After Effects Tutorial: Logo Animations Ep.2

this video is sponsored by envato elements envato provides over 1 million digital assets such as graphic elements stock footage fonts music and much more so if you're interested i have provided a link down below in the description which will take you to their website and of course if you do decide to register i get to earn a commission hello everyone and welcome back to a new tutorial today we're going to be taking a look at some more logo animations so let's take a look at what we're going to be creating [Music] [Music] before we get started i do want to mention that i plan on turning this into a series where i animate a certain amount of logos for each episode so if you have any logo suggestions for the next episode then leave a comment down below with all that said let's jump right in and get started okay so here we are now in after effects and i've prepared all my logos by putting them in a folder and let's start off with the cartoon network logo so let's go up to composition new composition name this cartoon network tutorial set it to 1080p frame rate of 30 seems fine and we'll set it to 10 seconds long and hit ok now let's just drag our cartoon network logo into the comp turn it off for now and let's move up to layer new solid and this is going to be our background make it comp size and maybe just give it like a poppy pink now an important thing to keep in mind when it comes to logo animations is to always look at the design concept behind the logo before you get to animating it so let's start off by creating a cube a way we can easily do this in after effects is let's first start off by creating a new solid and this is going to be our front side maybe set it to a thousand by a thousand make it black and hit okay now let's turn our layer into a 3d layer by clicking this button here in case you can't see these buttons just make sure to toggle the switches and this will toggle between all of these buttons you can also use the f4 shortcut now we can currently see the ui elements and that's because i have hidden them by using the ctrl shift h shortcut and what we're going to do is first off position this front side so that it fits within the left box that we have going here let's first switch to our anchor point tool which is this one or you can just click y to bring it up and then select the anchor point and hold down control to snap it to this side and then click control home to center the layer to the composition let's now bring the opacity by hitting t on the keyboard and just drag it down just so we can see the box behind it and let's just try to align this as best we can so maybe bring it up a bit hit s to bring up the scale and maybe turn it down and maybe just slightly move it up okay so that seems fine for now hit t to bring up the opacity again let's set this to 35 and let's switch to a custom view 1 and this will put us in sort of an isometric view and this will be easier for us to create the cube let's duplicate this rename this left side hit y to bring up the anchor point again set it to the left side and we can either hit r to bring up the rotation and use the y rotation value here and in this case we need to set it to minus 90 or we could hit w to bring up the rotation tool and then as you're rotating hold down shift and this will snap it to 45 degrees but one thing to keep in mind is if you look down here when you're rotating like this using the rotation tool it tends to use the orientation values and i don't really like that so in this case we'll just use the y rotation values down here now let's duplicate the left side bring the anchor point over here rename this backside hit our bring up the rotation and let's set this to minus 180 duplicate it one more time bring the anchor point here hit r do the same thing you get the idea now we need to name this right side now for the top side let's duplicate this rename this to top side bring the anchor point all the way up now let's use the rotation tool select this hold down shift to snap it and now we got it at the top side and now for the bottom side let's just duplicate it one more time rename this bottom side and an easy way to snap it right there at the bottom would be to say for example select this right side put the anchor point all the way at the bottom and then hit p to bring up the position copy the position and paste it to the bottom side layer and since the anchor point is pretty much in the same spot it'll just snap to that position and everything should be in line let's now go back to our active camera then let's create a new camera so layer new camera maybe 50 millimeters is fine and hit ok and now when we click c to bring up the camera tool we can orbit around let's select all of these hit t to bring up the opacity and set that all the way up to 100 and now let's move on to coloring these so front sight should be black right we got the original logo and this front side is black so it's correct now what we want to do is as we rotate the box we want to have a white color and then a black color as it continues to spin so we got this sort of flickering of colors going on which in this case means that we need to select the top side and change the color of that to white and also the bottom side now the left and right side are not going to be shown so we don't really need to change the colors of those but let's quickly add a fill effect to this top side and i'll just click control space to bring up the effects console which is a free third party plugin from video copilot and just type in fill and we can set the color to be white and hit ok now let's copy this go back to the bottom side and paste it there let's just turn off the original logo when we