Non Scary Beginner Friendly Adobe After Effects 2025

1. Introduction to this Beginner's After Effects Course: Have you ever looked at after effects and thought to yourself, Oh, my goodness, it looks so scary. In this course, I'm going to take you through everything step by step. It'll be so easy. You'll find you'll be creating amazing stuff by the end of it. My name's Tim Wilson, I've been training Adobe products for over 25 years. I've trained companies from ison, Disney, BBC, NHS, and so many others. You'll learn after effects so easily because I take you through everything in bite sized pieces. And at the end of most sections, we do a project so you can consolidate all the knowledge that you've gained during that section. Have a look at the projects you will be gracing. These are so called. Oh Start right now. I can't wait to help you to learn adobe after effects. 00 2. Look at Interface and Start a Simple Composition Intro: Let's get started on this first section. We're going to be looking first of all at the interface. Now, if some of you have used Photoshop illustrate or in design, you're going to find the interface is very different. If you haven't used those packages, absolutely fine, you're going from scratch anyway. Once we've looked at the interface, and I'll show you where things are and if you lose something, how to get it back. We're then going to bring in some videos and logos. And we're going to start working with those. We'll put the videos together. We'll bring a logo in, we'll get things to fade in and out and some other animation properties as well. L et's just jump straight in and get started. 3. The Interface: Let's have a look at the interface. When you first open up After Effects, you get this welcome screen. And there's really only two buttons that we need to worry about. The first one over here, which says New Project and the one below, which says Open Project. Now, if you don't see this, don't worry because you can always go to the File menu. You can open project there, and you can choose new project from new. I'm just going to click on New Project to go into the main interface. Now, the interface, well, it's different to a lot of the other Adobe software. If you used to things like Photoshop or Illustrator, this is very, very different. But let me show you around. First of all, the tool bar. There is a little tool bar along the top over here, and obviously we're going to be getting to working with some of those tools. And then we've got these little areas over here. You can see this one's called project, that's called composition. There's another one over here, which just says none at the moment, and then we've got some panels down on the right hand side. Well, let's start over here. This project fold or project bin is where you keep all your stuff. So when you want to bring in video or pictures or illustrator files, or anything that you're going to be using in your composition, you put them in there. Just because they're in there, doesn't mean you have to use them. So it's like a storage for your composition. And then down the bottom where it says none, this is our timeline, and we're going to be working in here with different layers. So if you have used photoshop and Illustrator, you'll get the idea of what layers are. If you haven't, don't worry. I'm going to explain it from scratch. Then up here, we've got the composition. So this is the exciting part. So this is where things happen. Once we've actually put in the video and the pictures, this is where we will see the results. And then on the right, we've got some panels. And if you can't see the panel you're looking for, they're all available in the window menu down here. You can see there's quite a lot of them. Now, what about if your interface doesn't look like this? Well, if you go to the window menu and workspace, you'll find the all sorts of different layouts for the different panels. And if I go down to something like minimal, you'll see it's a very different layout in there. So if yours doesn't look like mine, just go along to window workspace, and I'm using the default layout over there. Now, you will find that you can actually move these things around. So if things are not in the right place for you, just take them and drag them over, so I can just drag the preview. I've gone to the word preview, and I'm going to go and drop it in with the project panel. And you'll see that it'll allow me to drop it next to it above it or in with it over there. I've dropped it in with it so we can actually go to the different panels by clicking on the tabs along the top. Now, if you've done that, and you feel, well, you've actually made a bit of a mess of things and you're not quite sure what's going on, go to the window menu, workspace hoops, window menu, workspace. And even though I'm in the default, I'll just say, reset the default, and it resets it to the basic look. If you lose any of the panels at any time, just go to your workspace and reset it. Try it out, have a go. Make a mess of things. You can always reset it if you need it. 4. Import Video & Create Composition: Now, let's bring in some footage, and we're going to go and find some video for this. Now, one of the best places to find video is actually through Adobe stock, unless of course you've got your own video. Now, I know what some of you are thinking, Adobe stock, that's going to costs of money, but in fact, there's a lot of free stuff in Adobe stock. I'm just going to gooogle Adobe Stock in there. And what you do is you go along to the top to the menu along the top, make sure that you're logged into your CC account, and then click the free button, and there is tons and tons of free videos, still images, vector files. I'm going to click in here and I'm going to find surfing. And it's given me a whole lot of different really nice surfing videos. Well, they're actually images at the moment. But if I click on videos on the left hand side, there we go. Now we've got them as videos. So I'm going to download a few, and all you need to do is click the license button over there. So you just click on license. It says free, and it will download it. I'm going to get that one there and two or three more. Now it takes a moment for them to download, but they do download and they end up in your downloads folder. Now, if for some reason, you can't get free Adobe stock, Coy the part of the world you're in. There are other sites that have free videos as well. I like to use another one called Pixabay, PI XA Bay, and that's dot com. And in Pixabay, I could search for surf or surfing. But rather than all images, I'm going to just I'm going to just search for the videos. Ignore the ones at the top. These ones are paid for, but down here, all of these videos are free. And once again, you can just go along to the video, click on it, and then click downloads and choose the size you want. We're working with 1920 by 1080 at the moment. Sometimes, if you choose the very largest file size, like the four K size here, it might ask you to register. It'll still be free, but you might have to go through the registration process, which is not a big thing. Let's go back in here. I have downloaded them, so I don't have to waste your time by you waiting for me to download them. Now I want to bring in those videos in here. What I'm going to do is I'm going to go along and get the video and drag and drop it straight in. So I've gone to my downloads folder in there. I'm going to go and find the video, and all I want to do is to drag it and drop it in this little area over here. So let let's try that again. Let's click on the video and I got a funny old mouse there that doesn't want to work. There we go, and drag and drop it in. So that's my first piece of footage, which is in my project bin or project panel. Now, what I want to do is I want to actually make a composition. So what is a composition? Well, a composition is a sequence, so you can have lots of bits of video or pictures or logos, whatever you like in a sequence, and that's known as a composition. So in this project, I'm going to go to composition. I'm going to make a new composition in there, and I'm going to call my composition surf. I can choose from the sizes in here, I'm going to keep mine on this HD size, which is 1920 by 1080 pixels. Feel free to try other sizes. If you wish, you can click on the dropdowns and you'll see there's a lot of different ones in here, including a lot of social media options. So for example, if you want social media landscape, I could just go along there. Once again, 1920 by 1080. It's a slightly different frame rate, but we'll talk about frame rates later on. Do make sure that your pixel aspect ratio is set to square at the moment, and I'm going with 30 frames per second. Now, we'll come to a lot of these settings later on. I'm just going to click, and you can see, there's my composition there and there is my video. All I need to do is to take my video and drag it and drop it into my timeline anywhere over here, and it places it into my composition. Now, if I want to watch it, it's just a matter of pressing the space bar and it will play. And when it gets to the end, it will just loop itself over and over again. So once it's finished, you'll see it finishes here on 15 seconds. My playback head is going to keep going on and on and on. I'll just stop that by pressing the space bar right up to 30 seconds in there because that's the length of the composition or the sequence that I chose. Now, we can change that as well, which we'll do in a little while. Let me go and get another piece of video or footage. I'm going to go once again and find in this folder another piece of video over there. Let's take that one. Drag and drop that in. L et me take that piece of video and drop it into my timeline. Now, I can either drop it below or above that piece of video. I'll just drop it below for now. And this top piece of video here is where the surfer is under the water. I'm going to take this underneath bit of video and just drag it out over there. So when that finishes, it will then play this one over here. 5. Zoom & Snap: As you can see, my two videos don't actually line up correctly. Now, I know it's really small, especially if you're watching this on a phone. But in order to make this a bit bigger, what I can do is I can go to this top bar over here so I can see a little bit better. And if I grab one of those corners and pull in and then grab the other one and pull in. We can actually zoom into the timeline, and then I can move it around to the right position. But it's still a little bit difficult to do to try and get that lined up exactly. So the trick is, hold down the shift key. And that way, when you move something, it'll snap to the other object. Let me zoom out, and I can do that by pulling this top little bar out like so. So if I were to move this around, hold down the shift key, I'll just snap to there. If I moved it out here, it'll snap to my playback head, or it'll snap to the beginning in there as well. So I'm just going to pull that over and snap it to the right position. 6. Add a Logo & Rename Layers: I've gone back to Adobe stock because I want to find a logo, and the asset type I've chosen is images. I've just scrolled down to find this little free logo here, and I've downloaded that. When you click on download in here, for a vector file. I actually gives you the option to save it as an AI or EPS, which is a fully scalable file, or you can save it as a JPEG, but that'll have a white background or a PNG, which is made of pixels, but it can have a transparent background as well. I've chosen the AI version, the Adobe Illustrator version, and I'm going to bring it in because I want that logo to appear on my videos all the way through. Now I'm going to place it. So I'll go and find it there it is. You can see it's actually an AI and Illustrator file. And I'm going to pop that into my project bin. Now, to bring it in. What we've done so far is, we've dragged it onto the timeline, and that always puts it right in the middle. You can see like that. I'm going to undo that, so I'm going to use if you're on a PC, it's control Z on a MAC it's command Z to undo. But you can also drag it directly into your composition window over here and place it wherever you want, and of course, you can then move it around. I'm just going to move it over there. Now, going down here, you'll see that it runs all the way across on top of these other two videos. So I can shorten it along if I want by just putting it back to there, once again, holding down the shift key, so it snaps right to the end of my rendering area. Now, these don't really seem to make any sense. I mean, I can see that's an A illustrator or an AI file, but these two here with their names are not making sense. Moving the playback head over here, the first video that I've got over here is where the surf is under the waves, and the second one is the wave itself breaking. Now, I would like to rename these. Now, this is where you can come unstuck because if you just double click, well, nothing seems to happen over here, it doesn't allow you to rename it. And when you go up here, it's like, Well, where's my logo gone? And if I move along, The rest of the video disappears. What's happened is when you double click on a video in here, it plays it in its or by itself. You can see it's sitting on its own as a layer, so you're just seeing that layer at that one time. If I close that down, there is my composition of all of them. So how do you rename a layer? Well, we click on the layer and then press the enter or the return key on the keyboard, and then I can rename it. So I'll call this one Surfer. And this one over here, I'm going to once again press enter or return, and this will be waves. Now, that's all very well, but how do I now know which of these is which of those? Well, what we can do is we can actually flick between these two names. So here you can see it says Lay and name. If I click on that, it says source name, so I can see which one is which. So do try to name your lame, name your layers as you go along. I've got to be honest. I'm the world's worst at that, but do as I say, not as I do. I think is the way to say it. So do have a go with that, bring in a logo, rename your layers in there, pop it in the right position. And then I'm going to show you how we can actually start to animate some of these layers. 7. Start to Animate: Now, let's have a look at animating items. First of all, I'm going to go down to the layers, and I'm going to pull them up a little bit just so it's easier to see what's going on. Let's start off with this particular layer, which is my logo layer. I'm going to go over to a little arrow on the left hand side over here and click on that arrow, and that then takes me down to something called transform. These are transform options for the layer that I'm on. If I click again, these are some of the basic things that I can change on that layer. For example, I've got the capacity, the rotation, scaling, the position, and the anchor point. Let's start off by having a look at the capacity over here. So if I want to change the pacity on a layer, I can just go in there and I can just change it 0-100%. Now, you'll notice that to change it, I'm actually clicking on the numbers and holding down the mouse and then just dragging left and right. You can, of course, click in there and type in the number that you want as well. But it's much easier to be honest to just click and drag. On that. So, what about if I want to get this logo to fade in? So it doesn't just appear in there. I wanted to fade in over there. Let's take it down to zero over there. And now what we need to do is we need to set up a key frame. A key frame is a frame that you're saying, at this point, I want you to be there or do that or have this particular property. So I'm going to do that by clicking the stopwatch. And this is my little key frame over there, saying at this point, I want the capacity to be zero. Now, when it comes when I move the playback head, it will be zero from that point onwards. But when I get to my roughly 2.5 second mark, I wanted to be at 100%. Now, what you don't want to do is click the Stop watch again. I know it seems the obvious thing to do. And to be honest, it took me a while to figure out when I first started after effects years ago, I kept on clicking that on and clicking it off and thinking, I've got to be able to make another key frame surely with that. This is just a switching on the key frame ability. To make a second key frame, there are two ways that you can go about it. One is you can click on this little key frame frame icon over there, and that makes a key frame for you, and then that key frame, we can just say, that needs to be 100% in there. I'm going to undo that. The other way we can do it is you can just go and change the value in here. You can see no key frame in there. I'm just going to go and change the value up to 100%, and it automatically puts a key frame in for me. So what are these little arrows over here for? Well, the one on the left will just jump my my playback head to the previous frame, and this will jump it on to the next frame. There, so just allows you to flick through your key frames. So let's have a look at how that works now. I'll press the space bar, and you'll see it'll just fade in like that. Now at the very end, I'm going to do exactly the same, so I'm going to go to the very end there, and I'm going to put in a key frame. I'm going to say that key frame, I want that to be zero. But over here, just before it fades out, I want that to be at 100%. So we've got this key frame zero. That one's 100%, that one's 100%, and that one's zero. So it will just fade out at the end as well. L et's try that with something else. I'm going to go up to rotation. And I think what I'd like to do is not only do I want to actually fade in, I want to rotate it into position. So if I start here and put in a key frame on rotation and say, that's where I wanted to be like that. At the beginning, though, I want this to have rotated once. Now, you can do this in two ways. You can either put in your degrees, I can put in 360 degrees or over here, I can just type in one. I'm just going to type in one in there. So now, what'll happen is it'll just rotate around once into the right position over there. Let's do something else. Go to this layer here. I'm going to click on scale. And same again, let's say that's the right size that I wanted to be. So I will keyframe that with a little stopwatch. And then over here, I'm going to take the scaling, and these two are linked together, the horizontal and vertical scaling are linked. So I'm going to take that down right down to zero. So what happens now is it just rotates and scales up. A And then of course, at the end, I could rotate it and scale it down by doing the same thing. Now we'll come to possession and anchor points in a little while. But if you'd like to have a bit of a go with that, try it out on a logo, and remember, you switch on your key frames and you don't switch them again because it'll just switch them off. If I went through switch that off, you can see it just removes those key frames for me. I'm going to use commands Ed or controls Ed depending on the MCO PC to just undo what I've done. Try it out. 8. Fade Clip & Shortcuts: I'd like my two videos to overlap a bit and blend, so one would fade out while the other fades in. We're going to do that by overlapping them. Now, the problem is that by pulling this over, well, the key frames over here on the capacity are totally out. We can move those around. You can either click on a keyframe and drag it like that, or you can click and drag and select multiple key frames and then drag them around as well. Now, of course, the other issue that we've got is this work area. It's too long, so I'm going to drag that over, and I'm holding down the shift key certle snap to the end of that video there. Now, the surfer layer needs to slowly fade out so it will reveal the video layer underneath. It's going to be the same as we've done over here with a transform. I'm going to close those down, and then I'm going to go to the surfer and open them up. Now, you can see the problem, and that is that this seems to be a very long winded way of getting to something as simple as pacity. Well, there are shortcuts and there are a lot of shortcuts in after effects. What I'm going to do is just click on the layer and show you. For example, if I press S on the keyboard, it brings up scale. I press S again, and hide scale. What about position, P for position? If we go down, you'll see that that's using the first letter over there, R will be rotation, S scale, P is position. But what about pacity? Well, if I click on O for opacity, See what happened. My playback head moved. It didn't actually change anything in here. Now, there are some other shortcuts and O is actually assigned to a different shortcut for outpoints, but we'll get to those shortcuts later. What else can we call pacity? Well, we could call it transparency. What about T? T will take me into opacity. You can see it's a lot neater and easier to work when you don't have all those other ones in the way. Now, I'm going to go over here to the beginning where I want that to fade out. Click on the Little Stopwatch, that's set to 100%, over to here and set that to zero. What that'll do, I'll give me a fade. Let's play that, I'll just fade from one into the next. Have a bit of a go with that and try out these shortcuts over here. Remember it's just the name or the first letter of the name, except for pacity, and pacity is transparency, so that's going to be t. He a go. 9. Save & Collect : Now, I'd like to save this project. I'm going to go to the file menu and I'm going to choose to save as. This is going to save the whole project. The file extension is AEP, After Effects project. I'm going to call mine Surfer and you can save it wherever you like, I'm just putting mine onto the desktop, and it's saving it as an after effects project in there rather than the template. I'll click on Save. Now, the problem with this is if I pass that onto somebody else. Let's go and look at the file, and here it is here. If I pass that onto somebody else and they open it up in after effects, All of these videos would be missing because these videos are actually linked to the ones on your hard drive or your external drive or wherever it is that you've saved them. You can't just give that file to somebody else. Likewise, if you've finished a project, you've saved it, and you're going to archive it, you need to archive the videos as well, not just the AEP file. Is there another way? Well, yes, we could actually get a file. We can go down to dependencies and we can say collect files. What this does is it allows you to collect all the files associated with that project. You can see over here, we've got none for all comps, selected comps, and cute comps. We'll be talking more about comps later on. What I'm going to do is just click on collect. It says, We do you want to collect them? I want to put it onto my desktop again. It's used the same name. I'll click on Save. Now this time, what I've got, and let's just go back to my desktop. Over here and have a look at this folder. It's made a folder over there. Inside that folder is a copy of this surfer AEP. It's also done a little report. If you double click on the report, you can see what it's actually done, what it's collected. In here is the footage and that's copies of those two videos and the illustrator file. If I archive this or I pass that on to somebody else, they've got everything they need to work on that document. So just watch out when you're saving, don't just save it. Maybe you want to archive it in case you lose the original files or videos. 10. Render to Media Encoder: I'd like to render this out now. I'm going to go to file down to Export and I'll be using add to Adobe media encoder Q. Now, if you don't have media encoder on your machine, you can go along to Creative Cloud and just download it from there. It's part of the Adobe Suite and it's this little one in here. Download it separately. Let me do that. I'm going to go to file. Export, add to Adobe media encoder Q and then just wait for it to actually put it across. Now, this is media encoder here. It looks complicated, but in fact, it's actually really easy to use once you know where to go. Here is the video that I've just brought in. It's in the queue ready to be rendered. What I want to do is I want to render this out for YouTube. I can go to the presets on this left hand side and find a YouTube preset. There's Facebook presets, there's broadcast TV presets. There's so many different presets down here. But if you go all the way to the bottom, you'll find social media. If I click on that to open that up and keep going down now, I can keep going down until I find the YouTube preset that I want. There we go, I'd like that HD preset, the 1080. I'm going to drag that up and drop it onto my file. It puts all the correct settings in for YouTube onto my document. Now I'm going to click over here to tell it where to save it and I would like to save it onto my desktop, so I can see it easily, and I'm going to call it surf. And then all I have to do is to click the render button over here and it gets on and does the rendering for me. Now, depending on how complex your video is, you might find this could take a while. This one is not complex at all, but sometimes I've had renders which take half an hour to an hour and I've got a reasonable quality machine. It really depends on the complexity. Let's go and have a look. Here is my video. There it is there. I'm going to double click on it. That's ready to go into YouTube. My animation is working, and let's just wait for the blend between the two. There we go, we've got that soft blend between the two, and finally, this should now just fade out in the end. And that's done, ready to be uploaded. Try it out. 11. Project: Social Media Post Intro: First project. And what we're going to do with this project is we're going to make a little social media piece. We're going to have some video in there, and the video is going to be of a paraglider, and we're going to get the paraglider to float across the screen. Then we're also going to bring in a little paragliding logo or icon, and we're going to have some text in there as well. Put the whole lot together and then render it out. Let's get started straightaway. 