you. Really incredible shape modifier here. One of my favorite shape modifiers. And that's it for this video guys. See you in the next one. Bye bye. O. 14. 14 Twist: Hey, D. Welcome back. In this video, we're going to learn about the twist shape modifier. So go ahead and create a new layer, throw a new composition and name this twist. It okay. And let's go ahead and create a line. So create a line with a stroke. And yeah, make sure the anchle point is at the middle, okay. And yeah, so go ahead and add your twist, add, twist, and open twist. And we have angle, we have center. Now, if you adjust angle, you see that we are basically twisting our line into this shape, right? And for the center, it controls the center of the twisting you get. So all of these are animatable, and we can use this to create incredibly powerful effect, incredibly powerful effect shape effect. Okay? And, yeah, we can use it to create a lot of things. We can use it to create the hypnosis animation, okay and so on and so forth. Yeah, so that's the twist for you. That's the twist for you. You can also add this to shape layers as well, of course. So let's go ahead and add it to different ship layers. Let's hide this guy with a new shape layer. And let's add it to different shapes. So we have an ellipse here. Okay. You have it here. And let's go ahead and add a star. Here. And let's go ahead and add a polygon. So try this twist shape modifier on these three shape of ours. So let's just go ahead and make sure our anchor point is set to the middle. Perfect. So select your shape, go to add and twist. So we see how each of these guys react to twist. We can see that the ellipse doesn't react because it's already twisted already. But as soon as we adjust the center, we see what it does, right, because we are now adjusting the center of the tweet. So we can create lots of stuff with this can create. Now this already looks like the Firefox logo, even though that, by the way. But you can see how we can create really custom shapes with this, right? So that's the twist for you. That's the twist for you. Yeah, so that's it for this video on the twist. See you in the next one. Bye bye. 15. 15 Wiggle Paths: Hey, Day. Welcome back. In this video, we're going to learn about the wiggle paths shape modifier. So go ahead and create your new composition. Let's name this, of course, you know, wiggle parts. And hit okay. Perfect. Now go ahead and create take your pen tool and create a line. So let's create the line from here to here, go down shift to create a straight line. And let's go ahead and add our wiggle part. So click Add and Wiggle parts. Now in the wiggle parts, what it does is it wiggles our parts, okay? Yeah, so open the wiggle part settings, and we have size, which basically does this, adjust the size of our angular points. We have the details which adds or reduces the details of our wiggle of our points. Then we have the points. This set to either corner or smooth. Now we see where we get with corner. If you hit smooth, we can see that it smoothened out our angles, right, our points. And then we have the wiggle per second. Now, this is the speed of our wiggle. So if you hit play, you'll see that it's wiggling, right? Now this is the speed it's using to wiggle, which is two wiggles per second. If we push this up to 28, we can see now that it's wiggling to first, 28 wiggles per second. That's the wiggles per second, take it back to two. Then we have correlation. Correlation. This is what the correlation does. It basically gives us more details, but gives us the ability to edit some of these other ones like the temporal phase, the temporal phase, the spatial phase. Then the random seed. Now, this random seed creates more randomness. We can use it to create more randomness for our wiggling. Here, we can use it to create more randomness for our wiggling, basically. So it's all about making our edits as customer as possible. Yeah. How does the Wigle effect or the Wigle part shape modifier come in handy? We can use it for several stuff. We can use it to create even drawing. So let's say we want to create drawing that looks like handran. Let's say we want to create this guy that looks like a handrn drawing. You can add the Wigle part and make it a hand drawn drawing mission. Okay? Because handrawn drawing missions are usually not perfect. They're not in straight lines like when you draw using tools, right? So we can add the Wigle part and just reduce the detailing and size. And basically, we have a drawing that looks quite uneven, right? Plate. And yeah, it's animating. So we can use this guide to create a lot of things. We're going to come to the exercise section where we will use lot of these shape modifiers we've covered. So that's the wiggle shape modifier for you and go ahead and experiment, create more animations with all of these. Share your projects with me. I love to see what you achieve. And that's it for this video. See you in the next one. Bye bye. 16. 16 Wiggle Transform: Hey, there. Welcome back. In this video, we're going to learn about the Wiggle Transform ship modifier. So go ahead and create your new composition, name it the Wiggle transform. And it okay. And go ahead and create your ship. Let's use the polygon. So create this ship. Perfect. Now, select your shape, go ahead and add the wiggle transform. So wiggle transform and open wiggle transform. So wiggle transform creates wiggle effect on our transform properties, open your transform and on the transform, that's transform inside the wiggle transform shape modifier, right? So you can just hit play and for now, you can see anything happening. But as soon as you start adjusting your parameters to your ankle point, let's adjust the anchle point and nothing yet. But let's go ahead and adjust our position. So we can see that it's now wiggling between our two positions, okay, and creating this dynamic randomization, right? So it's random and it's dynamic. So we can just go ahead and adjust the other parts of the position. Okay? We can see that the position has two values, right? To adjust that, and now you see that it's now wiggling in both axes, okay? Wiggling both axes. And that's multipy our scale. And yeah, now the scale is also wiggling, right? So we can see how this is becoming interesting, and we can adjust the rotation and see this is too much. Let's make it 20% or 20 degrees, hit play, and now the rotation is also wiggling. Now, if you go to wiggle properties, the main wiggle properties, we have the wiggle per second and it controls the speed of our wiggle. This is just too much to get back to two, and we have the correlation. Now correlation basically affects the wiggling properties between multiple shapes. So if we had multiple shapes, let's say we added a repeater. So we now have three shapes, right? So the correlation basically affects the wiggling properties between shapes between multiple shapes. Okay? So if you open repeater, we can furthermore, let's create more copies, let's say nine copies and open the transform property for the repeater and work on the position in let's attach the offset and the scaling and the rotation and maybe the opacity also. When we play this now, we see the wiggling happening. Yeah, this is interesting. Maybe the skill shouldn't be the big. Yeah. So our correlation creates more dynamism. For go, we have the temporal phase. You can use all of these to have fun with this effect. We have the spatial feast as well. We have the set the random seat, which randomizes the animation. Yeah, it creates randomness. And this can come in and in a lot of things. We can admit background. We can admit floating astronaut in space. We keep floating objects. We can admit just a lot of things, okay? So the limitation is basically your imagination. So that's we will transform shape modifier for you. Just go ahead and do more experimenting with the parameters and see what and what you can come up with. So that'll be it for this video, guys. See you in the next one. Bye bye. 17. 17 Zigzag: Hey, there. Welcome back. In this video, we're going to learn about the zigzag shape modifier. So go ahead, create your new composition and name it Zigzag. It, okay. Create your new, your new shape rather. Let's work with this shape. Now, this is a bit too big, reducing the size, and I'll just bring this anchor point to the middle and centralize our ship. Select our ship, go ahead and add the wiggle. So open this, go ahead and add the wig sorry, the zigzag, not the wiggle to zigzag and here are the zigzag options. We have the size. We have the ridges per segment. So this controls the ridges per segment. We have three ridges per segment. Four ridges per segment and zero ridge per segment. Yeah, basically, the more redis per segment, the more complex your zig zag effect is. And you can see that we can admit all of these parameters. We have the points, we have corner, and we have smooth. So this is where you get. And of course, you can admit all of these parameters, all of these parameters. Start from here, create a keyframe and post up your size. Yeah. So look everything. Easy Ease. C the graph editor and do this. The speed graph and do this, make it look like this. So you have this. Yeah. Incredible. So we could maybe admit the ich per segment. Okay, maybe from seven, we will come to three then back to seven. Easy Ease. Yeah. We even offset this. So we can see the randomness we're creating. We can, of course, go ahead and add other shape modifiers, maybe even add the Wiggle transform and just come on the wiggle transform, come on the transform. And let's wiggle about the position and the size. Okay? So we've got this. Incredible. Yeah. So that's basically the zig zag for you. And yeah, we will come to the end of this video on the Zig Zag ship modifier. See you in the next one. Bye bye. 18. 18 Fill and Stroke: Hey, welcome back. In this video, we're going to learn about the fill and stroke shape modifiers. Go ahead and create a new composition and let's name it fill and stroke and heat, okay. And go ahead and create a new shape layer. Let's create a polygon this time. Yep. So this is our polygon. And in order to apply our effect, you have to open your shape layer, come to add and click on field. Now, this is just another field color being added to our shape, nothing special. So we can see it here. Our shape initially didn't have a field. But as soon as we added the shape modifier, we now have a field color. So it just has all the options that the field color has, and you can animit all of these. You can animit the color. So we can go in time and create a keyframe, change the color, Basically this. And if you play it, we can see that it goes through our colors. So that's the field color for you. In a nutshell. We have all these other options. This is composite. So it basically has to do with the way the effect affect different shapes based on their arrangement. And basically, that's it. We have the opacity, and we can just click on it and delete it and look at the stroke. Now, the stroke is the same thing as a stroke color. We're just adding another stroke. Okay, I'm just going to undo this and select my Police tower one and add the stroke. Okay. So it's now added in our police style one. So we have stroke two. Now, open our stroke and we see the options, right? So we can click here to change the color. Here, okay. And we won't see it work right now because we have another stroke. So if I close this, we can see that we have one other stroke here. Now, this is the stroke that is active. Okay? This is the initial stroke that comes. Yeah, this is the initial stroke that comes with the shape, this one, with this color, right? We can see that it's now behind our first stroke. It's now above our first stroke. Now, we will have to boost up our side, okay, for the new stroke to appear. For the new stroke to appear. Okay, so that this new stroke appears on top of our old stroke. And that's because, of course, the side is bigger. Now, if we boost up the size of our old stroke, we can see that it's now appearing behind our new stroke, right? So this is basically the arrangement, and we can move their positions in our layer in our shape. So it means we can bring the one above, and you can see how this one now covers it, right? So basically, that is the stroke for you. We have the stroke color, the opacity, the stroke width, the line cup, Okay. We have different types of line caps. We have the round cap, the meter joint, sorry, the mila joint, and then the bevel joint. Okay? So we have all of these. And now let's look at the round. Round cup. Of course, it won't shoot because it's the one inside, right? So we have to zoom in now you can see it. This is the round cup. If we boost up the size, we're going to see it even clearly. So this is the round cup. This is the bevel. You can see it. This is the melter joint. Okay? So that's basically it for this. And we have the dashes. So we can add dashes to our stroke. Okay? We can add dashes to our stroke like you can see here. We can admit all of these, and we have the offset Okay. All of these can be unmitted. And these are just really basic stuff, actually, because we've looked at the stroke in previous lessons. And we have the tipper as well. Of course, the tipper controls the thickness of our tips, right? So the end tip or the start tip. So we have the start length, the end length, and so on and so forth, all of these things are animitable. We have the wave, okay? So it's also unanimitable. So let's just close this and let's look at the other stuff under this category. So I'm just going to delete all of these strokes. And we're going to add the gradient stroke. So the gradient stroke is, of course, okay, I added it to the layer. Let me just add it to the police star. So select the police star and gradient stroke. And add the gradient stroke. So this is just a gradient stroke, just like the name implies. You're just adding a stroke with a gradient feel. So we also have the size of the stroke, where is the size. The stroke width rather the stroke width. Now you can see the gradient very clearly now and you can click here to edit the gradient colors. Let's give this color a bit of coolness. Let's have this and we can create a keyframe come in time and change the colors. Okay? We can change the colors. Select this guy and change the color, Keto. Perfect, and come back in time and change the color. Okay. Yeah. And of course, you can click on this guy here to make the ingredients smoother. And if you hold down shift, it's going to be done in a straight line, okay? So just like this, click here to move a bit back to create this softness all across. Yeah, so you see what we've got now. So we see that our gradient is moving, it's editing. So we can copy all of these things. All of these keyframes, rather, Control C, CtraV to keep them looping, keep their admission looping, contro V, and contro V. So select everything right click and EZ so that we have this. Incredible. Yeah. Now there are other parameters we can, as well admit, just like a normal stroke, okay? It's just a normal stroke with a gradient field, okay? So all the options we looked at previously, in the stroke modifier, you have it here. And same also with this guy, the gradient fill. It's just a field color with a gradient. Okay? And all the options we looked at under the field color, we have it here. We have them here, okay? So you can just open it up and do your edit and edit the parameters to achieve what you would like to see. Okay? So I'm not going to bore you with all the other little unnecessary details because, of course, you already know how to manipulate the field color options, right? So as far as you know how to manipulate the field color options, which we've already looked at, you'll be able to manipulate the gradient feel options, because it's basically a field color with ingredient. Yeah, so that's it. So we'll come to the end of our video on feel and Stroke. See you in the next one. Bye bye. 19. 