Turn Photos into Scroll-Stopping Instagram Reels & TikToks with Adobe After Effects

1. Class Trailer: One still photo, a few layers in After Effects, and suddenly cartoon elements are living inside it, moving with it and it feels more alive than it was before. That's mixed media animation. Most beginners don't know this is even possible in After Effects, and this course shows you exactly how to achieve that. Will learn how to cut out photos, blend motion graphics with real images, and add cinematic camera movements. You can create documentary films, brand videos, Instagram reels that stop the scroll with this. Here's the thing. I didn't discover this technique in a studio or a classroom. I discovered it at the lowest point of my life. I then girlfriend cheated on me. We broke up. I was depressed. I stopped working, and I said no to everything. All I could do was pick random images from the Internet and animate them just to feel that hope, just to feel something. And it helped me a lot. And then it became one of the highest selling services that we have ever offered. And that's what's inside this score. 2. Class project & requirements: Class project, you can use the pictures provided in the resources or you can bring your own, and there is a link for that, too. For this class, you will need adopt After Effects, Illustrator and Photoshop. If you are already comfortable with Illustrator and Photoshop and if you only want to learn After Effects, keep straight to these chapters. The layers are prepped and ready to go. So make sure that you import and follow the steps as provided in the lectures. Before you start download all the resources, you will find the project files in there. So if you ever get lost mid lesson, you can pick right back up. The shortcut cheat set is in there, too, keep it on your phone while you work. It will save you a lot of time. 3. Chapter 1: Separating Layers in PS: We are in Photoshop, as you can see, now, this is the image, the first thing that you want to do whenever you want to create animations like this, all you have to do is separate individual objects into a layer, and then you can animate it in any way that you want. The creative potential for these techniques are endless. You can create so many things. So let's separate layers. First of all, this is layers panel. If you don't have that open, just go to Windows and then you will be able to find layers. Now, there are two or three tools that will be used whenever you want to separate layers. The first one is called asoTol Lasso Tool, I'm not sure. But this basically helps you to select objects. For example, this, it helps us to select the objects on the screen. But this is free hand, meaning there is no any Photoshop intelligence involved in that. Whatever you will be selecting, that will be selected, right? And to deselect, let's say that you have to select this and you want to unselect or deselect this, the shortcut for that is Control D. Okay. Control D in After Effects is duplicate, right? And so for that, we have something called Object Selection tool. Okay? So in Object Selection tool, we have three options. The first one is Object Selection tool, then we have Quick Selection tool. And then we have magic one tool. All of these are basically the selection tools, right? And so we are going to go with Quick Selection tool, okay? And see, this is a quick selection tool. Basically here, Photoshop determines, okay, this pixel belongs to this layer, this pixel belongs to this layer, and then it selects based on that. So it's not that accurate as well, right? The best one is this, which is called Object Selection Tool, right? So these are the two tools that will be used to separate layers in Photoshop. If you are not an avid user of Photoshop like I am, all you have to do is just remember these two tools because they are the most important tools that will be used for if you want to separate layers. Then let's look at this. We have our background here. The layer is locked. I'm going to click on this and the layer will be unlocked, right? Now, this is the properties of the image. As you can see, the image is humongous is 4,000 by 6,000 pixels. And if you think that this image might be too much for your computer, if your computer is slow, you can rescale this, then you can start separating the layer. Or you can do that later in After Effects. Okay. Now, let's start by separating the layer. To do is analyze the image and look at the layers. For example, here, one of the layer is the background. The second one is this. The third one is going to be this, and the woman will be here the focal point of our animation, right? And so let's start by separating the layer, okay? So the first object that I'm going to select is this, then this, then we will select the woman, and then we will select this, and then we will clear the entire background, okay? So how do we start? Where do we start? So the first thing that you have to do in order to separate the image is all you have to do is press Control J. So Control J is for duplicating. Here, make sure that you remember these steps, the steps are going to be the same for each and everything. Okay? So I'm just going to show you one image and then you can do that for each and every image as you want, right? So after duplicating, I'm going to select the object selection tool which we have already selected, and then I'm going to draw the selection here. Okay. So I'm going to just start by drawing the selection on this blurred object. Then Photoshop will do its magic and it will identify the object that we are trying to select, right? And as you can see, this part is missing from this selection. I don't know what it's called, but let's call this moving uns because that's what it looks like, so this part is missing from this selection and we want that selection, right? So how do we do that? The best option is to hold shift, and as you can see the cursor changes to plus, and so I'm going to move it like this. And I'm going to drag the selection like this. Then Photoshop does its analysis, and well, it's done, right? But if you think that well, something still needs to be done in a better way, all you have to do is just hold Shift again and then select, okay? So what shift does? Okay? So shift, let me zoom in. I'm going to show you. Okay? For example, here, the selection is moving out of the focus, or this is not our subject, right? So I'm going to select this. Okay. And so we have our selection ready, right? Basically, all you have to remember is that when you shift plus select, it adds to a selection. And then when you hold onto Alt, and then you select, you basically subtract the selection. So if you want to remove the part from the selection, use Alt and if you want to add into the already existing selection, ship. Now, that is the first step. The first step is to select the object, right? Once the object is selected, what we normally do is we create a mask. So this is layer masks, and I'm going to create a mask on this right. And so what we did is we selected and we masked the object. In terms of After Effects, we are basically masking, but here we are using Photoshop advanced tools create that, you can do that in After Effects as well. But in After Effects content aware fill isn't that advanced yet and it can slow your system down. Photoshop is much better option. It's quicker and it's more accurate than After Effects. Anyways, now what we want is we want to make sure that this object is removed from the background. To do that, what we want is we want to move the selection from this layer to this layer, and then we will fill that layer with Photoshop's content aware fill. I'm going to click on this by holding Control click and that will activate the selection. Now I'm going to just click on this. Once that is done, we go to select, modify, expand, and then expand by five pixels, you can go with three, but I'm going with five, it's okay. You can undo that. I'm going to hit on Okay. Once that is done, we go to edit, we go to fill, and content we fill. Okay, now Photoshop is working its magic. Now you might think of, well, nothing has changed. Well, let me show you. Okay? So as you can see, this object has been completely removed from the background, right? Okay, so this is the object, and this is the background. But background has this distortion, but don't worry about that. We can change that later, right? Now I'm going to hit on delete, and apply mask layer before removing, meaning this mask will be applied to this image, and hit on apply, right? And also, let me undo that. Also, make sure that you have selected the mask whenever you are pressing delete and not this one. So if you click on this, you'll be basically deleting the layer, we don't want that, so I'm going to redo that, okay? So we have our first layer ready. Now let's move on to the second layer. Okay. But before that, let me quickly explain what we did. So first, we isolated the object, then we told Photoshop by expanding the selection. So we expand the selection to tell Photoshop what is the surrounding pixels around our object. And we do that so that the content our fill works in a better way, okay? So it basically fills that empty space in a much better way. Apart from this phase, I think this has done a better job. Okay? And don't worry about the distortions. They can be removed quickly. Okay. So let's move on to the next step. So our first one is done. Okay? We don't need that anymore. Now, let's repeat that process for the other objects. I'm going to press conto to duplicate. Then I'm going to select this. Then I'm going to just draw a mask around this object. Um this is not as accurate as I want it to be, but that's fine for now. Now let's move on to the next step which is to create a mask on the layer. Once that is done, we are going to turn this on. I'm going to hold press Control, not hold press Control and then click on this mask so that the selection will be activated. And then we will transfer that selection from this layer to this layer. Then we will go to select, modify, expand, hit on Okay, then go to edit, fill and content over fill. Okay. Now I'm going to just delete, apply, and done, okay? So this is layer one. This is layer two. There is a bit of this distortion here. But don't worry about that. That's completely fine. We can fix that in post. I'm going to show you how to fix that in the post because you don't have to do everything in Photoshop because normally when you get these projects, the projects needs to be done quickly. If you want to get things done as quickly as possible, you have to be flexible because the end product needs to look good. Whatever the means you use, the end product has to look good and it has to look professional. Okay, so let's move on to the next step. So I'm going to deselect this. Then I'm going to press Control J. Okay. Now here, what we want is we want to isolate this woman, okay? And the better way, the easiest way to do that is just to remove the background. So I'm going to click on remove background, which is quick actions, okay? So if you don't see remove background here, okay, all you have to do is go to Windows and then just find properties. Okay. And under the properties, you will find remove background. And of course, if you have generative AI, okay, you can do wonders with this. Okay, but I'm not using that. Right? So I'm going to just turn this on and then we are going to repeat the process. So I'm going to first of all, let's look at the Okay. So there are many distortions here, so let's fix that distortions in the selection. Okay? So I'm going to select this, then I'm going to hold minus. Okay. And then I mean alt, not minus. Okay. And I'm going to just remove this Okay. Now, once that is done, make sure that you like the selection that is done is nice and it has it's like, for example, here, you see, these are the portions that does not need to be selected. So just because you let Photoshop do this doesn't mean it's right, okay? So you make sure that you use your own thinking, you use your own mind, okay. Okay. So all you have to do is hit Alt and then select the object that you want to remove. Make sure that you're not removing anything that is related to this woman right here, okay? Okay, so far so good. I'm going to keep this as it is because we don't have to be a perfectionist here because we want to make things as quickly as possible. I think I'm good with this, right? And that is the one habit that you have to develop is you have to keep moving forward despite finding those little flaws, okay? So I'm going to transfer the selection to this, go to select, modify, expand and I'm going to expand by three pixels, then edit, fill, and content overre fill. Okay. So you might have to repeat this several times, but you can fix that really, really easily. So we have the gol layer as well. I'm going to just delete this. And we have this. Now finally, the last step is to make sure that the background, like for example, here, the sky, I want to separate that as well. Let's duplicate this by pressing Control J. And then I'm going to select this. Just make the selection, and let the Photoshop do its magic, right? Now, once that is done, we are going to just look at the selection well it looks fine, then I'm going to create a mask on this, so we have this the background is clean. Then I'm going to Control click on this mask, then I'm going to go here, then I'm going to go to edit fill content aware fill. We don't need the modify here because well, the background is completely empty. Then I'm going to delete and hit apply. Then I'm going to deselect and I'm going to see how looking. It's looking really nice and we don't need to clean this mess up. All you have to do is create a new solid in After Effects and just hide this. We have this, right? Now let's clean this up. This distortion is not looking nice if you want to go with some extreme parallax, you might run into some issues. There is a better tool and that tool is called clone stamp tool. This clone stamp tool, what it does is that it clones the pixels from one part of the object to the other part of the object. For example, here, I'm going to hold on to halt, so look at the change in the cursor, this suggests that this will be the object that will be cloned. I'm going to click. Okay. Now I'm going to let go of t after that, so I'm going to just draw like this. Okay? And as you can see the result the results are stunning, right? Then I'm going to do the same thing here. I'm going to pick this pixels, and I'm going to just draw a mask like this. Not a mask, but just stamp it. Okay. And you can also go overboard with this. Just because this looks right doesn't mean that you can do that, for example, you pick here and then we'll see. Okay? So this could be really tough, but for this image, it's working really, really well. Okay? Now, let's clean this up. Okay? So I'm going to select this, then I'm going to just slowly stamp it. Okay? Now, you have to remember that background will be covered, right? For example, here we have this face. I don't like that, so let's remove that, okay. So I'm going to select, then it's gone. Okay. Here, let's paint on this. Okay. And this Okay. But like I said, you don't have to go overboard with this, right, because they will be covered. You don't have to worry about that at all. So that's it for the lecture, and I will see you in the next one. 4. Chapter 2: Other Images: Here are the already prepared layers, okay? So this one is car. Basically, I haven't renamed that, and that's fine for now, and this one is the layer. Okay? This came out really, really well, and there is still some distortion here, if you can see. So this is the place where there was this car, but it looks really nice despite these distortions being there. I follow the same method that I showed you in the previous lecture. Okay. Then we have this one. Okay? Now, one of the things that you have to remember is that now, let me show you the original image, first of all, okay? So this is the original image. And as you can see, there are these arrows. Okay. But here, the arrows have been removed. And the arrows have been removed. It's because I want to make sure that I use it in After Effects. Okay? So I'm going to just apply it directly in After Effects. So here we have three layers. The first one is girl, then we have light, okay? So this light has been isolated. I want to give this flicker effect to it. So one of the things that you have to remember whenever you are separating images or even choosing images is you have to pay attention to the objects in the surrounding that you can animate. For example, if there is light, you can animate light. If there is a signboard, you can animate the signboard. So there are endless ways to do this, okay? But it is up to you on how you present this information to your audience, how you view it. 5. Chapter 3: Preparing Assets in illustrator: We are in Adobe Illustrator, and if you want to add some elements to your scene, what you would need is you would need to create the assets in Adobe Illustrator. Once that is done, you bring them in to After Effects and then you animate that, right? So that's the first way. And the second way is use AI to generate the images, the PNG, and then you can animate the PNG. Animating PNGs could be tough sometimes. You have to work a lot, and this one could be really easy. So right now, really quickly, I'm going to show you what to do, how to find the assets. Okay? So the best way to find assets is online. There is this website called freepik.com. They always have these amazing assets that you want. Now, let me quickly show you what to do when you download any Illustrator file and how to separate the layers. So I'm going to group this, this is just an example, okay? So I'm going to go to Object Group, and the pink flour has been grouped. Now, whenever you are downloading any Illustrator file from Freepik or from any other website, you will always have only single layer or two layers. In order to animate, all you have to do is make sure that each of this layer is on its own like this. And the reason why we do that is because this layer, this leaf or this petal can be easily turned into the After Effects native shape layer and you can manipulate and you can do so many things with it, which a PNG image has lots of limitations. That could be really tough and so I have used this asset as well. Right? And so let me show you. So this is how it will be, right? Once that is done, all you have to do is click on Ungroup, okay, when it's like this, right? Now, what we do is we separate the all these elements on a singular layer. For example, this is not a singular layer. This is a singular layer. This is a group in that singular layer, right? So now, what I'm going to do is I'm going to go here, release two layers sequence. Okay? Now, every layer will be on its own. Now, what I'm going to do is I'm going to select all of them holding shift, and then I'm going to just drag it out like this. Now, everything is on its own, okay? So that's how you do it. That's how you separate layers. You also have the sun here. Okay. I have not added the face here because, well, we are going to create that in After Effects. And so you have to