12. Make Comp & Add Media: Let's get rid of this one and start a new project. I'm going to go to file new and New Project, and we're going to start off by making a new composition. I'm going to go to composition, new composition, and we want to use a social media square for this because we're creating it for Instagram, we want to square Instagram video. You'll notice over here, you can put in your own numbers, but if you do that, make sure that the lock aspect ratio is switched off. Otherwise you'll end up changing one and affecting the other one. We've got a square pixels setup frame rate of 30 frames per second and down the bottom here, we're going to go to the background color, and I'm just going to change it to white. I've just clicked on the black square and change to white. It's easier to see what you're doing sometimes, and we're going to fade things out as well. Now the duration, the duration is set to 30 seconds. We don't need 30 seconds for our animation. It's only going to be about 15. I'm going to click in there and just change this to 20. I don't have to do it to exactly 30 seconds. Sorry 15 seconds. I'm going to go with 20 in there. And click on. Now you can see my animation over here in the seconds is 20 seconds long. At any time, you can go back to composition, composition settings and adjust that if your composition is not long enough, or you just want to change it. Again, I'm going to do 15 seconds in there, click, and now we've got a 15 second animation. If I go to composition and I make a new composition, one of the options we've got in here apart from the preset is the pixel aspect ratio. Everything that we've done, we've done in square pixels. But there are some other ratios in here. These are for certain usually traditional televisions, where the pixels of the device are not square. What do we mean by that? Well, I've just got a little example here that I found on Wikipedia. This is a traditional sorry, this is a standard device like a computer monitor or smartphone or tablet or anything like that, where you have square pixels. Was as I said, some of the traditional television devices, the pixels are actually oblong like that. So Over here, we could actually choose, depending on the device you're going to to use those oblong pixels. You can see the ratio of the pixels are in there as well. We're going to stick with square pixels though. Now, for this animation, we're going to have a video in the background, which is going to fade out. We're going to have some text. We haven't done text yet, so we're going to be putting in some text, and we're going to be putting in a little logo. You can choose any subject you like. But I've chosen paragliding because it's quite exciting, I think. I've never done it, but there we go. So what I've done is I went along to Adobe stock, and I found this really gentle video of a paraglider coming across the sea, which I thought was going to look really good. That's a video, and I just searched for paraglider. I did search in Adobe stock for a nice paraglider logo type of thing, but I couldn't find what I wanted. I went over to Pixabay and in Pixabay, I downloaded one of these. You can see the checked background means it's got a transparent background. When I downloaded this though, I actually downloaded it as a PNG file, which keeps the transparency, but it is still a pixel file rather than a vector file. Now I'm just going to bring those in. Now, I showed you before how you can drag and drop, but another way to bring them in is in this little project bin, just double click on this blank area there. That opens up your input window. I'm just going to go and find them. Now they're in my downloads, and there is my video in here. I can double click. You can do multiple ones to be honest, but I'll do them individually, and there's the paraglider. Now, you can't see it in there. You can see the video, and you can see a preview of the video, but you can't see that because it's black on a transparent background. Let's take this video, drag and drop it in over here, and you can see it's 10 seconds long. We're just going to play this. I'm going to press the space bar, and you can see how the paraglider is coming across over there. We'll bring in the logo shortly. Anyway, have to go, choose a subject, that doesn't have to be paraglids, unless you particularly want to do them as well, and find a background video and find a little logo, just something very simple with a transparent background to go with it. 13. Add Text: Now, let's move this video along a little bit because I'm as I'm scrubbing the timeline with this. I'm noticing that it's starting out and you don't get anything, you don't get anything, you don't get, then you get the paraglider. I'm going to move it along. I'm going to use position to move it along, and I'm going to press P on the keyboard to get position. Remember, if you if it doesn't work for you, make sure that it is selected, so you've just clicked on that layer, and then we can move the horizontal and vertical object or video up and down left and right with these settings. If I click on this one, you can see I can just pull that along. I think I want the video it comes in like that. I've still got a little bit of the land in there as well. Video will go and he will go just about off the edge. Now, you'll be thinking about this. I've only got 10 seconds and my video is 15 seconds, we'll come to that and we'll fix that later on. I'm actually going to shorten a bit, but I'm also going to have a blank area at the end with some text and the logo. So I've got that down. I want to lock it, so I can't move it by mistake. In this area of the timeline, we've got a lot of what are called switches. One of those little things is a padlock. If I click on that padlock, it locks my layer down, so I can't actually do anything with it. Sure, I can actually open up the properties, but I can't actually go and move it around or change those properties. Let's bring in some texts. Now we haven't looked at text yet. I'm going to go up to the toolbar along the top. I'm going to click on the T. Before I do that, I'm going to make sure that my playback head is where I want the text to come in and I'm just going to have it right at the beginning. I'm going to click on the T over there and I'm going to click to put the text in. But I'm always going to make sure that I've got auto open panel switched on. When I do click and start to put my text in, it opens up the text panel for me over there. I would like to have the words live free in here. I'm going to put in live as one word. Now, I'm going to select my text and I can change the color over here with the fill. I can just go and pick any color I like, or if I want to sampler color from the picture, I can use this little eye dropper and just go and click and sample that color in there. I'll click and Actually, that does look quite dark. Let me select that text again. I'm going to go back in there and I'm going to sample maybe some of this orange over there, and maybe just make it a little bit more. Orange like that. You can do whatever you like with that. I've got the word live in there, and then I want to have the word free. Now, rather than doing it again with the text, what I can do is I can just take that text layer. Copy it, you can go to edit and copy, or if you know your shortcuts, you can copy that. With control C to copy, Control V to paste on a PC. Command C to copy, command Va paste on a Mac like everything else. I've copied that and I now just paste. Once again, either use your shortcut or go to edit and paste. I've now got two of those. You'll see if I go back on my toolbar to the move tool. That's a little arrow on the left hand side. Don't forget to go back there or you'll just be selecting your text, I can move that around like so. Once again, back to my text tool, I can select that. I just double click to select the text and I can change it in here. We can also change the typeface if you want to do anything else like that. Of course, I'm going to have the word free. Oh, that doesn't look like free, does it? Let's try an F. I'm going to go back to live because I'd like the L to be lower case. That looks a lot better. Now that I've got those two, I'd like to change the size. I want them to be pretty large. Let me go to live over here. I'm going to press S for scale. By the way, you can do multiple things, scaling them together at the same time. I'll show you how to do that later. I'm going to go to a scale and I'm just going to scale that up quite a lot. I think 150% will do nicely. I'm going to go to free, press S for scale, and once again scale that up, that's going to be a bit bigger. Probably something like that. Now, I want to move these two around. Now we can either use P for position and move things around like that. Or to be honest, you can just use your little arrow at the top and just move them into the right position over there. I'm going to have the word free there, and I'm going to click on Liv and move over to that. I think Live still looks a little bit too large. So once again, I'm going to go back to my text tool over there. No, sorry, I'm not going to go back to my text tool. I'm going to go to the layer and just scale it down a little bit. Like that. Use the settle arrow to move things around to where you want them. I just want something interesting like that with those two in there. Let's have a look if I pull this along, we've got the little paraglider going through underneath. Anyway, put your text in over there, any text you like, make it quite big and bold. It'll be easier to work with. And then come back for the next video. 14. Fade Text & Add Logo: I like another piece of text to come in at the bottom over here, and this will be the business. I've decided to call this fly free. Now, funny thing is, I had a look to see what fly free was in a website in case I was actually going into somebody else's business. It turns out fly free is actually to get rid of flies from your horses. There we go. Anyway, I will use as the little website for this. I'm going to do the same thing again. Just take one of those. Copy it. I've used the shortcut on the keyboard, paste it in, and I'm going to move it down. I'm on the arrow tool again. Now, this is really big, so I'm going to just press S to scale, scale it right down. I want to change the font over here from bold italic to just medium. I think that will do nicely, and then I can change the text. This will be Fly hyphenf, dot com. Now, I want this fly free to come in just towards the end. I'm going to go along here and I'm going to move this across it only starts to appear. Over towards the end. Then these bits of text, I want them to come in near the beginning, but not straight away. I think I'd like my little paraglyder to come in there, and then I want the word live to appear. I'm just going to move free across and move live up to there. I'll be the video after 1 second. I'm just looking over here, 1 second, 1 second in live comes in, and 1 second later. Free comes in as well. Let's just press the space bar to see the timing. Live free. Now, it's quite harsh for such a gentle video. What I'd like to do is just blend them in and just have them come in really gently. I'm going to go across to live first of all. Go near the beginning, not right at the beginning, but just near the beginning and put in a key frame for my pacity. Remember that's t for transparency, gives me pacity. I'm going to key frame it, and then I'm going to go back to the beginning and take the capacity down to zero. It will just come in like that, very, very gently from nothing. I'm going to do the same over here. With this one, I go to where I wanted to be 100%. It's easier to do it that way. This is for the word free, I'm going to press t to see the pacity, keyframe that by clicking on the stopwatch, moving back to the beginning, and taking that down to zero. Remember, if you want to change the speed that these are fading in, just take one of those keyframes and pull it out. You'll see now I'll going to much slower. This one will come in quite quickly and then free just comes in gently like that. Then my fly free, I smile now every time I see that because I think of horses and flies. My fly free is going to come in towards the end in there. Now, I do need to move a fly free around and also animate that in slightly, so I'm going to go near the beginning. Press my, put in a key frame back to the beginning again and take that down to zero. But while I'm here, I'm going to move it as well. I'm going to press P for position and move it across into the middle. They'll then pop up over there. Now, it's quite difficult to read actually against that background. I am going to change the color a little bit on that. I'm going to select it, go to the color here, and I'll just use a very dark brown for that. Let's have a look at the timing. So 1 second in, we have live, another second in, we have free coming in slowly. You watch the paragliide go across, and then the branding comes in after that. Now, you can't actually see the full branding because of this little bit of land in there or the website, shall I say. But we are going to actually fade out the video, over here it's going to fade to white. Now, I'm going to go down to my video. Unlock it, click on that little padlock to unlock it. Once again, I want to do the whole t for opacity. I'm going to key frame it, and then down at the end, I'm going to take the opacity down to zero in there. Let's have a look at that. The second part again. That will fade in and the background will fade out. We also need to bring in our little logo. I'm going to go up to find the logo. There it is there, and I can either drag it straight in there or I can drag it into my timeline. It's a bit on the larger side, so I'm going to press S for scale to get into scale, and I'm going to just scale that down, and I'm going to move it around a little bit over there. Anyway, have a go get to that part and then we'll finish this off. 15. Animate Logo & Change Background Color: I would like to have my little paraglider logo coming in when this paraglider reaches that point over there. I want the paraglider to be over there. How can I do that? Well, if I move this across to there, then I can move where the paraglider logo starts. I'm actually going to move the paraglider across to there as well. What will happen now is that paraglider will come across and then the logo will appear in there. The logo is coming in quite harshly. I think I'm actually going to go just inside it there and I'm going to go and add a opacity keyframe at 100%, move to the beginning and take that down to zero. It will just very gently fade in like that. If you want, you can bring your logo in by fading it, you could scale it in, you can do whatever you like, really, yours is probably looking different to mine. But when it comes to the end here and this fades out. Although my background is white at the moment, that's not what's going to render out. This background will actually render to black. Strange, I know, but if I were to show you, I'll just go to export add to media over there, we still got the YouTube preset set on there, and I'm going to just send this to my desktop. I'll click on Render, and it shouldn't take long. But if you look at the little preview down here, you'll see when it gets to the end, instead of fading to white, it fades to black. In fact, if I hide this and go back to the video itself, Same again, when it gets towards the end, you can see it's just fading out to black. How can I get that to be a color? Well, let's go back to aftereffects. I'm going to add another layer. This layer is going to be called a solid. Now, I'm actually on this paragliide layer. When I go to layer, new and new solid, It'll add my new layer above that layer. You can see we've got all different types of layers in here. But I'm just going to add a solid layer and I can then go in with this idle eye drop a tool and eye drop the color that I want for my layer. Let's see, something like that. Don't like that. Let me go with something a bit more. Orange. Click. Now, if I drag that, I can drag that below that layer and you'll see it will fade out to that color. Now, that really is a bit much. Let me do it again for you anyway. Once again, I'm going to go to layer new hops layer, new, solid. I'm going to eye drop the color that I want. I'll use this slightly off white color in there. You can click on it and choose the color that you want manually as well. Maybe I'll just go with something a little bit more like this. And click Okay. And then I can take that and drag it underneath all the other layers and fade out to that. If I now render this, that will fade out to that color over there. Anyway, get to that stage and then we'll do a little bit more and then render the whole thing out. 16. Stroke Text & Render: Looking at this, moving my timeline across, that live free, although its orange is still quite heavy on the top. What I'd like to do is I'd like to change the text. Instead of it actually being solid text, I just wanted to be an outline or a stroke. Now, I'll start with free. I'm going to click on free, and if I double click it, I can select it. Over here in the text options that have appeared. I can go into my fill and stroke and I can add a stroke and get rid of the fill. I'm going to click on pill over there. I'm going to go and just use the eye dropper from here and pick the orange. Click and then switch off fill. Then you can say I've got this very delicate little line. You can change the width or the weight of that line to anything you like. I'm going to keep that really nice and delicate, maybe just two on there. Let me do the same with Live now. I'm going to go to Live, select the text. Go over here. I don't want to fill, but I do want to stroke, and I want the stroke to be the same orange that I had over there. Click, and I'm going to make that stroke a little bit thicker so that'll be two in there. L et's have a look. There we go there. It's a lot better. We can see more of the image because you can see the image through there. In fact, now, I could even go to the free, and if I wanted to, I could move that down. It wouldn't really matter because you'd still see the paraglider coming through in there. Maybe I'll move the other one as well and just pull this down a little bit like that. I do want to finish this video off over here, so I'm going to pull this up. When it goes into text, we just have a 2 seconds at the end there. I've done that, I'm ready to render it out. I'm going to go along to file. Make sure I save this first because I might want to come back to it later on. I'm going to call this Live Free. And it's saving it as an AP and after effects project. I'll click on Save. Then I'm going to go to file. Remember, if you want to save all the videos and the little logo, you would go to dependencies and you would use collect files to collect them all into one folder. Just say collect, same again, save. Then finally, I'm going to go to file Export, and I'm going to choose add to Adobe media encoder Q. Here it is over here. It's got the YouTube settings on it, which should be fine for social media. If you want to change them, remember, you just go down here to the bottom and you've got all the different options and sizes in there. I'm going to click the arrow over there to start my render. Now, hopefully that should do it. This is going to render it into a little folder which I've put onto my desktop, not that one. There it is. Pull it out. Double click, and where it goes, text comes in. Get the logo coming in and all fades out to that slightly off white. Anyway, have a bit of a go with that, and once you've tried that, try some other versions as well with different pictures. 17. Movement & Simple Masks Intro: In this section, we're going to be looking at movement, and we're going to start to animate things around in a more controlled way. We're also going to be looking at something called Easy Ease. It's a bit of a tongue twister know, and it sounds really strange, but I'm going to show you exactly what it does because it's going to help your animations to look very, very good and professional. We're going to be looking at masks and we're going to be looking at vectors or vector shapes as well. 18. Move Position: I have created a new new project, new composition, a new project in there. I'm also going to create a new composition. New composition at the top. Over here, I'm going to make sure that it's set to 1920 by 1080. If you want to try different size, that's absolutely fine for this one, we're not doing a project yet. Down here, we've got the background color, which I've used or I've chosen white. Remember though that's not what we'll render out. I will give this composition a name, and I'm just going to call it bounce. Let's click. Now, I've gone along to the Pixabay, and I just put in bubble in illustrations and I've downloaded this soap bubble. You can pick any other bubble that you like in there to be honest. But that'll work quite nicely. I'm now going to bring that in to my composition. Double clicking in here. I'm going to go and find the bubble. I saved out as a PNG file from Pixabay, and I'm going to drag it into my document. Now it is a bit on the large side. I'm going to press S on the keyboard, or you can always click in there, go to transform, and go to scale that way. I'm going to change the size to make it a little bit better there. I just want this bubble to be able to float and bounce around in my screen. Now let's close that one down. Now, I've got 15 seconds as my composition length. Don't forget you can go to composition settings and change it here if you wish. I'm going to start off with this bubble, and I'm going to move it to the top corner because I want this bubble to come down, bounce on the ground, come up, f, float down, and then bounce back to that corner there. I wanted to start here, and once it's done, it's floating, I wanted to end up over there. So I'm going to go to position, and that's P. Click on P for position. I'm going to keyframe the position at the start. Then I'm going to go to the very end and I'm going to move the bubble to the end over there. That's where I wanted to end up. It automatically puts in a little keyframe for me one of those diamond shaped ones. Now, if I were to play this, it will just play and it'll animate from one side to the other. But I want this bubble to come down and hit the ground over there. I want it to come down there, hit the ground, bounce up, and then float up and bounce again. I think when it gets to about 3 seconds in, I will then put in another key frame, so I'm going to move it to the ground down there. Now, of course, it's just going to keep going like that. When it gets to 8 seconds, I think I'd like it to be up here. When it gets to 11 seconds, I want to be back on the ground, and then it's going to bounce up to the top again. Let's play that and see what it does. I'm going to press the space bar. It's going to be slow because it's a bubble, but it's going to go down there, hit that, bounce up. It's more bouncing like a billiard ball. Down to there and back up again to the top. 19. Interpolation to Round Path: I can't see that path anymore. It's disappeared. But if I click back on the bubble layer, I'll be able to see it. As I'm moving this along, it's showing me the path moving as well. Now, when the bubble gets to the top here, it suddenly changes direction very, very quickly, just goes there and then down again. I'd like this to go in almost an arc as it goes over the top. What I want to do is down here, I want to go to this keyframe. If I were to click on that keyframe there, that keyframe is selected, but for example, if I were to move that, it would actually do something over there. You have to be very careful that you are actually on the keyframe that you want to work on. If I were to go along here, there are two little buttons. This one allows you to go to the previous keyframe and that one to the next. I'm on the correct key frame now, and I've made sure, I've selected, I'm going to go to animation. We haven't done this yet, down to something called key frame interpolation. Weird words, I know, but it does some cool stuff. Spatial interpolation, which is set to linear at the moment, and this affects the shape of the path. If I were to change that to bees, Bess are the little handles that you can pull out. You can say I've got some handles. I can pull those handles out. To get a really nice curve like that. Now when it moves, it'll move up over the curve and down again, and then bounce and hit the ground and go up. Dry it out. 20. Easy Ease: I'd like to animate a little bit of text now. I'm going to go to my type tool. I will just click, put in the text. You can see it's remembered my settings from the last project that we did. That's absolutely fine, although I will make it smaller. I bounce here, I'm going to press S, and I'm going to scale it down like that. I might have to increase the stroke width to something but bigger so that we can see it properly. Now, I'm happy with that, and what I'd like to do is to animate it and I want the word bound to go from one side to the other backwards and forwards like that. I'm going back to my move tool. I'm right at the beginning, and I'm going to move it into the right position over there. That's where it's going to start. I'm going to click on scale, but p for position. Then over here, after 1 second, I want