19 Rectangle, Elipse, Polystar and Path: Hey, D. Welcome back. In this video, we're going to learn how to use the rectangle ellipse, polytr and part shape modifiers. So go ahead and create your new composition, let's name the composition ships. Okay? Because these are extra ships we are adding to our existing ship. So first things first, go ahead and create your ship, and I'm going to use my polygon for this. This is my polygon, hit S for scale, kill it down. Okay. And I want my ankle point to be in the middle. So control old home or command old home on the mark to centralize your ankle point and then control or command home to centralize it to the canvas or to the composition. And I'll just kill this down a bit more. Perfect. And select your shape layer, open it up. Open it up and go to contents. Open content up, and then select your pul star to select your poli star, and then go to ARD and now here they are, okay? We have the rectangle, we have the ellipse, we have Pulitr, we have part. So we can basically add these to our existing shape inside our existing shape, okay? So we can add the rectangle. We can add an ellipse, a poly star, just like a polygon or a star, and then we can add a custom part. Inside our shape. So I'll just go over to options for one of them, and then you check the rest for yourself. They all have similar options, so you won't have a problem checking the rest for yourselves. So click on rectangle to add a rectangle, and right away, you can see that we have a rectangle in the middle of our shape. So this is our rectangle, our new rectangle. So open it up and you can see three options, right? We have the size and we have the position. Okay? We have the position. So it means we can move it out, move within. We have the roundness, okay? And all of these are animatable, right? So it means we could just create a keyframe for size, maybe zoom in a bit, create a keyframe for size. And go back in time and make this zero, select everything right click. Easy Ease, go to your graph editor, select your key frames, and just create something like this that looks like this so that we have this. Okay? And I can do this. Sorry, not do this. I can copy this, the first one and Control C and Control V, and piesTT so that we have maybe not, okay? That doesn't look good. We just have this. Yeah. So what I want to do is I first of all, want to animate the entire shape Okay? Remember, this is not the entire shape. This is just inside. This is just the poly star inside the ship. So select your shape, make sure your ship is selected and then hit S so that you bring up the scale properties for your ship. So create a keyframe here, go back in time, make this zero. Select, right click Easy. Go to your graph editor and create a graph that looks like this. Perfect. And just select your layer and hit you to bring up all the keyframes. So that's the keyframe for the scale of the entire shape and also for the polytr. So we have this. Perfect. You can bring these keyframes a bit closer. Yeah. And now I'm just going to open my rectangle and also mit one of the properties, which is the roundness, which is the roundness. So for the roundness, I'm just going to create this and then come here and create a keyframe, go some frames in time, make this 100 go some frames in time and copy this and paste so that we have what looks like this. So select everything and as the ease so that we have what looks like this. Perfect. So we have this incredible. I'm just going to spread them out by cooling down olds or option on the mark and dragging and dragging them out, spreading them out. So we have this. Maybe I should, um offset these a bit. Yeah. So we can see how easy it is to admit all of these. We can even make this bounds inside our big ship, right? So the possibilities are just limited to your imagination. Yeah, you're just limited to your imagination. You can go ahead and add all these other ones, but these are just the options. They are very self explanatory and very easy to use. Yeah, so I won't waste your time by going through all of them. Just go ahead and experiment with them for yourself. Yeah, so just go ahead, experiment with them for yourself, add multiple ship modifiers, go ahead and do crazy stuff and share your work with me. I would love to see what you achieve. Okay? Share your work with me. I love to see what you achieve. So that'll be it for this video. See you in the next one. Bye bye. 20. 20 Class Project 2: Hey, there. Welcome back. So in this exercise, we're gonna be creating this after effects. This is an icon reveal animation, and we use the trim part shape modifier for this. Okay? So without further ado, let's go ahead and get into it. So good file a new project. And double click here to bring in your file. And in your folder on shape modifier, you are going to see this icons file, this icons.ai. This is an Adobe Illustrat of file. Okay? So it's a vector file, select it and come here it says, Import us and choose composition retain file sizes. Okay? So we're basically importing an Adobe Illustrato file into after effect, okay? So just hit Import. And here we have our files. So click to open the composition it created, and this is our composition. Now, we going to go ahead and change the composition color. So Control key for that to bring in the composition settings and make this white and heat okay, and it okay. Perfect. Now, this is what we've got, and you can see that they are all after effects, sorry, Ato Bios frital layers, right? So these are Ab losrital layers. And, yeah. So the first thing we are going to do after this is select all of them, to set the first one pol down shift. Select last one, select all of them, and then right click and then go to create and create shapes from vector layers. So we are converting vector layers into shapes, so you click on it. Now we have ships from our vector layers. All you need to do now is just click on one of them and drag to the topmost part where you see this line appear, right? So bring it up or bring them up. So all of them are above your illustrtal files, your illustrtal layers. So what we're going to do is enable the shy for our illustrtal layers to hide them, and then go ahead and enable it here so that we have less layers here, okay? So we can concentrate more. So the next thing we do is go ahead and add our ship modifier. Now, we have to make sure they are in alignment with how we want them to reveal. Okay, so everything is aligned or arranged perfectly here this file. So select this guy, which is the ball outlines and then open it up and go ahead and add the trim part, shape modifier, the trim parts, perfect, and under the trim parts, open it up. And now you're going to see that we have our start and end. What we want to do now is make sure we have the end at zero. So we want to click here come in time and make it 100, so you start like this. Okay. Then we also want to come here in time. Okay, or here. For now, we can adjust that later on, click here and come some films more in time and make this 100. So we have starting like this and anything like this. Perfect. This is basically our review, starting like this and anything like this. You select all your key films and easy ease them. Yeah. And if we like, we can spread this out a bit more so that they still longer. Okay, and this is a really simple animation. You're gonna agree with me very soon. Okay? So, I think I'll just open the graph editor and just maybe make our graphs look a bit like this. Okay, perfect. Choose our graph editor. And the next thing we do is select our trim parts. **** modifier here, go to edit and copy or Control C, and then just close this and basically select all of them like this and control and first of all, bring your time to the first to the first frame and Control V. So that we apply the same trim parts to all of them, so that we have this, all of them admitting like this, okay? Just like this. Perfect. Now, we have to select all of them and hit you to enable or to expose our key frames, and then we have to start offsetting them. So just select the second layer and then don shift and select the first layer to select all of them above and then just move the keyframes like this so that we have it look like this. Okay? So we have the second one start almost as the first one is finishing, right? So let's just go ahead and do this for the remaining. So hold on control and select this to us to deselect it or command on the mac and then offset the remaining chi and this is what you want to achieve. This is the kind of offset you want to achieve. Okay. So just take note of these two keyframes. They should be arranged like this. You see how it's arranged here, right? I think it's furthermore to the right hand side, like this. Hold control and deselect this offset this. Controlled, select this, and I've said this. Yeah, so that we have it looked like this. Yeah, so that's it for our off setting. And all we need to do next is select all of them and go to our align panel and align them to the middle, just like this. Okay? So when we play them now, you see we get our admission completed. Yeah, so we can tell how easy it is. Now we can just bring our time to the last keyframe here, cooling down shift to snap it to the last keyframe and just trim our composition. Right, click here, trim come to work area. So click. And we have this now admitting in a loop. Yeah. So that's it. And we just hit do Control key now or go to composition and composition settings to adjust our composition width, right? We want this to be 1920 by 1080, so we have to adjust the width to 1920 and it okay. And perfect. This is what we've got now. And let's just close this and our animation is done, basically. If we want, we can just select all of them and maybe boost up the stroke size. Let's make this 15. Perfect. And play. Yeah, and if we want, we could maybe change the composition color. Okay, we can make this color just like this. You could copy the color code if you want, het okay, and heat, okay. And probably even change the color of our lines, right? Remember, they are now shaped so we can change their color to white so that we have them look like this. And maybe I think the composition color should be a bit more reddish. Use any color. It mustn't be this color, of course. Use any colour of your choice, we make this even thicker. Let's say, ethin. Yeah, and this is what we've got. We've basically replicated our animation. Okay, our icon reveal animation. Yeah, so that's basically it, guys, for this video and for this exercise. See you in the next one. Bye bye. 21. 21 Class Project 3: Hey, there. Welcome back. In this video, we're going to be creating this, call it, simple, but yet cool logo animation. You can see that we used a number of ship modifiers, mostly just the repeater and the trim parts, basically. So we're going to recreate this Nafty effect. Now, I have saved the previous file now just go ahead and open it and continue in that same file. So open previous or recent rather, and this is the previous file I saved. So just go ahead and open it. And yeah, this is the file. So this is the one we created in the last exercise. Now in this exercise, we're going to go ahead and create the logo animation. So click click here to open your folder, and in your folder, you're going to see this HF creations logo watermark to select it and import. It in port. So this is our logo. This is what we're going to be using. So go ahead and create a new composition, and name this logo animation. N hid 1920 by 20. For this, I'll just go ahead and change the composition color, control key for that to white. Hit Okay, and then bring in my logo. This is the new logo for HHF creations, that's our brand, okay? Yeah. So this is HHF creations, and this is our new logo. So select the logo, and then come in time, let's say 15 frames and create a keyframe for scale. Go back in time, make this zero. Go back in time, create a keyframe for position, just shift P to bring up position and create a keyframe here, go back in time and bring this down. So we have this. Then select it and shift R to bring up rotation. So create a keyframe here and then go back in time. First of all, let's just go a bit close to the keyframe so as to see the logo and let's do the rotation here so that we can just shift the the key frame back later on so that we have this. Perfect. Now, select everything and you know what to do. Easy. Sorry. Easy is shift. Sorry, easy is F nine, not shift. We do this and then just go to your graph editor, make sure you have the speed graph selected and mark you select all your keyframes and let's just do this. Yeah, do this. Perfect. So that we have What's that? That looks weird. Okay. I think we need to take this slowly. So the position comes from here to here, the sides come from here to here. For rotation, I think we might need to let's remove the rotation. Let's delete this for now and see what we've got for position and skill. We give a posion on skills. So I think let's just undo that and bring back the rotation. I think the problem is with scale. Skill is coming from there. Scale actually went as high as 24 before went down 15. We don't know what we want. So select scale and open the key frames. So this is what happened in skill, right? So that's why we got what we got. So we want this to be like this. So that's why I go what I got. We want it to be like this. We want everything to be on the zero line so that we have this. Okay, perfect. It's not really perfect, but this is way better than what we had before. So for this, I think we need to make this spread this out the kip you on rotation. Or let's just delete it all together for now. So delete it, and let's fix more important things for now so that we've got this perfect. And we might need to maybe furthermore spread out my key frames, maybe do this and furthermore spread out my key frames. Yeah. Yep, so this is way better. The next thing I'll do is go ahead and create my ship layer, put my ship layer, create an ellipse in my ship layer. So create my ellipse, and I'm just going to hold down shift and also hold down Control or command to create it uniformly and from the center, okay? But holding down shift will just do the job. You don't need to hold down control, but you can also hold down control to give you this central alignment, okay? To release it. And let's first of all, give it a field color. Give it a field color, something conspicuous and then just doing the stroke follow up for now so that we can align things properly. So for my guy here, I want to make sure my ankle point is set to the middle. So control N home. Sorry, control home to shift the ankle point to the middle and then control home to align it to the middle of my composition. So it should cover just my logo. You see that it's doing a great job here, but it seems my logo itself is not aligned, right? So let's just align my logo and see. Perfect. My is aligned now with Control Home. So bring my ship to the bottom or below my logo, and this is what we've got. Perfect. Now, just hit on my ship and hold on control or command on mark and scale this up gradually, so as to scale it gradually. And then just