plan things ahead. You don't always have to be spontaneous when it comes to animation. You don't have to play blind. And the better the plan, the better will be the execution, okay? So just make sure that you have something to look forward to what the next step is, what you are going to 6. Chapter 4: Setting Up : The first thing that we always do is we start by importing the footage into the composition, right? So to import, all you have to do is press Control I or just double click on this panel. This is a project s panel. And also, if you want to follow along with me, make sure that workspace is aligned with mine. So I'm going to just double click here, and then we have this, right? So this is basically the PSD files that have been prepared for the animation, right? And the next thing that I'm going to do is I'm going to just select the image, and import. Okay? Now, this dialogue box is really important. Import kind, keep it at composition. You can also choose retain layer sizes, and I'm just going to go with this and editable layer styles, okay? So what is this? So Import kind is whenever you change this to footage, for example, we have separated layers, right? If you change it to footage, everything will be included on the single layer, and you won't be able to animate them individually like we can, okay? But when it comes to composition, you will be able to animate them as a separate layers, okay? And then hit on, Okay, right? So whenever you import Photoshop file, two things will happen. The first one is, these are all the layers, as you can see here. These are all the layers that we separated in Photoshop. Okay. And from these layers, this composition has been created, right? I'm going to double click on this, and as you can see, we have our composition. The first thing that I'm going to do is I'm going to rename this composition, ok? These are all the layers, by the way, these are all the Photoshop layers and the icon here suggests that this is a Photoshop layer. I'm going to reduce the size of the composition because let me show you the composition, okay? So the shortcut for opening the composition settings is Control plus K, or you could just grow here and find composition settings, right? So as you can see, the width and height are humongous, and this could be really tough if you are working on a slower computer, right? So I'm going to first of all, change the name of the composition. So I'm going to call this girl flower underscore main. Okay? Because this is going to be our main comp. So I'm going to change this to our Instagram size, which is going to be social media portrait, HD 1080 by 1920, 30 frames per second. Okay? And when I did that, the composition became just smaller, right? And also keep duration at 10 seconds. Also. This might be important for some, okay. So make sure that the renderer is classic three D or advanced three D. It's not cinema four. If you are using a cinema four D renderer, you might have some troubles with the camera that we are going to walk on. Okay, so make sure that you are matching this. Keep everything as it is, and then hit on, right? Now we have this issue, because since composition, basically our canvas size is reduced. So how do we do that? What I'm going to do is I'm going to just select all of them, and then I'm going to parent them to this layer. I don't know which layer is this, then I'm going to press S to bring up the scale. And don't worry, I'm going to just explain everything as we go through. I'm just trying to resize the composition right now. I'm going to just reduce the composition to here, okay? Now, what I did was I basically parented. So this is called a Pi WipTol. So basically, you can parent any layer using this, okay? And this layer will be the parent and these are the children. So basically, wherever this layer goes, the children follow, right? But the children also have their individual wills, right, if that makes sense. And so I did that and we don't need the parenting anymore, so I'm going to just get rid of that. The first step is importing second step is to reduce the composition size to the standard social media size so that we can upload it easily and it can be rendered quickly, right? So the next step is to precompose the layers onto the individual precomps. Okay? So I'm going to press Control Shift C to precompose or right click and here, precompose, right? So Control Shift C Okay. And here, choose move all attributes into the new composition. Meaning what this will do is the new composition will also be of this size, and it will basically retain every change we have made here into that composition. So I'm going to call this B underscore PC. Okay? So B is the name of the object. PC stands for pre comp, right? And then I'm going to hit on, Okay, right? So we have back here and you can see already see we have many distortions here, but don't worry about that. Okay, we are going to sort them out, right? And also, we're going to move this girl here. This is why renaming is really important, see, okay? Now I'm going to solo this. Okay? So let me quickly introduce to the switches. Okay? So this is video. This basically hides, okay? This is sound. If it has sound, you can mute it. This is solo. Let's say that there are so many layers. I haven't renamed them, right now, and I want to see which layer is this. But what you might do is you might hide them and that would take a lot of time, right? Solo basically solos the layer, okay? So I'm going to precompose this. Control Shift C, right? Move all attributes. Then I'm going to call this red. B, underscore, PC, and then move all attributes into the new composition. Then I'm going to repeat that, okay? So blue front underscore, PC. Then I'm going to call this girl Windows coe PC. Okay? So we have our comps ready, right? Now, the next thing that I'm going to do is I'm going to go into the layers and then I'm going to rename the layers as well. So I'm going to call this B. Wow. Now it's back wall. Okay. Then I'm going to go here and I'm going to call this red back. I don't know why I named it to back. It shouldn't have been. It should be red front, but that's completely fine, okay? The point is to remember because this renaming portion, this renaming part is for you, okay? It's not for your client. Your clients are not going to see what's going on, okay? Then I'm going to go here and I'm going to rename this to Blue front. Then this is called composition Mini flow chart, okay? If you want to go back and if you don't know where the main composition is, and you are working on many coms, okay? So that could be confusing because here there are only four tabs open of the composition, right? But what if you are working on a pre comp that has more than ten coms, okay? How will you navigate? To the main composition. So this really helps us. So whenever you press tab wherever you are, you will have this flowchart appear wherever the cursor is, right, and then you can go on to the main composition, right? And then I'm going to rename this. Okay. So we have our compositions ready, right? That's the first step now. Let's arrange this one as well. So let's call this 00 underscore PC for pre comms, and I'm going to bring all of the precoms here, okay. But I'm going to bring the main out, and I'm going to change this color to red, and I'm going to click here. So the precoms and everything will be sorted out based on the colors, right? Okay? So the red color will be on the top. As you can see here, the red is on top, right? And that's why here, this color is basically called the label, right? Then I'm going to create another folder. Let's call this PS let's call this assets, because that is what this is. Then I'm going to move this into this and also make sure that you don't delete this. Okay, this shouldn't be deleted, right? If you delete this, it will affect the compositions. Okay. So make sure that you don't delete them. Then make sure that you save the compositions as well. So I'm going to save that now let's look at the distortions and let's see how we can fix that, okay? So first of all, we have these distortions, okay? And we have blue front, okay, and the back, right? So the back covers everything. And the distortions are because in the previous lecture when I showed you, those distortions were covered, right? And so these distortions, I have kept them intentionally here just to show you when I said that we will fix that in pre production, sorry, in post production. And so I'm going to show you how to do that, right? And so I'm going to press Control I. Okay. And then I'm going to find the source image, okay, right? And so this is the source image. And I'm going to go to read back and I'm going to duplicate this, right, and I'm going to bring it here like this. Okay? Now, what I'm going to do is I'm going to just and I'm going to explain what I did, ok? So don't get confused just follow my lead. Okay? So I'm going to grab the Pen tool and I'm going to quickly mask the image like this. Okay. And then I'm going to send it on the back, right? Now, what I want is I also want the stair to be there, right? So I'm going to first of all, press Control D. Control D duplicates this. So I'm going to go to edit and duplicate or you could press Control D, right? And then I'm going to bring this back, and then I'm going to just slightly move this down, okay. Although this won't be visible, but I think I still want it to be there, ok? And so now the distortion is covered, right? Now, whenever you want to replace layers, for example, if you want to replace this layer with another layer, all you have to do is hold alt and then you bring the layer on top of the layer, and then it will be replaced with the layer, that's what I did. And so we basically covered the distortion. Now I'm going to go back, and let's look at that. Okay? Then we have this, then we have this, and this. Okay? Also, if you look here, these portions should have been cut and they aren't that's fine because the animation isn't going to be that complicated here. Okay? So I'm just quickly going to show you the importance of pre comp. So let's just type in let me just type in the random word, okay flour. Okay. And I'm going to put this on the back. I'm going to just scale this up, right? I'm just showing you the example, right? And so I'm going to go back. Okay. Right? And here we have that. So any change you make in this will be visible here, right? Also, you can do many animations here and you can also have and do many animations here, right? And so precomping is really, really crucial. If you want to become a professional, you have to use precoms as much as possible. Precoms potential is untabbed, okay? I'm going to explain the transform properties in the next lectures as well if you are a complete beginner, so don't worry about that Okay, I'm not missing out on anything like this process is slow and I want to make sure that I don't rush the lectures. Okay? And so that's it for this lecture, I will see you in the next one. I'm going to get rid of the flower, by the way, I just wanted to show you. 7. Chapter 5: Camera Rig: We jump into animating, there are things that I think I need to adjust. Okay? And the first thing that I'm going to do, I'm going to copy this, okay. And then I'm going to go into Girl PC, and then I'm going to paste it here. Okay? Then I'm going to go back and I'm going to get rid of this here. Okay? And the reason why I did that is because I want to this video as minimalistic as possible. I don't want many layers hanging around here. The next thing that we do is we create a new solid because as you can see here, the background is empty. If you don't see that here, it's called togal transparency grid basically here. This is the color. This color is basically the color that you set on the color here. But what we want is we want to create a solid. A solid is a flat one color rectangular layer that will be using a background, right? So here, all you have to do is right click New Solid. The shortcut is Control Y. Then we have this. Okay? So this is solid settings, and then you can change the color here, and also you can change the width and height as well. So I'm going to change this color and you can also click on preview if you want to do that. Okay. Okay. I'm going to go with this color. You can change the color later as well. Okay? So don't worry about that and then hit on. Okay, let's call this BG for now, okay? And I'm going to bring it on the back. Okay? So we have something like this. Okay? Now, the next step is to turn all the layers into three D. Okay? So these layers right now are two D layers. Okay? So how do we do that? So three D layers are basically just flat two D layers that you unlock to move and rotate in three dimensional space by adding a Z axis to it, okay? And so this are all the okay, panels, okay? So first, we have Shi. Okay? So this basically hides the layer. For example, if you want to hide this you have to click here, and then this will activate the si switch. Okay? So if I click this, that's gone. Okay? So that's it. And then we have this is called continuously rasterize. Okay, this is used for mostly Adobe Illustrator artwork, okay? This is quality and sampling. I don't use this at all. Then we have effects. The effects applied, for example, if you apply any effect to this layer, you will have this box selected. Then this is motion blur, it basically blurs the motion, the animation that you create. Then we have this as an adjustment layer. Let me show you. So I'm going to create an adjustment layer, the right click new adjustment layer or Control Y and CT is an adjustment layer. So whatever effect that I apply on this layer will be applied to the layers beneath it. Without directly applying to them, okay? Then here, we have something that is really, really crucial, okay? So this is three D layer. This will allow us to manipulate the layer in the three dimensions. Okay? So I'm going to just turn them into three D, right? So once that is done, well, our layers are three D, but you cannot see any difference, and to see the difference, what you would need is to view, okay? So here, this is basically the top view, okay? See? The top view. And if you want to see that, just change this to two views, go here and just change this to two views, and then click here. And then if it is something else, just change to top, and also make sure that you have this selected. Okay? If this is selected, you won't be able to see that. Okay? So I'm going to select this and then change this to top. Okay and see. All these are basically the layers but the layers are at zero, okay? So I'm going to press P, okay? So P brings up the position property. Okay? So let me quickly walk you through all the transform properties before we move any further, okay? So here, these are all the transform properties, okay? For a second for just a second, I'm going to just change this back to two D, okay? So here, the basic transform properties are anchor point, position, scale, rotation, and opacity. So anchor point is, so let me change this to One view. So I'm going to change this to one view so that I can quickly explain what this transform properties for the complete beginners. Okay? So the anchor point, this point that you see is called the anchor point. So the anchor point is basically the Piote. This is the point from which everything moves. For example, I have this square. I'm going to just get rid of this. Then I'm going to bring this anchor point. So the anchor point, this is pinned behind anchor 0.2 the shortcut for that is why you can basically move anchor point with this. I'm going to move it here, and then I'm going to change this to rotation. Every transform effects or animation that you do will change in reference to this point. That is why anchor points are really, really crucial. I'm going to get rid of this for now. Then we have position. So position is basically the position of the layer, by the way. Then we have scale, the scale. Then we have rotation. Okay. And then we have opacity. So opacity is basically the transparency, right? Now, the shortcut for this, okay, so let's go through that really, really quickly. So the shortcut for the anchor point is A, then the shortcut for position is P. The shortcut for scale is S, the shortcut for rotation is R, and the shortcut for opacity is not O, but T. Okay? Also, if you want to animate in After Effects, this is called time Very stopwatch, okay? So it basically gives us ability to store the property value at a time. So for example, if I just drop a keyframe. So this is a keyframe, right? So keyframes are the marker on the timeline that tells After Effects exactly when and where a property like position here, should change its value, okay? So I'm going to go ahead and then I'm going to just change this. Okay, let's change something else, okay? So we have this really simple animation, right? Okay. And there are many key frames as well, but we will go into that as we move forward. We don't want to, like, eat too much at a time, right? Okay, so let's move forward. The next step is to create a new camera and a null object. Okay? So first, let's create camera. Okay, so new camera. Okay? Here, I'm going to keep it as it is. It's going to be two node camera. You can use one node camera, but I prefer this. Okay, then we have the name. You can change the name as well. Then the preset, there are many presets here. I don't use them, and I'm not going to enable the depth of field here because like I said, we want to keep this as simple as possible. But if you want, you can enable it later. Okay? Then I'm going to hit on o. Right? Now we have the camera. And if you have property spanel open, you can see how many parameters this gives and I'm not going to go into them. Now, I'm going to create a null object. So null object will act as a handle that we parent camera to, and it will allow us to control camera and so it makes things really, really easy. Okay? So let's create a null. So the shortcut is control or Shift Y. But I'm going to just right click and Null Object. Okay? And I'm going to call this camera Control. And if you want to rename in After Effects, double click won't work. The shortcut for that is Enter. You have to press Enter. Okay? So double clicking will do this. Okay? We don't want that. Okay. And I'm going to reenter the anchor point of the null, okay? So the shortcut for reentering the anchor point is Control Alt home, okay? Then I'm going to align the null to the center of the composition before I turn it into a three D because you cannot align three D layers in After Effects. Then once that is done, you can see that when you change any layer to three D, you have this, this are basically all the positions, this is z axis, Y axis, X axis. Now I'm going to parent this to this. We have the basic setup for the animation. I'm going to open up the position property. And if you want, you can also see whether your parallax is working or not. And the reason why the parallax is not working is because each and every layer is like here. It's at zero, zero, zero. So parallax works only if there are changes in the Z properties. So I'm going to change this to two views. Okay? So what we need is we need to place the objects in a way that it