to be on the other side. It's going to take 1 second, go all the way across. I'm going to just drag it over to the other side. While I'm dragging it, I'm holding down. You can see that jumps, I'm holding down the shift key, so it will actually move horizontally. You can move things horizontally or vertically by just holding down the shift key. This is going to be a very quick movement, so it's just going to go from one side to the other. Then I want to go back again to the other side. Now, I could, of course, do exactly the same thing again, put in a keyframe or move it across over there. But there's a really cool thing that you can do here. I can take Just do that again. I can take these two key frames. I'm going to select one and shift, select the other one. I'm going to copy them, so I'm going to go to edit and copy, and I'm going to put my cursor over there. I'm going to use paste. I'm going to go to edit and paste and to paste those two key frames in there. Now my bounce will go from there back again, back to there again. In fact, I could actually select all of these ones here. Copy all of them. I'm using the keyboard shortcut to copy, put them over there, and once again paste them. I can just keep going and build this up. I'm copying quite a lot of key frames. Copy there. Put my play back head there, paste all of those in like so. I think that's going to work quite well. Now, if I were to go over here and get this to play, it bounce is going to go from one side to the other backwards and forwards, like that. But what about if I want to slow it down when it got to the ends, it sped up in the middle and slowed down at the ends. Well, there's a really nice feature in whats in most animation packages to be honest. In after effects, it's called easing. Occasionally you might come across it being called ramping. It's a very similar thing where something just slows down or speeds up with its movement. Let's start off with these ones over here. At the moment, if I click on that and we were to zoom in a little bit. I'm just going to use two fingers on my track pad to zoom in, or you can actually use this little option over here to zoom right in. The movement itself is made up of lots of little frames. Now, it's difficult to see because of the overlapping at the moment. But if I pulled that up, you could see how we've actually got all those little frames in there, and they're all the same distance apart. As this moves, it's moving along those frames. If I want to change the distances of those frames and maybe put these ones closer together and those ones further apart, it would actually go slower there and then faster in the middle. Let me show you what that looks like. If I go to animation and keyframe assistant. Now, we've got three options in here. Easy, easy ease in or easy ease out. Honestly, you wouldn't want to say that after you have had six dozen cups of coffee because you just get tongue tied. I'm just going to use the easiest one called Easy Ease. I'll explain the differences later. Easy Ease, can you see now how those are closer together and they get further apart. If this plays, it will start off slowly and then speed up. Let me just show you that again. Back to the beginning, it's very, very quick and very difficult to see starts off slowly and then speeds up over there. Now, if you're not sure of what to do, as I said, you can just put on Easy Es. I'll select all of them. I'm going to go to animation, keyframe assistant and Easy Es, and they've all got easing in L et me do that again. Animation, keyframe assistant, easy ease over there. How did I know there was a problem? Well, easy ease has got look like xs. It's actually two arrows facing each other. You got ease in or ease out, which you've got arrows going in one direction. I really should take this one and put it back. Let's just fit that in there. I'm just going to move that back to its starting position as well. Now when we play this, it should slow down towards the ends and be faster in the middle. It's faster in the middle, but slower at the ends. Try it out, have a bit of a play with that and just get something to go from one side to the other and back again. If what you animate is too slow, if that bounce went over the whole 15 seconds from one side to the other, you wouldn't actually see the difference in speed hit unless you had some amazing ability to check speed. So you need to get it to run quite fast, and that means putting it over time in there. Tried out. It's such an important part of getting your animations to look really professional, and that is to have this organic feel to the movement rather than just very robotic side to side. 21. Anchor Point & Easy Ease Spin: Let's have a look at spinning an item around and then controlling the speed. I'm going to take a word once again, so I'll go up to the top, go to my T, click in there, and I'm going to have the word spinner. And I want spinner to spin around over here. Now, you'll notice that if I use a normal object or a piece of video or a logo, and I go along to rotation. It rotates around the middle of the object. We did this one of the very first lessons of this course and we had the logo, which we rotated a bit. But when it comes to text, text behaves slightly differently. You see if I press r for rotation, and I rotate this, it doesn't rotate around its middle, it rotates around the bottom left hand corner. What we have to do is to move the text, so the middle of the text is actually on the bottom left hand corner. This is a registration point. What I'm going to do is I'm going to change the registration point or the anchor point over here. Now, we don't move the anchor point, we actually move the text in relation to the anchor point. Clicking down here, you can see I can go to the anchor point, and I'm going to click and drag on these up and down options. You can see where my anchor point is, it stays in one position. And then I can go vertically and horizontally and I can move it across, and I'll put that where I think is roughly the middle of the text. Now, if I go to position, I can then move both the anchor point and the text around to exactly where I want them to be. Then rotation will spin in the middle like that. I've now got that in the middle and I want to spin this around. I'm going to start over here and I'm going to keyframe my rotation. Then I'm going to go to the very end over here. I'm going to put in the number of times I want that to rotate. I'll just click over there and I'm going to put in 60 times. Now, as this is moving, it will just be rotating. Let's try that out slowly. Wow, that's going really fast. I think 60 might have been a little bit too many. I'm going to have a go again. Now, I want to go to the very end, so I can change the end key frame, and there's a nice little shortcut to go to your key frames. You can either use that little button there, or you can just jump to a key frame. Why am I saying the word jump to a key frame like I don't know what. Well, it's because that is your shortcut. K takes you to the next key frame. J takes you to the previous keyframe, and you can just navigate through key frames using J and K. Anyway, on that keyframe over there, and 50, I'm going to try 20 in there and that should be a little bit better. There we go. That's a whole lot better like that. But I can do exactly the same with these key frames. If I select both of them, I'm going to go to animation keyframe assistant, and I'm going to use easy Es on those. What will happen is it'll spin slower at first, but then it's going to really speed up in the middle. And then it's going to slow down towards the other end. Anyway, do try that out. Don't forget to move your anchor point and you move not the anchor point, but the text in relation to the anchor point. Then you move your position, and then you can select your rotation, put some rotation in, select both the key frames, and then use easy to get that spinner slowing down and speeding up. Try it out. 22. Motion Blur: To make our animation look better or smoother. What we're going to do is as things move along. We're going to put a little bit of blur on them. Now we're going to blur this in the direction that they're going. This is known as motion blow. If we go down to the layers over here and along the switches, there's a little switch, it's like three or four can't really tell little circles together like that. This is your motion blow, where it says bounce, I'm going to go and switch that on. If you can't see any blur, make sure that this global setting is switched on as well, and that will show you that that word has been blurred. Now, you think, well, nobody's ever going to be able to read that. But you see when it gets to the end when it's actually stopping or slowing down, you get less blow. It increases the blur based on the speed that it's going at. When I play this now, you can still read the word bounce, but it looks so much smoother. Let's do the same thing on the spinner. I'm going to go up here, switch on my motion blur, make sure the global setting is switched on, and there you can see straightaway it's blurring it in the direction that's spinning. But of course, when this is really slow at the beginning, you'll have a lot less blur over there. Was if we're in the middle, there's more blur. Let's play that now and have a look. It's going to look so much better by having that blow, even though you can't read it, it look a lot smoother. Try it out. 23. Constant Vector Rasterization: Started a new project and I'm going to do a new composition. Composition, new composition, and over here, we've got social media landscape HD is the size I'm using. But I want to bring in a logo and a vector file, and I want to show you how or what happens when you scale these things up. I've gone along to Adobe stock. I've gone to the free area. I typed in logo in there, and I'm going to go and I'm going to find a little logo that I want to use. This is the one I want to use over here. I'm going to click license and download that. Now, I am choosing vector in here because I want to be fully scalable, and vectors are fully scalable. You can scale them to any size you like. Let's click download. Now, I'm going to bring it in and I'll double click on there, go and find my illustrator logo, and I'm going to bring it in to my timeline. There it is over there. Now, what I'd like to do from this is I want to actually scale this so that it starts off really big and ends up at a reasonably small size. I want to come zooming in until it gets to this size over here. I will start off by going to my scaling pressing S and key framing it, and I've just key framed it. It's going to be 6 seconds over there. While I'm on that key frame, I'm also going to do p for position, and I just want to move it up a little bit to there. Now, I don't need to key frame my position because it's going to be the same throughout. Let's go back to scale again. Go back to the beginning, I want to really start to scale this up. I'm going to just zoom in over here. Now, you can see what's happening. Look at the quality that we've got over here. Remember I said to you that vectors are fully scalable. I shouldn't see these little edges over here. I should have nice clean lines. The reason for that is because in order to help speed up your work, what after effects does is it just shows you a bitmap version of that image. What we want to do is we want to see what every single frame will look like as if it was vector. In order to do that, after effects has to rasterize. Rasterize means it'll convert the vectors into pixels. Now, I'm going to go along to the switches over here, and there's a little switch. It looks like a little sun over there. It's got two functions. One function is for comp layers that we come to later. The other one says for vector layers, continuously rusterze. That's what I'm going to do. I'm going to switch that on so it will continuously rue every single frame as we're playing this. If you find that things slow down quite a lot, you could switch that off. Let's try this out now. We're going to press the space bar and it's just going to zoom out slowly. Until we get to our logo. Now, what I might want to do is use a little bit of keyframe assistant. Once again, I'll use Easy Es just to do that. Let's move this one a little bit closer. Can you see that we're both selected? I'm just going to click on this one and click on this one and drag it back a bit, so the Zoom will happen fairly fast. Press the space bar and we zoom right out into the logo like so. I'll stop there. Have a bit of a go with that. Get a vector file and switch on continuously rusterize. And that's the little star or sun, whatever it's called, switch over there. It's really important to know about whenever you're using vector files. 24. Modes Lighten: Now, what I'd like to do is, I'd like to color up the black with something else. It could be a still image or it could be a video. I'm going to start with a still image. Now, I just went along to Pixabay and I downloaded this weird stripy thing, and I'm going to bring that in. Over there. Let me go and place that on top of the video. Now, what I'm going to be using is the mode option. Now, I'm sure a lot of you are looking at this and looking at your screen going, I don't seem to have a mode. You might not. You see, all of these things here can be customized and you can just put whatever you want in this little area. I'm going to right click where that says mode and just choose hide this. If yours looks more like this, in order to show these extra options, you would right click in this area. And go down to columns, and I'm going to go and show the modes. You can see at the moment, we've got AV features, labels, numbering, switches, parent and link. I'm going to choose modes in there, and I'm also while I'm here going to right click on Parent and Link and hide that over there. In the modes along here, I'm going to go to my stripe layer, which is above the logo, and the stripe layer, I'm going to choose mode where it says normal I'm going to go down and you'll see we've got a number of options in here. There's tons of different ones. But there's two main ones that I use quite a lot, especially with images which are black and white or dark and light. One of them is multiply. If you choose multiply, you'll see that it actually shows through anything which is darker on the underlayer through the one above it. Anything that's black or very dark will show up Now if I wanted to be the opposite way round, then I could choose lighten. Lighten will show anything which is light on this layer, which is the white background or almost white background. You can see it does show through ever so slightly. The animation will still work. Obviously, the background won't move at all. Now, this little trick here is great because it's so quick to mask out something which is just pure black and white, especially if it's been created without a transparent background. Those of you who use photoshop and to a lesser degree illustrator will probably have used this in the past anyway. I'm going to go to Lighten. You can have a look at so many different things in here. Here's an interesting one. It's called difference. Difference actually changes darks or lights to the negative of themselves. It just looks really strange on this though. I'm going to get rid of this stripey layer there. I've also gone along to Adobe stock, and I've found this water video. I'd like to use the water video on there. I've downloaded already. Let's go back in here and bring it in. Once again, put that one on top. You can see put this lovely watery effect and exactly the same under mode where it says normal, I could choose darken, which is going to show the black logo and the water in the background. Or I could choose lighten and you know what you'll get then. This is going to look quite cool. We're going to get the water video inside our logo like that. If I just press the space bar, you can see the whole thing plays, and the water will continue to go in the logo. Have a bit of a play with that. Don't forget. You right click. You right click on the mode and go to columns and show your mode, sorry. You right click in this area where the mode is. Go to columns and show your modes if you can't see them already. If you want to hide something, right click and choose hide this to get rid of it. Once again, we can just right click in their columns and modes. Try it out. 25. Simple Vector Mask: I've got a new composition in here on a new project, and I'm going to bring in a bit of video and then show you how to mask another piece on top of that. It'll be a different but simpler mask to the one that we've just looked at. Now, I want to show you these videos, and a quick way to do that is to actually go into my project bin and just double click on the video and it'll open it up here so you can actually use the timeline on here to have a look at that video. This one is just somebody pouring water. You've seen the last one because I used it last time, and that's this bit of water. Over here. Now I'm going to close those down so I can go back to my composition. Let me take this water over there and drop it down the bottom. And then I'm going to take this video and put it on top. Now, what I want to do is I want to mask out some of the outside of this. I can just see this water pouring in a little circle in the middle. To do that, I'm on the water layer. Remember, this is the water layer here, I'll just switch it on, switch it off so you can see it. This is the pouring water layer, shall I say? In fact, if you want, if you get confused with this, don't forget, just press enter, and we'll call this poor. The other one will be splash. So I'm on the poor layer at the moment, and I'm going to go up to the top to a different tool that we haven't looked at yet. We've got rectangle tools, we've got rounded rectangle tools, ellipses, polys, and star shapes, and we can make others as well as you'll see. If I just took a rectangle tool and clicked and dragged, you can see straightaway, it just makes a mask on that layer. In fact, it's gone over here and it's added the mask in my properties. Now not only do I have transform properties in there, I've also got mask and mask properties. Let me get rid of that. I'm just going to use Control Z or command Z depending with the macO PC to undo that. Now, the important thing is, if you are not on one of these clips, when you go up there and use that, it will actually make a shape for you, which is a whole new layer. If you find when you're trying to use that, that you just keep getting shapes, all you have to do is to get rid of that, make sure you're actually on the layer that you want to put your mask onto. I'm going to go up here, and I'm going to add an ellipse. I'll use the elliptical tool. I'm going to click and draw an elliptical shape. I'm holding down my sorry my shift key, my shortcut key, my shift key, so I get a perfect circle like that. Let's play that now and you'll see that the pouring then happens in the middle. I want to show you a few more of the options in the mask. This is the mask here, there's a little button that says inverted. If I click inverted, it inverts the mask, so I'm actually seeing through this layer to the layer below. Once again, it will still work. It's just not what I wanted. Let's switch invert off. I'm going to click on the little arrow next to the word mask one. Now that should tell you something. Mask one means that you can actually have multiple masks on the same clip. We'll get to those. I'm going to click on that little arrow next to mask one over there, and I'm going to go to the mask feather. This allows me to drag and actually soften the edge of that mask. Once again, let's play that and you get something more like that. We'll take that back to the beginning and go back to hard edge like so. We've got a mask capacity so you can make sure that you see more or less of that particular layer and a mask expansion so you can make it bigger or smaller. Now, what you're probably thinking is, Hey, how about if we animate that, yes, that's exactly what we can do. I'm going to start off by making this expansion mask really small. I'll keep going like that til it becomes nothing. I'm going to put a key frame on there. I'm going to say after 2 seconds, I wanted to be back to the usual size. Now, don't forget so that you get some nice organic feel to it to go up and use your key frame assistant and easy ease on there. Let's have a look at that. Play that now, and that just animates into position and slows down. Of course, I could then take over the rest of the screen and say, I've seen that. Let's put another key frame in there. I've just clicked on that little diamond. Then for the next number of seconds, I'm going to go in and I'm going to expand this even more until it takes over the whole of the screen. Let's check this out. Click the play button. It animates up to the waits on there while we pour the drink, and then takes over the rest of the video. Try it out. Have a bit of a go with that. Don't forget, you click on the layer and it's going to be the top layer and you add your mask onto the top layer. If you don't have anything selected, it will just make a little shape for you. Then go down into the mask options. You click on the little arrow there, go to mask, click the mask arrow in there, click mask down there. That way you can actually get to the feathering, the opacity, and the expansion. We'll come to shape later on or the path later on, shall I say because it says shape, we'll deal with that one a bit later. Then try animated. If you want to animate the feathering as well, you could soften the edges softens out and blurs out. Whatever you want to do, just have a good play with that. 26. Project: Create a Video Infographic Intro: Another project. Now, this one is ready cool. We're going to take a few videos. We're going to put them together, we're going to mask them out, and we're going to put some color overlays on them. And then we're going to be animating in some shapes and some text. And so we get something like this, which it's lovely. It's a bit of an infographic, and it looks really cool. Let's get started. 