go ahead and give it a gradient. Sorry, not a gradient, stroke color while removing the fill color, right? To something like this. We could use our Irapto to sample this color, come up, hit okay. And maybe reduce our stroke size to say 14 or ten. Okay. Perfect. So this is cool. So what we want to do here is we want to create this trim part effect. So we want to add the trim parts. So add the trim parts here, trim parts. Perfect. So we want it to come like this, and then we want the trim parts to start animating. So we want our end position to be zero and then keyframe starts from here. To here to 100. So we're only admitting our end keyframe or end property. So we have this to select everything and then easy ease. Okay, and we want to make this bit dramatic. So go to the graph editor and do this and do this. So that we have this. Okay? And we could spread out our Q frames a bit more so that we have this. Perfect. This and this. Perfect. So the next thing I want to do is create a null object to create a null object and control Tom to centralize our null object, anchor point and then control whom to centralize our null object to the middle of the composition, select two layers for the shape, give our trim part and also for our logo and come and parent them to the null object. So click A and drag and drop on the null object so that the null object now controls our two shapes, okay? So that's our two layers, right so we have this Okay. Now, we want to scale this up a bit to create anticipation for our last action. So our last action will be scaling down. So we want to hit on a null object, create a keyframe here, go in town, go back in time a bit, and then just make this go up. Okay? Make this go up so that we have Perfect. Select everything here, right click, Easy Ease, go to the keyframe and we want to create make it look like this so that we have perfect. So we've got this y. And we want it to sustain for some seconds. So it means we're going to select our layer and click here to replicate this frame and then just go in time and then make this zero k so that we now have this. So we go into our frame our graph editor, and then let's try this curve and see on the speed graph. So we have this anticipation and then perfect. Yeah. So let's make it look like this. See? Okay, perfect. So we want to reduce the length or the distance of our keyframe here. That's this keyframe. So let's see what we've got now. Yeah, so we want this admission to be faster. Yeah, so we've got this, one, two, three, One, two, three. Perfect. So we see that we're also inculcating the principle of animation, right? That's the anticipate. We're anticipating this down movement by this resizing movement you get. So we have this and this this and this perfect. Now the last thing we want to create is a new shape layer. And for ship layer, we want to take our pen instead. This time we want to take our pen and then come from the middle, create a line. So all them shift and create it to the top like this, okay? Or towards the top. So we have this, and we want to make our line just this big, okay? Perfect. And we actually want to make sure this is the anchor point is here. We actually want to make sure that is true for this. So it has to be here. Okay, it has to be here. At the edge here. Perfect. Now the next thing I'm going to do is select my guy here, go into my shape modifiers and then just add a repeater. So we have to add a repeater, add a repeater, and then open your repeater and make this let's say six. Okay, then that's for the copies, open the transform property for the repeater for position, let's make this zero. So hit zero. And then we want to rotate this. So we have to rotate this by 60 degrees. Let's make it 60 degrees. Perfect. Yeah. So six. So you see we have one, two, three, four, five, six. Perfect. So that's what we want to have, right? Incredible. Now our next thing is to add the next shape modifier, which is the trim parts. So trim parts so that we have this. And then for the trim parts, just go into your start and end. In fact, we want to actually bring this here so that we want to start from here. Okay? So meet your end. So create the keyframe, come in time and make it 100 and come back here, create the keyframe here on start, come in time and make this 100. So that we have this, okay? Select your keyframes. Es them. Now let's just go ahead and reduce the distance of our keyframes so that our emission happens faster, right? Okay, so close this. Now we want this animion to start as soon as our logo is resizing to the minimum, right? So, like, at around this side or this time, rather, we want our starburst animation that's the last guy here to come up just like this. Okay? Yeah. So we've got this. Yeah, so that's basically it. Now we can just go ahead and make this teat a bit that our logo. So it's coming from here to teat. Let's just hit you to expose the keyframes and shift R to bring up rotation and put the keyframe here, go back in time and make this, say 40, okay? Select everything and easy. Let's see what we've got. Maybe not 40. Let's make this -40 instead. So -40. Yeah. So this looks better. This definitely looks better. But I think I'm just going to spread tick my key film towards where the other Q films end as well so that we have this. Yeah. And, of course, I can edit my curve for my rotation to make it look even better. Yeah. So we have our animation complete. Yeah, so that's it for this video. Basically, guys. That's it for this video, I'm just going to go ahead and trim my composition. So right click, trim Come to work area and just make this full size and play our animation. Perfect. So that's it for this video, guys. And yeah, so I'm just going to save this and I'll make this file available to you, so you download it and see how I've done it personally in case you're having issues replicating or following the video. So that's it for this one. See you in the next one. Bye bye. 22. 22 Class Project 4: Hey, guys. Welcome back. In this video, we're going to recreate this animation. So we can see that this is just a gun shooting out electricity to this target and everything is vibrating, right, because it's electricity. So that's basically it. That's basically what we're going to be recreating in this video. So go ahead and create your new composition. But I'm just going to go ahead and open the file I've been working on this is the file I've been working on. Yeah. So this was our previous creation, and this was the first creation, right? So go ahead and create a new composition, and let's call this shooting. And hit okay. Perfect. Now, you want to go ahead and double click here and go into your folder and select the shooting AI file and make sure it's composition set to composition retain layer sizes and import. Yeah, and import. Now just double click and go into the shooting composition. And, we actually don't need to create a new composition. Since we've got the shooting composition, right? So we can just delete the shooting one we created, the first composition we created, so that we use this one that we've imported. So for this one, I'm just going to control K to remove the two and the name and make it shooting and hit okay. Now select all your vector files and right click and then create shapes from vector layers. Perfect, click drag and drop so as to move them to the top and then select all of these ones that are hidden and then go ahead and sh them to create less files here. I'm just going to do Control K one more time to change my color. From this to this, Hid okay. Hit okay. Okay? Yeah, so this is what we've got. Now I feel I should make my color I should retain the size or the color of my composition because I feel black makes a lot of sense with this. So I'm just going to undo that actually, and then select my layers for my gun and my target. Okay, my gun and my target. Sorry, for my gun and my bullet. And then click here. Since they are now ship layers, click here and make them white color so as to reveal them here. Perfect. So the first thing we're going to do is animit our gun. Now, our gun is shooting at electricity and it's kind of vibrating, right? So we're going to give it a rotation, quick rotation. There's something we will just do, which we haven't covered that's expressions. We're just going to add a simple expression to our gun. Now, just hit R for rotation. Then on the first keyframe, go ahead and pull on control to move your values slightly, or command on the mark and then just rotate it a bit just like this. -4.2, and then create a keyframe, then zoom in, come to the next frame and then make this plus 4.2, remove the minus, okay, so that we have this. And we want to just replicate this, want to replicate this replicate this. So what we do for this is Hold Alt and click here, Hod Alt and click here. Now, this creates expressions. Now we can type in an expression here to enable it do whatever we want it to do. So that's one we can do. And one thing we can do also is click here where it says expression language menu, click here, and then go to property and then go to LoopOut where loopOut Loop out, click on LoopOut, and we will now get this admission. Okay, we actually need to add one more keyframe. We actually need to add we actually need to copy this guy, okay? Copy and paste. Let's try playing one more. So this is what we now have. We can see that it's too fast. It's too fast. So what we're going to do is select all of them with an alt and spread them out like a source to reduce or increase the time. Yeah, so it's better now, but I think it can be even better. So you can do that by just going back a bit. Yeah. Yeah, so this is perfect for our vibrating gun. Now we can close this and then even shy it to just hide it from our we, okay? Perfect. So we have our vibrating gun, which is shooting out our electricity. Now we need to add our bullet, or our electric beam or whatever you call it for the bullet. Now, I'm just going to select my pent, click here and drag this when shift closer to the gun so that we have it like this. Perfect. And then for this other end, I'm just going to click on my ankle point. Zoom and click on my ankle point. Okay? Maybe take my selection to click on my ankle point here and then just pull down shifts and bring it on top of our target, and even bring it here on top of our target. Yeah, on the layer stack. Perfect. Now we can see that I mistakenly moved our ankle point here without pulling down ships. I'm just going to undo this undo this for now. And then, now it's perfect now. Can see that it's perfect now, I just bring my let on top. This is what we've got. Now it's tree. And we can go ahead and add our ship modifier. Now this will be the wiggle Pat ship modifier. So wiggle Pat and add it. And for our wiggle paths, we want to give you a size of 30. Okay? Give it the size of 30 detail of 80 so that we've got this, and then we go per second, we want to make this 20 so that we've got this perfect. So that's just what we want, okay, with our wiggle. So we close this close this, and we want to add a vibration on our target, okay? For target, we want to just give it position vibration animation. So kit P for target, and we want to give it position, right click here, create a key frame zoom in to one fim then move the position bit right. But we don't want to move it too much, actually. We want to move it a bit. So make sure you're holding on control and doing the movement. Okay, and go back and then copy the first one and piste so that we have this. Okay? Perfect. Now, we're going to do what we did with our gun, right? So pull an alt or option at the mark and click here to add an expression. So click here, and then go to property, and then in property, you go to LoopOut. Perfect. Now, this is what we've got incredible. So we want to actually select our key frames for our target with on Alt, drag them out a bit to see what we've got here. Yeah, I think this is way more realistic. Less too much, a bit less too much. Yeah, so this is perfect. Now we can close this. And the next thing we want to do is animit some electric shock around our target. So for this, we'll just go ahead and create a new shipler hit P, sorry, not hit P. Hit G for pinto then let's create an outline around our ship. Mustn't be perfect round our target, and it mustn't be perfect. It mustn't be perfect. So just this will do. Yeah, maybe undo and just bring this guy down and maybe work on some of these anchor points to make them look a bit better. Perfect. And the size of the size of my stroke is too much. I just want to reduce the size of the outline. Again, I'm having trouble here. So I'll just control all home to centralize the ankle point to the middle of the ship and then it this for my skill and just maybe scale it down a bit like this. Perfect. Perfect. Then for my stroke, I'll give this four for now, and I want to go ahead and give my stroke some dashes to make my stroke dashed. Open my stroke option and then select dash. Add dash, zoom in a bit, and just push this up to make it look like this. Perfect, or even like this. Yeah, perfect. So close this up and then go ahead and copy your wiggle paths from here, Control C, and paste on your on, on this layer here. Perfect. And of course, we have to edit our wiggle paths for this layer. Close the stroke, open the wiggle parts, and then for detail or for size, we have to reduce the size. So just reduce the size, and for detail, we also have to reduce the detail. This is too much. Okay? Yeah, this is better. This is better. This is way better. And let's just experiment with the size and see. Yeah, so this is way better. This looks way better. I feel we could just boost up the stroke to maybe six or five. Yeah, six is too much. Let's say five. So five is perfect. Perfect. Yeah. And we're almost done with this. Now the next thing I want to do is just add some more lines. So more electric shock lines from here to here. Just like this. For these lines, I also want to give them dashes to open your stroke and make this touched. Yep, 46 is okay. And then we want to also copy the zig zag. First of all, should we should admit the offset. So click on the offset, create a key frame, and then come in time and make this say 100 or -100 so as to go the other way. So -100, maybe maybe sorry, -2,000. Let's give it 2000, a 100 or 25. This actually needs a really big value. So minus 25 hit enter. And then we will get it looking like this. Perfect. And we can just add our wiggle parts to that, as well. So open this guy and copy the wiggle parts, Control C, and then Control V. And we've got this. And we actually also want to work on the wiggle part for this guy. Okay? And maybe for the stroke, let's make this three. Let's make the stroke three. And then for the but the other properties for our wiggle part, we want to, I'm not seeing my wiggle part. This is my regal part to open my wiggle part and there are too many options here. So you have to actually do this over and over again to be really used to the options you get. So for size, size is okay. For detail, we want to push this up a bit. So size C 28. Yeah, and we might Oh, we should maybe work on our dashes, maybe make our dashes a bit less. Okay? So 15. That doesn't work well, actually. Maybe increase it a bit. That doesn't work well. I think 46 is just perfect for our dashes. So we've got this and close this or open it and just select your parts or your ship one, and duplicate this Control D, so that we have another one and just bring the other one to the bottom like this. Okay? So that we've got this. Yeah. So we've basically replicated our animation. Perfect. Hits or Control, save. And yeah, that's it for this one, guys. That's it for this very quick one. You can go in and make it look even better than this ad as many things as you want, if that's going to make it better. I don't know. You can use your creativity for that. So we're done with this one and see you in the next one. Bye bye. 23. 