creates the parallax effect. So I'm going to press this shortcut on this, okay? So that we can see more properly, okay? So I'm going to move this towards the camera, right? As you can see here, Okay, this might be too much. Okay. Now, the scale has been messed up, so I'm going to press S to bring up the scale, and then I'm going to just reduce the size of it. Okay. Now here, like, for example, the slab, this should be on the back. If you look at the original image, okay? So if you look at the original image, this part, blue front is like in the front, right? So what we want is we want it on the front. So I'm going to first of all, bring this on top, and this sequence also matters, okay. So make sure that you remember that. Okay. Once that is done, I'm going to change the size of this as well. So I'm going to just bring it around. Okay, this might be too much. Then I'm going to press S and reduce the scale. Now let's see if the parallax works or not. First of all, I'm going to go here, change this to one view. It works fine. You can see the change. It's still subtle and if you want, you can make it, for example, I'm going to change this and I'm going to scale it up. Okay, so there are lots of things happening. This is if you want, you can also bring this, for example, if you want, you can also add this layer here and it will add even more depth. But I don't want that because I want to make this animation as simple as possible because what I want is I want to make sure that those doodles and the things and the flowers that we add are the central focus of this animation. So let's animate this quickly. First, I'm going to add a keyframe here. Okay. Then I'm going to go ahead. Okay. So by the way, this is the timeline, right? And this is called current time indicator. Okay? So you basically move through the frames like this. And if you want to see where you are, you can see it here, right? And so I'm going to move around at 3 seconds or almost 4 seconds. Okay. And I'm going to drop another key frame. Then this is by the way, let me quickly walk you through this. Okay? So this is a hand tool. Hand tool is used to navigate. The shortcut for that is etch, but if you want to activate it and deactivate it, the shortcut for that is spacebar, if you press space bar, you can easily turn it on and once you let go, it goes. Then I'm going to move ahead and this is zoom in, I'm going to just zoom out and then I'm going to move ahead to somewhere around here and I'm going to drop the keyframe. We do this because this principle is basically called beginning with the end. So let's say that you mess up any property, for example, you did this, right? And now suddenly you forget that how do you even get to your previous or the original position? That could be really tough as a beginner. So this keyframe will act as a starting point of the animation, right? So I'm going to just undo that. Okay? Now, I'm going to go here, okay? We have this really simple animation. What you always want to do is you start with the most important stuff. For example, the animation is the most important part here. The doodles that you see on the screen are not as important as the animation because they can be really messed up if the animation is not done properly. Now, I'm going to go at this keyframe. By the way, the shortcut to move between the keyframes is J and K, J and K. Right. So I'm going to just zoom in like this. But I'm also going to bring this bit down. Let's go up. Okay. Because also don't worry about the animation. It's not like written in stones. For example, if it's set here, it doesn't mean you cannot change it later. You can definitely change it later based on the doodles and the animations we will add, right? Okay. Now, once that is done, let's quickly look at the animation. Okay, it's really simple, right? Now, let's add rotation animation, okay? So what I'm going to do is I'm going to go around here. I'm going to change this to half for now. Okay? And I'm going to press R. Okay? So when you press R, it brings up the rotation. So I'm going to just keyframe all these properties. But first, I'm going to start with the X rotation. Okay. Then I'm going to press brings up the set keyframes on the property, right? Then I'm going to go at this frame and then I'm going to drop the keyframe, right. Now I'm going to change the something like this. So we have this. Okay, so our primary animation is done also. You can do so many things. For example, if you are not satisfied with this, you can, for example, let me press R, and then I'm going to drop two keyframes here. I'm going to drop two more keyframes here, right? And let's change this, for example, here. Okay. Also, one reminder that let's say that you are just animating it here, okay? And here, this part is getting cut off, right? So this part is getting cut off. But if you change the position, it might cause some issues, right? How do you solve that? Okay? So the best and the fastest way to solve this is to apply an effect called motion tile. So I'm going to go to effects and presets. And by the way, this is just a side tip. I'm not going to use this, but I'm just going to show you, I'm going to apply an effect called motion tile. So motion tile allows us to expand the background. I'm going to change this to mirror H and then I'm going to change the width. Just like that, our problem has been solved if you want, you can also get rid of that, but that will cause some issues. Now that issue is taken care of. There are so many things that you can do here. For example, you can also change this or you can go like this. But I don't want that, I want to keep this animation as simple as possible. I'm going to just get rid of 8. Chapter 6: Animating The Sun: The previous lecture, we created this animation. Now, in this lecture, we are going to add those elements into animation. So like I said in the previous lecture, what you always do is you create the animation first and you fill in the gaps. For example, if you think that this space is empty, then you have an opportunity to use this empty space to fill up with something really creative Okay. And so we are going to do just that in this. Okay. First, if you see here, okay? So these are all the solids. Okay, for example, here. So this folder is automatically created in After Effects whenever you create null, okay? So this null is basically this. Okay? So this is layer name. If I click on this, it will turn into source name, okay? So this is the source name, okay? So this null one is here. So if you delete this folders, this will all be deleted, okay. So make sure that you remember this is really important. So I'm going to create a new folder and I'm going to call this 02 the score random. Okay. And I'm going to bring the solids into that. Okay? I like to keep things organized, okay? And so once that is done, the next step is to import our illustrations and elements. Okay? So let's start, okay? So to import, I'm just going to double click here. So here we are going to use this illustration. Okay. So these two are basically AI generated. And so let's import, first of all, this three, and then we will import Illustrator file as well, okay? So I'm going to hold Control and then I'm going to click so then I'm going to hit on Import. Also, let's say that your system is slow and you don't know why suddenly your system is slow, right? So sometimes what might happen is all you have to do is go here and purge, okay? So what After Effects does is that it stores the disk cache, cache or cache. I don't know how to pronounce that, but this slows your system down, okay? So sometimes you might have to do that. I'm not going to delete that right now because it will take time, okay? So I'm just showing you that sometimes if you think that, well, my system is slow, I don't know why, then this might be the reason, okay? I have 200 GB here. Okay, so it's completely fine for me now. Okay? Then I'm going to move this into this. Okay? So we have this. I'm also going to give this a different color. Let's go with red, right? Once that is imported, I'm going to import an Illustrator file. I'm going to double click. Okay? I'm going to go to characters, and then I'm going to select this, okay? And hit Import. Okay. And this one is really, really important, okay? So it's same as the PSD, but you don't get these two options, okay? So I'm going to choose composition, keep footage dimensions as layer styles, layer size, not styles. Okay? So if you import this as a footage, what will happen that every layer will be on a same layer, and we don't want that, right? Whose composition and heat on, okay, right? And it will create two things. The first one is these are all the layers, and this is the composition that is created from these layers. So I'm going to move this into assets because this one is also important. So make sure that you don't delete that either. And I'm going to move this into PC. Okay. Now, let's open this up. Okay? So we have this. So first of all, this bunny was just an experiment. I tried to create it, but I didn't like it, so I left it half the way, okay? And as you can see, it has no details, right? So I'm going to just get rid of that. Okay? Now we have this. We have this. Okay. So this is basically the branch, okay? So I should have, you have to get into the habit of renaming. And by the way, this is called snapping, okay? So it basically snaps. The shortcut for that is control. So whenever you hold control, it will snap to the bounding box, okay, not the layer, okay? So we have this. Now the next step is to create the pre comms from this to precompose. All you have to do is right click, precompose, or you could press Control Shift C and then leave all attributes and then sun underscore PC, and then hit on Okay, right? And so we have this. Okay? So this is the composition. It's basically 382 by 377. Okay? And I haven't changed a thing here, and I'm going to bring this compositions duration down. The shortcut for the composition settings is Control plus K. Okay. Now, once that is done, what I want is I want to make changes to this. But as you can see, we don't have many options to change here, we don't have anything apart from these basic transform properties. So After Effects allows us to create or to transform the Adobe Illustrator vectors into After Effects native shape layers. And you can manipulate the shape layer as per your wash. You can change the colors, you can change so many things here, right? And so all you have to do is right click create and create shapes from vector layers. And this will work only for Illustrator files because if you might try this on like Photoshop layers, but it won't work. So let's go into contents. Let's see what's going on. Okay. So whenever you turn vectors into the native shape layers, we will have these groups. Okay. So these groups are groups from the Illustrator, right? So for example, here, these are the two blush. Okay, then we have this element, and also you can change so many things. For example, if you don't like the color, you can make it brighter. Okay. If you don't like this, you can change this as well. Okay? So let me quickly walk you through the shape layers, okay? So shape layers have many, many properties, okay? But whenever you convert Illustrator files into native shape layers, you will have path, the stroke. Stroke is basically, let me turn this one, okay? So stroke is the stroke of the layer, then fill is the fill of the layer, right? And under this, you have many properties as well, okay? So here we have color. This is basically the color of the stroke. Then we have stroke width. Okay. And we have opacity. These are the caps. So we have butt cap, round cap, projecting cap, and I'm going to keep it as it is. Then we have, so this cap are basically the lines edge, for example, here, let me quickly create the shape layer or just a stroke, just to show you. I'm going to create this. And as you can see here, okay, this is the butt cap, okay? Right? But I don't want that. I want it to be round, okay? So that's that. Then we have line join. Okay? So for example, let me add some. And by the way, you don't have to press any shortcut, the cursor changes to plus, so you can add points to this, and then you can make changes, okay? And then if you want to change the join, all you have to do is go here. Okay? And it changes, right? So this can be used for the character animations. And then we have dashes. Okay, so you can add dashes to it like this. Okay. So these are the dash is we have two properties. First is you can add dash and then you can change the dash or you could get rid of that, right? That's dashes. Then we have taper. So taper is like that tail. Okay. So if you want to make this into tail, you can do that with the taper, like that liquid animations that you must have seen. Then we have wave. This one is comparatively new. But you can do many things here, okay? So this phase is basically the offset here. In many properties, we have offset and you can change this. You can play around with that as well. So stroke has many properties. Okay. Then you can also, if you look at here, we have two options. So these options will be available on the shape layers. First one is fill. And when you click on that, we have this is solid color. So this is set to none because we don't want that. Okay. So this is set to none. If you want a fill color, you have to choose this. If you want gradient, so this is solid color, basic color, basic hue, then we have linear gradient, and then we have radial gradient. So if you want to make any changes to that, you will be able to see that changes here, and you will be able to change the gradients from here as well, okay, right? And so I'm going to change this to none. Okay. And it basically gets hidden. If I turn this on, it turns it on here as well, okay? And so that's it for the shape layer, right? Let me turn this on. Now, the great thing about shape layers is that you also get additional transform properties of the group. Okay? For example, here, this is the transform property of the entire layer. For example, if I want to change the rotation, or the scale, this will change the entire layer. But let's say, this one is this blush, right? Let me rename this. Okay, so this is blush one. This is blush too. This is the central part, and this is the beam, right? So like I said, whenever you change something in this transform property of a layer, entire layer will be affected. But let's say that if you want to make changes only to this, for example, let's say that we want to rotate this, right? So how do we do that? Without rotating this? After Effects allows the individual shape layers to be animated as well. For example, I'm going to go at here and I'm going to rotate it, and it will rotate without affecting anything else, right? So first, let's animate that, okay? So in After Effects, you don't always have to animate everything using keyframes, right? In After Effects, what you can do is you can use something called expressions. So expressions are basically the code you write sometimes not only avoid keyframes, but it is used for automation. For example, let's say that here and to apply the expression on any property, all you have to do is go to stopwatch and then hold Alt and then you click. Now you have this expression editor, and I'm going to add in time star, not B star ten. We have this. This is the expression. Let me play this Okay. So this is basically a time expression, okay? So time expressions moves the layer or change the layers automatically based on the clock instead of using the manual keyframe, okay? So it basically changes as the time passes, okay? So now we are going to create the expressions for the sun. I'm going to select the ellipse tool. This is shape layer tool, okay. And we have rectangle tool which creates rectangle, rounded rectangle, creates rounded, and so on and so forth, right? Ellipse, polygon, and star. So the shortcut for that is Q, okay. So if I change to Q here, the shape layer changes, right? So what we want is ellipse. So I'm going to click on Q until we get the ellipse, right? So I'm going to create a shape like this. And I'm going to reduce the size. We have this option. The option is called add. Okay, so these are basically different modifiers. So it allows you to add specific elements and modifiers to your shape layer to create or change its appearance without using this traditional effects, right? And so there are so many things we are not going to go into them right now, but the only thing and this one is the most important thing and that is trim parts. Okay? So trim parts allows you to trim the strokes or the layers, okay? So we have many properties here. First one is start. This is the start of the trimming and the end. And so I'm going to change this to around here, and then I'm going to change this offset. So the offset basically offsets layer, right? So I'm going to bring it here. Okay. And I'm going to go into ellipse. I'm going to go to stroke, and then I'm going to change this to round cap. Okay? So we have the I one, right? And I'm going to I think I'm going to make this a bit wider I guess. So bigger. Okay. All right. Once that is done, I'm going to rename this. I'm going to call this I left. And then I'm going to press Control D to duplicate, and I'm going to bring here, right? Okay. Once that is done, I'm going to create a new circle like this, new ellipse, I'm going to place it in a way that it looks decent, so we're going to go with somewhere around here, right? Once that is done, I'm going to add in the trim parts, okay then I'm going to reduce it, and I'm going to offset this. Then I'm going to increase this and offset this until it looks like a smile, right? Then I'm going to increase the stroke with I'm going to go to stroke and I'm going to change this to round cap it looks nice, but I'm going to bring the eyes bit down like this. I'm going to reduce the stroke as well, okay. And if you want to reduce in terms of decimal points in After Effects, for example, look at the stroke values. All you have to do is hold control, okay? So, without the control, it changes really quickly, right? And so then I'm going to move this bit down, and I'm going to increase the stroke width. Okay? And so we have the sun animation ready. Well, it's nothing much, okay? It's really simple. 