27. Set Up Guides: For this project, we're going to start a new composition, so I'm going to go to comp new composition. And in fact, I've actually started a whole new project, so we don't have anything up there. The reason I'm mentioning that is because you can have multiple compositions within the one project. So make sure you've got a new project up, and we're going to do a new composition in there. Size wise, I want this to be normal HD size, so I'm going to be using my social media landscape HD 1920 by 1080. If you use a different size, be aware that we're going to be using a little bit of maths to divide this up so your sizes will be slightly different. And I'm going to go down here. This is going to be a background color of white so that I can see what I'm doing. Remember, as I showed you before, it doesn't actually matter in the final result. And over here, the duration, 15 seconds is more than enough for what we're going to be doing. And I'm going to click Okay. Now, what I'd like to do is to show some rulers. I haven't shown you how to do this yet, so I'm going to go to the view menu and show rulers. And the reason I put in the rulers is because now I can drag in some guides, and I want to break my page or my screen up. Into equal parts, and I can do that by just taking the guides and pulling guides onto my screen at appropriate sizes. So I want to half this page first of all. Now, remember that my document or my video, shall I say, is actually 1920 wide. So half of 1920 is 960. I'm going to zoom in a bit. So down here, I'm going to zoom up to 100% so I can see the little numbers along the top. They're really hard to see otherwise. If you want to go higher, by all means, go higher so that you can see what you're doing. So I want to find 960, and I'm going to take a guide from the ruler, so I click inside the ruler and drag from the ruler, and I'm going to go over there to 1960. So I think that's 1960 Sorry, 960, not 1960. So it's 50 60 over there. So there's my first one. My second one is going to be 480. We just zoom out a bit, you can see where that first one is over there. So then my next one is going to be 480 over there. So I'm going to just drag a ruler in, and let's pop it over there at about 480. And the last one here is going to be 414-40-1440. So once again, a last little rude guide in there up to 14 40 over there, so 1,400 that's 1,500, so 14 40 must be that one in there. Now, if you get them wrong and you've put them in the wrong place, you can just go and click and drag to move them around if you need. Now, let's zoom out a bit, and I'm just going to say fit up to 100%, total fit in my screen, and you can see those are divided really nicely up into four sections. And we're going to have a different video in each of those sections. Now, the other way that I want to divide this is I want to divide it into three going this way. So once again, the height is 1080, one and 80. So if I have one of these at 360, then another one at 720, that will divide it into three. L et me go and do that now. I'm just going to zoom in a bit to 100%. I'm going to drag from the top. So from inside the ruler, you click in the ruler, drag down, and that's going to be 360. So there's 350, 360. I think it's there. And another one at 720. Over there. If they're not 100% perfect, don't worry too much about it for the moment. This is just that we can get things roughly into the right place. Once again, we'll just go back to 50% on there, and you can see how my guides are now all ready to go. You can always switch those guides off. They won't be rendered. You can go to the view menu, and you can actually switch and show grids. You can show guides. You can show all sorts of different bits and pieces. And if I wanted to hide the guides, I can just switch off show guides in there, but I want to actually show them. You'll notice that there's another option in there as well, which says Snap to guides. This means that now when I start to put in my masks, it'll snap nicely to those masks. Anyway, have to go, set up a 1920 by 1080 composition. Go to your composition, go to the view menu, show your rulers, and then when you drag in a guide, go click in the ruler and drag out and drop it onto your composition or your video page. Try it out, and then we're going to put in some content on this. 28. Add the Clips & Masks: I've gone to Adobe Stock. If you want to go to Pixabay, that's absolutely fine, I've gone into videos free obviously, and I've put in jellyfish underwater, and I've found a number of different jellyfish videos. Now you can choose what if you like. If you don't like jellyfish, do sharks or turtles or anything you want. The subject matter doesn't matter. But pick something. As I said, I've done jellyfish in there, I've downloaded them, and I'm now going to go and bring them into my composition. So in the composition bin, sorry, in the project bin here, shall I say not the composition bin? Project bin. I'm going to double click, and I'm going to go along and find those documents that I brought in. So I've just gone to downloads. And as you can see, I've just got a few jellyfish like that. And I'm going to select all of those them. I'm just holding down the shift key, so I can bring them all in at the same time. Click on Open and drop them in like that. Now, I'm going to then start to bring them in over there and you'll see that when I do bring them in, there are all different sizes over here. So I'm going to start off and decide which one I want to go where. Don't forget when you're dragging these things backwards and forwards, I'm going to get it right at the beginning there. So I'm holding down the shift key, so it'll snap to that point. This jellyfish, I'm probably going to have it on the left hand side over there. So it's going to go up to that little guide in there. Let's have a look and see how that looks that it doesn't swim away too fast. Maybe we'll move it over, or maybe I'll move it over, just a little bit like that. Now, what I want to do is I want to put a mask on that, so it only appears over there. So I'm going to go along to my masks. Remember your masks are up here, and I'm making sure that I've actually selected this layer first. Otherwise, you'll be creating a shape by itself. So I'm going to choose a rectangular tool. Go along to the edge click and drag and mask. And you can see how nicely it snaps to that guide that I've got in there now. It doesn't matter whether it's bigger and over the edge, that's fine. I'm really interested in that masked area. Once again, let's just check that out. Let's do another one over here, so I'm just going to do a second one, and then you can get on do yours, and I'll finish mine while while you're doing yours. Now, once again, let's have a look at this. Wow, those are really cool. And I'd like to use this section here. So I'm going to move that video over. Now, don't forget, if you're still on that rectangular tool, you have to go back to the arrow tool so you can then click and move that around to where you wanted to go. I'm just going to move mine a little bit like that. Remember, I'm looking at this section here. So, that's quite cool. I know they look upside down. I don't think they actually are. But what about if I wanted them the other way round? Well, if I go to my properties on this particular layer, under transform, remember we've got a rotation in there. I could actually just click and drag on that and rotate it round. I'm going to do it 180 degrees. In there. And now, technically it's upside down, but I think it looks better that way around in there. It's up to you. You can try and do yours as you want. Lastly, I'm going to go to the mask. I'm going to draw a little mask in from that guide through to the other guide there, just get those to snap into position, and let's have a look at what we've got over here, so we've got those two running at the same time. Now, I'll stop there. I'm going to finish mine, and you're going to have to go and get all four of them in there. 29. Add Color Overlays: I've got all my videos in, and if I just scrub the timeline over here, you can see, they're all playing. Now, before I go any further, I'm going to go to file and do a save, and this will be a save as, I'm just going to call Mine jelly. The whole thing is going to be about conservation, but you can call yours anything you like, and I'm just going to put it somewhere where I can find it. It's an after effects project AEP, and I'm just going to click on Save. So just in case the worst happens and my machine crashes. Now, what I'd like to do is to put some color overlays on top of these. So I'm going to use the little masking tool again. It's actually the rectangle tool. I don't have anything selected in here. So none of these layers are selected. So when I go along to the little rectangle tool and I click and drag a rectangle, it will make a new shape which goes on top. Now, I've got a color in there, which is absolutely fine. I'm going to do a second one, I'll start over here, draw in a second shape up to there. You can see how nicely it snaps, and I'll change the color of that to something else. Let's go with a yellow in there. Now, you could probably see that I've actually haven't made any new layers here. There are one, two, and there's going to be a third rectangle all within in the same layer. So I'll do a third one there, and let's make that more of a sort of a reddish or orange color like so. Now, I want to go and I want to blend these colors together. I'm going to go from normal mode over there to color mode. Now, remember, if you can't see these, just right click. I'll just hide that. Just right click up here. Go to columns, and we want the modes in there. I've got three shapes in this one shape, and I'm going to go from normal all the way down to color, just color by itself, and that puts the color overlay on there. Now, I'm done with those guides, so I'm going to go to the view menu for the moment. I'm not going to get rid of them, and I'm just going to hide them over there. Back to the arrow tool, just deselect everything, and let's have a look, and you've got the colors going on with all those different squares. Have a bit of a go with that. If you want to use different colors, that's absolutely fine. I'm not so happy with this red down here, so I might change that shortly. Try it out. 30. Add the Text Bars: As I said, I don't like the color that I've got here, so how can I change it? Well, if I use my arrow at the top, I can go down. Remember, I've got these three rectangles in the one shape layer. And you'll see if I click on them here, it just selects them, so I can select rectangle three, which happens to be the bottom one. It's the top one there. I know it seems a bit strange. I can then go to my fill color and pick a color. I'd like to use the same color that I've got up the top there. I could either change it in here and try and find that color, or there's a little eye dropper. If I click on the eye dropper, I can move my cursor over that until I find that blue color. Click on that and okay it, and those two are now matching. I'm going to close this down. We're back to our standard layers over there. Be we've finished with that mode for the moment, I'm going to right click and say, hide this just to make this whole thing a little bit more well cleaner, easier to navigate really. So the next thing I want to do is I want to start to bring in the little logs. I can't pronounce it. Lozenge shapes that are going to appear from the side and have text on them. And I'm going to make my first one here. So first of all, I make sure that I click off of those shapes, and then I can go along to my shapes at the top. If you just click and hold on the shapes, you'll find there's a rounded rectangle there, and I'm going to draw in a rectangle. So this rectangle is going to kind start here and I'm going to draw it in I'm just going off the edge over there, so it's not too much of a problem, drawing it up to there. Now, I wanted to be rounded on the corners, and you'll see on the right hand side, we've got different properties. If I go down here, there's my shape properties. And remember, if you can't see any of these things, go to the window menu in there, and one of the options is properties, and that's this one over here. And with the properties, I can then go along to the roundness, and I can change the roundness of that shape. So, I've got the shape over there. If you want to change the color, that's absolutely up to you. You can go up there, pick any color that you like in there. I'm going to use the same blue that I had, but I might go a little bit darker on there. Just adjust it until you feel happy with what you've got. Now, that's the first one, and we're going to have three versions of this. So the fastest way for me to do that is to take this layer, so I've clicked on this layer. I'm going to go to edit and copy or if you know your shortcuts, you can do it that way and edit and paste. And you can see it paste in another layer in there. Now, using my arrow tool, I can just drag that one down over there. In fact, that one's going to end up like that in the middle. Once again, change the color if you want. I might go with more reverse of a green yellow. For that, and same again. Click on there, copy it, paste it in, and use your arrow tool to just move it down. I'm going to move that one across. To there. And once again, change the color. I'm actually going to use the eye dropper tool to eye drop at the top color up there as well. Do whatever you want with any of these shapes, but bring in about three shapes, we're actually going to animate them in, so they actually end up over there. Have a go. 31. Animate Bars: I'm going to be animating these 3 bars. What I'm going to do is I'm going to lock all the layers that I'm not animating just that I don't touch them by mistake. So moving down here, there's a little padlock there. I'm going to click on these little padlock there one, two. Now I get to these two. You'll see this little sound icon. There is sound with those videos. We're not going to be using sound at the moment, so I'm just going to un tick the sound icon and lock those two layers. Then this one here, this layer, this shape layer is actually the one that's got all the colors that are overlaying. It's really these ones that I want to animate. Now, let's start off with this one over here. I wanted to end up here. And a useful trick when you're animating something is to start off where you want it to finish. I wanted to end here, and I wanted to come in over a certain amount of time. So I'm going to say when this gets to about 3 seconds. Remember we can change this later if we need. When this gets to about 3 seconds, I want that to be right over there. So if I go along to this layer and remember I want to move its position, wrong layer. Let's try that again to this layer here, I'm going to press P for position. I'm going to click on the little stopwatch to key frame it there. I'm going to move my playback head back to here. I'm going to say, over here, I want it to start and the position, the playback head is there. If I go to my position and I move it up down, left or right. You can see if I go to the right one, it moves it up and down. If I go to the left of these two, it'll move it left or right, and I actually want to move it across to here. So it's just out of the screen in there. So what'll happen is it will sit there and then it'll animate in like that. We're also going to select those two key frames, and we're just going to go to animation down to our keyframe assistant, and we're going to say Easy Ease. When this comes in, let's play it so we can see the timing. It just pops in like that and slows down into the right position. Now, if you want it faster, you can move these things closer together. I I let me just make sure I select just one of them, pull them closer together like that, and you'll see it'll come in a lot quicker. That actually looks a little bit better. I'm going to go with something between those two. Like that. Okay, I'm going to do the second one now, so I'm going to lock this one. So I can't touch you by mistake. Of there, let's just close down the properties. Go to the next one, which is this one here, open them up. Now, once this one has come in, over to there. I want the next one to animate in and stop at about there. Once again, remember, you can always change the timing later on. We're just getting that roughly right. So in my transform options, or I can click the P on the keyboard. I'm going to go to my position. I'm going to key frame the position there, I'm going to move back a little bit, and so as that one's just finishing, I'm going to then move this. So it moves out like so. Let's have a look at those two. Press the play button. The first one comes in, the second one comes in. Second one's coming in in a very robotic form, so I'm going to select both of those. Go up to my animation, keyframe assistant Ess. I'll do the last one very quickly here, so that comes in, that comes in, and then that one's going to come in and stop here. I'll close this down. Let's go to my last layer over there, press P, key frame it where I wanted to finish, move back to where I wanted to start its journey, which is over here. And once again, I will then key frame that, moving it backwards. Select both of those, and we'll go to animation keyframe assistant Easy. Let's have a look at that, how that works. So the first one will come in, second one comes in, third one comes in. If you want to see the key frames all at the same time, you can hold down the shift key and select multiple layers. Ops. Let's make sure I seem to have locked one. Select multiple layers like that. And then if I press P, it will show them all at the same time like that. So I can see, Oh, yeah, that's coming in there, that's coming or maybe that one's coming in a bit too fast, I might need to move it over. I might need to speed this one up a little bit as well. And you can then just have a play with these and see how they work. Maybe this first one needs to come in a bit slower. Maybe you want some overlap. On them like that. It's up to you change those key frames around until you get what you want from the look of those. Try them out. 32. Add Drop Shadows: Now, what else can I do with multiple layers? Well, I want to change the color of these bars because they seem to be disappearing into the background, and I can do them all at the same time. So I'll select one, hold down the shift key and select the other two. And then I can go to the top here. You see where it says, fill. There's a question mark because well, there's two different colors. If I click on that, I can then change the color of all of them at the same time. So I'm just going to go the slight not quite pure white, but almost pure white in there. Now, what else could we do with these? Well, to bring them forward a little bit, I want to put a bit of a drop shadow on them. So although we can do these things to multiple items, I'm going to do them one to time. I'm going to select this first one. Over here, which is this one. I'm going to go to effects, and there are so many different effects in here. Now, if you come from photoshop, you will have a look at a lot of this and you go, well, that's not in effect, the color correction is not in effect, but in after effects, all of these things come in as effects. I'm going to go down to perspective, and I'm going to go across to drop shadow down there. Now, what happens is, if I pull this up a little bit so you can see it a bit better, this is the layer that I'm on can see it's put on an effect option. Let's close those ones down, and just have look at that again. So if I open this up, you'll see not only do I have transformations now, but I also have an effect. And if I click inside there, there is my drop shadow. If I click on that, I've got some options that I can change in here. Now, these options are very similar to the ones that appear in this little area. So this is not the project window anymore, by the way, there is the project window. This is the effect controls. So you'll see that I've got things like the distance, and I can change the distance here or I can change the distance there. I've got a softness or a softness. Let's go to the distance first of all, and if I move that along, you can see where that drop shadow is. I can change the angle with this little wheel over here. Or I could use the angle over here, the direction to change that. And I'm going to go to the softness, and I can adjust the softness in here, or I can adjust the softness there. Likewise, the opacity or the opacity. I'm just going to take my pacity down a little bit. I don't want that shadow to be too overwhelming, just a tiny bit to separate it from the others. Let me do that again, so I'll go to this one over here. I'm on that one. I'm going to go to effect down to perspective and drop shadow. Once again, I can open that up and change the settings in there, or I can just go and do it over here. I'm just going to change the distance a little bit, the angle a bit. The softness of it, and take the capacity down as Smage. Remember, when you're doing this, I'm doing each one of them individually. You can apply things to multiples, but we'll get onto that later. Last one, affect Hops perspective, drop shadow, and just very quickly, I'll adjust the distance. Can't see it there. Let's pull that down a little bit and just go and say, fit up to 200%. Bit of a shadow there, bit of softness on it, change the angle, distance a bit too much and change the pastes a lot softer in there. Let's have a look. So they'll come in now with a little shadows underneath. Try that out putting in your first effect. 33. Change Properties on Keyframes: What's going to happen if you need to move things around because they're not right? So let's say, for example, that as these come in, I think, Oh, my goodness, You know what? Maybe I should have got that one to go across to there and this one to the middle of that and that one out there because I haven't got enough room for my text. Well, it's fairly easy to do that. Let's start off with this one up here. What I need to do is to press P so I can see my key frames, and I need to make sure that I go to my key frames that I want to work on. It's going to be this end keyframe here that's going to have to move across. I'm going to press the keyboard shortcut to get exactly onto that key frame there. And the keyboard shortcut is J and K. J will jump you backwards and K jumps you forwards. Easy shortcut, remember, because if you think of jump keyframe, J, K. So that's a nice way of doing it. Otherwise, you can use the little arrows here to jump to the keyframe. Don't just move the playback head onto the right position because sometimes when you do that, you think it looks right, but it's not and actually, you end up making another key frame almost on top of the last one. So do use either shortcuts or the little buttons there to get to the right place. Now that I'm on that key frame, I can start to move this across. I'm going to hold down the shift key as I'm moving it to make sure that I'm just moving very quickly to where I wanted to go. I wanted to be I think just over there. Let me do the next one. So I'm going to lock this one down, so I can't touch it, go on to my next one. Once again, I'm going to press P to go in. I'm going to use the little arrows or J and K, and then I can either click and drag to move this across, or I can go to my position over here and I can move it into the right position. Over there. I think that's a little bit better. And my last one, so I'll lock that one down. Close it down. My last one over here, I'm going to go in same again, press P. Use K to jump to the last key frame over there, and position wise, just move it in a little bit. Like so. I think that's better. I've got a bit more space for those. Now, I'll close that down as well and also just lock it so I can't change it now. Have a bit of a go and maybe move something around, doesn't have to be those, but have a try with moving something using your J and K to jump to that key frame and then change the properties. 34. Add the Text: Let's bring in some text. So it's going to be very similar to how we did the little bars, although we're not going to animate the text in. If you want to do that, you are more than welcome to, though. I'm just going to fade mine up. So let me start off with the first bit of text. I'll use the text tool. I'm going to go over here. I'm going to click once and put in my text. So this is going to say conservation. And I'm going to select the bit of text, and then on the right hand side here, I can then go and choose the type face I want to use. I'm just going to go with something boldish, but not too too delicate. Let's have a little look at what we can do here. I think something simple, maybe in the aerial or helvetica line. So I'm going to go with a very simple helvetica black. I'm going to change the size over here by dragging that up. And I can then move it around by going into the options or the property options in here in to transform, and I'll just change the position and get into the right place over there. Now, what about the color of the text? Well, I'm going to select that, and then going to change the color. Here's the color in with the text options, and I'm just going to pick a color. Let's have a look and see if that if one of those blues will work quite well for that. I think that works really well. Now that I've done that one, I'm going to copy not the text, but the layer and paste it in it twice. So if we go to our Move tool, we can have one down here, and we can have another one whoops, didn't mean to do that, another one over there. This one, if I selected, is going to say C, and this one over here is going to say under the And I'll just use my arrow tool to move them into the right position. 35. Fade in the Text: Now, for a slightly more cinematic look to my text. In the text options, I'm going to go down here. This is tracking. And if I drag the tracking over, you'll see it will move those characters further apart. Just do something like that. So I'm going to go with 150 on that one. Let's select the next one. And once again, I'll put in 150. Ish on that. The last one over here, click a few times to select it. I'm still on the Text tool, by the way, and over here, let's make that 150. In there. Might be a bit too much, but we can always change it later on. Then I'll go back to my arrow tool up the top. Now, I want these to fade in. So this is going to come in when that appears. When this top bar appears here, I want this to be fading in. So let me move my playback head up to there. That's when it's going to end. I want the text to start about there. I'm just pulling it out so you won't actually see the text up until that point. And then for the next one, when the second bar gets to its right position. I'm going to move that bit of that bar up to there. These not quite in the right order. You've got under the C conservation. And then the last one, when that bar gets to where it should go, I'm going to move it up to there. So now all it'll happen is they'll come in. Like so. But we wanted to be a little bit more gentle, so we're going to animate them. I'll start with conservation. I'm going to press the now remember for pacity. It's not O, it's t for transparency. I'm going to say, I want this to be at 100% just in there. I'll click on the little stopwatch. Then I'm going to move back to the beginning. And over there, that's where I want to be zero. So that will just fade in quite quickly, rather than just a straight jump in. If you want to move them further apart because you want a bit more of a fade, that's absolutely fine. Pull them apart like that. I'm going to go to this under the. Once again, press P. I press t on that for pacity. Move in a little bit where I want to be 100% key frame it, move back to the beginning and create another key frame by taking the pacity down to zero. Let's do this last one. Over here, click on the C. Click T. Click your stopwatch, to put in a key frame, go back again to the beginning and take that down to zero. Let's see how that animates now. We get quite nice and gentle. If you need to move them around, speed them up, just move them close together or further apart. Try it out. 36. Animate in the Logo: I want to go back to the project Bin. You can see the effect controllers are there. So if I click the word project, I'm back to my bend here. I'm going to bring in a little logo to put in there. Now, I've added this logo into the assets for this course. If you want to find any logo with a transparent background, that's entirely up to you, but if you want to use the turtle that I've put in, it's part of the assets in the course. I'm going to go along and find it. So I've left mine in a folder here. It's called Turtle Logo Gordon Johnson Pixa Bay, because I got it from Pia Bay, but I made the background white. I'm just going to drag it in. Now, you can see it really is very, very big. So I'm going to press the Remember to scale something, you press S, and I'm just going to scale the whole thing down. I'm not putting any key frames in there at all. I just want to scale it around and place it over here into the right sort of position where I wanted to end up. Now, I think what I'd like to do is after about 6 seconds, once they've read the conservation under the S little bit, I want my logo to appear, and I'm going to go and key frame it over there. But of course, I'm going to drag the beginning bit, so it doesn't appear until then. Before that, move back a bit. Go to my scaling and see if I can scale this up to make it really big. So what's going to happen is it's very quickly just going to come in like that into the one position. But of course, I'd like to at the same time, change the capacity. So I'm going to press T. I'm going to make sure that the capacity is going to be correct when it's here. And I'm going to keyframe that, and then I'm going to move back a little bit, and I'm going to take the capacity down to zero. Let's have a look and see how that actually works. So they get used to looking at the video, the text comes in, and then wish my logo comes in after that. Have a bit of a go. Use this logo or any other logo that you like, make sure it's on a transparent background, and have a play with pacity and scaling. 