23 Class Project 5: Hey, there. Welcome back. In this video, we are going to recreate this Luding screen animation here in after effect, using shape modifiers. So go ahead and create a new composition, for me, as usual, I'll go ahead and bring in the one I've been working on, which is this guy. Perfect. This was the last one we created. Now, go ahead and create a new composition and name this Louden screen or just Louden. Anyone will do, hit okay. Perfect. Now I want to give my composition a black background. I like the black background for some unknown reason for this particular project. The first thing we do, of course, go ahead and create our ship layer and then create our ship. Our ship is an ellipse. So we want to create an ellipse hold down shift, can hold down control as well or shift or just shift to create a perfect circle. Just like this, and then we don't need a stroke for this. We only need a field color for this ito we want to align our ankle point to the middle. Control home or command on the mark and then control or command on the mark to align this to the center of our composition. Perfect. We've got this. This is our guy. We can heat this to scale this up if we want to whatever size we want to whatever size you want. My scale it up to this size. Okay. Yeah, so this is good. And the next thing I want to do is kind of make my composition just 8 seconds long. Control key or command key for the composition settings. And then we want to make this 8 seconds. So this guy has to be it at, and then it okay. Perfect. Now, you can just make this 8 seconds. Incredible. Now, go ahead and add our shape modifier, and we want to add the repeater here. So add the repeater shape modifier. And open the repeahi modifier. And then for copies, we want to give the 12 copies. We want to make the 12 copies just open the transform properties for the repeater and do the following sentence. So we want to make sure our star opacity is zero. So for star opacity, we want to make this zero. That's our start opacity, and then we want to make our rotation 30. Let's make this 30 degrees. And then for position, we want to make this zero, so that we've got this so we've got this. Now for ankle point, let's go ahead and push our ankle point up. So we see that the more our ankle point is boosted up, the more we have it spread out, right? We have our dots spread out. Let's say 160. Perfect. So we can go ahead and align this ankle point to the middle. We can do that, of course, by holding down Control Alt or command lt and com space. And then control space or command space. Sorry, home key, not home space. I don't know why I said home space. So control old Hum chi or command old Hum chi, and then control Hum chi or command Hum chi to align to the middle middle of our composition. And then now we want to admit our offset on start from zero, create a keyframe here and then go to the last guy here and let's make this 48. So 48 key Dna and we basically have recreated our loud in screen icon, very simple, very straightforward. We only needed to add the repeater shape modifier. Here, guys, so that's it for this quick one. See you in the next one. Bye bye. 24. 24 Class Project 6: Hey, guys. Welcome back. In this video, we're going to be recreating this animation, this little animation. So we have gone here shooting out electricity to this fan, and the fan starts to rotating, and then we have these bubbles, right, air bubbles, which the fan displaces. So basically, that's it for this project. So I'm going to go ahead and bring in the file I've been working on, which is this guy, and this is the last one we worked on the loading screen animation. Perfect. So, create a new composition, name it running fan. So running fan. And hit, okay. And we need to go and bring our gun from this composition. So this is our gun, Control C, bring it to a fun composition and Control V, and just hit on your keyboard to bring up your keyframes. And we want to delete all the keyframes on layer to delete and then hold down Alt or option on the mark and click here to remove the expression on the gun layer. Okay? So you do that and then just make this zero so that we have a normal gonia with no rotation and no key frames. Perfect. Now, we need to go ahead and create our fan. How do we do that? Of course, go ahead and create a new ship layer. And then we need to use a star with this to select your ship, then create a ship, a star. Perfect. Now, align your ankle point to the middle by pulling down Control, hot, and home or command halt, home, and then control home or command home to centralize your shape to the composition. Okay? Hit S for scale, resize your comp, your star. Then we want to give this white color for now, and also remove the stroke perfect, and then go into our star. Okay, that's a police star one. Open it up, and we want to open our star part one options. And then for points, we want to give this eight points. Yeah, eight points should do. So eight points. And then for our inner reduce, we want to bring this down. Sorry about that. We want to bring this down a bit. Okay. And then out roundness, post this up so that we have what looks like this. For inner roundness, just follow these values I have here. Okay? Yeah. So this is what we've got for now. Let's see. Um yeah, this looks just perfect. I'm also going to just go ahead and reposition my ankle point to the middle with control old home. And then while selecting my polity one, and then go ahead and add a twist. So we want to twist our guy a bit, to create that fun twist. That twist we have with fans, right? So open my twist up, and let's just is up the angle to look just like this. Yeah, so this is what we want to have. Or let's try the other way around and see which one looks better. So either way we have our twist. Now the next thing we want to do we select our guy here and go ahead and create an ellipse in the middle. So create an ellipse. So you can hold on all sorry, you can hold on Control and Shift or command and shift on the mark to create your ellipse, then select your ellipse and align it to the middle of your shape here. Okay? Yeah, so our ellipse has to be in the middle, just like this. Perfect. Now we give our ellipse this color. Or whatever color you want. Okay? Now, we want to give our fan a treed look, and we can quickly do that by just giving it a gradient feel. So click on feel four sorry, first of all, you have to make sure you're selecting your pole star, right. So click on Feel and give it a gradient just like this. Hit Okay, and then go into your police star. You don't see the gradient. You add this gradient feel, open it up. And then you want to click edit, edit your gradient, and we want to just edit the gradient. So click on Edit gradient. And for the color, we want to actually change the color. So for this guy, we want the color to be closer to this. Okay. And it okay. Now, just go ahead and change the type of gradient to dial so that we have this and then click edit one more time. We want to reverse our colors. So we want to do this very quickly to reverse our colors, hit Okay, and then just zoom in and you're going to see this line. Click on this line. Click on the dot that is on the end of the line, this very line. Click on it and drag. You can see that we're expanding our gradient. Making it softer, right? So this is what we want to have. Yep, let me just go into my edit gradient one more time. Select the color, and make it a bit darker. And apart from the color, we can see that our gradient is a bit not fully visible, because of the opacity, so we can see that when we click here, we have the opacity that's 85. We want to make this 100. You just hit enter and I shouldn't have done that actually. You just select it and 100. So this guy it's also 100. That's perfect. So hit Okay. Next, we want to actually change this color because now it's not showing. That's our ellipse in the middle of shape of our star. So select the ellipse, click here and give it a white, make it standout or give it whatever color you would want to give it, you want to give it. This is what we now have perfect. Isn't that good? No, I feel like I want to just do some little more edits to the gradient. So this line, I want to just make it bit like this so that we just have it look like this, basically. Yeah, that's it for our gradient. Now we're going to go ahead and create the stand for fun, select your ship layer, take your pen tool, then click here Go down shift and click here. Perfect. And just go ahead and remove the field color and give it a true color. We want this to be the true color. Perfect. We want to go in and go into our content and just bring this below our star, just like this. Incredible. So this is what we've got. Okay? Yeah, so the next thing we will do is start animating our guys. We need to start mitting the stuff. So before that, I think I will just go ahead and create my bubble. So create a new ship layer. And then take your ellipse and create a very small bubble here changes to white and reduce the size to say ten for now. Okay, we're definitely going to reduce the size even more. So control our command our home key to centralize our anchor points to the middle of the sheep and just bring down your stroke. So three should do three pixels should do. Perfect. Yeah, so we want to just keep this here for now, maybe even skill it up a bit. But if yours is of the right size, you can just leave it. So we have this for now and we have our gun here, and we want to make our gun shoot or fun, right? So I want to just bring our gun down a bit. And then go ahead and create a new shape layer. Then my shape layer, I'll take my pen to hit G for that. Then just create a path from here to here down shift to make it in the straight line. Perfect, so that we have it like this. Now for my stroke, I'll just make this 44 pixels should do. And we want to hide a bullet for now. Let's just name this bullet. Okay? Or electric shock or electric bullt. I think electrical bullet would do just fine. Electric bullets. Yeah, and so you should develop an habit of naming your layers, okay, because it's going to really help you speed up your workflow. I'm very bad at naming my layers. So sometimes I just do this very quickly and I forget to name my layers. But it's very important to name your layers. So let's name this fan, okay? Yeah, so this gun is fun. This bubble, this electric bullet. Perfect. Now, we have to take our gun, and we have to tu To create a keyframe for position because we have to shoot, right to zoom in, and we want gun to admit from here and come forward. Just a bit holding on control to slightly move it forward. So just like this, and then come to the next film, copy this guy, our first film and controv so that we have it shut like this. Okay? Now, we can see that this is this is happening too fast, so we just hold on hold and spread our key films like this. So we have it. Yeah, this looks okay. Spread it even more. Yeah. And then you want to, so this is the recoil, right, that you get after you shoot your gun. This is the recoil. And then we also want to teat and meet the rotation. So Lam shift and R to bring up the rotion property. And for rotation, we want to create a keyframe here. So we want to go in time just here in time, it seems impossible to select this keyframe. So we're just going to bring it up here and then take this guy bit forward. So we want it come like this, and then we want to do this, and then do this. Let's see what we've got. Go ahead and select these keyframes, the rotation keyframes and just offset them bit maybe by one frame. So we have this. Yeah, so this is not the major animion. So we are not going to spend all our time here, select everything an easy ease. Yeah. So you can easy use it or not. Doesn't matter. Doesn't really matter, really. So the next thing we do is create our mision for the gun for the bullet, right? So as soon as it's shooting, we want our bullets to fly out. So for our bullets, we just going to go ahead and add the trim parts for your bullet, there, trim parts, open the trim parts, and then we want to from here from here, we want to admit the end, right? To create a keyframe on the end, and then comb some frems forward and make this 100. And you also want to go here, come here. Create a key firm on the start. Come some frems forward and make this 100. So we've got this. Yeah, so it's shooting the electric bullet, right? So yeah, that's it. So next we select our guy or electric bullet layer, come here and give it the wiggle part or shape modifier. So for the wiggle parts, open your wiggle parts up. Close your stream parts, and we want to give you the size of C 20 for now. And then for detail, let's make this 80, and let's make our igles per second 20 so that we get this. Okay. So this is electric shock. You can see that it's a bit too much a bit too much in the detailing. Let's see, um, let's see 30 so that we get this. Yeah, this is better. Perfect. Close this and just hit you to expose my keyframes for my trimpt and I just want to make my mmiion bit longer. So maybe select these two keyframes here and just do this. Okay, and select this one up and do this. So you can see that our shock is down longer. Maybe that's too much, take it back a bit. Yeah. I feel we should work more on our shock on our Wigle. So close this and then open the wiggle part. And for our wiggle part, I want to just increase the detailing probably. So say 50 or 60, let's say 60. That's a bit too much. Let's make this 40. Yeah, 40 is perfect. Let's spend all our time trying to make our bullet look sweet, look incredible. Okay? This is okay. It's okay. And so after we shoot our bullet, we want our gun to start sorry, our fan to start rotating, right? So shoot, and then our fan starts rotating. So first of all, I'm just going to hide these guys so as to make sure they don't obstruct us. That's the bullet and the gun, since we're done with them. And yeah, so we want to start rotating our fan from here to select the fan, open it up. And then, yeah, sorry, not the bubble. The fan. Open our fan up, select the police star, open it up, and then we have rotation, right? So we want to start rotating the police from here. So create a keyframe on rotation, then come here in time. 9 seconds. Make sure your animation length. Here composition length is 9 seconds. So make sure it's 9 seconds it or key. And then you have to create a keyframe here. Just make this ten to ten. So that we have 0-10. So it's shoots and then we have rotation, right? 