9. Chapter 7A: Animating Flower: The previous lecture, we animated the sun, right? Now, let's prepare other elements as well. And let's open this up, also the are all the empty layers. They might have something, but I'm going to get rid of them for now. Okay? So I'm going to select both of them. Then I'm going to press Control Shift C. Then I'm going to call this flower front under scoPC Now we have this. Okay. So let's start by creating shapes from vector layers. Okay? So I'm going to right click, create, create shapes from vector layers, right? Then I'm going to do the same thing, create shapes from vector layers. Okay? And I'm going to rename this quickly. So I'm going to call this branch, and I'm going to just get rid of the outline part here, right? And I'm going to so here, what I want is I want all of this to rotate around the center, right? And how do we do that? So there are many options. The first one is you could just select the group, right click, and then you can group shapes. So basically, they will be grouped, right? And they will have this anchor point as well. So this anchor point is not the anchor point of the layer. This anchor point is the anchor point of the group, and you can change this anchor point as well by pressing Y, and then you can just move it to the center, this. Okay, and then you have this group. Okay? So I'm going to call this leaf group, okay? And these are all the individual groups inside the group. Now you also have the control to change them as well, but we don't want that. We want to keep things as simple as possible, right? And this transform leaf group is transform property for this group, okay? So I'm going to add in that time expression as well. So I'm going to Hold ord, click, and then I'm going to type in time. Star. Let's go with one because I want to keep things as subtle as possible, okay? So this rotates really, really low. So as you can see here, I have applied gradient to this. But you don't need to because the purpose of this is to keep everything as simple as possible. So don't get confused if you see the gradient fill here, okay. Just make sure that you change your fill to the color that I have given. Okay. Okay, now let's give this some more details. So I'm going to just grab the pen tool, then go here and then just start drawing the shape like this. Okay? And I'm going to bring that here. I'm going to bring in on top. Then I'm going to hide this, and I'm going to bring it here, right? Now, once that is done, I'm going to go into leaf group. Okay. I'm going to go into stroke, and I'm going to go to taper and we are going to have this taper at the end, like this. Okay. Now, once that is done, I'm going to duplicate this. I'm going to bring it here. Then I'm going to bring it here. Then I'm going to select this and I'm going to move it like this. Okay. So this looks really nice. Okay? Now, let's say that you don't want to do everything in the same layer, right? So how would you do that? How would you solve this problem? Because as you can see, the layers are increasing, and this is where the problem solving comes in, right? You have to be flexible in your process, right? All you have to do is press Control D, right? Then what you want to do is you want to go into group, right? And then you delete this leaf group from this section, right? Then here, you delete this and you ungroup the shapes, the problem here is that the animation that we just did, which was on the group is gone. The good thing is that now all you have to do is just apply the same expression that we applied previously here, okay? And this is the problem solving because as a beginner, you might think that, well, I have figured everything out. But as you move forward, you realize that, well, things are getting complicated, and I need to simplify, and that's completely fine. Simplifying is good, okay? And so I'm going to add in the expression to the layer. But before that, we want to make sure that the anger point is at the center, right? So the shortcut is control allt home, but that doesn't work because our center is clearly here, right? So After Effects can do that because it measures things differently compared to how we see, right? So I'm going to click on Y and then I'm going to hold control and then it snaps to the center. Then I'm going to add in the expression time star one. You can change this, but I want to keep this as subtle as possible, right? And so I'm going to call this pink leaves. And then I'm going to call this flower head. Okay. I also don't like the color of this branch as well. Okay? So let's change that first, and then we will add those tune like effect here. Okay, so we have this, right? And I'm also going to delete this. We don't need that now, okay? So I'm going to go into this group, and I think the stroke is too much, so I'm going to reduce it, okay? And let's change each stroke to three as well. But this still feels as if something is missing, right? And that is those tune like effect, okay? I'm going to hold this, okay? I'm going to duplicate this. I'm going to bring it out like this. Okay? And I'm going to get rid of the fill here. I'm just deleting it by the way. And then I'm going to add in the trim path in this group, okay? So trim path, I'm going to just solo this. Okay. Then I'm going to change this Okay. And I'm going to offset this. Okay. So trim paths are really, really handy, okay? Don't underestimate the power of trim path. And I'm going to rename this. I'm going to call this tune effect, and I'm going to place it somewhere around here and you can see you can do so many things here, right? And you might be thinking, What's the point? The point is this. Okay. And you can do wonders here by the way, okay? So I'm going to go into taper and let's change this let's change this as well. And if you think the stroke is too much, you can reduce that as well. Okay. Let's say that you want to do this again, you just duplicate this, change the trim paths to anywhere. For example, well, this might not be visible, so let's go with top. And If you're not able to see this, you can hide this as well. So don't worry about that and you can turn this on, so that you can see more properly. Okay. Then I'm going to turn this on and I'm going to move this. And you can offset this in any way that you like. Okay. So we have something like this. You can also move it aside. Okay, if you want, you can keep that. If you don't like, you can get rid of that. Okay? It depends on your preference, like I said, right? So this looks good so far. Now, let's add this tune effect to this as well. So I'm going to just select the pen tool. I'm going to get rid of this, and I'm going to start by drawing the random shapes like this. Okay? And I'm going to increase the Okay, so I'm going to call this tune effect, and I'm going to bring it below this. Then I'm going to recenter the anchor point. Okay. And I'm going to go into shape, stroke, taper, and I'm going to change the end length. Okay. And now I'm going to parent this to pink leaves. And I'm going to place it somewhere around here. I'm going to go and change this from the back as well. Okay. And I'm going to change this to round it. Okay. I'm going to make it bit shorter. Then I'm going to duplicate this by pressing Control D, then I'm going to place it here and I'm going to just rotate it like this. It doesn't have to be perfect. I'm going to make this bit shorter and I'm going to change the taper on that as well. Now, let's say that you don't want to go into that. Sometimes you have this. You also have properties, but if you don't want to you can find it there, all you have to do is search for taper and then you can change it. Okay. Now, I'm going to do the same thing here, so I'm going to just draw a shape like this. And I'm going to reduce this stroke of it. You don't have to keep each stroke in the same size, by the way, right? Ban going to change this. I'm going to change this to zero. Not this, okay? I'm going to bring it down and I'm going to change the taper. Okay. So I'm going to change this to 25 or this Okay. So we have something like this. Now I'm going to repeat this process, and I'm going to fast forward this. Here, okay? So we have something like this. This looks nice, but it's still incomplete, right? Now, Okay? The reason why it's not changing is because of the parenting, okay? So what you have to do is make sure that you are at that frame, then you parent each and everything, make sure that they are placed well, and then just select them. Also, I'm going to give them a label so that I can identify them. Then I'm going to parent this to pink leaves, okay? So you can make many changes to this. If you don't like this, you can change the stroke as well. Just don't go overboard. Okay? Okay. Now, if you want, you can also add those tune effect to the leaves as well, but that won't be necessary because, well, only this part of this flower will be visible, right? 10. Chapter 7B: Facial Expressions & Light: So the next step is to quickly create the expressions, right? Let's create a new composition for this. So let's call this expressions. Okay? And I'm going to go with 200 by 200 and duration is going to be the same. Okay? Now we have this. First of all, I'm going to turn on the transparency grid, and I'm going to just create a line like this and I'm going to change the stroke, and I'm going to change its color to black. Also if you think that stroke color needs to be changed, you can change that, then I'm going to press G. I'm going to hold Alt and so we have this, I'm going to make this smile. This is basically the smile. Now, I'm going to type in cap and then I'm going to change this to round cap. The shortcut for that is Control F, by the way. I'm going to call this smile then we are going to create the eyes, okay. And for the eyes, we are going to simply use the stroke as well, this depends on your preference as well, like I said, I'm going to call this I left, right? So I'm going to animate the scale. Okay? This is going to be really, really simple and really fun. This is constrained proportions, okay? So let me show you quickly. If this value is 100, this value is going to be 100, right? But if I get rid of this, which is called constrained proportions, okay, we will have scale that will go in the both directions without affecting the other, right? This is X, this is Y, okay? Then I'm going to change. Okay. So I'm going to drop the keyframe here. Then I'm going to go 15 frames ahead by pressing Shift page down. Shift pad down moves your playhead to around ten frames, and then I'm going to go one, two, three, four, and five. Just page down helps you to move playhead ahead by one frame, right? Then I'm going to change this to ten. We have this. Then I'm going to go 15 frames, Shift P down, one, two, three, four and five. I'm going to copy this by pressing Control C, Control V, then I'm going to go shift P down, one, two, three, four and five. And then we have AbdolKtlV. Okay. Let's see if its loops, by the way. And this is work area, let me show you. Okay? So this is called area. This is work area start, this is the end is called area. I want to make sure that I preview this. I'm going to bring in the work area here so that I can preview it more clearly, okay? The shortcut to bring the area to the current time indicator, is B. So wherever this current time indicator is and you press B, the work area start will move there, okay? And same goes for the work area. But here, the shortcut for that is N. Okay? So let's see if it loops properly, okay? It doesn't. Okay, so I'm going to get rid of this keyframe. Okay. So the next thing that I'm going to do is I'm going to copy this copy this keyframe and paste it here, right? So the reason why I did that is because I want this blinking to be long and the shutting of the eye has to be shorter, right? And so that's why I have copied this keyframe here, right? Okay. Now, right click Easy is, okay? And so we have easy is the keyframe. So in short, if I had to explain easy is, so easy is and the graph editor. So this is the graph editor. These are the tools that used to control the speed of animation, make it look natural. Okay? So the animation that we do on the linear keyframe, for example, these keyframes, these keyframes are called linear keyframes, and they are called linear keyframes because they are robotic. They are linear. And when we easy ease the keyframes, okay, this keyframe changes, this is used to create that natural kind of movement. Now, to manipulate the keyframes and the movement, we have a tool called the graph editor, okay? So here we have two properties, by the way, C, X and Y, C. Okay, so this is speed graph, and then we have value graph. Okay? They both are important. Okay? So I'm going to quickly change this. So first of all, I'm going to double click here. And what this does is that this locks the outgoing and incoming velocity. So if I don't do that, I might mess up, okay? So I'm going to double click here. Okay, and click on Continuous, and then I'm going to change this or let's do this here as well, and I'm going to change. Okay. Let me bring this out. Okay. And I'm going to mimic this graph here, okay? So I'm going to move this Right. Now let's look at the animation. Okay? Okay, this one looks nice, and I'm going to change the cap to round cap. Okay. So we have something like this, really simple animation. Okay, now let's duplicate this and let's place it here. Okay. So I'm going to change this to right. Okay. We have this really cute animation, and now what we want is we only want this animation to loop only from this. We don't want to use this entire workspace. And so we want to trim this area into this. So how do we do that? All you have to do is go to composition and then trim comp to work area or the shortcut for that is Control Shift X. Now, let's go into this. Now let's bring in the expressions here, and let's scale it down. Okay. Now, as you can see, the composition ends here. The composition ends here is because we basically changed the composition, right? And how do we solve this problem? We basically reduce the time of the composition like in the main composition. So here we have this issue like the composition s here. What you might do is you might duplicate it and place it here, but that's not efficient, okay? So the shortcut for that or the best way to do that is using the time remapping, okay? So go to time enable time remapping. The shortcut for that is Control Alt T. And whenever you apply time remap, you will have two keyframes on the time, okay? So this is basically the entire duration of the keyframe. Now, what you can use is that you can tell After Effects that I want to loop this composition a specific duration. For that, we are going to use expression. I'm going to hold Alt and then click. Then I'm going to add in the loop out expression. The loop out expression is used to loop. Now, you can drag the composition like this and it will loop continuously. Now, this is a common glitch in After Effects. At the end frame every time this happens and this might happen because here it's empty. Let's see if it works. And it still doesn't work. The solution is simple. Whenever you do this time remapping, you will have this problem. Okay? So all you have to do is just move one frame back from the main keyframe, drop the keyframe and delete this keyframe. Okay? So time remapping lets you manipulate the time of the composition, okay? And we do that using the keyframe, right? Instead of changing the overall speed of the animation, for example, if you want to just increase the blink speed of this, okay, all you have to do is just bring it in and now look at this, okay? It changes the mood of the animation. Of course, we don't want that. I'm just showing you the example. So whenever you apply time remapping, you will have two key frames like this, one at the start and one at the end of the composition that is it applied to, you can do so many things. You can speed up the composition, you can loop the composition, you can slow down the composition. You can even freeze the composition, it is most commonly used for those speed remapping. Okay, I normally use it for looping the compositions, o, and you can use it in many different ways. Now, let's precompose all of this. Okay? So I'm going to press Control Shift C, or you could right click and precompose. So I'm going to call this flower front underscore main okay, right. So we have this, right. Now, if you want, you can bring it to the center, scale it up. Okay. I'm going to create two random shapes, one on top and one on the bottom like this. Okay. And I'm going to get rid of the stroke. I'm going to enable the fill, and let's go with this color. I'm going to go into the shape layer, so I'm going to press Ctoldi and I'm going to bring it here. Right. Once that is done, I'm going to press Control D, okay? Then I'm going to change the tract mat. Okay. So tract mat, controls the transparency of the layer. Okay? So we have Alpha met and then we have inverted Alpha mat. Okay? So this is Alpha or luma mat, and this is invert Mt. Okay? So I'm going to show you. Don't worry. Okay? So I'm going to change this to first of all, I'm going to rename this. I'm going to call this mat and I'm going to call this light Okay. And I'm going to choose the mat here, okay. And suddenly we have this option, right? So this is alpha met. And as you can see, the shape layer appears only in the wherever there is this flower, this shape will appear. But outside, it does not appear, right? But if I change this, it will invert it, okay? Right? Now, the next thing that I'm going to do is I'm going to change this to overlay, okay? And I'm going to reduce the opacity, right? So as you can see here, this edge doesn't look right. It has to merge with the illustration, right? So I'm going to apply an effect called fast box blur. Okay? So I'm going to apply this. Now this is effects and presets, by the way, and you can search any effect here, right? So we have so many effects here, and then I'm going to first of all, I'm going to get rid of this. This basically repeats the edge pixel and we don't want that. We want it to spread around, right? And so I'm going to change this to around here. You can play around here as you like. As you can see, it makes a difference. It's not a huge difference, but it doesn't look flat anymore, let's say that if you don't like this, you can change it here as well, okay? So this is basically the light of it. There are many other effects as well. For example, if you want to take your lighting to the next level, you can also add something called light suite, but I'm not going to add it. I'm just going to show you. Okay. So I'm going to just place it here. Okay. And as you can see here, we have this, right? You can change so many things here. Okay. See? But we don't want that. I'm just showing you? First, we prepared the sun, then we prepared the flower. Now, I think I don't like the color of face here. I'm going to change that Okay, I made it just a bit brighter, right? Also, if you want, you can also add depth to it, but I suggest you keep things as simple as possible, okay? So in this lecture, we created this simple flower animation, and in the next lecture, we are going to create another flower animation. And so I will see you in the next lecture. 