37. Fade In & Out with Solid: I'm going to close down these by clicking on the little arrows. And if you wish, you can lock them as well. Now, once people have seen that, they've read it. I'd like to then fade the whole thing out very quickly, and I want to fade to white. What I'm going to do is I'm going to go to the layer at the top, the layer menu, new, and I'm going to put a solid in. And we can call it anything we like. I'm going to call it solid. It's going to be white in there, pick your color that you want. And click. Now, that's over the whole thing. So what I want to do is right up to this eight second mark, I want everything to be visible. So I'm just going to press on T and take the pacity right down. And I'm going to keyframe that as well. H Let's make sure that is on zero. Then I'll move over here, and I'm going to increase the pacity back up to 100%. What'll happen is it will just fade that white solid in, which gives the impression of everything fading out. Now that's faded out. I'm going to go along to this little work area. It's called the time ruler, and I'm going to drag it. You can see it says work area when I went over it. Drag it to the end. That's where I wanted to finish. Let's have a look at that. Move along fades out and it stops and it'll start again. If you want to fade in from the beginning as well, you could do that using the same white solid. I can say over here, I want to be zero, and I'll put in a key frame by clicking on that little button there or just resetting zero, and I'm going to say over to. No. Let's move that in a little bit. Right at the beginning, I want to be 100%. And a got that the wrong way round. So the first one is 100%, the second keyframe is zero. So it'll start out 100% and then go down to zero, fades everything in. All our animation happens, and then we fade out at the end. I'm going to fade this in a lot faster by moving those keyframes closer together. So we get a very quick fade in. The whole thing happens. And then we fade out at the end. Don't forget, as you're going along, keep saving your project. Have a go and put in a white solid. If you want to use black or any other color, it's absolutely entirely up to you, and then use the capacity to animate it in and or out. 38. Render for Social Media: Now, let's render this out. I'm going to go to file, and I'm going to go down to export, and I'm going to say, add to Adobe Media encode Q. And then it should add to media encoder. And if we go over to medi encode, it usually pops up by itself. We want to make sure that we're rendering it out to the right preset. So don't forget, on the left hand side, we've got the presets. I'm going to go down to the social media presets in here, and I can pick one of these presets whatever works for me. Now, I'm going to be using the YouTube one. Over there. So I'm using YouTube ten ATP Full HD, I'll drag and drop it on top of that. To be honest, it was there already. The output file, I'm going to click on this output file here and give it a name. I'll call this Jelly conserve. S. I'm going to put it onto my desktop so we can have a look at it in M M. Click on save, and then click the green button and it will get on and render it. You can see it's rendering here, and it should just render the area which had the little top bar that I dragged over to the left. That's done. Let's have a look at it now. So here it is, if I double click on their play that, all those come in, the logo comes in, and then we fade out to white. 39. Effects, Green Screen & Adjustment Layers Intro: This section is all about adjustment layers. Now, if you come from a photoshop, you'll understand what adjustment layers are. And if you don't, it doesn't matter, I'm going to explain them anyway. We're also going to be looking at effects and effects in after effects. It's a bit of a tongue tongue twister one again. But the effects in after effects don't just include things like green screens or blurring. It also includes color correction as well. Now, let's get started with this, but don't miss out on the project because in the project, we're then going to add in a green screen effect to cut somebody out. We've got a great project coming up. I'll tell you about that shortly. 40. Sequence Clips Easily: I'm going to get some videos. Now, I won't bore you with the whole going through Adobe stock process. So I've downloaded some, and they're all about coffee. But you can choose any subject that you like. I'm just going to go and find them here. I've got quite a few of them that I'm going to bring in, and I've got five of them. I'll just click open and bring them in like that. Now, some of them are a lot longer and some are shorter. For example, if I go to this one here, if I double click on that so that we can play it in here, you can see this is quite a lot of round and round and round with the coffee grinding machine. So we're roasting not that good to know about those machines. Anyway, what I want to do is, I just want to take one little bit where the machine goes round once. Say, for example, from there through to about there. Now, I'm going to go up to where I want to start. I'm going to put an endpoint there. There's a little like a bracket over here. I'll click on that and it takes it from there. That's my endpoint over there. Now it still plays the rest. I'm going to go over here and go around once over there. And that's going to be my outpoint. So I'll click on this little black bracket here. And that's now my outpoint. So I've edited that one down to where I want it to be. Let me have a look at some of the others. So once again, double click on this one, go through it, decide which bid I want. I really just want to show the final design on the top there. So I'll put in an point there and an outpoint over there. You can change these later. This is not set in stone. A few more to do. Once again, up here to the going from closed to open. So once again, click on there to open. Let's do this one. Well, I could take anything here, but I'm just going to take a section from the middle few seconds. And lastly, this one in here, which is people enjoying their coffee. I'm going to take just 2 seconds of this, so I think I'll put my playback head on the four second mark, put an point in there, six second mark, and an outpoint over there. Now I'm going to make a new composition, rather than going to the composition menu along the top, I'm just going to click the composition button down here, it's one, two, three in from the left. And it does exactly the same thing. It opens up my composition settings window. I'm going to call this coffee. And as far as size goes, I think I'd like this to be social media portrait. So it's going to be long and narrow. And I will give this rather than 15 seconds. Let's give it a few more seconds. We'll make that 25 seconds. Click Okay. Now I want to bring these in. You can see if I bring in the first one. It's just brought in this little area over here. If I play that, it's just those few seconds in there that I really want. So by going through your videos up in the bin, you can just choose the areas that you want separately. Now, this could take a while for me to put that one in and then bring in another one and try and get them exact and then have a look and see if they're working together. So there's a lovely shortcut way of doing this. Firstly, I'm going to bring all of these videos in as one. So I'm going to click on one, shift click on the last one and move them all in at the same time. Now what I'd like to do is I'd like to space them out one after the other. And I'm going to do that by just selecting them all. I'm going to go up to the animation window, animation menu Suri and the keyframe assistant, and I'm going to choose the sequence layers option. And then all I have to do is click and you can see it'll sequence them in order, starting at the top and working my way down like so. I'm going to undo that. Command E or control ZE to undo that. Because what I'd like to do is to change the size first of all before I go any further. So I'm going to click on S. They're all selected, click on S, and I'm just going to scale them up so they fill the screen like that. Now, they should all be the right size. If I select them all again, press S, it hides all those scaling options. I'd like to now put these in in the right order. The problem is, I don't know what is what here. So I'm going to start from the very bottom over here by hiding all the others and just work my way through. So that's the couple talking. I think I'm going to move them across a bit, so we just actually get her chatting with her coffee in hand. This one is the barista. Let's have the next one over there is the open. I think this really should come right at the beginning. So this is going to be my first one. I will just move that to the top so I know that it's there. This one here is the second one where they're pouring it. I think this one should be second. You can do any order that you like, but I'm just trying to get mine in the right order. By the way, you don't have to put them in the order here as long as you select them in the right order, this technique will work. So the next one over here is that one. I think I've double clicked and opened it up by mistake. There we go, we've, let's see, first of all, we've got it opens. Then we have the coffee grinding going on. We then have pouring a cup of coffee. Oh, actually, she's taking an order, so she's probably the second one in there. Coffee grinding, pour in the coffee, enjoy the coffee, and I'll just switch off this little sound because we haven't got any sound on this. So I can select all of these, so click on one, hold down the Shift key, and select the rest of them. I'm going to go to animation, keyframe assistant, and sequence layers. We'll click okay. So these are now sequenced correctly. So if I play this, well, nothing's happening because we're not seeing them, let's try that again. So we've got the first one coming in there. Coffee opens, take an order. The coffee gets ground. That's probably a little bit too long. Then we've got the pouring of the coffee and finally the enjoyment. I'm going to undo that. Once again, controls D on a PC, commands on a MAC to undo what we've done there. This one over here, which is the grinding, I'm going to shorten that up quite a lot because it's a little bit to too long. Let's try that again. I'm going to click on the top one, hold down the shift key and click on the bottom one, and then I'm going to go to animation keyframe assistant sequence layers. But this time I'm going to switch on overlap. This is the duration of the overlap, and it's in hours, minutes, seconds, and frames. I want it to be a very fast overlap, so not even a second long. I just want to be about half a second, so roughly 15 frames. And the transision, which has switched off at the moment, I'm going to say dissolve the front layer, so it will slowly fade out the top layer. Let's click and see how that works. Once again, we play it. We had a quick dissolve into that one. Another dissolve. Over there, and finally, onto the last one. 41. Blur & Keyframe: What I'd like to do right at the very beginning is to have this piece of video being blurry, and it's going to go into focus very quickly, so it'll be blurry and then it'll come into focus over there where it says open. I'm going to click on this layer, and I'm going to go up to the effects. Now, if we go down to Blur and sharp and there's a lot of different blur types that we have in here. I'm just going to go along and I'm going to pick a fast blur over here. If I go to the top, you can see, we've got a blur radius, we've got iterations. Basically, if I change the settings on there, I can see what I'm going to get on that layer. Now, if I don't want that, I can do a number of things. First of all, because it's been applied to this layer here, it comes in as an effect, so I can just press either delete or the backspace button to remove that effect from the layer. Let's try that again. I'm going to go to effect, blur and sharpen, and let's get another blow in here as well. I'll choose a smart blow. Same again, we've got different settings in here, and I can just experiment with those settings. Let's just take down that radius. I'm not really getting as much as I want. Once again, either undo it, click on effect, and delete it. Let's do one last one, and I'll keep this one, so I'm going to go to effect down to Blur and Sharpen. I'm going to use a blow that, those of you who are used to photoshop will recognize this. It's called the Gaussian blow. And the Gaussian blow once again has got a setting in there, so I can choose to blow that more or less. Incidentally, unlike the gaussian blow in photoshop, this has got either a horizontal blow or a vertical blow. I could go with a horizontal blow or let's use a vertical one over there, and you'll see how that's going to blow things vertically. I'm going to choose both, so we'll just get a really nice blurred effect in there. Now, it's come in as a little effect down here. Let's click on the little arrow next to the word effect. There it is. There's my gaussian blur in there. I'm going to click on the little arrow again and we get to the same settings we've got up here. But the difference is, you'll notice with these little settings here, we've also got the ability to key frame them. The blurriness, I could say, well, I want to start it ready blurry, I'll put in a key frame by clicking on the stopwatch there. Then I'll say, by the time this gets to about there, I want to come into focus. I'm going to change the blur in a setting and just take that all the way down back to one again, back to zero again in there. This will now play. It'll go from blur through to sharpen in there. Let's do the same thing, but the other way round. So we'll say, right at the very end over here, I'm going to blur this out. By the way, I'm going to get myself a little bit more space. In there, I'm going to pull this over. I'm actually increasing the bit of footage in there. I'm going to say, well, she's chatting there. This point, I want it still to be sharp. I'm going to go to effect, go to Blur and sharp and use the same gaussian blur again. I'm going to go to the drop down to the properties, to the effects. In the effects under Guzan Blow. Let's pull this up, so it's easy for you to see over there. I've gone to Gazan Blow, I've opened that up, and the blurriness I will set to zero, so click on Stopwatch there. And then over here, I want to really blow out, so I'm just going to pull this all the way over. You can actually type in a number if you want. In there, I'm just going to go really wild with that blow. So if we play that bit, she'll just blur out completely. Do have a bit of a go with that. Try an effect. I'd suggest one of the blurs to start off with because they're very, very visual, and they don't have too many settings in here. You've really just got the blur in a setting. And then try blurring something in blurring something out, but key framing the blur as well or the blow amount in there. Have a go. 42. Adjust Brightness: Now, my barista looks a little bit on the light side compared to the other bits of video. That's quite dark. It's not very contrasty. She's quite bright and then it goes into the darker coffees and the person enjoying the coffee as well. So I'm going to go to that one. I'm going to go to effect. I'm going down to color correction. And in here, there are so many ways of adjusting lightness, darkness, and color. I'm going to actually go to the top in here, and I'm going to choose to use something like levels. Now, we've got some auto level functions in here. I really want a bit more control over it than that. And you'll see that normal levels are down there. So with my levels, I can then go to this middle slider, I could lighten it up, or I could darken it down a little bit as well. There is so many, as I said, different controls that I could do. I could go to effects. Once again, color correction. Instead of levels if you used to something like curves. You could go in and you could use curves to adjust the contrast, clicking on the points and adjusting them like so. Now, I don't want this curves over here. You'll see that on this layer, in the effects, I've got levels and curves. I'll click on curves and delete that. If I don't want the levels, I'll click on that and delete that. Let me go back in there again. Effect. Once again, down to color correction, and I'm going to choose something really simple this time, just brightness and contrast. If you've never used levels or curves before. Don't worry about that last bit. Just use brightness and contrast, and you can adjust the brightness in there. You can adjust how contrasty it is, so more contrasty or less contrasty. If you have been using photoshop for a while or any other image manipulation software, you might be very a fa with levels and curves, by all means, go forth and use those two. I'm just going to take this brightness down a little bit to try and match her with the rest of the eclipse. 43. Adjustment Layers: Now I'm going to close up all of these little properties to just make that a bit neater and easier to read. What I want to do is I want to make my whole composition black and white or tinted with a certain color. Now, I could go to each of these in turn, go along to my effect down to color. Choose black and white and correct that one, then do the next one, next one, next one. But then of course, if I changed my mind, I'd have to undo them all, or if I wanted to change a setting in there, I'd have to do that five times or six times how many have I got 55 times over. What we can do instead is we can add an adjustment layer and then add our effect to the adjustment layer. Now, those of you who use photoshop, you'll probably know what an adjustment layer is. But for those of you who don't, an adjustment layer is a special layer which can sit above a number of other layers, and if you put an effect onto that adjustment layer, it affects everything below itself. Let me show you how it works. I'm going to go to the layer menu. I'm going to say new, and I'm going to choose adjustment layer from there. Layer, new adjustment layer. Now, this in itself is nothing special. It doesn't make any changes or do anything at all. But with the adjustment layer, if I were to go to my effect, I'm going to go down to color correction, and I'm going to put a black and white effect onto the adjustment layer. You'll see that it's now affecting every single layer below itself. But the effect is actually on the adjustment. If I open it up, if I click on the little arrows to open up, you'll see under effects, there is my black and white in there. In fact, if you want to hide and effect, you click on the little Fx button over there and that way, it allows you to hide it. I'll just switch it on again and it affects all of them. Exactly the same as before with effects. If I go to my effect controls up here, I can certainly control things like make the reds red or lighter or darker, the greens lighter or darker, the same with any of those colors. What I'm going to do is I'm going to go to the tint, and I'm going to click the tint button, and then I'm going to choose a color tint for the whole thing. I want something which is maybe a little bit more brown or CPA in color. Something maybe like that. Click. Of course, because it's on that layer, it will affect everything below itself. Now, what about if I didn't want it to affect the first layer? Well, I can just drag it below that layer. Now the first one will be in color, and everything below that will be in CPA. In fact, I'm going to pull that up so it affects all those layers. Have a go, add an adjustment layer from the sorry, from the layer, new and adjustment layer. By the way, if you like right clicking, you can also right click in this area here, and you can say new and adjustment layer that way as well. And then add your effect to your adjustment layer and it will affect everything below itself. Dr it out. 44. Animate the Adjustment layer: Now, if we go to the transform option on the adjustment layer. You can see there's a lot of things here that you recognize anchor points, positions, scale. And honestly, those probably are not going to do much to this adjustment layer at all. But the one that will is the pacity, because we can adjust the pacity. You can see on an adjustment layer. So what I could do is I could say, well, let's start this off and we can have it as full CPA. So I will key frame that. Remember, you click on the little stopwatch. Then I'm going to say by the time we get to about here, I'd like this to come back to color. I'm going to once again click on the little key frame next to opacity. It's going to be from there to there, we're going to have the CPA. And then from here, over to there, I'm going to get that to come back in color. So you'll see we go CPA CP CPA and then we slowly blend into color, and let's blend back to CPA over here. Once again, I'll just change the opacity in there. Let's see how that works. So we have CPA there. Then we go into color and back to CP again. You can move these around, do it as much as you like. I could start off, for example, by having, and let's just get rid of this one here. I could have 100% CPA there, and then move this to the end. So it'll go slowly from CPA and slowly become color all the way through the whole of that clip or composition, shall I say, until we have full color at the end. It's up to you experiment with that, but use the capacity to knock out your adjustment layer or bring it back. Try it out. K. 45. Render to Portrait: Now, I want to render this out, so I'm going to go along to the work area. I'm going to pull this in, and that's the section that I want to render. I'm going to go to file Export ad to Media encode. There we go. It's just popped in there. I'm going to go to the output file and call it coffee comp, and I'm going to place it onto my desktop or wherever you want to put it where you can find it again. Now, if I were to click the render button, this would actually render incorrectly. You see, it's rendering it as a YouTube video, which means it's 1080 high by 1920 wide. And you can even see well, you could have seen on that preview that the edges were black. Let's have a quick look over here, and if I play it, you'll see, Well, I've got these big black bars down the outside. So how do we get around that? Well, when you do go to Render, I'm going to go to File, Export, add to Media encode. What you can do is under the preset if you click on the preset itself. It opens up the Export settings window. Now, the preset I've got is the YouTube preset. But what I'm going to do is, I'm going to go down a bit here to all these little tabs. You can see we've got effects, video, audio, et cetera. I'm going to go to the video tab, and if you can't see it under the basic video settings, there's a match source button. If I click on that, it will make sure that it matches the after effects version. I'm going to just click, and this is now changed from YouTube to custom. I'm just going to click in the output file and call it coffee comp. And once again, just save it out onto my desktop. Click the render button. Now this is actually gray rather than black, so it should just be rendering that center part. We'll have a look when it's finished. There we go. Double click on that, and it's rendered it correctly. Try that out and don't forget about that little button in there. So when you go to render, it's File, Export, and you need to click the preset and lastly, go down to video basic video settings and Match Source. Have a go. 46. Project: Create a Video Advert - Fairtrade Coffee Intro: In this project for Fair Trade Coffee. As you can see, we're going to do a green screen. So we're going to take the coffee bean, which is on a green screen background, and we're going to mask it. We're going to take the man who's also on a green screen background and mask him. We're going to put them together on the coffee beans or the coffee bean video, and then we're going to take that whole thing, and we're going to put it inside the laptop. Quite a lot of masking in this one. Let's get started. 