orbit around we can see that the top and the bottom are white ctrl z to undo and go back to the original spot now let's try to mask this c letter so that it sits on the front side and we'll do that by duplicating this rename this to c and let's just mask this around kind of like that and what we need to do is switch this into a 3d layer as well so let's just click there and now if we orbit around we can see that it is right there in the exact same spot now let's go ahead and duplicate all of these layers so we can have a cube on the right side as well and to do that we can select all of these layers duplicate them ctrl d and we'll deselect the front side parent all of those to this and just so we can see them better let's just switch these to cyan and these bottom ones to maybe orange and now all of these are parented so what we're going to do is set the anchor point to be on the left side of this front side layer so control and snap to there and on this front side since the anchor point is on the other side when we copy the position and paste it to the one that we just duplicated it'll just snap right there and seeing as all these layers are parented to this front side layer now they all shift to the right side and everything is pixel perfect now of course we need to change the colors so let's start with the front side add a fill layer to this make this white the top side should be black so let's set that to black copy the fill paste it on the bottom side and then copy the fill from the front side and paste it to the back side and now when we rotate and spin around you can see what's going on now let's duplicate our c letter rename this to n and bring the mask all the way over and everything should be fine yep okay now once we have all of these layers set up let's go ahead and do some rigging so we can control all of these objects using just two nulls now let's start off by creating a new null object so go up to layer new null let's name this left side controller we have to switch it to a 3d layer and now what we need in this case is to put the anchor point at the center of this left box both vertically and horizontally but also in z space and so this is what we're going to do let's select the front side hit ctrl alt home this will center the anchor point to the front side layer hit p to bring up the position and just copy the position paste it to the null so now it's centered to the front side and then next let's say select the left side hit ctrl alt home for that and this will center the anchor point to that left side and then hit p to bring up the position and we'll only copy the z value so copy that bring the position for the left side controller and paste it to that and now it should be right in the center of the entire left cube now what we're going to do is just select all of these left side layers parent them to the left side controller and now when we rotate the null everything rotates with it let's now duplicate the left side controller rename this right side controller and we're going to do pretty much the same thing so find this ctrl alt home center the anchor point copy the position and paste it to it center the anchor point for the left side hit p copy the value and just paste it here now let's link all of these right side layers to the right side controller then we'll select all of these layers hit the shy button and then lock them and just click the hide shy layers button and this will clean up our composition and then we only have to worry about these two controllers and we got a clean looking composition we could even lock the background now before we move on to the animation part let's turn on our original logo layer hit q or just click this button here to bring up the rectangle tool for example and let's just mask around this cartoon word duplicate this double click on the mask and bring it over and we'll just name these network and cartoon and we'll switch them to 3d layers and parent them to their respective controllers and then let's go back to the camera hit c to bring up the camera tool and maybe just zoom out so something like that and now let's move on to the animation part first off let's hide these two words since we're not going to be seeing them up until the end and then select both of these and hit r to bring up the rotation and in this case we're going to be animating the x rotation so let's turn on the stopwatch for both of these for the x rotation and let's set the initial rotation to maybe something like that so 270 and what we'll do is invert these so for the one on the left we'll just set this to minus 270 and let's move over to say 10 frames set a keyframe there and let's just rotate this so it's gonna spin this way now what we're going to do is instead of landing on this side we're going to overshoot a bit and after 5 frames it just goes back to that side so let's set it to 90 degrees here and as for here let's just set it to 80 degrees so it pretty much overshoots by 10 degrees and we'll do the same thing for the left side but in reverse to minus 80 and then goes back to -9 and then we'll move another five frame so one two three four five we'll set a keyframe and this is going to be our breathing room and then another five frames set a keyframe there and this is gonna be our anticipation so what's gonna happen here is instead of instantly starting to rotate the way that they're supposed to rotate they're gonna sort of go in reverse a bit and then start rotating in the direction that they're supposed to be rotating we're in this spot and when we go forward by five frames we want to overshoot so we go back to 80 and then let's move over by 10 frames and let's start spinning this and maybe we don't go over to this spot because