11. Chapter 8: Flower 2 Animation: Lecture, we are going to animate another flower, which is flower two. Okay? So I'm going to just bring it on top of this and this will create a new composition, okay? Right? And so we have this really interesting looking flower here, right? And as you can see, the flower two composition is here, and we don't want that, so I'm going to just move it into the PC section, okay? Right. And then I'm going to bring in the expressions here. Okay. So I'm going to bring it here, right? Now, as you can see, the expressions doesn't fit here, right? I'm not having that perspective. This doesn't look right, see? So I'm going to change this to let's go with 100 for now. And I'm going to change this to three D, and then I'm going to change the X rotation on this, I'm going to scale it down just a little bit. I'm going to press R. Okay. And I'm going to place it where it looks decent. I'm going to do the same thing that we did in the previous lecture, I'm going to press Control Alt. If you don't want to do that, all you have to do is just go on this and then just copy the expression from here and then paste it here. But I'm just going to show you. I'm going to press Control Alt. Then I'm going to hold Alt click loop out, compress Enter, drag the composition, go at this frame, page up, drop a keyframe, zoom in, select this keyframe, delete. Okay, so we have this really nice animation here. Now, I'm going to go into the flower front main. Okay, I'm going to bring in this light from this. I'm going to press Control C. I'm going to go here, and then press Control V. Okay. And I'm going to just double click. If you double click on any shape, you will be selecting the shape without going here, right? So I'm going to just double click here, I'm going to move it here. I'm going to double click here and I'm going to move it around here, I'm going to move it like this. Okay. So this flower is going to be really important. Okay. So I'm going to press Control D. I'm going to call this Matt. Okay. And we're going to repeat the same process here. Okay. And I'm going to increase the opacity. You can try different blending modes, by the way, okay? You're not like you don't have to do everything that I do. You can do so many things. And if you want, you can bring it down like this. Okay? You can do so many things, right? And so we have this really simple animation, right? Now, I'm going to just cancel this and I'm going to go into the main composition, and I'm going to go into the girl PC. Okay. And then I'm going to bring in the flower two here, okay? So I'm going to scale it up, scale it down. I'm going to place it here on the back. Okay. Now, what I'm going to do is I'm going to apply an effect called CC plastic. But before that, I'm going to scale it up just a little bit. So like We have it like this. Right. Now, I'm going to apply an effect called CC plastic. Okay. So this basically adds this you can see, adds this effect of plastic onto our layer, but this is too much, okay? So as you can see here, this might be too much, right? So I'm going to keep softness as 20, and I'm going to reduce this size. Okay. Right? And I'm going to keep everything as it is. So once that is done, I'm going to apply in effect called CC bandit. So CC plastic helps us to create that feeling of the plastic here, okay? And CC bandit will help us to bend the layer without relying on those heavy animation tools that takes a lot of time, okay? So I'm going to go here and then I'm going to just search for bend. We have this and CC bend it. Whenever you apply this effect, you will have this issue. These two properties are the first one is start and then we end. With this effect, you can easily bend the C. The flour is now playing. So I'm going to add in an expression on this, and this expression is called wiggle expressions. Okay? And first of all, I'm going to add in the expressions, and then I'm going to explain what it is, right. So I'm going to hold Alt click, right? And then I'm going to add in wiggle 0.7 coma three, not nine, three, and let's look at the animation. Okay? It's really subtle, right? It looks nice. See, the point of this animation is not to take away our attention from our main character. For example, the woman or the girl here is our main character. So you don't want to do anything that takes away your attention from this. So the reason why I'm placing the flower here is because I want people to focus here. The reason why are we are going to place the bunny here is because we want people to know that this is our main character. You have to remember that your main character should be your primary focus. Let's consider the flower to be secondary character. But the secondary character makes our main character more important. That's the whole point. Should not have been here, because well, that would doing the whole point of the animation. Make sure that you remember that. Also you can change many things here as well. If you want to change the shading, you can do that as well. Okay, but I think you should keep everything as it is. But if you think that, okay, this might be upstaging, you can change it, okay? But I don't think we need that, okay? Right. And so this is our animation. It's really simple, it's really subtle. Now, let me quickly explain wiggle expressions. Okay? So wiggle expression is a piece of code, like I already said that adds the random wiggle to any property. For example, you can add this to scale, rotation, position. And it saves you time from just adding hundreds of keyframes. So what is this? So first, we have wiggle. So this is the expression, the main expression, and then this is frequency, and this is amplitude. So frequency is basically the speed, like how many times it wiggles per second. And then we have amplitude, like the size, like how far it moves because you can go overboard here as well, okay? So let me solo this. See? You don't want that. And so it's really subtle here. I'm going to just change this back. In this chapter, we created this flower animation and we added the flower animation into our main animation. And as you can see here, it looks really, really nice. Okay? So that's it for this lecture, I will see you in the next. 12. Chapter 9: Bunny Animation: This lecture, we are going to animate this really cute bunny that we have, okay? So I'm going to go to assets. Okay, and then I'm going to just precompose this. Okay? Now, this is bunny. And let's see the composition settings because since this is AI, we have the little distortions here, but that's completely fine. This bunny is not that important because it's going to be a supporting character, like I said, okay? Now, going to click here and go to composition settings. I'm going to rename this to Bunny enter score PC, and then I'm going to keep everything as it is and hit on, Okay, right? Now, I'm going to rename this. I'm going to call this Bunny. And by the way, if this happens, if you double click on any layer, this might happen, okay? So all you have to do is just go here, right? This is the composition. This is the layer, okay? So if you want to rotoscope mostly, this is used, right? Okay. So now what we are going to do is instead of going the Illustrator way, you're going to turn this image into little tiny animation that we want. Okay? So how do we do that? So what we do is we use masks for that, right? So masks are basically the shapes drawn on layer. That hides or reveals the parts of the layer. Okay? So what I want here is I want to separate this arm into a different layer, okay? And then I want to animate that m. Okay? Now, how do we create masks in After Effects? Okay. So we have two options. The first one is this we can, like, see, I double clicked or I clicked on that and we have a mask, okay? So if you click on any shape here, Okay, you will have a mask like this, see? But we don't want that, okay, because we want a custom mask, meaning I want only this part to be masked, right? And so how do we do that? Okay? To do that, I'm going to use the pen tool, so I'm going to just select this or you could press G, ok? And I'm going to zoom in. And then I'm going to just start by drawing a mask like this. Okay? So we have the arm. So I'm going to duplicate this by pressing Control D, okay? And then I'm going to rename Boni two by pressing Enter to arm, and I'm going to select this, okay. So whenever you apply masks, so first of all, let's understand masks really, really quickly, okay? So whenever you apply mask, it will have five properties, okay? So the first one is mask path. So this is basically the path that we have drawn here. Okay? Then we have mask feather. So this softens the edges. Okay. Then we have mask opacity. This is basically the transparency of the mask, okay? Now it's not working is because this one is on, okay? So I'm going to just okay. Then we have mask expansion. So this basically grows or shrinks the masks, okay? And then we have the options are called mask modes. Okay? So we have add, subtract, okay, intersect, lighten, darken, difference, and we're going to keep it as it is, right, for this. But what we want is we want this like this is bunny, right? This is not arm. This is arm. So what I'm going to do is I'm going to click on inward. And in that way, we will have a bunny, right? Now, what I'm going to do is I'm going to slightly adjust this in a way that it looks nice. Let's say that these are the edges and the edges aren't curved, right? And if you want to have those curves in it, all you have to do is hold t and then click on it, and then you will have these busier handles that you can change, okay. Just make sure that you don't overdo this because that might cause some trouble for Okay. Now I'm going to turn this on, okay? Right? So this is the arm and we want to animate it. So first of all, I'm going to press Y or you could just click here, and then I'm going to move the anchor point at this point. Okay? Hold control, by the way, okay? It snaps. And if you look at the rotation, well, it works, it works well. Now you might be thinking, well, it's getting cut off at this point. Don't worry. We are going to add this bunny in this composition, okay? So even if it gets cut off at some point, we can hide the distortion, okay? And so that's why I keep on saying that you have to plan things ahead and you have to be flexible. You can rely only on artificial intelligence, and you cannot only rely on adobelo data, you have to take a hybrid way to get things done as quickly as possible. Okay? So we are going to add an expression in this. So here we're going to add wiggle expressions. So I'm going to hold onto Alt and then I'm going to click on this. Okay. Then I'm going to add in wiggle bracket, not nine, bracket, one coma 40. Okay. Now, if you see some distortion here, you can change it, okay? Also if you want, you can drag it out, but it might cause some issues here. See, because we don't want that. So I'm going to just drag it back like this. That's our Bunny's animation. Now, let's add this into our main composition. I'm going to go to Girl PC and then I'm going to find Bunny here, and then I'm going to bring it here, then I'm going to press R to bring up the rotation. I'm going to press S to bring up the scale. Okay. And I'm going to place it around here, right? Now I'm going to go into the main composition by pressing tab, and then I'm going to just see when this bunny should enter. Okay? So Bunny is obviously not our main character, but I still want people to know that well we have Bunny here, okay? So I'm going to go somewhere around here, right? And so I'm going to go back into Girl PC and I'm going to bring the bunny here. Okay. And then we are going to add in an animation. Okay? So I'm going to press P to bring up the position. Now, let me show you some cool shortcuts, okay. So now let's say that you don't want to press the shortcut, like P, and then you drop the key frame, right? The shortest way to do that is all to shift P Okay. This is the shortcut, and it changes. Basically Alt Shift R will drop the keyframe on the rotation, Alt Shift S, Alt Shift T, and Alt Shift A. Okay? So I hope you get the point, right? So just Alt Shift and then followed by the property. I'm going to get rid of this. And then if you want to see the keyframes on the property, all you have to do is press U, okay. Right. Then go ten frames ahead and the shortcut is shift page down. I'm going to go one, two, three, four, and five. We are at the 15 frames, and I'm going to drop the keyframe here and I'm going to go back and I'm going to drag this out like this. And so we have really cute animation like this. Now if you want, you can move this bunny a bit out. Just make sure that the distortion is not visible and you can scale it up as well. Okay. But I suggest that you keep it as smaller as possible. We don't want it to oversage the main character, that is the girl here, right? And so we have this really simple bunny animation ready. Okay? And if you think that the wave is getting not grabbing that attention that you want, you can switch this back to 40 because that would be really nice. Okay. And if you want, you can also change the, if you think that this is too plasticky, you can change this as well. 13. Chapter 10: Butterfly Animation: Lecture, we are going to animate that butterfly. Okay? So let's get started. So to animate, I'm going to bring this butterfly, precompose this butterfly. I'm going to just drag this and drop it on the precomp. And now I'm going to press Control or you could just go here and open up the composition settings, right? And so it's going to be 2000 by 2000 pixels. And here the duration is too long, right? Okay. I'm going to change this to 2 seconds. I'm going to change this to zero, and here it's going to be two, and I'm going to change this to zero, zero, and I'm going to keep everything as it is. Then I'm going to rename this to butterfly underscore PC. Also, if you want to change the frame rate, you can change this to 30. Let's change this to 30 here. Okay, now we have a two second composition here. I remember telling you that how animating the PNGs could be really tough, and this is going to prove that to you, okay? So first of all, I'm going to rename this. I'm going to call this butterfly for now. Okay. We are going to separate each individual shapes here by using masks. So first of all, we are going to separate this part, okay? So I'm going to first of all, change this to half so that you can see more clearly, right? And then I'm going to choose the pen tool and I'm going to start by drawing the mask, okay? Now, I'm going to draw a mask in a way and let me change the color of the mask so that you can see more clearly. Okay, so I'm going to mask it in a way that these wings do not get included in it, right? Now, since this part is transparent, wherever I put the mask, it doesn't matter, right? So I'm going to now I'm going to zoom it in by just using my scroll wheel and then I'm going to make sure that I choose well, right? Okay. I'm going to just drag it out like this. Now, you can also go ultra specific or ultra, I don't know, ultra perfectionist here, but I don't think you should because this animation is going to be really tiny and well, it's not that important because remember, our purpose is to get things done as quickly as possible without losing the quality, right? Without compromising with the quality Okay. Then I'm going to just connect this. Okay? So now we have this. As you can see, well, it looks really nice and the selection has been done really, really well, right? Now, once that is done, I'm going to duplicate this, right? Then I'm going to press, and then I'm going to delete this, okay? Delete the mask. I pressed Enter accidentally. And I'm going to log this for now. Okay? And I'm going to select this part, okay? Also, I'm going to change the mask color so that you can see it more clearly. Okay, then I'm going to now here, the only thing that we need to select is the wing, right? You have to remember that. Okay, so I'm going to just make a selection like this. The shortcut for the Pentool is G, by the way. Then I'm going to press G again, and then I'm going to just go around here and then connect. So if you don't connect the masks, okay, it won't work, right? So once the mask is connected, this layer is on its own. Right now, we're going to rename this. I'm going to call this wing left. Okay. Now I'm going to duplicate this, by pressing Control D, I'm going to go I'm going to right click Transform and flip horizontal, then we have this, right. Now I'm going to press Enter and then I'm going to press R on this. Okay? And I'm going to bring it here, right? Now, what I'm going to do is I'm going to bring both of them at the bottom, and I'm going to rename this to body, right? We're going to animate this, right? So what we want here is we want the wings to, like, rotate, right? But let's try that. So well, that won't work, right? So what we need is we need three D animation. Okay? So we need the layers to be three D, right, so that we have better rotation, right? I'm going to just turn both of them into a three D layer, right? And now I'm going to press R to bring up the rotation and this is X and Y is going to work. This is the animation that we want, right? Also, I want to emphasize the importance of anchor point here. If your anchor point is not set well here, let me press Y to select the anchor point tool. Let's say your anchor point is here, Okay. S. It doesn't work, right? So the anchor point should be at this point or at this point or wherever you want, but it should be placed in a way that this rotates off its edges. And so I'm going to go at the first frame. I'm going to drop a keyframe here, right? And then I'm going to go at 1 second, and I'm going to drop another key frame and then I'm going to go at the two second mark, and then I'm going to drop another keyframe, right? Now I'm going to change this, okay. Okay, so we have something like this, then I'm going to move forward, and I'm going to change this. So this is -31, and so I'm going to go with 31, right? And then I'm going to go here and then I'm going to copy this by pressing Control C and Control V, right? So in that way, this animation loops continuously, okay? So how do you loop? So the easiest way to loop any animation is to make sure that the first keyframes value and the last keyframes value are the same. In that way, the animation will loop efficiently. Okay. I'm going to add in the position keyframe here as well. So I'm going to drop the keyframe here. Then I'm going to press. Okay. And then I'm going to go at one seconds. Okay. I'm going to drop the keyframe here and then I'm going to drop a keyframe here. And so I'm going to change this. Let's we're going to move this bit in, right? Just a little bit in. Now I'm going to change this as well. Okay. And let's see. And now at the last, I'm going to just copy this keyframe, Control C, Control V, right? So let's look at the animation. It's really simple and you can do so many things here, okay? But we don't need that because remember, not every asset has to be perfect, right? Once that is done, we are going to repeat the same process on this one on like here. Okay. So I'm going to press R to bring up the rotation, drop keyframe here. Drop a keyframe here and drop a keyframe here. Then I'm going to press Alt Shift P. Okay? So Alt Shift P. Then I'm going to go here, drop a keyframe, go here, and drop a keyframe, right? So first we are going to make changes to the rotation, right? So let's do that. Okay, so I'm going to keep it here. This is -31 and this is plus 31. The reason why it is like this is minus and this is plus, for example, if I change this to minus. The reason why this doesn't work is because basically this wing is flipped, right? It's flipped and that's why we have to make sure that we flip the values here as well. But don't be mindless and just don't copy and paste, pay attention to whatever it is that going on here, I'm going to drag this in bring this in, right? A. This depends