0-10. First things first, select our keyframes and ease them so that we start slow and end slow, right? Yeah, so this is what we want to get. Start slow and end slow. Perfect. And the next thing we do is go ahead and animit our points. So we want to come here in time because usually when we start rotating the fan usually gives the illusion of more points than eight points, right? So we want to create a que frame here. Just come to whatever films, see 2 minutes, about 15 fims or so. We might change that later on so create a que fim here come in time, about 4 seconds, and then make this 20 Okay, so we have this. Okay. So make this 20. That's good. And we also want to even make this bigger than 20. So from here to here, we want to make this say 100. Okay, because we want our phone to really spin. Okay? So 100 perfect. And then from here to here, we just want to make this eat. We want to take it back to eat so make it eight. Okay. Let's see what we've got. Yeah, so this is what we've got. Perfect. And let me just go ahead and unhide our layers and just make our gun layer this long so that our gun doesn't keep cutting before our admission ends. So we also want to keyframe this. Sorry, easy is this, not keyframe. Easy is them. And I just want to do something because there is some weirdness going on. Here we can see that these are EZ keyframes, right? So it means that it starts here slow and ends slow and then starts slowly and then speeds up here and then end slow. So we want to maintain a constant speed between these keyframes between this and this. So we want to change these to linear keyframes. So hold down Control or option on the mark and just click on them to turn them back to linear qeframes. So we have a constant speed from here to here, okay? Yeah, and I feel that you could take this guy a bit forward and see where we get or at a bit backward and see where we get. So we're just experimenting, right? To see where we get. You want the best here. Yeah, so this will suffice. So close this and marvel at our awesomeness. Yeah. So the next thing we do is animate our bubble. So our bubbles need to really mit. This is our bubble, bring it here. So we want our bubble to start amiting as soon as our what do we call it, our fun starts blowing, right? So yeah. So first things first is we want to add the wiggle transform to our bubble. So take our bubble at the Wiggle transform. And for Wiggle transform, we want to just come to the wiggle transform one and then come to the transform. And in the transform, we want to do our settings. So for position, we want to make this 100, we want to make this 100. And then for skid, we want to make this 50. And yeah, now let's see where we get with our guy here. Perfect. This is what we get. Incredible. Perfect. So the next thing we do is just close our Wigle. And then we want to add the repeater to our boggles. So click here to add and then go ahead and add the repeater where is the repeater. This is our repeater. Perfect. We want to add the repeater to our boggles, and this is what we get now. Now, the trick is we want to bring our repeater above our wiggle transform. So carry it and bring it here. And now you're going to see that we have better randomization, right? So now let's just go back to our wiggle paths. Wiggle transform, rather, and let's reduce our correlation to zero because the correlation kind of keeps things a bit even between the bubbles, and that's not what we want. We want them to really get randomized, right? So close it back. Go back to your repeater, open your repeater. We want to animit our repeater. We want to admit from here. So we want to make this zero. And create a keyframe from the start and then come in time. Let's come here. Let's see 3 seconds. 3 seconds and just make this 40. We have to bring layer, offset our layer to when our fan starts to glue, have that in mind. Let's play one more time and see. From here, we should start having bubbles. From here, we should start having bubbles. Yeah. So we want to then bring it back to zero at this point. So make it zero so that we have this as soon as it ends, maybe you can bring it a bit forward. Bring your frame a bit forward and select everything easy is. Sorry for that. Easy is. Sometimes it gets hard to right click on Keyframes, right? So easy is. Yeah. Yeah, so this is where we get. And you see, we've been able to animate the bubbles to kind of start from where the fan is. So it starts blowing from here and then moves forward towards this direction because the fan will be blowing and displacing bubbles realistically towards this direction we get. So that's the brilliant thing here. Very simple stuff. Nothing really nothing really complex here. So, in my opinion, I think we've come to the end of this exercise. There isn't so much more to do or there isn't anything else to do. So that's it for this exercise, guys, and all those files we made available to you. So the project files we made available to you, you're going to be able to have access to them and then see how I've done this personally. So in case you're having difficulty, you can go in and see the keyframes are used. The methods I used, the times all the time I created the keyframes on you get. So all of those things, you can go in and see them with the project files, right? So right away, I'm just going to even go ahead and export the project files to file, and then dependencies, collect files, all then in this folder, right, ship modifiers and after effects. So exercise folder, hit save. Perfect. So we have the folder here. So everything we made available there. And with this, we've come to the end of our exercise. See you in the next one. Bye bye. 25. 25 Transform Text Animators: Hey, D, welcome back. In this video, we're going to start learning about text animators in after effect. So just go ahead and create a new composition. Let's call this, comp one is okay. Yeah, perfect. So let's go ahead and create a text, create a text, take your text to, and let's type in after effects. Okay, I'm using this font. It's called Akira Expanded, okay? And I really like the font. So you can use the font. It's a free font. You can find the font on the Internet, or you can use whatever font you've got. Yeah, so let's go ahead and centralize our Anchor point by HL and Control or command. Option and home key, and then control home key or command home key to centralize your text to the composition. Yeah, so this is what we've got. Now, what are text animators? Text animators are a feature in after effects that ibus animate our text. So if you open your text properties here, you're going to see text, and you're going to see transform. And we know of transform. We've looked at transform, right? These are the anchor points, the position, the scale, the rotation, and the opacity. Now, if you open text, you're going to see some options. You're going to see path options, and these options enable us admit our text along the path. For example, if we have a path on our text. So let's see we select our text, and then we go and take our pen tool and then create a path like this, for example, we can use the path options to animate our text to open path options. And then on the path, you're going to see none. So just click here and select Path one or mask one because this is the mask one. Now you can see that our text now aligns itself to max one, right? And we now have new options here. We have reverse path. If we click on reverse path, it's going to reverse the positioning or the alignment of our text on the path. You can click off. You can click on this and you get this effect. So it gets arranged in this format on the path. Click here off it. You can click here to see this. It's called force alignment. It aligns the text from beginning of the path to the end of the path. Okay, we don't want this. We want to now look at first margin and large margin. Now, these are just our texts moving along our path. So we can admit this, of course, because of these stopwatch icons. Yeah. So these are our path options. Now we are not looking at path options in this video, so let's just go ahead and hit none, and then just select our path here and delete it. Yeah. So we're looking at our paths option, so close paths. And what we're looking at is text imetos. So click here where it says animate. So click here and you're going to see them here. Okay, we have the first one, which is a three text meter. We have the second category. You can see that they are divided by this line, right? We have the ankle point, the position. And basically, these are just transform or animeos, transform text meters. And then we have the color, the stroke color, and the stroke width text animeos. And of course, they allow us it the field color, the stroke color, and the stroke width. We have the tracking, the ankle the line and coraer and then the line spacing, and then we have the character value, sorry, the character offset and then character value, and then we have lastly, the blow. So these are the categories of text animeos. And we're going to start with the second category, which is the transformed text animeos. So go ahead and select the anchor point. So click on anchor point. And this is, of course, text animator that enables us anime our ankle point. So as soon as you click on Anchlepoint, you get Animal one. So click on Animator one and you get this option here, which is ankle point, right? Now, this helps you modify the anchlepoint of your text, like you can see here, right? So we have the Y axis and the X axis. This is the Y axis, and this is the X axis. So it means you can say maybe from here to here, you want your or your Y axis anchor point value to go from zero to here. Okay? So this is where you get. Okay. Perfect. And now you can open your range your range selector, and you don't really need to admit this honestly. You can leave it without animating. All you need to do is just basically adjust the anchor point value. You don't need to animate it, but you can animit it if you want. So you just need to adjust it. So let's say we have it here initially and we just want to push the Y value to this place you get. So now we have the Y value here, right at 1:49. Let's just make it 150. Hydena. So we have the white value as 150. Now, if you open your ring selector, you're going to see the start, you're going to see the end and you're going to see the offset. Now let's look at what happens when we animate the end. We see that it comes from 100 down, right? And let's see what happens when we emit the start. You can see that from up, it goes down to the initial value of our ankle point. So it means we can just unmit the start and the end and also the offset in order to animate our ankle point, right? So for the offset, you can see that the offset basically makes sure that our characters move individually, okay? So let's just make the zero. And now we can admit our offset. We can admit our start, we can admit our end. So let's say we want to admit our offset. We want it at 100. So it comes from 100 and then comes to zero, right? Sorry. Okay, 0-100 or vice versa. Or -100 to zero. Either way, we get what we want. So this is what we basically have right now. Now we can select everything, and, of course, es is our keyframes. Yeah. That's basically the ring selector for us, we have the start, the end, and the offset. And basically all the text and metals have this ring selector. That's how they work. That's how the text and metals work. We also have the advanced properties. Now if you open advanced, it gon' give you a new set of values and you are going to be able to make adjustments based on these values. Now for the percentage, it doesn't really do much. From my experience, okay, I've not used this guy before, honestly. So that's the percentage for you. But we have based on, and this one enables you to choose based on what you want your animation to occur, or to happen. So this is based on characters. So our anmission is happening based on the characters. We can have characters excluding spaces. So we're going to have it based on characters excluding spaces. We have the words. So it's going to admit only based on words like you can see here. We have the lines. It's going to admit just based on the line. If we have multiple lines, it's going to admit based on the lines, you get. That's what the based on feature does for us. We have the mode, we have d, we have subtract, which basically does the opposite of animission, the subtract and we have these other guys, which I really haven't found any significant use for them that they intersect the minimum, the maximum and the difference. You can experiment with them to see what they do. But the ard and the subtract are just the most important ones. So we have the amount. Of the amount. Now this is, of course, the amount of the animission It controls the amount of our animation. So you can see that it's admitting from here to here. If we make this 50%, it's going to admit just halfway we get. Yeah. That's basically how the amount works, and then we have the ship, and this is more of the ship of our animation. We have the square. Let's just choose the ramp so you see what happens. So for the ramp, this is just what we get. Is just what we get. There's a ramp up, and then we have the ramp down gives us this. So if this is what you want, perfect. Okay, we have the triangle which gives us a triangular shape, just like this. And then we have the round, which gives us a round shape. Yeah. Then we have the smooth, which gives us a smooth shape. Yeah. Basically, that's what these guys do. That's the shape guys. That's what they do. And we have the smoothness, which controls the smoothness of our animation. So we can see that when our smoothness is taken to zero, you can see how mechanic. Our animion is very mechanic and just funny in some way. If you make this 50, it's going to be a bit better. You make this 100, it's going to be just like how we had it before with the Es Perfect. Then we have the Es high and Es low. You just make things a bit more interesting or more intense. Yeah, so that's the high and low. And then we have the randomizer. Let's just on the randomizer. You can now see that it randomizes our animation, right? Randomizes our animation. So this is where we get with the randomizer perfect and we can change the random seed, right so that we get different iterations of randomness, okay? Yeah. So that's basically it for the advanced options. And that's basically it for this guy that's the anchor point animator. Now the other all the other transform animtos works similar to what we've just looked at. All of them have the animator one or Anime two or whatever animal you've added, whatever number of animal you've added. So if I just add, for example, the position, it now comes and becomes animator two, right? Becomes anime two. For this one, it seems because I selected animator one, it just got added into the animal one, okay? So you have to select the text. You have to select the text and then add it. Not the animator. To select the text and then position. Now you can see Animator too, right? So that's basically how you can keep stacking them here and using all of them to create animations for your text. So they all have the rinch selector, and then they all have the advanced options. And all of these options are same. So you get to create ituations based on the particular animal, right? So let's see we have okay, this is what we've got with the anchor point. Let's just go ahead and remove the randomness. So let's make the randomness. Let's off the randomness. This is the randomizer. So that we, sorry. Yeah, this is the randomizer. Now we've off the randomness. Let's go ahead and add something else. So select your text, go to animate and add the position. We see that we now have Animator two, and we have the ring selector, we have the position. I open the ring selector, we have start, we have end, we have offset, and we have advanced. And for the advanced, we still have all the options we had in the animator one, that's anchor point animator, right? So for position means we can animate our position. Let's say we want to animit our position. To here, okay? So you can come to start. You can come to end and you just maybe admit your start. And when it