47. Add Clips & Green Screen: I'm going to make a new composition for this project, and this composition is going to be the usual size. I'm going down to my social media landscape, HD, 1920 by 1080, 25 frames 25 seconds. No frames, 25 seconds in there fine and the background color doesn't really matter, but mine happens to be white. Now I'm going to bring in some pictures in here and I'm going to start off by finding the images. Now, these images do come from Adobe stock, and you can search for them on stock. But I've actually put them into your assets folder so you can download them as part of the course. If you can't find them for any reason, just search for things like coffee bean on Green Screen or man on green screen or laptop. Those are the words that I used to search. Let me bring them all in. And I'll show them to you very quickly. So we've got this person on a green screen here, and he sticks his hand out like that. We have got a coffee bean, which spins around also on a green screen. We've got some coffee beans which spin around. And lastly, we've got somebody who's looking at a computer monitor or a laptop monitor, which is also a green screen. We're not actually going to be using that green screen. I'm going to show you a different technique. But all of the other bits are going to go inside that laptop screen. So let me start off by building the content that's going to go in the laptop screen. So first of all, I'm going to go along and I'm going to get my coffee beans and bring them down there, so they will spin around, and that will be the background in the laptop. The next thing I'm going to do is I'm going to bring in my person and you can see as I go through that, he puts his hand out like that, and he's going to then get the coffee bean to land in his hand. But we've got a very large green background. How do we get rid of the green background? Well, it's an effect. There are different ways of getting rid of green screens, blue screens, and other colors. But a really nice one because it's so easy to use in the effects is to go to keying, and I'm going to go over to something called Kelt 1.2. Y. Now, there are a number of different settings in here, but it's really easy to use because you go to the screen color here. You can see it set to black at the moment. Go along to the eye dropper and just click on the color that you want to get rid of, and it's sample that green and it gets rid of it very quickly. Now, sometimes you might see a little bit of green or color around the edge, you can or in the background. You can actually go to this screen gain, and you can actually increase that to get rid of the color. You can see if I do that from the background like so. I'm going to take it up just a fraction in the So if you like to get that far, make yourself the composition. Put the beans into the background, put him in there. Use Key Light 1.2 and use the eye dropper tool to click on the green. And then if you need to change the screen gain to get rid of any green from there. By the way, if you're doing this with a different video to the one that I'm using and the person's got something like a green shirt, you'll find that will disappear as well. So just what's your colors that you're trying to get rid of. 48. Green Screen & Animate: Now, where has my project gone? Well, the effects controller or controls are in the front. I'm just going to close them down. Don't worry about them. The next time you go to an effect, they'll actually open up again. I'm going to bring in the beam now. I'm going to drag it in. We can either drag it down there or we can just drop it onto the page. I'm going to press S for scaling, and I'm going to scale it down a little bit. To about that size there. The next thing, of course, is to get rid of the background. I'll do the same thing again. I'm going to go along to effect down to keying Keyt 1.2, and I'm going to then use the eye dropper tool. Click on the background to get rid of it, change the screen gain if it needs it. I always like to add just a little bit of screen game over there. Now, I'm going to move it into the right position, so I want to actually end up sitting on his hand like that. So it'll be spinning around in there. But I only want to kind of start spinning on his hand when he puts his hand out, so let's move it up a little bit like that. So over there, it appears on his hand. And basically, it's only going to be 7 seconds long this whole clip. Press the play button and get to play. Now, one of the things when you're testing a video, especially when you've got a lot of things going on, lots of green screens, and when we get to sound, all those things, you might find that your screen or your computer struggles to keep up. This little green line shows what has been rendered. So if I start, if I click on the space bar and this goes along, and let's say, for example, that it just runs out and the green stops. This little preview button will stop at that point as well. Now there are different ways of getting around that. One of those ways is to change the quality. Let me just take mine back to full quality again. Press the space bar, and you can see it's rendering it. It's going very slowly, struggling to do it with those green screens. And it's going to just keep going all the way to the end. By changing this to half third or quarter quality, let's go third quality. It will speed up that rendering. What I'm going to do now is to get that little bean to drop from the sky onto his hand. So I'm going to go to the part where I want the bean to be, which is where his hand is. I'm going to go along and go to position. Remember that's P on that layer, so it shows the position, and I'm going to key frame it. So at that point, I want the bean to be sitting just over there, maybe just about on his hand like so. And then I'm going to go back a bit. Over here. At this point, I want the bean to be up in the sky. I'm going to pull that right up like that. The bean will drop very quickly. Onto his hand. Now, it's a very robotic drop at the moment. It's just going down stopping. So let's select that, and I'm going to go along to animation, the keyframe assistant and use Easy Ease once again. So it will slow down as it hits his hand. I know that's not realistic because things don't slow down when they get your hand, but then again, big magic beans spinning in space are not realistic either. Let's have a look at this. Comes down lands on his hand. Now, as it's coming down, I would like to put some movement on that as well. I'm going to do that by switching on. We did this earlier in the course, the motion blur. I'll click on that little button there, and you can now see how much motion we've got in the direction that the bean is going. Obviously, when it gets to his hand, it stops. Now, usually when things hit something, they don't just stop. They usually bounce up slightly and then come down and maybe bounce a second time in there, and I would like to do that over here. Now, so that I can see what I'm doing, I'm going to go along to this top bar, the zoom bar, I'm going to pull this in a bit so I can zoom right into that area. I'm looking just at this area now, and the bean is going to come down to there, stop there, then I want to go up and stop in the same position. I'm going to keyframe that again. And then go between those two key frames and move it up just a fraction. You'll see when it comes down and comes down and it does a little bounce over there. You can make that bounce as bigger or as small as you like. Let me move over and do another one over here, even smaller still. Same again, I'm going to go to the position. I'm just going to, no, no I'm not going to go to the position. Apologies. I'm going to make another key frame first, go between those two, and then go to the position and pull it up just a little bit like that. So what we're going to have here is it's going to come down hit his hand, bounce up a little bit down, up and down, like so. It's very subtle, but it's the difference between something that looks fairly so so and something that looks really professional. Let's drop that in. Boyne, there we go. Now, I think that's okay for that. But when it's sitting on his hand, well, there should really be some sort of shadow underneath. Now we're going to cheat, and we're going to make a very quick and easy shadow just using the drop shadow. There are slightly better ways to do shadows. We'll get to those later. But for now, I'm going to go to effects. I'm going to go down to perspective, and I'm going to choose drop shadow. I'm going to turn this little button that's facing downwards and change the distance. You can see there's a little drop shadow underneath and I'm going to soften that up so we get a softness over there. Honestly, that is actually right up in the air as well, but you just don't notice it because it's coming down so fast. There's the little shadow in there. Let's play that again. Hand out bean drops into his hand and keeps spinning. Have a bit of a go with that, get that animation going, the beam dropping into the right position, and have a play with these little positional settings, if you make a mess of them, all you do is select them, press delete on the keyboard, and then start again over there and do your animation again. I'm going to just undo that, so don't lose my my animation that I've just done. And don't forget using Kelte 1.2, and you can also, while you're there, go into effects and use perspective and drop shadow. Lastly, these are in the form little, and that's because when I did the animation, I went to keyframe assistant, and I used Easy Es to take off that harsh edge, and I switched on this little button, which gives me that nice motion blow. Have ago tried out, you might need to watch this video second time to get all those bits and pieces going on in your video. Or third or fourth as many times as you need. 49. Color Correct Skin Tone: Now, the man. Well, his face looks a little bit yellow to me. Other people might look at it and go, Oh, he looks fine, but I think he looks a little bit yellow. So what I want to do is I want to use a bit of color correction. So I'm going to make sure I go to his layer, which I think is this one. I'll just switch it on, switch it off. Yeah. That's the correct layer. Don't forget, if you press the enter key, you can just rename it. I'll call that man. This one, I'll press the enter key and call it bean, and we know that that one is the background. So we just call it BG. There. So I'm going to go to the man layer and I'm going to go up to the effect. I'm going down to color correction, and then I'm going to go and find the color balance. So we've got a color balance here. There's also a color balance HSL, which is hue saturation and lightness or hue lightness and saturation. I'm just using the standard color balance in there. Now, over here, this looks kind of quite scary when you first see it because you've got all these different colors. But let's break it down. So there's colors for shadows, the darkest areas, there's colors for mid tones, the medium areas, and there's colors for the lighter areas, which is the highlights over here. And then they come in red, green, and blue. Now, although it's not obvious in here, he is slightly yellow, and yellow is the opposite of blue. If I go to the blue balance in there, you'll see I can either make it blue or I can make him even more yellow in there. I'm going to be very subtle about this. I'm just going to go to the blue and I'm going to add a little bit of blue in there. It's very, very subtle. Now, let me see that with it switched off. If I go down to my effects in here, You can see I've got two effects, the green screen key Light and the color balance. If I click on that little F x, I can switch it off. You can see how he goes yellow, switch it on, and his skin looks normal. His suit still looks a little bit blue though now. So if you wanted to, you could even go down to the shadows because the suit is a dark color. To the shadows over to the blue, and I could either subtract a little bit of blue or add a little bit of blue over there to correct that. You have to watch out for some of these colors because they tend to be similar, just because things are darkish doesn't always make them shadows. But I think I've got that looking okay. Let's switch this off and on. Hardly any difference. In fact, I've probably done a bit too much on his suit. Let's just take that back to zero. I think that will work nicely for me. It's a bit subjective. So do what you think. Anyway, try that out just on the one layer, not an adjustment layer, but have to go and do some color correction on that. 50. New Composition & Render: Now, I'm going to render this out. I'm going to go along to file. I will save it first of all, if I need to come back to it, and then I'm going to go to file, go down to Export, add to Adobe Media encode a Q. That's always a bit of a tongue twister, isn't it? I'm still going to be using the YouTube ten AP, and I will save it somewhere where I can find it again. In my case, I'm just going to put it onto the desktop. I'll call it FT for Fair Trade. Click on Save and render. Now that it's done, I'm back in after effects, and I'm going to do a new composition. Up to composition, new composition here. This composition is going to be my final composition. I'm going to call this Fair trade in a laptop. And I'm going to make it the width that I need it for my final result. Now, this is going to be for a banner for a website. So the banner, they've asked me to do it 2000 by 1,000. So you can type in the sizes that you need. I've just made those figures up to be honest, it whatever people ask of you. Duration 25 seconds is fine, and the background color is fine as well. I'm just going to click Okay. Now I'm going to go back to my project. You can see even though I'm on a new composition, All of my assets are still there. So this asset here with the laptop is still there. I'm going to bring that in to my new composition. Now, it does need to be made a little bit larger, so I'm going to press S and scale it up. Be careful scaling things too far with video, you will start to lose resolution or lose quality, shall I say when the resolution goes too high. That's absolutely fine where it is, and I'm going to lock it in the right position, so I'll click on the little padlock. Now I'm going to double click in my project and go to my desktop and find the FT, the Fair trade movie that I've just made. Pen that and bring that in. So now I can bring this into this project as well. And I want to make this video fit in over there. Now, if I did it the other way around, well, I could make that using the green screen. I could make that go invisible, and then I could put this behind and try and get it in there. But the size would never really fit in very well. I find that if I'm trying to get a clip into an object which is square, which could be a laptop screen, it could be a phone, it could be the side of a bus, to be honest. I tend to use an effect, and it's a distortion effect, and it's cold. If I go down here, corner pin. I love this because you can very easily just grab a corner and pull it out and move it. Now, I can't see what I'm doing, so I'm just going to choose 50% there. So I'm going to go to the corners, grab the corners and pull them in, and you can see how to adjust the perspective correctly as well. So that one there, this one there. I do roughly like that, and then I'll go in closer. Let's go to 100%. And I can then get those into the right position. So this doesn't look so good. The quality looks a little bit iffy, and that's because I'm on third quality in there. If I go to full resolution, you can see how much better that looks, and I could be a little bit more accurate with that as well. So think, we're just about there. Let's move that one to the right position. Let's try that. I'm going to press the space bar and that will play inside there. Now, it does look overly bright for the rest of the scene. If I go along to the FT, this little one here, I'm going to go to effects. I'm going to go down to color correction, and I'm going to use a very simple brightness and contrast. In brightness and contrast, we can take the brightness down a little bit, so it's not quite so bright, and maybe the contrast, I can either increase it or decrease it in there, I might decrease it just a little bit like that. I think that looks a little bit better. Let's have a look. Now, the last thing I want to do really is to just bring in a piece of text in here. I'm going to go up to my text tool, click, put in the text that I want. So my text is going to say something along the lines of fair trade coffee. And I'm going to move it using the Move tool over there. Now, let's have all of those on their own line. We'll make a capital F over there, and over here, you can choose left right or centerline. I'm choosing right Aline for all the lines. I'm going to move it into the right position over there. I think we need one more word in there and that's going to be by. That's better. This is going to start to drop in like that, so the people's attention will be there, and then we want to bring in the text once that's spinning round. I'm going to move my text over. To bring it in, very simply, I'm going to open that up, I'm going to go into transform, and I'm going to use pacity, so it'll just fade in really quickly. In there. If you're wondering about all those weird and wonderful and amazing effects that you get from text where things fly in and they look like butterflies, I'm going to tell what else? I'm going to show you how to do those later in the course I promise. Now, all I need to do is to take the work area and pull it back to where I want this to be, so this is going to go over there. Until that bean, can you see how the bean just disappears from his hand when he looks at it? That's where I wanted to stop. Ready to go. So I'm going to go along to file. Once again, do a save as, then go to export, add to Media Q. And mine has to open up again because I closed it without realizing it. Wait for it to pop over. Size wise. I'm going to click on the YouTube. Remember because this is a different size. You can see the black bars along the top and the bottom. I'm going to say match sauce to get it to the right size, and we'll click k, and then I can put this where I wanted to go finally and click the render button. If I could see it, I think that's it there. So it's a n long piece like that. Right? And it's done. You could, of course, always go back and fade him out and do all sorts of other exciting things with it. It's up to you. Anyway, do have fun with that one. There's so many bits and pieces with green screen that are so easy to do. 51. Exploring Text Intro: One of the things that everybody knows after effects for are the really cool text effects that you can do. Now, we're going to look at doing these manually first, and I'll show you where the settings are. But then we're going to go into the presets. We're going to use some really cool presets to get our texts to do all sort of wild, weird and wonderful things. I think you'll really enjoy this section. Let's start. 52. Basic Typography: I'm going to do a new project, and I'm going to go and do a new composition as well. Now, this composition, I'm going to make sure my background is white. Over there. I'm not too worried about the sizes at all if you're unsure, just choose something along this social media line in there. I'm going to click. We just want a nice blank area that we can look at text with. So I'm going to go along to my type tool. Now, we've looked at this already. I'm going to click on my type tool. If you click and hold, you'll see that there are actually two kinds of type, horizontal type and vertical type. We're going to concentrate mostly on horizontal type. I'm going to go in here and I'm going to click once to put in my little text beam, and I can type in my text in here. Now, my text is typed in. Where on earth, is it? What's it doing? Why is it going over to the left? Well, it's just remembered my last settings. It's actually going that way. I'm going to select it all over there. And in here under the paragraph option, I'm just going to choose my left a line option there. And then there's no fill color, but there is a stroke and the stroke happens to be white, so it's white on white. So I'm going to click on the fill. Choose a color for the fill. Let's just go with a red for now. And I'm going to untick my stroke over there, so we've just got the fill color. Now, there's a few bits that we've already looked at, and I will just go over them very quickly before I take you into some new stuff. First of all, we've got the typeface or the font families over here, and I'm just going to go down and find something there. And you can see that doesn't give me any options, ready. I've just got semi bold italic, whereas a lot of them will have if I go to Avenir. We've got tons of different options for that. I'll just take Avena Black in there. We've then got our sizes in here and you can click on the dropdowns, choose from the sizes, or click and drag. You know that already. If I go over to the right and down, this is our tracking, and this is the distances between the text. In case you're wondering, yes, we can animate that, and yes, we will. So, what is the one above it? Because if I go to that and do this, nothing happens. Well, this is the distances between lines. So if I were to do a return here and put You can see my text is virtually overlapping, and all I have to do is click on there, choose Auto to get it correct. But to me, that looks too far apart, so I can go in there and I can adjust it and just click and drag up and down to adjust the leading between those two lines. Some people call line spacing, Adobe calls it leading, which is a very traditional name for it. Now, this little one on the left hand side underneath the text size. This is kerning. Kerning is like your tracking, but it just does it between individual characters. For example, if I clicked between the A and the F for after effects, I can go into my kerning and I can just drag left and right to adjust the ing on there. Let me click between the F and the x and once again, just drag that until I get what I'm after. Now, there are more options here, this a little more button. And if you click on that, you get tons more options for the text. Some of them are quite useful, some of them not so much. If I go and select those three letters, down here, this is horizontal and vertical scaling, so I can actually scale characters up and down. And you know, once again, this is quite interesting for animation where you can actually animate different parts of your character. You've got vertical, and you've got horizontal over there. Then down here, this is quite a useful one. This is known as baseline shift. You see your text sits on an invisible line over there. And so you can select individual characters or multiple characters, and you can shift them. You can move them up or down like that. Let me go to this over here. And once again, I will shift that like so. Now, I'm not going to go through every one of these options in here. Some of them are more useful than others. I want to just show you the more important ones for now. So let me select those two over there, and I'm just going to take this and move them closer together. So. Do have a bit of a play with the ones I've shown you in there, and then we'll have a look at some more options shortly. 53. Text Flow in a Frame: S. This bit of text that I've got in here, I've typed in by typing and doing a return and typing and doing a return. If I go to the corner and grab the corner and pull it in, you can see I can change the text. Well, I can change the text box with the text in it as well. But there's another way of putting your text in. If you go to the text tool and you click and you drag a frame, now put in your text, you'll see that as I'm typing, it just automatically pops it onto the next line. Now, what happens if I go and I'm still on the text too by the way, to these little corners and drag them? Well, what it'll do is it'll just get the text to jump onto the next line. It just reformats the text in there. So two ways of doing your text. One is that you can do it by just clicking and putting your text in. The second way is to click and drag a box. And if you do that, you can then just rewrap the text inside that box shape. Try that second version out. 54. Paragraph Options: S. I've got some of this text over here, and I want to have a look at the paragraphs. I go to the paragraphs and we see these options in here, left, center, right alignment, or all lines justified. Now, that looks really awful with the big gaps between it. I'm just going to go back to left aligned. If I click the more button, we've got more options. Here, for example, I can indent the text from the left hand side. I can also go down and I can indent it from the right hand side if I wanted. Now, what I'd like to do is I'd like to have a paragraph here, so I'm going to click before the end, do a return, so I've got two paragraphs, this one up to I love it, and after that, nothing at all beats. You can see now if I go over to the right hand side, this allows me to adjust the space between my paragraphs. You can either do it before paragraph or after a paragraph in there. This is quite useful if you've got a heading and you only want to affect things below or above the heading. 