on your preference. Just make sure that you don't overdo that. Then let's animate this. So here it's plus 31, so it's going to be -31 here. Okay. I'm going to drag this out just a little bit or bring it in, right? And let's bring this in as well. And then I'm going to copy this by pressing Control C, Control V. Okay, so we have this really simple animation. Although it is really simple, it looks really, really nice. Right? Now, I don't know if you can see it or not, but there is something missing. And that is the body has not been animated yet. It should be. There should be some movement. For example, if you move your arms, well, it's obvious that there will be certain movement in your body. And so whenever you are animating objects like this, you don't have to be a perfectionist, but you don't have to be a stupid person either. Okay? And so make sure that you are taking things into consideration, okay? So we're going to animate the scale, and I'm going to explain each and everything, don't worry, okay? In short. Okay? So I'm going to animate the scale, so I'm going to drop 12 and three key frames, right? And when the wings go down, Okay. The body gets bigger. If you are looking at the butterfly from the top, the body will be I don't know why I'm pointing my fingers, but the body will be moving towards the user, right? And so that's why I'm going to change this to 110, not this, this. Okay? So I'm going to change this to 110, and it goes back 200. Okay? So let's look at this. It's working. Okay. And if you think that this is too much, you can also change this and you can also do math here. For example, if you want to reduce this by, let's go with 5.5, you can do that as well. Okay? Just add in minus or plus. Now, we are going to easy ease. Okay? So what is easing? So to apply the easing, all you have to do is right click Keyframe Assistant, then you hit F nine or just easy ease, right? So now, I'm going to introduce you the graph editor. The graph editor here. The shortcut for that is Shift F three. So what is graph? So graph shows the numeric value of the property over time, okay? So this is the graph, and there are two types of graph. The first one is the value graph, then we have the speed graph. Speed graph, if you are someone who is self taught, then you must have seen only the speed graph, okay? Because most After Effects users who are teaching on YouTube, they always prefer this because well, it get things done faster, okay? So there are two graphs. Like I said, the speed graph shows the change in speed change in speed over time, okay? This is the change in speed. And look at this, okay, 36.28. That is the change of value. So this is basically going up, and this is the peak of the speed, and then it's going back to zero, right? So that is speed graph. It basically shows how fast a property is changing over the time, then we have value graph. Okay? So value graph is different. The graph looks completely different compared to speed graph, and it's because this shows change in value, not change in speed. If I make a change here, we will have completely different animation, okay? So if I bring it down like this, look at the value, okay, in that yellow rectangle. Okay, we will have a messed up animation. Okay? So that's why people stay away from the value graph because changing anything here could mess up your animation. Both the graphs are equally important. Okay? And this Okay, so let's quickly understand the speed graph and how to change it. Okay? So these are the key frames, okay? This keyframe, these are the key frames. And I don't know why it's here, it should be here, right? So the yellow boxes are the key frames and these are called Bzier handles. Okay. So whenever this is a linear keyframe, okay let me change this to like, let me go back and let me change this to linear so that I can show you. Okay? So this is the linear animation, right? And now you understand why it's called linear keyframe, right? So I'm going to just select them, right click keyframe assistant and Easy Ease. Now the graph has changed. It's much smoother. The animation was linear. Now it has waves, it has arcs. Okay? Now, let's change this so that you can understand. Okay? So I'm going to drag this Bzier handle to something like this, okay? And I'm going to bring this like this. I'm going to explain this. Don't worry about that. The graph is not that important for this course. But I'm going to quickly explain this because this is the only part where we'll be using the graph, if I remember correctly. Okay? So here, what's going on? Okay? So previously, the speed was linear, then we changed the graph from it's now east. Now the speed here goes, it increases slowly, but it picks up and it goes at the peak and then it slows down here, then it repeats the same thing here again, right? And so let me solo this, okay? So see, it's going here, and then it will be really speedy at this point, okay? Like in this part, it's going to be really, really speedy, okay? See. Okay. All right. Now, let's mimic this into, if you can also mimic this, so I'm going to drag this out like this, and I'm going to drag this like this. Okay? And I'm going to unsolo this Okay. Now, if you can see the difference between both of them, okay, that difference is caused because of the graph. And that's how important and powerful the graph is, okay? So let's try changing the graph really quickly so that we can move on further to our next object, okay? And I'm going to drag it out like this. Okay. And if you think that, okay, so let me quickly explain what is going on here, right? So what is this is this is basically two values for the same keyframe, right? So this is one value, this is another value. And it's not a right thing. And the reason why it's not a right thing is because it changes the graph, okay? So what we want is normally this and this should be here, right? Because, well, it's obvious that the starting point should not have two starting points, right? Starting points should have only one point. And that's why what we need is we need both these key frames or both these values to be present on the same point. Okay? So to do that, what we want is we want to double click and we want to lock this. We want to lock this, so this is incoming velocity, and this is outgoing velocity. So this is incoming velocity, this is outgoing velocity, but they are at the same point. And so it's going to mess up your animation, okay? So I'm going to double click here and then we are going to lock that. Okay? Now, any change we make here will be retained, okay? Okay, so that's how the graph works. And I just wanted to show you, okay? And I'm going to just select all of them, keyframe assistant, and then eases, right? You can also make many changes here, but this butterfly is going to be really, really tiny. So it's not that important. There is this term called major in minor. Okay? You are becoming a major in something that is not that important. Graph was important. That's why I took a tiny bit of overtime for that. But apart from that, well, don't waste so much of your time on that. Okay? Now, we're going to find the girl underscore PC, okay? And then we are going to bring the butterfly here, right? Also, I'm going to just move this into PC. Okay, and butterfly, where is butterfly? I'm going to bring the butterfly here. Now, here, I'm going to scale it down. And I'm going to zoom in and then I'm going to change this to full so that you can see more clearly. I'm going to place it here, then I'm going to press R to rotate it. Now I'm going to apply an effect called drop shadow to this. We need a shadow here, so that it feels as if it's interactive, I'm going to just drop it here. I'm going to Increase this. Then I'm going to soften it. This effect is, although it's self explanatory, it's really, really handy. It can take your project 1-5. I'm going to increase the opacity here. Okay. So I'm going to change this to around 74. I'm going to press Control Alt T. And now we have this. Now look at this. I can extend the composition, right? I added this time remapping and then we had this little glitch, GPU glitch or GPU error here. I stop the recording there. Okay? Now we're going to continue from that part, right? And so let's add in an expression. So I'm going to hold Alt and loop out, okay, right? And now it will loop endlessly. And so we just added the butterfly to this, and I will see you in the next one. 14. Chapter 11: Compositing & Adding Text: Lecture, we are going to fill up all those spaces with our already created layers. Okay. So let's move up here, right at the first frame and then I'm going to bring the sun here, right? And once that is done, I'm going to bring it down like this and I'm going to change this to three D. And when you change any layer to three D, it will move. And this is natural. This is normal. Okay so don't worry about that. Your layer will be somewhere around here. Okay, so just make sure that you bring it back like this, right. Now, what we want is we want to see the layers in a way that we can adjust them and we can see, well, what exactly are we doing, right? And so for that, we have this, which is called select view layout. Or which is called view layout, right? So this basically allows us to split the composition panel into multiple views so that we can see our scene from different perspectives and angles simultaneously. This is mostly used for three D, obviously. So I'm going to go with two views, right. And now, this one is so this is the default, basically the default composition here, and this is the top view, we normally use top view, okay. And here you can also change, for example, I'm going to just drag this out like this. And okay, so this is basically three D view pop up, right? And so the three D view pop up, lets you switch between camera angles like active camera, front, top, left, right, okay, et cetera to navigate our three D scene, right? And right now this is so we are at the first frame, okay? And it should have been like we know that they should not be here. So let's change this to active camera, okay? And now we know, well, this is sun. And now let's move it back a little bit or front a little bit, okay? So I'm going to press P to bring up the position, and I'm going to just bring it in front, okay somewhere around here. Okay. Now, once that is done, I'm going to also move this back. Okay. And now let's look at this, okay? So it's really simple, it's really cute. Okay. Also, if you want, you can make changes to the sun as well. If you don't like the color, you can change this. Okay. So don't worry about that. Now I'm going to go into the main composition again and we are now going to add the flowers one by one. I'm going to select this flower, and I'm going to drag this out. Also, I'm going to teach you an awesome shortcut. This helps us to if you have messed up your screen, if you have zoomed in too much, zoomed out too much, and if you want to zoom out or if you want your screen to fit, all you have to do is press this shortcut. Anyways, now let's bring in the flower. I'm going to bring it here. I'm going to place it on the back. Right? Now I'm going to turn this into three D, obviously. And well, it ran away like we expected. And now what we need is we need to make sure that it's placed at the right place, right? So I'm going to just press P and then I'm going to change this. You can also change it manually, by the way, it doesn't have to be like you don't have to always change from here, you can change from here as well, but make sure that you are paying attention here. Okay? So I'm going to bring it out like this or back, right? We want it on the back Okay. The reason why we are placing this on the back is because we want this parallax effect to look better, and then I'm going to change this place it here, then I'm going to scale it up and place it down like this. We're going to place this one in the center, not here, I'm going to just bring it here. I have this habit of making changes from this. If you don't have that habit, you can just randomly do that. But I have developed this habit. If you don't develop your own preferences. You don't have to always borrow your preferences. As I'm going to because this is too out, so I'm going to bring like this. Now, I'm going to duplicate this. I'm going to press Control D, and I'm going to place it somewhere around here. I'm going to bring this on the back or in the front. Then I'm going to scale it down just a little bit. I'm going to place it somewhere around here, right? I'm going to bring it on the top. Okay. Now, once that is done, I'm going to duplicate this again, and we're going to place it somewhere around here. Okay. And I'm going to scale it down. And by the way, you can change the size of it. You don't have to not every flower has to be same size. Okay? So you can change the size of it in a way that you like, right? So that depends on your preference. Once that is done, I'm going to press P and change the position of it. Okay, so let's change this Okay. And I'm going to bring it out like this. Okay. And I'm going to bring it like this, right? Now, before we add another flower, I want to make sure that I have already filled this flower and then we can change that. Okay? So I'm going to drag this and bring it here. I'm going to scale it down. Okay, I'm going to bring it in the front, and I'm going to bring it up like this. I'm going to basically replace this flower, this is flower front, and I'm going to just replace it, right? So I'm going to hold on to alt and then drop it, and we have this, then I'm going to duplicate this. I'm going to place it here, but I want this on the back, right? So I'm going to press P and then I'm going to bring it on the back. Somewhere around here, and then I'm going to press S to bring up the scale. Okay. And we have this. I'm going to bring this flower bit down like this. Okay? And then I'm going to duplicate this. Okay, bring this around here, right? And I'm going to place it on the back like this right Okay, so far so good, right? Now, I don't think we need two views, so I'm going to just change this to one view. Okay. And you can change that back, okay? So we have this, right? Now, let me change this to full so that you can see more properly. All right, so far so good. Now, let's add some text here. Okay? So I'm going to select the horizontal type tool, right? And I'm going to type in Bloom. By the way, the type two lets you create and addi text layers directly in the composition. The shortcut for that is Control plus T. Now I'm going to choose the fonts as thunder black. I'm going to get rid of this and I'm going to pick the pink color here, right? But we might choose gradient. Now I'm going to reenter the anchor point by pressing Control Alt home. Then I'm going to press S, but first, I'm going to change this to three D, and that's the font there, right? So I'm going to scale it up. And I'm going to press S, and then I'm going to scale it up, right? Now, I'm going to pre compose this, okay? So I'm going to press Control Shift C, and then I'm going to change this to bloom underscore, Bloom, text underscore PC, and just move everything there, right? And this causes an issue, right, because the layer is no longer three D, and that's a common problem that you might run into, right? So change that into three D, right? And bring it out, right? And the reason why it's not here is because the text has moved because of the three D option, right? So I'm going to change that to change it back. And I'm going to change this color, something like this, and then I'm going to align it to the center. Then I'm going to first of all, move this here, and then I'm going to add in the butterfly here, I'm going to drop it here. Or what you can do is you don't have to always repeat the process. So I'm going to just delete this, right, and then I'm going to find the girl underscore PC. I'm going to press Control C. Okay? I'm going to go to Bloom text underscore PC and paste. Okay? And you can place this anywhere you want. Okay, let's go with L, I guess. I'm going to scale it down just a little bit. Okay. Now we have the text, and I'm going to go back. The reason why I precomposed it is because let's say that you want to make any changes to this or let's say that the pre comping might sound like too much of a work right now, but I'm going to show you something really cool and that will prove why pre comping is really, really crucial, okay? So I'm going to just go at this frame. Okay. And I'm going to bring it on the back like back back. Okay. And I'm going to press S, and then I'm going to scale it up. Place it somewhere around here, right? And I'm going to move the sun bit up like this. Okay? And I want this text to be behind the sorry, I want this text to be behind the flowers, so I'm going to bring this here, right, and I'm going to change it. Okay? So I accidentally changed the position scale instead of the position, okay? Now I'm going to change this, move this around here, scale it up, right? And from this, you can adjust the flowers as well. So don't worry about that. Okay. So I'm going to change this flowers position just a little bit, right? And I'm going to scale up the text. Okay. Now, what I want is I don't like this empty space, but if we fill it like this, the audience won't be able to read it, okay? So I'm going to use something called masks, and I'm going to just show you something really cool, right? So I'm going to just draw a mask using an ellipse tool and then I'm going to just feather it out. Okay? So I'm going to press F to bring up the feather. And then we're going to feather it, right? In that way, it blends in really, really well. Okay? And also, if you think that this color is not a right one, you can change that as well. Okay? So don't worry about that. So I'm going to go into this, okay. I'm going to go into properties. Okay, this one looks much better, right? I had a different hex code for that, right? And so I'm going to go back and see how it's looking and it looks really decent, okay? Now, let's move the sun or let's just resize it a bit down down. Okay, so now we are going to make them look even better, okay? So let's make these flowers even better. We applied we have already applied this effect here. Let's apply CC plastic that we have applied there to each and every flower. I'm going to choose this and apply and see this is without and this is with much better difference. It looks really nice with the effect and then I'm going to apply this effect to each of the flower here. And just make sure that you don't apply it two times. Okay? It looks really nice. This tune like effect is clearly visible now, right? And I want to make sure that I haven't forgotten any flour here, right? Also, I'm going to change this to quarter for now. We have this really simple animation. Ready, right? So I'm going to change this to full Okay. As you can see, this looks really, really nice, right? The text looks nice. And also, if you think that the text is not that important, that's completely fine. You can change the placement of the text as well. Okay? Let's say that you can resize it if you want, o, like this. And you can place it here. But the problem with that is that the butterfly