comes here, just bring it to zero. So this is what we get. Okay, if you want, you can offset your key frames so that we have this first, then we have this. Okay? So that's the position or the position animal for you. You can open advanced and do your settings, choose your units, choose your based on, choose your mood, whether subtract, whether add. So for subtract, of course, it's going to do the opposite, right? Yeah, so this is subtract. Choose the shape you want, whether square, whether ramp up or ramp down. Yeah. So this ramp up, let's see, ramp down. Okay, we have the triangle. You see what we get very weird stuff happening. That's basically what you get with this. I'm just going to delete all the text and meals so that we can see the others individually without having to worry about the previous ones we've others. Click admit and let's see the scale. Of course, this is a text dimor for your scale, right? So you can make your scale zero and then come to your ring selector. Then basically admit from one 0-100. And this is where you get. Yeah. Yeah. So you can already imagine how it's going to look when using it alongside the anchor point animal, right? Unfortunately, we deleted it, but it means it's going to kill from down up. And while the anchor point is moving from down up, you get. And that creates a lot of dynamism and beauty. And we're going to explore all of this in the exercises for this module, okay? But of course, you can go in and try playing with these for yourselves before the exercises, right? So you can see how they are so you can see how they work. So basically, this is what we get with our scale animor. Let's open advanced and see some of the things we can change the shape. Let's give it round and see. So you see where we get round. Let's give it ramp up and see. This is where we get ramp up. Ramp down, of course, will be the opposite. Let's give it smooth and see. Yeah, so this is where we give it smooth. Okay? Based on characters, based on characters excluding spaces. Yeah, this is what we get. And yeah, basically, that's basically it for this guy, that's basically it for this guy. Yeah. So just delete it. Let's add the next one which is the skew the skew does this to our text. Does this, does this. That's basically the skew, and we have the skew axis. We have the skew axis. So let's look up the skew and see what the skew axis does. This is what the skew axis does. It creates some level of randomization to our skew. Open your ring selector, take this to 100, create a keyframe, come in time. Make the zero. So we have our emission coming from this to this. Yeah. So that's the skew, text and metal. I'm not going to just spend a lot of time on each of them because these are really simple stuff. Okay? These are really simple stuff, especially the transform ones, the ones for the transform. So we have rotation which does the same thing to our rotation. So we can rotate based on the characters and based on the words or based on the lines, okay? Of course, so based on words, means we're gonna rotate only the words. Okay, it seems it's not working like I thought it would. Not admit no need the words, but you get the point. So, that's basically all these options are similar to what we looked at in the ankle point, okay, in the ankle point animal. So the delete the rotation, go here at the opacity, and of course, it's the opacity. Here, you get to admit the opacity. There's nothing so special about this. You can go in and check it for yourselves, and we have the electricity letters, and we have the all transform properties. And this enables us emit all our transform properties all at once we get so we can change in the anchor point position of value to position. Okay? The scaling. Zero, the skew, the rotation, if you want, maybe we want to start from, we want to take it to C -19 and the opacity, zero, and then we can go into the ring selector and then we get our stuff back. We get the jack. So create a keyframe here come in time in this 100. And this is basically what we have. Okay? And with more time spent on this, you can come up with more incredible animations, more incredible text animations. This is just a roundup of the animeters, okay, just so that you get the basics of how to work with them, of how to work with them. Yeah, so basically this we'll come to the end of our video on the transformed text animators. So just go in and look at each of them for yourselves, see what you can come up with and share your results with me. I love to see what you achieve. So in the next video, we're going to go ahead and look at other text animators. So see you in the next video. Bye bye. 26. 26 Fill, Stroke and Stroke width Text Animators: Here we come back. In this video, we're going to be covering some more interesting text animtos. I actually think they are more interesting as compared to the previous ones we covered. Now, these are the field color, the stroke color, and the stroke with text animatos. So go ahead and create a new composition and just mate comp one. Doesn't matter and go ahead and take your text to and type in some text. Let's give the name. Let's write after effects. But this time, I want to have after effect on two lines, right? After effect in two lines. Yeah, just like this. Perfect. So I'll go ahead and align my text to the middle of my composition, and you can see that my text is colored red. For now, I'm just going to give it. Yeah, I think red colour should work. So let's work with red for now. So all you need to do, of course, is come here and add an animator. Now, this is the field color, and now under the field color, we have RGB, we have hue, we have saturation, we have brightness, we have opacity. So the RGB will of course, change the color of our text, so we can give it a different color. We can give it white here. We can give it this color, we can give it whatever color we want, okay? That's under RGB. Just hit, okay. And if you open the ring selector now, you can start to animate your color. Okay, so it's going to admit from the one you changed. Back to your existing color, right? Back to your existing color. Okay? Remember, the ring selector always admit from what we've changed back to the existing, right? So that's how this one also works. So back to the existing color. So it means you can create a keyframe and admit your ring selector. Let's say start. So you get this admission from this new color, back to the existing color, okay? Back to the existing color. So we can change the existing color, of course, and have something different. So we will have this, for example, and you're going to admit from this color back to our existing color. Incredible. Now, you can open your advanced options, and of course, you're going to see your advanced options just like the previous text admitters we looked at, right? So you have your your units, you have your based on okay, based on characters, based on characters, excluding species, based on words, based on lines. You have your amount, okay? Let's reduce the amount and see what we've got. So you see it's blending between the both colors as we reduce the amount, okay? So we want our amount to be 100, and then we have smoothness. We want our smoothness be 100 and then high and low and so on and so forth. So basically, that's where you get with advanced. You already know what we get with advanced. Now, if you come and select your text and meter one and click here, you're going to see that we have add. So it means we can add another imto to our text and metal. So if you click here, you're going to see property, and you're going to see selector. So good selector and add the wiggle or the Wigly. So click on Wiggly, and now you see something changes. Now we have different colors. So if you hit Play now, you're going to see that we are changing from this set of colors to our original color from these sets of colors to our original colors. Now, under the weekly selector, you can click here to change the color for your weekly selector. What it does is it basically adds a wiggly effect in our transformation, or, you know, animision from this color to our original color, it creates this wiggle effect with more colors. You get so you can open your weekly selector one and you have more options. You have the mood, which, of course, we have intersect, we have ARD and this is arts where we get with ARD. We have the subtract. Is what we get with subtract, we have the intersect Okay? When we get with intersect, we have that and that and that and that. We have lots of them. We have just the wiggle option you get. We have the wiggle patch second, that's the speed of the wiggling. So you see that it wiggles faster now. You get all of these settings to help us create more randomization. Okay? So that's where we get with the wiggly selector. That's what we get with the Wiggly Selector. So let's just go ahead and delete this first text metal to delete it. And now we have our colors back without any color animal, right? So click on your animate back and go to field color and let's try Hue. Now hue, of course, is a randomization of the entire thing, right? So if we boost our hue and we play, we're going to see that. We cannot really play. If we just actually go and work on or change the values for our start and end, that's when we see the animation, right? So we can create a keyframe on start, come here and then boost this up, and we see us going from this to this, just like this. This to this, just like this, okay? And of course, we have our advanced options that you can look at, and we can as well add a weekly effect or an expression or another range selector to this animator. So let's add the weekly. And now we see that we have more randomization, right, more randomization because the wiggly effect adds more randomization to the whole thing and also creates a wiggle effect. So we are wiggling from this random values down to our original color. So that's how this guy works. Let's delete this one, and let's look at let's look at the other one that's saturation. Now saturation is, of course, the level of saturation for colors. So is our color close to white or close to dark? Now, close to dark would mean the highest value for colors and then close to white will mean the brightest or lowest value for color, which is closer to white, right? Which is closer to white. So our color is fading, basically. Yeah, so it's either -100 to 100. Okay? So if we take you to -100, it means you are going to be admitting from this back to our original color. Yeah. Yeah, so that's what we get with this one. And then we of course, can add a weekly effect if you want. So that we get this. And we can increase our IGO per second, C 20. Then we get this. Yeah, so this is how we animate our text. Our text color, rather. Yeah. So that's it for this guy, let's delete and add the next one. The next one is the brightness. Now, of course, this is the brightness. It enables us work on our brightness, right? So if you make this -100 and go ahead and then just go ahead and add a weekly effect and see. So now we see that some of them are disappearing while some of them are appearing, right? So it creates a wiggle with our brightness. It creates a wiggling effect with our brightness. So let's hit this make it 20. So this is what we get, right? So imagine us animating this and then having the stroke or a wiggling. Okay? That will be cool. Okay? And we can actually do that. And we will actually do that in this video because we are also going to be looking at the stroke animator. So delete. Let's look at the next one. And the next one will be our opacity, and of course, it's just the opacity. I won't spend time looking at. This one, let's go to the stroke color. The stroke color has this as well. But for the stroke color, you have to first of all, add a stroke. So you have to come to your text property to your text panel, rather. Come to your text panel and add a stroke. So you just enable the stroke here and give it a color if you want. You give it color. Okay, and then just boost up the stroke width if you want. So we see this is the stroke we get, right? And you can come here to change how the stroke appears in relation to our text. So we can make it appear over the field or all fields over all strokes, just like this. So the field color is on top, or we have it like this. All fields sorry, all strokes over all fields. So these are the options you get for arranging how your stroke appears in relation to your field. Okay, and you can boost up the stroke size if you want, stroke width if you want, so I'm just going to make this two, so as to see what we get with the stroke animators. On the second thought, I think I'll just make this make this 15. Let's just make it 15. Or let's boost it up to see 20, click on your text, go to Amit, go to stroke color, and add the RGB. Do you see now our stroke color has changed. Yeah, give you a different stroke color and you can add your weekly effect if you want. So you see that we have now created this wiggle effect into wiggle animation without strokes. Let's make the wiggle per second 20. Now you can see that we are basically wiggling our strook. Yeah, now that's our stroke color. Now imagine you now create or add a text and metal brightness text and metal to your field color, right? Or an opacity text and metal to your field color. So it means that you can as well, say add a wiggle to the opacity. Okay? And then have this get. So it's wiggling the opacity value. Now let's make the zero and then just make the wiggle p second 20 as well so that we have evenness. So you see what we now get. We're basically wiggling both our text field opacity and our textralopacity. Yeah, so that's what we have here. So I'm just going to delete the second one that's for the brightness, for the field brightness. And let's look at what we have with the stroke or color, right? So basically, the properties will just be like what you have with the color with the field color animal, nothing else, nothing different. So as soon as you add your keyframes, you see that it doesn't wiggle all through again. Okay? It wiggles just till the end of your key frame, just like this. Yeah, so that's what your frame does for you. You dt your Qufams, of course, it's gonna keep wiggling till the end. So let's delete. And now, let's go ahead and add the stroke hue. Okay? Let's just look at this hue. We won't look at all of this. Now, the hue because we're going to use the hue to, of course, add more colors for our stroke, okay, or to our stroke. So let's add the wiggly effect for this and see, we're not having anything here. So let's just undo that. And, um, now, we first of all, have to, of course, boost up our hue, right? The value of our hue. Let's make these two. But one will work, actually, before adding our animator, because it has to work with these values we provided. We didn't change the values. That's why it wasn't working the other time. To this what we get. We have different sets of hue colors which we mit through because we've added the weekly selector. So, open my weekly selector. I just want to boost up my wiggle per second to 20. And see how it goes even faster, right? So I can select my text, go ahead and add the feel opacity or brightness. Okay? And for my brightness, I'll just go ahead and boost up my brightness to -100 so that I then add a wiggle almeal then open my wiggly selector and make this 20. That's my wiggles per second so that we get this, right? I could make this 20. I can make this ten so that it doesn't wiggle as fast as the strokes, right? So you see what we get with our color text and meters. That's why I said I feel they are more interesting. This is more interesting stuff. Imagine combining this with with the transform animators, you're going to get some really cool stuff. You can use this to create really cool stuff, really cool stuff. Now, let's go ahead and look at the stroke width. Now we've looked at the stroke colors. Yeah, basically the stroke colors and the field colors. Okay? We also have the stroke brightness and opacity, but you just work like the field brightness and opacity, let's look at the stroke width. So this is the stroke width, and of course, with this, you can boost up the width of your stroke. You make this zero, you can boost it up. Right? So let's make this zero or -100. Yeah, so this is what we've got -100 and we've got our fill colors flickering, okay, or wiggling. Now, let's go ahead and add a wiggle effect to this so you see what we now get. Incredible. Yeah. So we're adding the wiggle selector, basically to help us animate the values for our text animators, right? Yeah. So we can either use the Wigly selector or we can use the Ring selector to create our animations. The Wiggly Selector creates animisions that are more of beyond our control, since it uses the values for wiggly. And the ring selector, of course, creates the ones that are in our control since we can animate or create keyframes for the start and end values and also the offset. So that's basically the difference between these two Admittos, okay? So don't get confused. It's really simple and try to do stuff for yourself and explore these animtos even more. So you're going to learn to get used to them, okay? It's nothing complicated here. Once you work with this a couple of times, you're going to see that everything just becomes second nature to you. Yeah. Yeah, guys, we'll come to the end of this video on the field color, the stroke color, and the stroke with text animators. Hope you learn something you hope you can now explore these possibilities in after effects and create something amazing, something incredible. So feel free to share your work with me. Feel free to share whatever you come up with me. I would love to see what you create. Yeah. So that's it for this video. See you in the next one. Bye bye. 27. 