55. Animate Tracking: I'm going to put in a little word, and I'm going to use the text where you just click once and pop it in. So point text here, and I'm just going to put in Wow like that. Now, let's go down and have a look at the options in the timeline. Because if I click in here to the dropdown, you'll see there are options for transform that we've been looking at so far. But there's also options for text. If I click on the text options, we've got, Well, there's a source text option. There are path options here, and there's more options in there. Let's have a look around and see what's in here. If I click on Path options, this allows me to choose a path to get my text to go on. Once again, we will be doing something along that line later and we'll animate text along a path. If I go to more options, I've got Anchor Point grouping, grouping alignment, fill and stroke, and intercharacter blending. Now, that doesn't seem like enough options when you've got so many options over here. So where do they hide them? Well, they're all in this little area over here. If I click on that little arrow where it says Animate, you can see we've got so many more things that we can then animate. I can go to the fill color and I can change things like the RGB and the hue and the brightness. I can go to the stroke and change the same again. The width on the outside of the text, I can change. I can change the tracking in here and we're going to do that in a moment. So there's a lot of things which are hidden inside this little animator. Now, I would like to change the tracking on the text. I'm going to go to animate. I'm going to go along to tracking, and you see what it does is it adds this little animator one in there. We have these animators which can contain different properties in them. Now, I'm going to go along to this animator. I'm going to go down to my tracking amount, and you can see if I change that, I can just adjust the tracking amount over there. So, let me animate this little bit of text. I would like the text to start off right out like that, and then I want to kind of come in and eventually end up looking as it should. So I'll start off normally by just putting in the final resting place. So if I move my my text, my playback head along to, let's say 4 seconds, this is going to be quite slow. And I will keyframe that, and that's going to be zero. Incidentally, if you have problems just dragging left and right, just click and type in zero in there. And then I'm going to go back to the beginning and the beginning, I want my tracking to be right out over there. What will happen now is that those characters will just track back to there. But of course, I want them to come back in like that and maybe go over themselves a little bit before they land up where they should. So I'll go back a bit, and I think with this bit of tracking, I'm going to move them onto each other and they'll move along a little bit and make them a bit bigger until they finally rest over there. Let's have a look at that. So they come in, go onto each other out and down. Now, I want to make this a little bit faster, so I'm going to pull that in. And then so you can see my timeline a bit better. I'm going to go to the top, and I'm going to zoom into that bit of the timeline there. So let's have a look at this once again. So they come in, bounce in, and stop. Of course, like everything, that's very robotic, so let's select them, and I'm going to go up to animation, you guessed it, keyframe assistant, Easy Es. L et's have a look at this now. Comes in and we get some nice bounce on that. You could actually go in there and do a little bit more, so I could go in there and maybe change it and get it to sort out a little bit then and in a little bit. Play until you get the thing that you want. Have a go with that, and just get some text to animate and you use the animator here. You go to tracking. It makes something called an animator, which is inside text, so you've got to open up text. You get an animator in there, open up the animator and you'll find your tracking options down in there, and then just animate it with the key frames like usual. Try it out. 56. Animate Line Spacing: I'd like a few more lines in my text. I'm going to make sure that I put the key frame or the playback head, shall I say, at the very last keyframe there where my text looks as I wanted to end up. I'm going to go up to my type tool over here and just click on my text somewhere. Now, my little cursor or the ie beam is sitting between the O and the W. I'm going to use the arrow on the keyboard, the right hand arrow to just move it to the end. And I'm going to do some more text in here. So I'm going to put in a return, and I'm going to say it is Col. Exclamation mark. Now, those three lines of text, because they're part of the same text, will animate with the tracking altogether as well. But I'd also like to change the distances between the lines of text. So down here, in my animator, I'm going to go to the add option, so that's animator one, go over to add, and we're going to add another property. And that property is going to be line spacing, the distances between the lines. And you can see I've now got line spacing there, and over here, I've got two different values. I'm going to go to the right hand value, and this will allow me to change the distances between those lines like that. You can play with the one on the left as well, and you'll find that you can actually move the lines left and right as well. But I'm just going to reset that one back to zero where it was. Now, I've got the line spacing exactly where I want it to end up, and I'm going to put a keyframe there. Remember we're right at the end over here, so I'm going to key frame it, so that's how I want my text to end up. Let's go back to the beginning and then with the line spacing, I'm going to go and then change the line spacing to move my text down. The text is going to fly in from the bottom, as well as the left and the right side over there. Of course, we can make this a little bit more interesting, and I can go in there and adjust this so we can get it to maybe come in a little bit quicker and then bounce up again. And then in further again. And then maybe it out over there. In fact, you could go over the top and say, right over here, I'm actually going to get it to bounce all the way up to the top. What'll happen now is the text will come in and go bounce and around. I think I'm going to take out that key frame up there because it looks a bit strange, so I'm going to select the key frame and press delete. Check that out. I it comes bounces into position. Now, I'm going to select all these keyframes over here. Go up to you've guessed it, animation, keyframe assistant, and Easy Ease. One last time, let's have a look and they all come in and bounce to position. The last thing to do really is to make this a bit bigger, and rather than actually changing the font size, I'm just going to go to transform and scale the whole thing up. And I think that's pretty much about it. I'll move it into the final position over there. And let's have a look. Have a bit of a go with that. Try it out, have a play, see what you can make. 57. Work With Range: Let's go and add in some more text. I'm going to put in a few words in here. I'm going to say this is range. And what I'd like to do is to go down here and under the text, I'm going to add another animate. So I'm going to get to animate. I'm going to add an animator, and of course, I'm going to use the same one that we've just done because you know about tracking now. And as you can see, we've got a range selector, and then we've got the tracking over here. So tracking amount. Now, we've already done this, and you'll see if I were to actually change the tracking, it changes all of those words exactly the same. Let's pull this out. If I go to the range selector and click on the little drop down and go to Start. You can see what I can do is I can actually get it to not affect certain words. If I went up to, I don't know about 50%, you can see the first 50% of those are not being affected. When I go back to the tracking amount, it's only tracking those end words in there. Let me take this back to zero again. If I wanted to do it the other ways, I wanted this is to animate, but range not to. What I can do is I can go to the end and I can change that. Let's pull that in a little bit until the word range is not being tracked, and then I can just track those ones there. So let's say I wanted to end over there. So I will keyframe the tracking amount, and I want to start out here off the page. When this plays now, it'll just come in and the word range won't be tracked. Have a go with that by just going to the range selector and then changing either the start or the end. If you want to say, for example, the middle to animate not the beginning and the end, you can actually do both of them at the same time. You'll see over here, I can do this. So only is will actually animate. Try it out. It's a little bit confusing, and I would suggest just using one or the other to get started with. 58. Presets to Animate Text: Let's have a look at the things that you've been waiting for, and that is the wild effects for texts that you see all over the place. Now, I've got some text in here. I've just put in the word wild text, and I want to find my effects and presets. Now, I can actually see it over here. If you go to the window menu, you'll find it is in there, or if your workspace is all over the place, you can just reset your default workspace, and it will be right there. Now, I'm going to click on the top section, the tab. What we're going to do is we're going to go down and we're going to find the animation presets. That's this one over here at the top. Click the drop down button on there, and I'm going to go down and I'm going to find the text presets. I click over there, and then I've got even more options in here. You can see how many of them there are, and I'm going to go down to animate in. I want my text to animate in with a wild and interesting preset. So I'm going to click on the Dropdown, and these are all the different animate in presets. You can see how many we've got. Now, how do we actually use these and what do they do? Well, let's have a little look down here. Now, there's a few ways that you can actually see what they do. The first thing I'm going to do is I'm going to go along and just look at it by name. So I'm going to say, Oh, I want what that central center spiral in is like. Now, before I put it in over here, I'm going to move my cursor right to the beginning because when you drag in the preset, it starts it where your cursor is. My cursor playback head, shall I say not cursor? My playb head is. I'm going to drag it and drop it on the layer. And now let's play this. So I'll just press the play button. And there we go. My text comes in. All those things have been added to it. Now I want to try another one. I'm not going to drag a second one in because otherwise, I won't really know what's happening because one will mess up the other one. So I'm going to use either command Z on a MAC or Control Z on a PC to undo that. Let's try another one. I'm going to say fade up lines. Once again, drag that in over there, and it starts at the beginning. And just fades in. Well, that wasn't too exciting, was it? No, I'm going to undo that. So I'm going to move my playback head up to 4 seconds. I'm going to try different one. And this time I'm going to say fade up words. So I'm going to drag that in, drop it in there. And if I now go back to the beginning, click the play button, and the two words fade up, and it comes in at the 4 seconds where I put my playback head. Now, that's okay. We could just go through and drag and drop them in, but that's quite a long and long winded process really. So there is another way of doing this. I'm going to go to where it says effects and presets. I'm going to click on the drop down menu, and I'm going to say browse presets. Now, if you don't have Adobe bridge on your machine, you might need to download that. If you go to the Adobe CC app, you'll be able to get that one. It's part of the whole set. And then it's going to take me into Bridge and take me along to the folders for the presets. You can see I'm actually, if you look along here, in the Applications folder in the Dovi After Effects 2024, and I'm in the presets folder over there. And these are all the different presets. So once again, I'm going to go down to text, double click text. We were looking at the animate in presets, so let's double click that. And I can actually see them all in here. Now, not only can you see them in here. If you click on them, you can then play them to see how they work. L et's try another one, stretch. And let's have another one over here with a bit of maybe some blur on it or something. That one's quite interesting. Decode in by random characters. So if that's the one I like, I can then just go back here again and it was decode in by random characters. I can just not double click that. Let's undo that for a second, and just drag it and drop it in and try that out now. Have a bit of a go with that. Have a look at the presets and see what you've got in there. Go to bridge and check them out in bridge as well so you can see the type of things that you're getting, and then just go back and drag some in. But really important, once you've tried it out, undo it. So it gets rid of that preset. Otherwise, you'll have two or three or four presets working together and you won't know what is doing what. As I said, some of them might interfere with the others. Try it out. S. 59. Use Multiple Presets: Let's have a look at some other presets. I've just removed the ones that were there, or if you want to, you could delete the whole lay and put in some more text. It's up to you. I'm going to go over here. We've got animate in, and then we've got animate out. And once again, animate out is very similar. It's just doing the other way. I'm going to use fade out slowly, drag it and drop it where my cursor is. So that's the point that my text will then animate out. So right at the beginning, over here, I'm just going to go and find my presets once again because I'm actually I've clicked on my text that was showing me the text options. So I'll just you can see if I click on there, I'm seeing the text options. If I click off of it, then I can see my effects and presets. I'm going to go into animate in, and I'll say decode or fade in and drop that in where the cursor is. So now, We have a decode to fade in. Then my text will be on screen for a little while. Then just after 8 seconds in my case, it's going to fade out. So you can put in multiple effects or presets, but just make sure that they're not one on top of the other, so you could have a fade in there and a fade out over there. Have but go with that with two different presets on the same layer in different positions, and use, as I said, the Fade in fade out. Don't forget if you click off of that layer, that's where you can see your effects and presets. 60. Organic Animation Presets: Those are the animate in animate out presets. Let's have a look at some others. We've got things like blurs in here. There are certain things for fill and stroke, mechanical presets. I'm going to go to one of my favorites, which are these organic presets. So I'm going to click on the drop down in here. Let's just zoom up a little bit. Now, once again, I want to see what these things do, so I'll go into bridge. I'm just going to go back to the text folders, and I'm going to go and find organic. And you can see we've got all these weird and wonderful animations. So this is horsefly over there, which is really interesting. Let's have a look at boiling. Let's try boiling. Over there. I could spend ages just looking at these ones. Look at this rubber one over here. It is such fun. Anyway, I'm going to pop on one of those, so I'll probably use rubber because it looked quite interesting, and I'm going to go to the four second mark over there, and I'm going to put rubber in there. I'll come in at that particular time. Now, once again, I could then just move my playback head back and have a look at that. Try it out. Oh. 61. What the Preset is Doing: So what exciting magic are these presets putting onto our text? Well, let's have a look at one of them. And I'm going to go into my text presets. I'm going down to tracking. There's a whole lot of presets all about tracking. We looked at that doing it manually, and I'm going to go along to this contract preset and just drag that in onto my layer. Now, let's see what it's done. So over here in text, it's put in an animator. Remember we did that before by going to animate and, we added an animator. This animator has got the tracking animator on it, once again, that's thing that we did. Then in here, we've actually got, if I just click on that range selector, some key frames over there. These key frames just happened to be the offset keyframe that they used. We had to look at the start and the end keyframe. So they started one and they finish at the other one. So I could quite happily go in here, and I could move these two key frames around to make that a lot slower. If we play that now, you'll see that it'll come in a whole lot slower like that. So all of these presets here are things that you could actually build yourself using the animators and different properties. I'm going to undo that. And just do another one over here. I'm going to say decrease tracking. This is a very simple one. Pop it in there. Let's have a look at the animator. The animator has just got the tracking amount which is going from in this case, 40 down to zero in there. That's the sort thing that we did before. And you can see the little xs on there. That means that we've actually got under the animation. Key frame system. We've got an easy Es on there because your key frames turn into those little xs. Let's go with something a lot more complex, just so that I can show you what's going on in there. I'm going to undo those again. Let's go over to something like the organics. I'm going to choose this horse fly in and let's have a look at that. Now, you can see there's quite a lot going on in here under the text. We've got this animator scale, we've got the animator for opacity. As we do that, you'll see that the characters are just flying in like that. Let's break it down just a little bit. If I go to this animator for rapacity, click in there and once again, we click the selector again, and you can see at the start, we've got a key frame over there at I think it'll be at zero, and if we move it along, it's up to 100%. It's just changing the capacity from zero up to 100%. In there. What's changing the selector, shall I say for the capacity, which is down there. There's another animator on there as well, doing something slightly different, and we've got a lot of different types of key frames going on in here as well from rotation, scale, position. All of those are getting that final effect. So really, what's happening here is you're just saving so much time by using these little presets rather than having to animate this yourself. We'll be having a look later on at how you can actually adjust this a little bit more and maybe slow them down or speed them up. But for now, just drag in some of these and have a look and see what they've used in for the preset, in the timeline. 62. Adjust Keyframes Proportionally: Let's do a simple animation, which we're going to do ourselves rather than using the presets for the moment. I want my text to start over here and I want to go up and down and up and down, and then I want to change the speed of that animation. So remember, with our text, I can also use transform, so I'm going to go to transform, and I'm going to keyframe the position. So I'm going to go right back to the beginning. Keyframe position. I'm going to move along to 1 second, and I'm going to move it up to there. I'm going to go long to 2 seconds, move it down, 3 seconds. Further up. You can see where I'm going with this, another one down there, 5 seconds, up a little bit, 6 seconds down the bottom, and let's have another little bounce over here. And sort of settles down the bottom there. So I'm going to play this now, and the problem is that it's going to be very, very slow. So this is not so much of a bounce as a slow up and down and up and down. It's also very robotic. Now, you already know how to fix the roboticnss. You select those, and we go along to animation, keyframe assistant, and of course, Easy Es. And that will sort out that roboticns, which is fine. But I really want to move these closer together. Now, one of the things I could do is I could actually manually start to move them in like this, and this will speed it up, so you'll see the beginning will be a bit faster now, and then we go slow again. I'm just going to undo that. It would be nice if I could actually select all of those and move them all closer together at the same time. If you do select them all and grab the end one, well, it just moves them all at the same distance away. So the trick here is to select them all, hold down the ult if you're on a PC or the option key on a Mac, and then you can drag them relative to each other to move them closer together. So now when I play this, I'll have a much faster animation with a little bounce in there. I can select just some of them and exactly the same, hold down the ult or the option key and pull those out relative to each other. So the last bit will just be a very slow bounce. Looks a bit silly, but you get the idea. Now that you understand how that works, let's put it into context of adjusting some of these presets. I'm going to get rid of the animation that I've got here, and you can actually just go along and reset everything. So I'll just switch off the key frame that removes the key frames and just press reset to get things back to the starting point. In fact, it's not quite the starting point. It's put the registration point at the middle of the page, and of course, that's bottom left on my text. So I'm going to manually move it around to the middle. Now, let's go and find one of these again. I'm going to drag the horse fly in and pop it in there, and let's play that. So you can see what happens, so those things spin in very, very fast into the right position. But we're going to open that up and have a look at the key frames now. So you can see that there are some key frames in the text. I'll open that up. And down here in the two animators, we've got some key frames as well. So I'm going to go and open up first of all this animator here. And I can still see that there's some key frames. Some of them you can actually see the keyframes, some of them, you can only see little dots, and that means that you still have to open up again to get into those key frames. Once again, there's another animator here, and I'm going to open up that keyframe as well. So now I can see all of the keyframes in my animation. There is a special type of key frame in here. And if we zoom in to this, you'll see that this particular keyframe has got a keyframe there and a lot of little dots between it. And if I grab the end one without even holding down the old key or the option key, I can actually adjust that distance in there. So that type of key frame, you can have in between areas, and you can adjust them very very quickly. But what about if I want to use the technique that I showed you a moment ago? I can select all of these key frames, and I'm going to go on to not that one, because if I hold down the ult or the option key, everything just moves like that. But if I go to one of these ones, hold down the ult or the option key, I can move all those closer together or further apart. So if I move them really close together, you'll see the speed of the animation will be really over the top. Or let's slow it right down. I'm going to grab one of those, hold down the alt to the option key and pull it out. And now, my animation is going to be a whole lot slower when those things come in. You'll find that you can do that with virtually all of the presets in here. If you can get into the keyframes and select all the key frames, even if they are on different lines, you just click and drag across them. Make sure, by the way, that when you do this, you've actually clicked on the little drop down so you can actually highlight the keyframe because if they like that, you can't get to them over there. Remember, if you see one where you've got key frames and dots between it, you can just grab the app and pull that around to adjust that as well. Otherwise, make sure you can see all the key frames in there as a little diamonds or Xs, or whatever they are. Select them all, grab one, which is not one of these ones with the dots on it, hold down the alt to the option key, and just adjust the length on that. This should run really slowly now. Anyway, do have a bit of a go with that, and I'm going to suggest that you might want to try an animation first, just animating a word using position going up and down and then adjusting the key frames, and then go into the presets and try it on some of the presets. Have a go. 63. Project: Headphone Ad for Social Media Intro: Look at this video. This is what we're going to do. We have got green screens, we have got text presets. We've got all sorts of amazing things going on. It's a really cool one. And you'll notice sound. Let's start. 64. Get Assets: Now, onto a really cool project, we're going to be doing this advert with earphones or headphones, halls, and we're going to be using greens green and all the sort cool text stuff that we've looked at so far. So Make sure that you do a new project. I'm going to go to the composition. I'm creating a new composition, and the composition is going to be 1920 by 1080 or HD size. Once again, I'm aiming this towards the social media end. If you are going to be doing stuff, which is going to be for broadcast or you want high resolutions, by all means, choose any of these options here. But do be aware that the larger the resolution, the higher the resolution, the slower your machine could potentially run, and certainly rendering will take a while longer as well. I'm going to click. What I want to do now is to find some content. Now, I've actually gone in and got downloaded the content for you. So it comes from Adobe stock, but we've got a background picture, which is going to be this one here, or not a picture. It's actually an animation. We're going to have a person with earphones on a green screen. We're going to also have some earphones in there, which I've actually cut out. I got them from Pi of A, but I've actually cut the background away for you already. If you want to do different earphones and you're confident with Photoshop and doing cutouts, absolutely fine as well. Just save it out as a PNG with transparency or even a photoshop file with transparency. We'll be bringing in some music later on as well and I'll show you how we can start to work with music. So if you want to get all of that ready, and then just have a look at these. I'm going to bring in the first one, which will be the background, drop it in there, and you can see it's just a simple little animation of some weird lines moving. Now, as you'll see from later in the course, you will be able to create that yourself very, very easily. I'm also going to then bring in the green screen person, and she's going to be listening to some music over there. Now, you'll notice down here that there is a audio button. And I'm just going to switch that off with a background because we don't want to use any audio from this. We're going to be bring in our own audio. So if you'd like to get that far, bring in those into a new composition, and then you can make a start by just putting in the background and the green screen. 