will be resized as well. Okay? So what we're going to do is I'm going to go into this and I'm going to resize it like this manually. Just drag it like this and you'll be able to resize that. But just don't go overboard with this, because it might ruin the text or the fonts for you, right? Now you can start to see the effect in taking its place, right? It's really nice. I'm going to move this like this. And if you think that the text is now not readable, you can drag it out like. Right? I think this is called adaptability, right? I don't know if it's adaptability, but you have to be flexible in your process as you move forward. You have to make sure that you are not getting stuck in your head, you are not getting stuck in the process. You keep on moving forward. And if you get stuck, if this text doesn't look right, you don't get frustrated and leave, you just sit with the discomfort, and then you can make changes and move forward, right? See, this is just a video, right? It's just a video. Okay, so I'm going to go back because I take it seriously as well. I'm not saying that I don't take because animation at the end of the day is just another video, right? And I'm not saying that you should not take it seriously. But I'm just saying that don't get too attached with it. Don't get too attached with the outcome. Okay? It's okay. You are going to be fine. It's just a video. Also, I'm going to change this, okay. Let's change its position so that right? You have to remember that you can make any changes to this if you don't like, for example, the glare here, let me change this to the flower front underscore PC. I'm going to change that, right, because see, here it's not too much, but because of the light, it's too much, right? So I'm going to just drag it out like this. Okay, let's go back and see. Okay. So this one is much better, okay? And if you want, you can also change it back. And I'm going to bring this like this. Because since we already have CC plastic there, this light, without this light, it can still look nice. But I think the light was also nice. Now I'm going to teach you something really cool, right? Let's say that you are making changes here, but now I have to go back and I have to see what's going on. But what if I want to see those changes live? How would I do that? Because this is really time consuming. And for that, we have something called new viewer. The shortcut is Control Alt Shift N or view split with new locked viewer. The reason why it's not active is because I have this panel active. As you can see with this blue line surrounding the layers panel. If I click here, now this one is active and now we have split with new locked viewer, the shortcut is displayed here, right? And well, so basically, I'm going to go back, right? And we want to view this layer, right? So I'm going to just select the composition, press the shortcut, which is Control Shift, right, and then I'm going to go here and I'm going to just see, ok? Well, it looks good without the light, right? S. Okay? So I'm going to keep it here, right? And I'm going to press G, and then I'm going to hold Alt so that I can turn this into, like, the circle so this is without, obviously, and this is with. Okay? So I'm going to go with it and make sure that you don't close this composition because this is a live composition. Just close this one. Okay? And so I'm going to go back, and I think I like this one. I may make changes to this, but we are done with adding those characters. And in the next lecture, we are going to make sure that everything looks united, everything looks nice. We are going to add some blur, some noise. Okay. So that's it for this lecture. I will see you in the next. 15. Chapter 12A: Compositing Butterfly: The previous chapter, we set up this entire composition, okay. And now, if you think that everything is merging together, you can make any changes that you want. With this, Okay, for example, if you think that two flowers are merging together, you can basically change them, right? So it's not set in stones. You can make any change that you want right away. So I'm going to just try and shift the position of this. I'm going to bring it on top like this and I'm going to bring it to side, and then I'm going to press S, and then I'm going to scale it down just a little bit, right? The next thing that we are going to do is we are also going to add little butterfly animation to this. Okay? So when the camera is basically moving down here, we will add a butterfly going up, okay? So I'm going to find that butterfly that we already used somewhere. Okay? So I'm going to go to Gold score PC. I'm going to grab this, and I'm going to press Control C. Then I'm going to go back, right? And then I'm going to press control V, right? Now I'm going to turn this into a three D layer, okay? And, well, there goes our butterfly. Then I'm going to just resize it. Okay. And I'm going to Press P and bring it up because that might be sometimes bit troublesome, right? So let's animate this. Okay? So I'm going to press R to bring up the rotation. Okay? And I'm going to set up this rotation like this. Okay. Now, I'm going to press P to bring up the position key frame. Okay? And I'm going to go at around here. Right? Or let's go with here for now. We will change the timing on the later stages, right? So I'm going to bring and you can solo this as well, okay, so that we can focus on it in a much better way, okay? So I'm going to bring it around here, right? Not here, here. Okay. And as the camera pans, it moves like this, but I'm going to change this to somewhere around here, right? Then I'm going to press G to bring up the Pen tool. Then I'm going to just when the cursor changes, this is basically this doesn't have any handles to adjust this motion path. This is a motion path and the points that you see, they are basically the frames, and they are linear, because these key frames are linear. That's why they are set at a specific distance. But once we change the easing between them, the distance between them will change, but we are not going to do that right now. I'm going to just this little arc like this. Okay, like this. Okay, so we have this really simple animation. Okay, but it's too quick, right? I'm going to drag this, o, and I'm going to drag this out. Like this, okay, outside of this. Okay? And then I will see whether I like this or not. Okay, and then I'm going to bring it below like this. Okay. Let's look at this. This looks really nice. So you can see the solo version of it, right? It works really, really well. And the reason why I moved this keyframe here is because I want this animation to be slow. It doesn't have to be really quick. And if you want to make it even slower, you can drag this keyframe like this, and then, you know, it becomes slower, see? And if you think, why isn't this following this motion path, right? It is following a motion path, but it looks as if it's not, so don't worry about that. Our animation is still working, and see if you pay close attention, the butterfly was at this point, now it's here. Okay? So if you think that animation is too slow, you can change that as well. Okay? So that's our butterfly. 16. Chapter 12B: Noise & Blur: Now let's add something more, okay? I'm going to add in a solid. So I'm going to press Control Y, or you could just right click New and solid Control Y. And I'm going to call this noise. Okay? Now, I want to change color on this, right? But there are no parameters here that will help me to change the color. Okay? So there are no parameters. How do I change the color? One way is to apply an effect called the fill, well, but that's too much of work. So the shortcut is Control Shift Y, which basically opens up these solid settings and you can change the colors here. Okay? So I'm going to just open this up and I'm going to add the color. Okay. So this is the noise. Once this is done, I'm going to apply an effect on this. So we are basically adding the noise here. I'm going to look up for noise, and I'm going to just drag this and drop it on the solid. What does this effect do? This noise adds random grain or those static pixels to a layer. Like it is used for that filmy grain look. It makes our project look really, really nice. Okay? So I'm going to amp this up. Okay, this might be too much. Okay, so I think 75 is fine and see. Okay. Also there is this pigeon in the background. Every time I start recording this pigeon somehow finds a way because, well, it wants to be heard as well. Anyways, of course, we are not going to change these layers into a three D layer because these layers are just making it look better, right now we are going to change the blending mode, this is a blending mode option. So blending modes control how a layer, how this layer interacts with the layer beneath it based on the color, light, and darkness values. O so these are all the blending modes. Okay. I'm going to overlay, change this to overlay. As you expected, it doesn't look that great, right? So let's change the opacity of this. I'm going to press T and bring it down to around 20, right? And what I'm going to do is I'm going to select let's go with Ellipse tool, and I'm going to draw a mask like this. Okay? Then I'm going to invert the mask. Okay? So we have it on the edges, right. And then I'm going to press F to feather it. Okay. And then I'm going to just increase this so that it blends in, right? Also, if you think that the color is too bright, you can change that as well. I'm going to bring this down just a little bit. Okay. Now, these are the tiny things that makes a huge difference. If you think that the noise is too less, you can change it as well. Also, let's take this noise to a next level. Because I don't like this yellowish hue that we are having on the edge right. But we'll fix that later. Right now, we are going to create an adjustment layer, okay. So right click New Adjustment layer, the shortcut is Control Alt Y. Then I'm going to change this to blur because we're going to apply the blur effect on this, right? And then I'm going to add in an effect called fast box blur to this, right? And I'm going to change that to four, and I'm going to get rid of this. Fast box blur quickly blurs a layer, and this is much faster option to render than the Gaussian blur and camera lens blur. If you want to render it out really fast, this option is much better compared to the camera lens blur, which I have used in other courses, but this time, I'm going to go with fast booxblur because it's really easy on the system, and I'm going to change this to full for now. Blur radius shows how strong or wide the blur is. Iteration is how many times the blur repeats for a smoother look, than we have blur dimensions. Here we have horizontal and vertical, then we have horizontal and vertical. This is basically the dimension or sorry, not the dimension, the direction of the blur. Then we have repeat edge pixel. It basically prevents those dark transparent edges on the layers borders when blurred, let me turn this on, okay? So what is an adjustment layer? I forgot to explain that. So let me quickly explain an adjustment layer. So Adjustment layer is a layer in which any effect that you apply on this layer will be applied to the layers beneath it, for example, applying the blur to each and every one of them could be really troublesome, right? But we applied the blur on an adjustment layer and now it is affecting each layer without actually applying the effect on them. I hope that makes sense. Okay. So first, we apply the blur, right? Now, I need to fix this yellowish hue because I don't like that. I'm going to change this to full. And so I'm going to apply an effect called let me search for noise, okay? And I'm going to apply an effect called turbulent noise, and I'm going to just drop it here, right? So when I apply turbulent noise effect to this, that effect just went out. Okay? So turbulent noise generates animated and organic noise and texture patterns. Okay? It is mostly used for smoke, clouds, fire, but in this case, we are using it to minimize that yellowish hue that we had, okay? And so let's look at that and I'm going to just change the opacity, okay? So this is the noise. Okay. And this is without turbulent noise. This is with turbulent noise. Okay? And if you want, you can also change the animate this as well. Okay? So let's do that. So I'm going to apply an expression on this. So I'm going to hold Alt and then click, then I'm going to add in an expression called time. Not eight star and 50, so we have even more jittery effect. Then I'm going to press T and bring down the opacity to around 20. If you think that this is not doing that great. And let's go. Okay? So as you can see, like this texture is doing wonders, ok? See? This is without, and this is with, okay? It's making our design pop. And also, I'm going to bring this up like this. Okay. I'm going to reduce this. Now, I'm going to turn this on and let's see what we can do here. I'm going to apply another mask here like this. But I'm going to apply the mask in a way that the edges are blurred. But when the camera pans down, our main character is in the focus. I'm going to just invert this and then I'm going to press F and then I'm going to feather Okay. So this is fine. I'm going to drag this out like this. Okay? So the edges are blurred. Okay. And also, if you want, you can animate the path as well. So if you want, you can animate this, for example, here is blur, but as the camera moves down, you can animate this as well. If you want to animate that, just animate the mask path. Let's try that, okay? So I'm going to drop a keyframe here. Then I'm going to press reveals the keyframe, then I'm going to press on Cam control so that we have the reference. Okay? And then I'm going to go at this point. Okay, and then I'm going to just drag it like this. Okay? So let's look at what is happening when we do this. I don't think this is a great idea, but I just want to show you how you can try different things. This is not set in stones. Everyone's creative juices flows in a different way. Okay? So I just got rid of the key flames, by the way. Also, I'm going to bring this out like this because I don't want it to be too circly if it makes sense. Okay. Now, once that is done, I'm going to go to assets, then I'm going to press Control I. I'm basically importing my personal favorite texture, which is half tone. So I'm going to import this texture. Okay, I'm going to just place it here. Now, the bonding box shows how humongous the texture is. Now I'm going to press S and I'm going to scale it down around 70. This is fine. Color now this is this needs a blending mode. I'm going to change this to overlay and well it doesn't look great and it doesn't look great, it's because the color is white. What we need is we need a black color. We are going to apply an effect on this. There are two ways. The first way is to apply the fill effect and the other way is to apply an effect called invert. So invert basically inverts any color. If it's white, it's going to be black. If it's black, it's going to be white, right? Now we have this red color. Okay, so fill effect, well, it applies the color. Here, the only important parameter is the color, right? And then I'm going to change this to black. Right. And I'm going to apply the mask here because this texture is too much, right? And I'm going to drag this down like this, and I'm going to feather. Okay, this is fine. Then I'm going to reduce the opacity of this. I want this. I hope you can see that I'm going to reduce it even further because this might be too much. Then I'm going to press M and then I'm going to invert this. Also if you want, you can change the opacity of this. Okay? So Okay, so I'm going to go with 45. It looks really, really nice. Okay, so we have our final animation ready, okay? So in this lecture, we added this, this, and this. 17. Chapter 12C: Variations & Puppet Pins: And do so many things here. Let's try to do that on the spot. I'm going to press or double click here. Well, let's try adding the e here. I'm going to change the rotation of it. I'm going to reduce the size. Let's change this to three D for now. This is just an example, you don't have to make any change to this, and I'm going to place it around here, right? I'm going to scale it up, right? Scale it down, place it here. Okay. And I'm going to bring it below the camera. Then I'm going to place it on the back, okay? Not so much, but I want it behind the flowers, right? Then I'm going to rescale it. Okay. Now I'm going to press Control Shift C, and I'm going to choose leave all attributes. It's okay. So I'm going to rename this Okay. And then I'm going to use something called puppet position pin tool. Puppet pin tool lets you place pins on the layer and you can bend or move the parts of these layers like a puppet. It is used for character animation and we are going to do that. I'm not going to change the the direction of this whale. I'm just showing you an example of what you can do with this technique. Okay, so I'm going to drop also, make sure that you are at the zeroth frame. So I'm going to drop one. Two, three, four and five. So we have five pins here. And when you drop pins like this, you will automatically have those keyframes, right? And this keyframe store the position of the pins. I'm not going to go much deeper into this. I'm just showing you quickly what you can do, right? Now I'm going to just move this, for example, here, you can manually move this as well. It's not so it goes something like this. Okay. Then I'm going to go at 2 seconds. I'm going to just copy and paste. You can do so many things here. I'm just showing you an example of this is the worst thing that I can do right now. But I'm just trying to tell you what you can do with this. The possibilities are endless. It depends on your creative juices. It depends on what it is that you are trying to tell to the audience, and you can do wonders and I seriously mean wonders with it. Okay. So although the animation is not perfect and I'm not trying to make this perfect, I'm just showing you, okay. And so, although it's really bad, but you get the point. Right? You can do so many things. For example, let's get rid of the whale here. Okay? I'm going to add in something else. Okay, so I'm going to import the flamingo and I'm going to move this here. Okay? So you can add the flamingo as well because it matches with the mood. So well, if you want, you can add this on the back here, right? Let's scale it up. Right? Let's prep and then move it on the back. And let's also drag this down like this. Okay? If you get rid of that flower, you can have this flamingo. I'm going to duplicate the flamingo. I'm going to right click Transform, flip horizontal. And you can precompose this. I'm not going to rename that. I'm just showing you. You can drop this one, two, three, one, two, not three. Three. Let's go here, here, here, here, here, here and here. Now, let's press Control K. I'm going to increase the width of this then I'm going to press U. I'm going to select all the keyframes. I'm going to move it here. Because if you are on the 2 seconds, you drop pins here, you will create keyframes on that second. That's why I brought it here. I'm going to