27 Tracking, Line anchor and Line spacing Text Animators: Hey, there. Welcome back. So in this video, we're going to be learning about the next set of text and meters. So go ahead and create your text, and let's go ahead and type after effects, just like we did before. And you know what to do. You know, you need to centralize your anchor points by hounding down Control L and homespace or Command Alt homespaceO Command Option homespace rather on the MAC and then control or command home space to centralize your text. Key down, select your text, go to your text properties and click Amit. And these are the next ones we are going to be looking at. That's the tracking, the line anchor, and the line spacing. So select tracking and triking basically controls the amount of spacing in between our texts or our characters, as you can see, like this. So it tracks from the middle, right? And you can see that there's even spacing between the characters. Let's just go ahead and remove the space between E and R, so you see what I'm talking about. Yeah, so we see that there is now triking happening from the middle of our text, okay? So that's striking for you. And you can admit this, of course, so you can just create a keyframe here at 180 or 200. Then come in time and bring this to say zero. Okay? Yeah, zero. So we have our tracking animated Easy Ease, go to your graph a little and just do something that looks like this, make your graph look close to this, so it starts a bit slow and then speeds up and then slows down. You get Yeah, so you can see that we've basically dimitted the space in between our texts. Now, of course, you have your ring selector, and you have your start on your end, right? So we can see that the tracking is happening from the middle. But if we mess with our start or our end, we see that there is more space here than here. Okay? So you see the effect we get with this. This is the start, and this is the end. So you can just go ahead and play with these options here. That's the ring selector options at the start and the end to see the effects you get, you can get some effects whereby you have more space on the left on the right hand side, okay? So let me just leave this for now and let's focus on the next thing. Now the next thing is your line core, and this works hand in hand with the tracking, okay? So the line encore. So let's just go ahead and select the admitter one and then add the line core. So you can add this from here or from here. So add the line core. And now the line uncle basically does this. Let me see what the line encore does. Now we see it's at 50%, right? So if you make this C 100, it's going to shift the uncle of the line from the middle to this side. So we have the admission happening like this in this manner. So we can have this at zero to make it the other way round, just like this. Okay? So that's basically what the line encode does. You're going to have it at 50 to make your animation happen from the middle, just like this. Okay? So, of course, you can mess with the ring selector as well to have more effects, okay? But I'm not going to do that in this case. I'm just going to go ahead and talk about the next one. And, of course, you know, you can add some of these other animators, right? The weekly, but I don't think we're going to have any reasonable effect with this we see what we are having. Nothing really reasonable, but you can make sense out of this sometimes. I'm not making any sense out of it in this example. Let's try some changes. Let's see. Let's make this ten. I don't think it's going to make sense. You see, it's too fast. Basically, this is where you get with that. That's with your line c and your tracking and your tracking. Now, under the traking you still have other options. For example, you have the tracking type, you have before and after. This is where you get before and after, you have before. Okay. And there isn't too much change in the results, really. There isn't so much change in the results. But I guess there can be instances where that comes in handy. So let's go ahead and look at the next guy. We didn't spend too much time here. So the next guy is called the line spacing. Now, the line spacing is basically the spacing between lines. So it means we have to have multiple lines. Now, I want to copy this Control C, and hid enter and paste so as to have multiple lines of text, then control hold whom or command hold to whom, and then control or command whom to centralize your text you get. This we have. This is what we have, let's go ahead and add our next meter, which is the line spacing. Like I said, the line spacing controls the spacing in between the lines just like you can see here. Just like you can see here. Yeah. So we will have it here. We have a keyframe here and then have it come up to display see 19 or 20, select your keyframes, Easiese them. And yeah, this is what we now have. Now let's see if we can get some more cool animation by working on a curve. Yeah. I definitely looks better. Yeah, so that's basically our line spacing, and, of course, you can add all of these admitters separately. But some of them might not work like the line on core, it has to be connected to the tracking. It has to be connected to the tracking. So that's basically it for this one, for these ones. So for the line spacing, you can also admit the X axis. Okay? You can also admit the X axis. So you could have it admitting like this. So you have a meeting like this, so it's coming from this side to align to the first text, okay? So we can have a whole lot of different styles, okay? Your imagination is basically the limit to this. So you see where we get here. So imagine adding the scale and metal. You have the skill and meal and then now you will have the skill and meting 0-100. Create the keyframe here, come here, make this zero. So we have this incredible. Okay. And then imagine having the weekly effect added to the scale. Let's see what we get with that. So, you see, we get a bit of coolness, I call it coolness or randomization in the sizes. Okay, you can see, so the sizes are kind of varying while animating, right? You can see this guy is smaller. It's more squashed. This one is more stretched, more squashed, more squashed or more normal, more of normal, more squashed, more stretched. This is small and so on and so forth. So that's where we get with this. That's where we get with this. Let's see where we get when we take it to the extreme. Yeah. The limitation is basically your imagination with all of these tools, okay? So basically, guys, that's it for these sets of text and meters. That's the line core, the line spacing, and let me see. The line core, the tracking, and the line spacing, yeah. So with this we've come to the end of our video and see you in the next one. Bye bye. 28. 28 Character offset, value and Blur Text Animators: Hey, there. Welcome back. So in this one, we're going to be looking at the next sets of text animators, and they are the character offset and the character value, and also the blow. We will look at the blow in this video also because the blow is just one. Yeah, so the character offset basically offsets the values of your characters, according to the English character table. So it's currently at zero, and we have our text as zero, okay? So if we make this 26, we're also going to be having our text as 26. But when we take this to one, you'll see that the A in after effects turns to B, and then the F turns to G and so on and so forth. Okay? So the characters have been offset by one character or by one value, or the value of one. So that's the concept behind this effect. So you can make this as much as you want. You can take this as high as you want. You can make this 15 so that when we go to our Ring selector, we can animate from zero, that's that and then to say 100. So it's going to go from this to our text, and we see that it's going from left to right, right, because we are using the ring selector, okay? If we want everything to animate, we just have to create the keyframes here as well. So 15-0. Or 226 to have everything animate. Basically, that's the character offset for you. Now let's go ahead and look at the other guy. Now the other guy, let's just delete this one. The other guy is the character value. Now the character value does the same thing as the character offset or does similar thing as the character offset only that the character value actually turns or text to not just characters, okay? Not just alphabets. You get numbers as well. You get special characters as well as you can see on your screen right now, okay? So let's say we want this at 1:24. So come to your ring selector, create the keyframe from zero, come here and make this 100. So you see that it's coming from this. To 100, okay? 0-100 or from this set of characters to after effects being written, okay? Now, you can as well animate the character value to make everything animate, to make everything animate. So let's see zero. And now we have everything animated. You get the point. So that's basically it for the character value and the character offset. There is nothing much to this effect. This is just where you get with this text animator. Okay. So let's just delete it and add the blow animator. Now just the blow, click on the blow. And what does the blow do? The blow basically adds blow to our text. So we can create a keyframe on zero and come to this number in time or this distance in time and basically boost up your blow, right? So let's make this 100. Do you see it coming? From this to this, and the entire thing has been blowed. The entire thing has been blowed because we have created a keyframe on our blow amount. Now, let's delete, yeah, let's delete this the key frames, and let's boost up our blow and then go ahead and animit our ring selector. So we want this to come 100-0. So we have it coming 100-0, or we can do vice versa. So just change the locations of your anchor points, sorry, of your key frames, and now we have 0-100. Yeah, so that's basically the blow for you. And, of course, you have all your other advanced options, which you can use to basically make this even more interesting. Okay? And of course, you can add your wiggly, if you want, you can add expressions. Even though it's not covered expressions, you can add another range selector. And yeah, the possibilities with these two, it's just as limited as your imagination. So this is where we get with the wiggly animator, it adds wiggling to our blur text animator. Let's change the wiggles per second to 20 and see. It's going to be more dramatic, like you can see here. Okay. Yeah, so that's basically it for this guy and this guy. So that's basically it for these text animeors. See you in the next one. Bye bye. 29. 29 3D Text Animator 2: Hey, guys, in this one, we're going to be looking at the T D text metal. And even though we've not covered TD in this course, I feel we should still look at this text and metal, and I'll try my best to make things as easy as possible, okay? So I've gone ahead and created my text and written down my text after effects in two lines, and I have my anchor point at the middle. I have my text centralized or aligned to the middle of my composition. Perfect. So go ahead and open your properties, go to animate, and then enable per character Tre D. So click here, and right away, it turns your text to TriD so how do we know that our text is now in three? We now have these new gizmus or handles, as you can see, which control the transform properties of our text in three dimensions. So if you come and highlight on this or bring your mouse on this, you're going to see Z. So this is telling us that this can help us rotate our text along the Z axis. So if you come down here, or towards the middle, you're going to see Y. So this is the Y axis, and if you click and do like this, you're going to see that you are able to rotate your text along the y axis. Okay? Now, if you click here, you're going to see X at the middle. And this is telling you that you can rotate your text along the X axis. So that's basically what a three D is. Or that's basically the difference between three D and two D. The T D has three dimensions. It has the the Y axis, the X axis, and the Z axis, which gives it depth. Unlike the two, which only has the Y and X axis, which do not give it depth, okay? The only give it the length and the breadth, basically. So that's what we get for rotation. And we also have the gizmus for positioning as well. Okay? So we can position our text along the X axis with this, along the y axis with this, and along the Z axis with this. We can see this properly. Okay? But if we have a camera, if we create a camera now, we'll be able to see this properly. But that's not where we want to go to for now, okay, because we just want to cover the peripherals. So this is just more of an introduction into three D. Yeah. So when we come to TD proper in the course, you're going to see the beauty of three D and the kind of complex things you can achieve with TD, okay? So one thing you have to notice on your layer is you have this place and you have it activated for the first time. So you have it activated, and then you have these two boxes, this icon of two boxes here in the box, it means three D is activated for this layer. T D is activated for this layer. So if you select