65. Green Screen & Add Music: Now, let's get rid of the background. I'm making sure that I'm on this layer here. I'm going to go to effect keying, and I'm going to use Ket 1.2. We did this earlier in the course. Now, I'm going to go to my screen color over there. And by the way, if you click in here, you'll see that the effect, you've got the same things in there, so I could actually use that to sample as well. I'll actually do it from there. Click over there, click the background, and then I could change the screen gain if I need, so I can have less of the green being removed. Or more of it. You have to be very careful to find a happy balance between those two, because if I go too far, you'll see that her earphones have now disappeared. So let's put them back over there. I'm just going to take this back to 100. Well, I've gotten rid of the green, but I can still see her earphones. Let's take that back to there. Now, the next thing we're going to do is we're going to bring in some music over here. I'm just going to fold all those effects up. And I'm going to go and find the music. Now, once again, I have given this to you in the assets. So it's called B Happy. It's an MP three file. If you want to use your own music because you don't like this, absolutely fine. I'm just going to click Open and bring it in over there. Now we're going to take it and drag it in as if it's any other layer. So here's my music layer in there. And let's just play that now. Once again, I'll press the space bar and and the music plays. Now, of course, she's not listening yet, not getting into it for the first second or so before she starts to move. So I think I'd like the music to start there. So I'm just going to move on the timeline, that little layer along there, so we don't have anything. And then the music comes in over there. Now, we do want to fade this out, and she disappears, obviously there, the background disappears. We're going to have some other things happening as well. And I'm going to say for the moment, I'm going to fade it out at about 18 seconds. We can always move it later on. So I'm going to click on this little drop down to get to audio, click the drop down again, and we've got audio levels. So if I said, let's say, 16 seconds, I want this to be exactly as it is, so I will key frame that, and then over here, At that stage, I wanted to be produced down to zero. Now, then I can see what I'm doing. I'm going to click this little wave form, the drop down there, and you can actually see the sound wave, and you can see it's getting louder and louder as it goes. I'm going to go to my Decibels here and just take that down right until we get rid of the sound wave in there. Of course, I can always move this along if I want to get it to fade out a lot slower. Play that again. So I think I'd like it to faded out by about there. Anyway, do you have hit go with that, bring your own music or you can use this piece of music that I've popped in there, and try it out, fade it out, move it around. Don't forget to get rid of your green screen as well. T 66. Add Text & Change Tracking: Let's close this down, so I'll just click on the little audio over there to close it and the little arrow there to get rid of all of that. Now, I'm happy with the music at the moment. I think what I want to do now is to start bring in some text. I'm going to have this saying, it's all about the, which is going to go along the bottom, and then we're going to have the wordic in the background. I'll start off by putting in the first bit of text. I'm going to click over here, and this is going to be it's all about. Now, I can't see my text in there. Why is that? Well, I was on the sound. So when I put in my text, my next layer came in above the sound, so it's actually below those two layers. Let's move that. Up to there. And now I can see my text. Now I'm going to select my text and just go along to my text options in here. I'm going to change the color to white, so I've clicked on the fill color over there to change it to white. I'm going to change the size so that it's going to run along the bottom like so. And I think I'll just move it down. Now I can either go into my properties in there, or I can go up to the little arrow and just drag it down into the right position over there. So I don't want to just be there all the time. I wanted to slowly come in with some really funky type of effect, but I'm going to do the effect myself because this is the one that we've done before. So I'm going to go to my text option over here, and I've put my cursor where I want my text to start to come in. I'm going to go into the animate option, and I'm going to choose tracking. So whips, I want my text to actually be in by about 3 seconds. So I'm going to go in to my animator, if you can't see it, just click on the little arrow over there, and I'm going to be animating the tracking amount. I'll keyframe that. And then I'm going to go back here a little bit, and I'm just going to pull this right off like so. So that text is going to come in pretty fast. But of course, over here, right up to that point, I've got the I and the T and the apostrophe. So I don't want to be there. I'm going to fade in very quickly in there as well. So I think I'll start to fade it over there. Once again, I'm going to do that by going to transform and pacity. Don't forget your shortcut because it's so difficult to work like this, and the shortcut is. I can go to my pacity the very quickly, keyframe that. Move back a little bit. Over here and take it down to zero. And I can move those around. If I need. Let's check that out. So no texts. So we've got our text coming in like that. You can choose different type faces, different fonts, whatever you like. We don't have to choose it now. We can change it. We're building the bare bones of this composition. So I've got that in there. And now let's bring in the word music in the background. Now, I'm going to just do the same thing, get the text tool, put in the word music. I've done mine all in caps, and I'm going to just scale it right up. I've done it as white, going to scale it up, make it pretty big. Over there, and I'll move it into the right position over there. Now, I want to actually fill this top section as well. I'm going to go into the scaling for music. I'm going to press S, or you can do the drop down, and I want to scale it, but I don't want to scale it proportionately. I just want to scale it vertically. Untick the what is that a chain between those two, and you can then scale either horizontally or vertically. I'm going to scale this up. Vertically like so. I'm going to take that lay and put it underneath her so it's behind her in there. I've just noticed that my all about the is not quite in the right position at the moment, might need to move those around a little bit, so it looks a bit better. But I'm just going to move it over just a fraction. 67. Add a Preset to the Text: Let's go and put an effect onto the word music. What I'm going to do is I'm going to put my playback head where I want the effect to come in. After it's all about the just as that's coming in, so it's almost there. I want my effect for the music to start. So I'm going to make sure that I haven't clicked on any layer here so that I can see the effects and presets. If you wish, you can go to the top menu. You can go down to Browns presets and in bridge, you can find the preset. Now, I know the one that I want, but feel free to do it if you wish. In the animation presets, I'm going to go along to text. I'm going to go to animate in, and I want to try out this one here called decode by random character. I'm going to drag that onto my music layer there, so it'll start where the playback head is. Let's have a look at that. So we got all those random characters coming in. Now, if you don't like that effect, remember, control E or commands ed to undo it. And then same again over here, I could just go and try different one. I'll just try the Espresso chart, because sometimes that one's quite cool. Let's go with that. I think I preferred the other one, so once again, control Zed or commands Zed to undo that, and I'm going to go back to decode by random character and drop that one in. So play it from the beginning. One last thing, the word music. I think I would like to change the capacity on that, so I'm going to press t, and I just want to it's kind of fading in there. But I don't want it to be right at 100%. So I'm going to go to that last key frame. I'll just click on the little arrow there to go to that key frame. So instead of 100%, I'm going to take it down a little bit to maybe about 80% in there. So the final text will be semi transparent. Have a little bit of a go with all of those things and see how you get on. Remember, you don't have to use the same effects that I've done. Try anyone's that you like the look of. 68. Animate Headphones: Let's get her to fade out because at 9 seconds, at 11 seconds. I think she just disappears anyway. I'd like her to fade out here so I can bring the product in. I'm going to say at this point here, I think about 9 seconds, I'm going to go to my capacity, so I've clicked on T on the keyboard. I'm going to key frame that at 100%, and then at the end here, take that down to zero. What'll happen is that she'll just fade out. Now, listening to the same piece of music over and over again can drive you completely Loopy. So what I'm going to do is just switch it off. There's a little icon there for a speaker. Switch that off, so now we can actually play this without that music going over and over again. We'll come back. We'll switch it on later on when we need to see how it actually works with the visual. Now that I've got her fading out, while she's fading out, I want to bring in the product. So the product are the earphones. That's these earphones here. Now, if you want to find them, I have given you a copy of these, which is in the assets folder. They are just earphones like that on a transparent background. So if you want to pop, the wrong one, if you want to try that yourself or find your own earphones, that's absolutely fine, but these ones are available for you over there. Now, I'm going to bring them in. I'm just going to drag and drop them straight onto the composition, and I'm going to scale them down because they're a bit on the large side. I'm going to press S to go into scale and just reduce the size a bit to where I want them to be finally. I'd like them finally to be that size in there. Instantly, so that you can see exactly what I'm doing. Firstly, I'm going to go to these ones here, and I'm just going to close them down. But we're only working on this layer. So what I can do is I can also make layers shy. Now, it's this little icon over here. And if I click on that little icon, you can see nothing happens at the moment. I'm going to do it for all the layers except the one I want to work on. But then I go to this little character here. It looks like somebody looking over the wall very shyly. Click on that, and it hides the layers from here. It doesn't hide them from the composition. So when I want to bring them back, I can just click on that little icon and they're all back again in there. I'm just going to make those layers shy and then I can work on this one. I'm thinking over here that I would like once she's faded out, the earphones to be at full size. I'm going to then keyframe that over there with the scaling. Then over here as we just go back a little bit like that. I think to 9 seconds, I'm going to make them a little bit smaller, so we'll take them down a bit like that. They will actually just get bigger, like so. The problem is that they're in the wrong place. I'm going to unshy all those layers. And I want to find the layer where she is on to make sure that I'm in the right position, so that's this one over here, and I can just see that she disappears at the end. That's great. Now, let's make them shy again. Once again, in here, I'm done with scaling, I want to do work with position, so I'm going to press P. Make sure I'm on the layer first. I'm on position. So when we get to the end here, where it's got to the size, I want it to be right in the middle of my screen. So with a position, I'm going to just move it around till I get it into the right place, up, down, left, right. I think that's going to be perfect in there. And I'll keyframe that. And let's go back a bit over here to when we first started scaling them. And I think at this stage, I want them to be moved up to where her head is. So once again, I can just do it on here or I can actually just drag to that position. So what should happen now is that they just get bigger as she fades out over there. Now, I'd like them to actually fade in at that stage as well. So I'm going to start over there. I'm going to press t, 100% capacity there. Go back a bit and just fade them in over there. So let's have a look at that now. So she'll fade out and they'll fade in and get bigger. Now, sometimes you might find with the movement you want to go in and adjust a little bit because not in the right place. You could even use something like rotation on that as well. But have a go. 69. Clean Up Keyframes: Now, this does look a little bit clunkier as it goes in there and it moves and it's fading. Let's have a look at all of those options altogether. And you can see that key frames are in slightly different positions. So what I'm going to do is just line them up a little bit over here, drag that over there, and I'm going to get the fade to go all the way across. So it's fading up as it's coming in. Then it looks a little bit better. But one more thing, I'm sure you'll know this one. Animation to our keyframe assistant, put on some easy ease in there. Let's have a look at that. It comes in, looks a whole lot better. Let's do the rotation as well while we're here. So once again, in rotation, I want it to finish off over here like that. So I'm going to key frame rotation, and over here where it's near her head, I wanted to rotate a little bit as well, so I'm going to just rotate it a bit that way. Move along a little bit and rotate it the other way. So same again, looking at that, it rotates with her head, almost as if they've come off of her head, even though they're totally different earphones. All right, have a little bit of a go. Clean up your key frames a little bit, and don't forget, select them, obviously, animation, keyframe assistant, and some E on there as well. Try that out. 70. Add the Model Number Text: L et's fade out the background text and bring in the model name of these headphones. And then just a little bit of text, saying something along the lines of online availability only or something like that. I'm going to go over to my shy option. Click the little Shi thing. And we'll just close those down for now. I'm going to go along to the text to the music text, and that's going to fade out. So once these are faded in, I'm going to actually start fading the text out just before that's reached its final position over here. So things don't go too much fade in, fade out, fade in, fade out. We want to sort of overlap them a little bit to get a nice consistency in the animation. So once again, in music, I'm going to be fading it, so I'm going to press t for pacity, key frame it there. Now, I've just done something really, really silly. And I'd love to say I did this intentionally to show you, but I really did make a genuine mistake. I'm going to command Z that. You see, what I did was, I went and made a key frame over there. But of course, I've got two key frames there already. So by clicking on that, it just got rid of those ones. I'm using command Z or Control Z to undo that. So over here, I'm actually going to click between those two little arrows to make a key frame in there. Then I want that to faded out by about here. I'm going to take the opacity down to zero on that. That'll be fading out as that's coming in over there. It's the same, it's all about the music. I think that needs to fade out slowly over a longer period, it's hardly even there when we're looking at the earphones. I'm going to once again close that down. Go and find it's all about, which is this layer here. Let's press T and I want them to be absolutely faded out by here. So I'm going to put on a little keyframe in there and take that to zero, and I want the fade to happen from about here. So I'm going to take that up to 100. Let's have a look at that from the beginning. So once the text is all in, it's all about the music will start to be fading out, and then we're going to be bringing the earphones Over there, we've got a nice interesting background for the earphones or headphones. I don't know the difference earphones, headphones, the same thing, I think. Anyway, once I get there, I would then like to bring in my model number for these. I'm going to make up a model number. I'm going to say it's called X S 720. And I'm going to use the text tool. So I'm going along to find my type tool here. Now, be careful where you click because if you click on some existing text, you might actually end up just editing that text. So I'm going to click out over here. And put in some more text. Now, you can see, I've done exactly that. I've clicked and it's gone over to my music, and it's selected my music text for me rather than doing a new text layer. Now, we can get around this a number of ways. We could actually go to layers. We could go to new, and we could actually make Whoops, new and make a new text layer like that. Or I find this a lot easier, I could just lock that layer over there so we could lock the music. We could lock the. It's all about. And now it doesn't matter if I click in there, I'll be making my own new layer. There it is. It says empty text layer, and this is where I'm going to put in my S 720. No. Now I'm going to make that a whole lot smaller. I'm going to select it and take the size down quite a lot. And maybe I want to change the color and use a color that exists in here already. I'm going to go along to my fill for the color, and there's a little eye dropper. I can use the eye dropper and I can just sample some blue from that side over there. I think that's okay. Obviously, it's going to be coming in later on, but I'm happy with that, and I'm going to be moving it around. To the side. Now, I wanted to come up that way rather than going horizontal, I wanted to go vertically. What I'm going to do is I'm going to press r for rotate, and I'm going to rotate it 90 degrees in there. Now, if you have problems getting to 90 degrees exactly, just put in 90 over here. Now, this is going to be a mistake. You see, if I put in 90 and enter, it goes down the opposite way. What it actually was is -90. In there for the other way around. If you do it the wrong way round, well, you can just redo it. Anyway, do that, bring in the text, put it a nice groovy angle like that, and make sure that your other text all fades out. And this one we're going to fade in we're going to bring in with an effect very quickly. Try that out. 71. Center Spiral Preset: I'm going to place my cursor where I want that text to be, which is going to be a roundabout over here as the music text is fading out. I'm going to go along and find the preset. So I'm going to click off of my layer, and the presets are still open, but if you can't find them, you go to the window menu, you can go down and find your presets in there. Now, sorry, effects and presets, shall I say, I was looking under the P for presets effects and presets. I'm going to use the center spiral in and try that one out. So if I drag that on to the correct layer, it will appear where or it'll start, where my cursor was, so I can just press the space bar. And it comes in a really interesting and groovy way. But of course, we want to speed that up because it's kind of a bit slow. I just want to be whoosh there very, very fast. So I'm going to go into the options, the text options here, and you can see we've got some key frames over there. I'm going to click on spiral and fade in. Let's try that again, fade in and spiral. And I'm going to select those key frames and to speed them up, I'm going to hold down the alter or the option key and just push them closer together. So the whole thing will happen a lot faster now. If you want to slow them down, alter the option key and drag them out. And that will then give you much slower spiral. I like the very fast quick one. Like so. H. That's it. Try that one out. Once you've put in your text in there, and don't forget you have locked some of those layers, so if you need to change the, you'll need to unlock them. But we want one last little bit of text down here, and this is going to be very simple. Just click with the text tool. I'm going to put in available online. Select the text. Now, I clicked a few times to select the text. I just kept on clicker clicking until it all selected. I'm going to make that white, and I'm going to scale it right down just using the font size. In there. And of course that will need to come in. After that. Ha go and get to that stage and then we'll do a render out and see what it looks like. 72. Collect Files: I want the video to end just over here just before the background disappears. I'm going to take the work area and pull it across to there. And I'm holding down the shift key so I'd like you snap to that end video over there, or you could just take it over a bit more. The problem that we've got is the music. So if we have our music on, you can see the music actually fades out after the end of the video. So we can always take these and just move them back over there to get the music to fade out a bit before the end. Or after the end, it's entirely up to you how you want to deal with that music. So let's have a listen to just this halfway bit. Right. And it goes back to the beginning again. Now that I've done that, I want to save the documents. I'm going to go to file and save. And to be fair, we should have done this a lot earlier and save as you go along. But because this is training, I like to do things in a certain order, not put in all sorts of bits as we're going along. So I'm going to call this one phones. I'm saving on to the desktop as an AEP After Effects project. Now that I've done that, I can close this down if I need to. You'll see it's actually on my desktop. There it is over there. But let's say that I was finished with this and I wanted to pass this job on to somebody else. Or I done a render, and then I want to come back to it in two months time. Remember, this project here is actually the project. It doesn't actually include the videos. These videos are still separate. They're still linked to files over here. So what would happen if I actually took one of these videos and dropped it in the bin. So I'll just put in the bin over there. And let's go back to after effects there. You can see it says a file could not be found, and that's then a bit of a problem. So how on earth are we going to find that? If you look over here, it shows footage over there. One of the things is to make sure that your footage is somewhere where you won't delete it or move it by mistake. And I'm going to go to my bin, and I'm going to get my footage back again over there. And then after effect should be quite happy once again. Sometimes you might actually need to go to the footage and just right click it and just replace it or reload it in from the footage. So I've just reloaded mine, and all should now be well. But what about if I did want to send it to somebody else, and I want to have all of the footage, all of the videos, all of the images. Well, what I can do is I can go along to the file menu, and down here under dependencies, I can say collect files. Now, if I say collect files, it just needs to be saved. I'll just quickly save it. Then it says, What do you want to collect files? I want to collect all the files. O here. Absolutely, everything. Click on collect. Give it a name. I'm going to call it Phones folder, which is the default that it came up with. Click on Save. Now what I'll have on my desktop is a folder called phones folder, and in there, you have got a copy of that, so it's the same as that file there. In the footage, you've then got copies of all of the videos, images, and sounds that you've used. You can see my originals are still over there. So I can quite happily send this folder to somebody, they'd be able to open it up, and everything is there that they need. Likewise, if you've worked on a project, you could do this at the end of the project to make sure that when you're archiving it, you're archiving it with all of the appropriate footage as well. Have a little bit of a look at that and try that out. 73. Render: L et's render this out. I'm going to go to file down to Export adobe Media coder Q, and I've got Media encoder running, so it should appear in there very, very shortly. Now down here in the preset browser, I'm going to go down. And as before, I'm actually going to use the social media settings, and I'm going to use the Facebook Full HD. I'll just drag and drop that on there. Now, all I need to do is to choose wet I'll put it to. Give it a name. And put it somewhere that I can find it. Click on Save and render. That's it. It's done. Let's go and have a look. 74. SS out beginners fin: Congratulations. You've got to the end of this course. I'm sure you're creating amazing work. I hope you've enjoyed it as much as I've enjoyed creating it for you. Now, please don't forget to leave a review. It really helps us to create better courses for you. Also, share your work. I love to see what it is that you're creating. Don't wait. Jump straight into the intermediate course. I've got some lovely projects there waiting for you. I'll see you there.