go at 1 second, and I'm going to just do some random. Let's bend this here. Okay? So I'm going to select all of this. Okay. Then I'm going to move it like this. You can also change, for example, let's say that you want to make major changes to this. I'm going to quickly teach you this. Okay? So I'm going to change this type to advanced. I'm going to change this type to advanced. And whenever you drop a pin, you will have one property, which is position. But if you change this pin type to advance, you will have rotation, scale, and whatever it is that you want, I'm going to just quickly change this. I'm going to fast forward this so you don't have to have like a plugin called Duik Angela. You can do wonders with this, right? Because I'm going to show you the animation that I made just using this technique, but I used a plugin called Duik Angela and well, see. Okay? And also, you can add the flamingos back here, right? The point of this video is just to show you how important it is to ink outside of the box. Just go crazy. You are not going to fail at this. So I'm going to get rid of the flamingos, and we are done with this lecture. And I will see you in the next. 18. Chapter 13: Car Breakdown!: In this lecture, I'm going to walk you through all these animations that we made. So let's start with the car underscore main, okay? So let me hide this. Okay. So this one is really fun project and it requires you to think outside the box, right? When I first started, I thought that I'm going to animate this one, but that girl with the flower was more complicated because it had more animations compared to this one. This one had only this eye animation. And I'm going to show that to you because I did not create that eye animation. I borrowed it. Okay, and I'm going to show you. Don't worry about that. But it's really easy to create. Let's go through this one by one, so I'm going to break this down. But here, first, I use the same noise. Okay. Let me turn on the bounding box by pressing Control Shift Etch. Also, you can just click on this. Okay. So this is the noise, and let's look at the noise. Okay, so we have the same animation that I showed you, okay? So this is turbulent noise and the noise, and then I animated the evolution here, right? And so this is it. Okay? Then we have the blur. So it's the same thing as the previous lecture. Then I have applied this smoke to this, as you can see here, this smoke also has a three D icon. Basically, it moves and it has a mask on it as we just blend in. Apart from that, no effect has been applied, and it's just a three D layer. Then we have the camera, and this is the basic rig that we created, right? But here, I made one changes. For example, created the camera, then I parented camera to camera control like we did in the previous lecture. Then I animated this, okay. So this is the animation, right. But with that, I also wanted different animation, okay? And so let me stretch this so that you can see it. Okay? I also created this Zoom out animation from this text, okay? So what I did was camera is parented to camera control, and camera control was parented or is parented to camera Zoom out. Okay? So this is basically the Zoom parallax Zoom out, okay? And so we have two layers of different animation that is creating this amazing effect, right? So that's it for the parallax, it's really simple. Okay. And also, you can create as many nulls as you want. Then, this one is the most important element here, right? So this is the plane animation that goes here, right? Okay. And so let's go into the plane and see what's going on, okay? So I basically downloaded this plaintpview dot png from the Internet. Here, as you can see it is as it is. I don't know why I have masked it, but there must be some reason. I masked it so that it blends here as well. And here, what I did was, first of all, I changed that into three D, right? And then I just applied an effect called drop shadow. I already explained that once that is applied, I change like this is the most important thing here. So I clicked on this shadow only. So if I uncheck, we will have different results, so I'm going to check this. The reason why it doesn't look is because of the blending mode. I'm going to change this to normal and well, it changes. Wow. I did not expect this to be this accurate. Anyways, I'm going to change this back to multiply and then I'm going to change this to shadow only. And that's how I created that. I have a single animation on that. This motion part that you see is the animation of the plane. So basically the plane is moving from this to this. So vibrated. These two keyframes, key frames are not even eased, right? And so that's it for that. Right. Now, let's see car, okay? So here, there are so many things going on. So this is the original image, right? And as you can see, you can see a person briefly. Like, I don't think the person is visible, but this is the original image, right? And I changed it into something like this, okay? And so the shadow is still there, right? So what I did is I basically created this, okay? So these are the window effects, and this is window, okay? So let me solo this. So I basically created the shape layers around this by just using the pen tool, okay? Right. And then I duplicated it and used it as a mat, okay? As a mat for this. Okay? So what are the window effects? Okay? So let's look at them. So these window effects are nothing but this stroke that you see, okay? So this is a stroke animation, okay? Two rectangles moving, okay? This is shape one, this is shape two. Okay. So these are basically the two shapes and let me press. Okay. And so it moves like this, and then I have animated the path so that it looks as if it's moving on this side of the glass as well. Then I have just duplicated it and then the animation goes on, right? Okay. So that's it for the window animation. And this is one of the effect that I have created, and I'm not going to explain it, but I'm just going to show you because as you can tell explaining, this could really take a long time. So I'm going to just turn this on and just I'm going to show you. So this creates highlights, okay? I don't know if you can see this or not, but let me change a few of the things so that you can see, okay? Okay. So this is the highlight effect or highlight preset that I am in middle of creating. So let's move back. Okay. Now, this blinking eyes animation. So I have applied an effect called key light, because the color was different on this video. I got this video probably from the Lot. I don't remember the exact website. I got this and it's free to use, you can easily create this animation. I basically applied time remapping to it after getting rid of the background, and then I created this background on my own. I have used this as a mat. This is a mat for this and let me drag this out so that you can see, Okay. So this is a shape mate, okay? So I'm going to just turn this on solo, this. Okay? So I just so this is a window that was masked and I applied Alpha met to this. Okay. Then there is one more animation. So when the plane arrives, okay, the car basically looks up or the eyes moves up. Okay. And then when the plane leaves, the eyes come back to its original position. That's the only animation here, right? Apart from that, we don't need this. And I have also added this just to give this cartoon like effect to this. Also, I have applied this cartoon effect to the car, okay. Although it's not too much of an effect, Okay. But it gives this cartoony vibe to it. Okay? I don't know if you can see it or not, but it's visible, right? But I'm going to go with Phil because I don't want it to be too much. Okay? So I'm going to go back, that was the car, right? And then we have this, let me turn this on so that I can see. So the first time when I made this, I had this, we pray for love and cars. This was inspired by the weekend song, right? Anyways, I created this text, first of all, then I turned it into a three D. Then this one may sound a bit complex because as you can see here, the grid. I created this grade. So let me go here. I basically created a new solid. Once the solid was applied, I applied an effect called grid. Okay, then I modified the grid. This is not that important, but I just changed a few of the settings here and I made it look even then I precomposed that solid. The reason why we use grid is to create that perspective, let me turn this on. So this is the perspective. Now the reason why I used this and not just change this text into three D and place it there is because I want it to be accurate. And so that's the reason why I have created this grid. Once that grid was created, I changed it into three D, right and so these are the values for the rotation property, right? And then let me show you, okay? So I'm going to hide this for now, okay? I'm going to duplicate this. I'm going to turn this on. I'm going to change this to none, and I'm going to change this to 100 for now. Okay? And let's solo this so that you can see it more properly. Okay. So here, let's change this to two D, and now I'm going to change this to three D, okay? And now, as you can see here, it's messed up, right? Now, what I want is I want this text on this plane, which is the grid, right? So how do we do that? Now, if you try to parent it, okay, that won't work. Okay? The option is to hold shift and just parent it, right? And that's how it works, okay? And so once that was done, I basically changed the blending mode of it. And the reason why there are many duplicates here for example, here and here, I'm going to hide this grid, okay? It's because I want to make sure that the people need to read this, but then I thought that, well, it's not that important because main focus here is this car animation, right? And then we have the main here. There are not many animations here except one animation. This effect is called CC drizzle, okay? So drizzle allows us to create or simulate this effect of raindrops on any layer that you apply, okay? So this is without this is width, okay? And so if you think that Okay. I hope you can see that. Okay? So these tiny water drops, you can play around with this. It's really easy effect, I tried many things here as well, okay? So I tried to apply this. Okay. I tried many different things with this, but I don't think I liked them because what I wanted was I wanted whales to be here or just sharks to be moving around here, right? That would have been cool, but at the end, I canceled that and I also wanted to do something with it, right? Something like this. You can do so many things here, by the way, okay? So I'm just going to get rid of this. This was an adjustment layer or the solid for the noise, so I'm going to get rid of this as well. We don't need that. Now I'm going to go back. And so that's how I created this. It's really simple. Just because I taught you that you can apply or use one null does not mean it's a necessity. You can do so many things here. You can use three nulls, four nulls to control and create many animation in a singular animation. Okay? So this is the principal animation. This is the core animation. Right? And this is a secondary animation. And we use a null to create that, right? And so that's how nulls are used. Nulls are really, really crucial, and I would again say that the limits are only in your mind. My first idea was to fill up this entire space with animated, like those aquatic animals, for example, I had turtles, sharks, whales, but it didn't quite look right to me. But just because it doesn't work for me doesn't mean it won't work for you. Okay? So you might try different things you have to see what's what and you have to adjust according to your need. Okay? So that's it for this, and I will see you in the next one where I will be breaking down another video. Okay. 19. Chapter 14: Girl & Butterfly Breakdown: Now let's move on to the final animation that I'm going to show you. So I'm going to move into this. Like each and every video that we did, we have blur noise. So this is basically a light flicker animation that I have applied to this. Okay. Let me press you so that I can see. Okay. So here I have created this tiny bit of flicker. And it's applied only to this area because, well, I wanted it to be that way, right? Because you can do that, you can apply flicker to this entire composition. But well, I thought, why not? Then I have applied this particle dot MP four and let me turn this into full. Now there are so many subtle things going on here. So first of all, we have the smoke that smoke that was applied in the previous composition, and then the smoke also has three D, and here the rig is pretty simple. It's camera one, and then we have the Cam control. I'm going to press U, and here I have not even eased this because I wanted to keep it as simple as possible. Right then, I downloaded this delivery van from the Internet, right? So it basically looks as if S is on the road. And it moves out, we have really simple animation on this as well. I use that technique that I showed you in the butterfly animation. Okay. And then we have this, right? Now, these are the elements that are really, really important. Let's look into that. So first of all, we have the girl, right here, I don't know why there are two animations. Okay. So the reason why here, it was this because I wanted to create a shadow for this lady, right? So how I tried to create that was by just turning into a three D and then, you know, just span it around, move it down, rotate it. Okay, just like this, scale it up, right, press R, and just change the rotation. Then what I would have done was mask it like this, invert it, feather it. Right? And that's how I would have created or I thought that I should create the shadow. But the problem here is that there is already a shadow here, right? And so I just got rid of that idea, okay? And so that's why this and I have applied two effects. First one is the fill, and then I applied the Gaussian blur. Okay. So let's go into this. Here we have two things. The first one is the girl, okay, which is this, and then we have the butterfly effect applied to it. Now, here, I have applied plugin called Deep glow two. Now, if you don't have deep glow, you will have result like this. But you can apply the native glow to this. But it doesn't give that kind of the result. Okay? So as you can see, the results are different, right? And so deep glow two works really, really well. It's an awesome plugin, right? But for the sake of this, because I don't expect everyone to have this, and so I'm going to just disable that phone now, right? And I have this butterfly dot AVI. So this is a transparent video, okay. And what I did was I basically set it up here, right? I rotated it, and then I masked this. Okay? So I masked its feet to make it look as if it's really sitting there, right? So without the mask, it would look something like this, although it's not visible here, but I still know, right? And so that's why I thought, well, it would be a good idea. Integrity, I don't know if I'm pronouncing it, right, is a good thing to have. Right. Anyways, then I'm going to go back. Okay? And I'm going to go into main here. Okay? So there are so many things going on here, don't worry about that. Also, I tried to add bunny here as well, but it didn't work. If you like it, you can place it here as well, but it might take our attention away from our main character. Also, I'm going to get rid of this because I have two butterflies here, and those weren't nice, okay? So here first, I have two bunnies, then I have grid. I use the same thing that we did there. Okay. So I basically created this perspective and then I parented this belief or believe believe to the grid. Okay? So in that way, we have this awesome perspective and it blends really, really well, okay? So I basically masked it, then I feathered it to around 502, and I changed its blending mode because without the blending mode, it doesn't look right. Okay? Now, it looks as if it's literally written on the road, right? And we have this. So this is the text, universe has your back. Okay. And don't worry about that. This doesn't do anything. I tried to create many things here, but it doesn't work, Okay? Then we have the light. Okay, so this is the light, right? I separated this as well because I wanted to animate. Okay. And also, we have this This looks like a superhero, right? And I wanted to show that universe has your back. I'm going to get rid of this for now, right? And this one is really, really important, okay? So if you look at the original image, okay, this was ingrained in it, and now I tried to create it on my own. Let's see how I created that, okay? So here we extracted this arrow, for example, let me try to get rid of the mask here. Okay? So this is the original image, and this is the reference, right? So this is the original image. And what I did was I basically masked everything, every arrow, like the first arrow from this, and then I just animated it, and then I just tacked it, okay? So let me hide this, okay? So it goes something like this. Okay, then we have this opacity animation. Okay. And then it loops basically. So it has this and then it goes out, and then it loops back. I probably saw this effect on a road one time and that's why I thought, Well, why not? Let's create that. Then I used this reference, and then I placed the arrows there. Okay? So that's how I created this, then let's go back. Then we have no animation here, right? Okay, so that's how I created this animation. You can do so many things here. So whenever you are looking at animage that you want to animate, you have to see what elements could I add into this. For example, if this is a road, you can add a vehicle. If the road is from the top view, you can add some shadows like the plane, right. Always keep saying, I said that in a previous lecture as well, that the sky is limit when it comes to creativity because it depends on your perspective. It depends on your view, right? And also, let's see how I animated this, okay? So this transform effect, okay? So let me quickly walk you through this. So I have not changed anything else. For example, we have opacity, rotation, scale, position, anchor point. For example, you have animated the position. Now, you want to change something or you want to animate something else. Instead of parenting it to a new null, you can apply this effect and you can make any changes that you want. For example, if you want to scale it, you can scale it up, okay? And so transform effect is handy, but it's not that useful here, okay? And so I applied this opacity animation to this, okay? And the keyframes that you see are hold keyframes. So they basically hold the value at a specific time. The linear keyframe changes linearly. This holds the value, and the value changes only when you reach that keyframe, right? And so that's the difference between the linear keyframe and this are the hold keyframes, right? And if you want to change any keyframe to hold keyframe, all you have to do is right click go to keyframe assistant, and then you can just toggle hold keyframe, right? And now this is linear. Now this is a hold keyframe, right? Okay, so that's it for this lecture, and we are done with this. Thank