your layer now and go to transform, you're going to see that we no longer have just X and Y axis. We have rotation, X or Y rotation, we have Z rotation. We also have transformation, sorry, orientation, X Y and Z, we have scale, X Y and Z, we have position X Y and Z. Unlike the two D, where we only have X and Y. So typically, how you would create keyframes for this is say, come in time and then make your change. So let's see if we want to make our change. We want to just do this and maybe do this, maybe not that maybe do this, okay? And do this. I just want to animate the rotation property which you draw to rotation property. So let's just look for these other kismos and see what we can come up with. Yeah. So this is what we now have, all you need to do is create a keyframe, just go ahead and create a keyframe on your orientation q position, and rotation X, Y, and Z because even though we might not have values for this for now, actually we might actually mess with these properties during this animation. During this example, I'm trying to create perfect. Come here in time or first of all, just bring all of these to the beginning of your frame. Of your admission. So it starts like this and then just come some frames in time, and now we want to reset this to the initial, right? So just click on Reset, click on Reset, and it should create a keyframe for all of this. Okay? So we have it coming like this and like this. So select everything, right click Ess your keyframes. And then we have everything coming like this. We can even go to our graph editor and do some curve adjustments. Okay? Yeah. So this isn't bad. I kind of feel our skill could be animated. Maybe our skill here could be just a bit smaller. So we have it coming like this. And then, yeah. Perfect. Now, if we close our transformation, we're going to see that we also have a new option here, which is called materials options. So open it up, and you can now see the materials options for this. But most of these things will not work because we are not really trying to do TD, okay? We are not having a camera. If we wanted them to work, we create a camera. We're going to add light. So let's just add a light, actually. Let's add light so that we can test things a bit. So go to layers and then new and then light, click on Light. And now this is the light settings. So we are trying to create a spotlight, where you can choose other types of light. You can choose a point light. You can choose an immit light, and we're going to come to this when we look at three D, okay? But just for now, just hit okay. Hit Okay, and now right away, you can see that when our text is like this, it kind of goes out of the frame of the light, and when it comes back, it now gets in full course, right? So we can see how cool everything looks. Everything looks really cool. So we can as well unmit our light to open the light options, open the transform options, and we can unit our light. Let's see, we can move our light from here to here. We get. So let's come here in time and create key frames for our lights, just like this. And then when it's here, we want to have our light. Looking like this. Just hit okay. We just hit okay. And then, yeah, we want to have our light looking. We just want to basically mess with the transformation of our light. I'm not trying to achieve any specific arrangement. I just want to create something a bit different from what we had before. Perfect. So this is what we had before. Yeah. So we are imitting our light. We are imiting our text, you see. You see what we achieve, right? So select everything here in easy ease. We can basically delete these three key frames because as you can see here, we only have transformations on this one, right? Yeah, I think not. Let's undo that. Let's see. Yeah, you can delete them if you want. I'm just going to leave them. Select everything with your tuition assistant or your graph editor rather and do this. Yeah, the effect is subtle, but you get the point. This is a three D admission of our text. We can do a whole lot more with more time. You can go into your option and see what and what you can achieve, right? I assure you there is so much we can achieve with this, okay? But like I said, this is just a basic introduction, and we won't go too much into this. Yeah, so this will come to the end of our lecture on three D text animato, okay, the three D text metal. Yeah, and that's it for this video. See you in the next one. Bye bye. 30. 30 Class Project 7: Hey, there. Welcome back. So in this exercise, we are going to be doing some text animation, okay? We're going to put into practice most of what we learned in past videos of this module. Okay? So now, just click here to go into your folder or no click instead, go to file and then go to Open Project, and then go to your folder on text animation, and you're going to see our first animation folder. Okay? Now, this is the project. We worked on some modules pack that's our first animation. So go in and bring in and open the file. That's our first animation After Effects file, right? So select the file and hit open. And we're going to open the project, and this is the project. This was our first animation for this course. Let me just play it so you see. Yeah, so this was the project, this is the project, and we worked on a lot of things. We learned how to add text, how to do simple admissions, and how to add the Vnet defect, and so on and so forth, right? Now, those were really simple stuff, and we can see how basic the text animation is for this one. So let's go ahead and off the text admission. So let's hide the layer. That this precomposed one, and let's just go ahead and share it even. So go ahead and share it and enable the shy here to completely hide from our layer stack. So now we're going to be creating a new text animation using the knowledge we learned in past videos, and it's still going to be happiness is free. But now it's going to be more interesting because, of course, we've learned how to do text animation better, right? We've learned new skills. So let's go ahead and write in our text. Now take your text and start by writing happiness. So we want to write happiness all in caps, and then align your anchor point to the middle that's control all whom or command AT and then control whom or command home to centralize your text. So we have happiness, and we want to select it and then control shift D or command Shift D to cut it here so that we have this new text saying I. So we have E, and then we want to come a bit more in time and Control Shift D or command Shift D to cut it and then make this free. Okay. So we have happiness is free, and all of them are text layers. Perfect. So go ahead and select the first text layer, which is happiness and open it up, and the first thing we're going to add is the tracking animal. So click here and then go to line so we go to tracking. So add the tracking, and we want to just zoom in and then come to 1 second. Also come to 1 second and then create a keyframe on the tracking amount, and then not tracking type, remove the keyframe on tracking type, and we only want to create a keyframe on track in amount. So try in amount and just go back in time and make this big. So we want it to look like this. Okay? Just coming like this. Okay? Perfect. Now the next thing we're going to do is add our next text and meter so add your next text and meter and that should be the scale text and meter. So select scale, and we want to increase the scale Sorry, we want to create a keyframe on scale. So we want to come here on our second keyframe, and then create a new keyframe on scale. So create a keyframe here and then go back in time and make this zero so that we have this. Okay? Perfect. So these are the keyframes we want to create. I'm just going to hit you to bring out all my keyframe, select everything, right click and Easy Ease, and then go into the graph editor and just do this, make your graph look like this, okay? So that we have this. Okay. Perfect. So this is what we want to have. So it's possible to offset some of these key frames so that we get something even more interesting. So let's just push our scale a bit further. Let's see what we get. Yeah, so this looks even better. This looks even better. So one last thing I want to add here is position text and meter to select your text, go to position or go to admit and then add the position text and metal. And for the position text and meter, we want to do something. We just want to make this 20 and this 20, okay? And instead of admitting it or creating a keyframe, we would just add the weekly effect, the weekly and meal so that we get something that looks like this. Okay. So it's now wiggling, but very slightly. So it's wiggly. It's wiggling. This is just to show happiness, kind of happiness. This is just to show that the characters are free, and they are happy. That's why they are dancing. You get. So that's the concept behind that. Yeah. Very nice. Then we want to come here in time and just hit you. And let's create new keyframes. So let's just duplicate our qframe so click here and click here to duplicate your keyframes and then come forward in time and copy this first keyframe, Control C Control V, and copy this guy, Control C Control V so that we have it and meeting like this, okay? Perfect. But we want to go into our graph editor and work on the graphs. Okay? So we want to achieve what looks like this. Okay, what looks like this? Yeah, so that we get it animating quite fast. Yeah. So that's what we want to do. So, you see, we have this And then we have this perfect. Yeah, so we're done with happiness. The next one is free, and we just want to do the same thing with our es. We just want to add the same text and meters. So open your text, heat and met, and select your tracking. Okay? So for tracking amount, we want to make this. We want to bring this in time and then create the keyframe here, sorry, Keyframe only on tracking amount and then go back in time and make this S six to two or 600, or even bigger. Let's say 800. Let's try 800. So we've got this, and then add the second text and meter, and this will be scale. So scale, and then create a keyframe here and come back here and make this zero, select everything and easy es. Yeah, and then go into your graph editor, and let's just select this guy and do something like this. Perfect. And maybe just spread our scale, keyframe a bit forward so that we have this. Yeah, so this looks better. And then we want to also have the position animator, position, and then we want to also give it 20 here, sorry, 20 here and 20 here, and then go ahead and add a weekly animator. Perfect. Yeah, so that it's also dancing, right? So we have happiness is perfect. And then we want to also hit you and create new keyframes on the tracking amount and the position and the scale, rather, then come forward in time. And probably just move these guys a bit forward and come forward in time, and then just copy or maybe not. Maybe not copy. We want to, copy these guys. Actually, copy these guys Control C, ContrV Control C, Control V. Graphic. So we have this. Yeah. But then we want to just go into our graph editor and make it look like this. Okay. Perfect. So we have this. Incredible. So we have happiness. I free. Perfect. So now let's admit the three. For three, we want to add the same text and metals. We want to add our tracking, create a keyframe for tracking amount. Create a keyframe here, go back in time and make this very large. And then we want to come back and add a new text and metal. Let's add our scale and then create a keyframe on scale. Go back in time and make this zero. Select everything and right click and eases your keyframes. Then come into your graph a little and let's just go ahead and make it look like this. Yep. And of course, let's spread our skill, keyframe, bit apart. Perfect, and then add our position animal. And then make this 20, make this 20, and let's go ahead and add our weekly animato. Perfect. So that we've got this one more thing I want to do is just animate or add another text meter to that anchor point so that we have it looking like this. Now, let's just go ahead and move this guy, bit to the low side, minus one e two, and then just come into the ring selector then come here, create a keyframe on start, come forward in time and make this 100. Okay, so we've got this perfect. Let everything, click Easy Ease. Yeah. Now, let's try spreading these guys out and see. That doesn't look bad. Select all your Q frames, sorry, your Q frames for your ring selector, that for your start and then go to your frame editor or your graph editor, rather. And let's just do this and do this. Yeah, maybe not. Maybe that looks a bit too intense. Yeah, I think this looks better. This looks better. Definitely looks better. So close this and close this and close this. Yeah, so we have happiness. Free. Maybe I should increase the loudness of my computer so you hear the sound properly. Yeah, and then I will just do the out animation to hit you, to bring up the key frames and then create new keyframes and come here in time and let's copy this guy, Control C contro V, Control C, contro V. And even this guy, let's try copying this guy, control Controv and see what we get. Maybe that's too much. Yeah. So this isn't bad. Now I'll just do this. Let me just delete these keyframes and see what I have without them. Yeah, I think I prefer it without the keyframes on the ring selector, right? The last one we added, this should be the ankle point, yeah, the anchor point. So I just remove the keyframes on the ankle points ending, and we have this instead. Yeah, perfect. Now, I think we can even add Let's try adding something else. Let's try giving this. Let's try adding a rotation and see. Close close this and let's see what we get with rotation, right? So I want to rotate them here, starting from here because I want them to rotate while they go out. I want to kind of create an illusion of freness or freedom, rather, let's see if the rotation gives us a good effect to close the animator four and then for animator five, let's go ahead and Okay. I would have loved to rotate in all directions or like individually, let's see. Let's randomize and see if we get something better. Okay. So first of all, I think I'll just make the zero, then create a key frame and then come in time and make this 22. Yeah. And then what I'll just do now is select my animter five and add a weekly effect and see what we get with that. So we can see that we're not really getting too much effect with the rotation, okay? Yeah, so this is just enough for this exercise. Now, let me just go ahead and play this and see. Perfect guy. So that's it for our exercise on text animators. We've successfully added more beautiful and more professionally done text animation to our video. So see you in the next one. Bye bye. 31. 31 Conclusion: Congratulations. You've completed the class. You've learned the core principles of animation, keyframes, the graph editor, shape modifiers, and text mission in Adobe After effect. These powerful tools form the foundation of professional motion design. But this is just the beginning. There is so much more waiting for you in this Adobe After effect mastery series. In the next chapters, you dive deeper into advanced animion techniques, effects, transitions, character animation, and even advanced visual effect compositing. So don't stop here. Keep the momentum going and join me in the next class. Let's continue mastering after effects together and bring your creative visions to life. See you there.