that's where we were instead let's skip aside go back and overshoot 290 move forward by 5 frames and go back to 180. let's now do the same thing for the left box so let's go over to -80 move over and then rotate this up again let's not go at the side that we were in at the beginning let's skip aside go back in this case it should be minus 190 and then move forward and just set it to minus 180 and then one last time we'll just get a bigger anticipation and a bigger overshoot and we'll just land at the spot that we're supposed to land so first let's go over by five frames like we did before to give it some breathing room set keyframes and now instead of going over by five frames let's go over by 10 frames so hold down shift and hit page down by the way we can use page down and page up to move forward or backwards by one frame and then holding down shift we can move forward or backwards by 10 frames and here we're gonna have an even bigger anticipation so maybe something like 30 pixels so that would mean 150 and minus 150 on the other side and so let's just focus on the right side cube it goes upwards for the anticipation so that means it has to go downwards for the rotation so let's go for like a 360 degree spin and then finally overshoot by 30 degrees and then move forward again and bring it back to zero let's do the same thing for the left side so now it should spin upwards overshoot to minus 30. and then go back to the last keyframe and set it to zero now from the anticipation keyframe let's move forward by 20 frames bring these over and then finally for the last keyframe let's move forward by 10 frames and i'm thinking maybe even 30 frames for this middle keyframe and let's select all of these keyframe assistant easy ease and i'm thinking these last two keyframes could be set to 75 percent so let's right click keyframe velocity set them to 75 by 75 and maybe even just push this by 20 frames and what we'll do next is scale these up first 10 frames so let's go over to 10 frames hit s to bring up the scale for both of these set a keyframe there go back to zero and then set them to zero and let's just easy ease those and maybe even 75 these last ones by the way you can go over to keyframe velocity set it there but i'm going to use this flow plug-in that i have which is a paid third-party plug-in and this allows you to like save these keyframe velocity presets now let's go over to the end and find the part where these two words are going to come in so let's just turn these on now and let's see so at this frame so let's trim it there so select the cartoon layer hold down alt and open square bracket and then move in time see where the network word pops in so right here trim it there let's just set this network word to be white so that we can see it when it's underneath this box so let's add a fill effect make it white and then one last detail that i added in the original logo animation was at the end here these boxes sort of come up and then they fall down and rest in the spot that they are right now and i'll demonstrate that by going over to the original animation that i did so if we zoom in here you can see when they finally spin they sort of go upwards a bit and they sort of float in the air as soon as they spin downwards the position of the entire layers just comes down as well so let's go back let's duplicate one of these nulls ctrl d hit u to bring up the keyframes and let's just delete both of these and we'll bring back the position parent both of these to that controller so let's rename this to like extra position and control and what we'll do is let's click u to bring up the keyframes on one of these controllers and see where the highest spot is so right at this keyframe so we hit the position stopwatch to set a keyframe there and maybe go over the last keyframe so maybe to like four seconds set a keyframe there and then go over to where the anticipation keyframe starts and let's set a keyframe there and then let's move over to the middle frame bring this all the way up let's easy ease all of these and let's just set them all to 75 percent and you can do that with the flow plug-in just by double clicking on any of these presets that you saved now i'm thinking we should just bring this over so that it all lines up perfectly and also even this one maybe push it into when the rotation starts to happen let's preview that one more time okay so i think we're done with this logo animation let's now move on to the second one moving on let's take a look at the amazon logo now i'm going to cheat a bit and go back to the original comp which is right here and i'm going to copy all of these letters which is the alphabet and then go back to the comm that i just created and create a new text layer and let's just paste it there and by the way i'm using the itc officina font which is the font that amazon uses now let's create a background real quick go up to layer new solid name this background make it black bring it to the bottom and we can't quite see the original amazon word and that's because it is black but it doesn't matter since we're not going to be using it for now now one quick thing to point out is that this font that we're using let's just duplicate it real quick bring it over here and type in amazon and let's turn this off so we can see it maybe make the font black by the way the composition background is white and in order to change that you can go over to composition settings and change it down here so you can make it whatever you want but anyway what i was going to show you is if we scale this up and just see the comparison even though it's the same font it doesn't quite look the same and that's because they've gone ahead and customized this and the reason i'm bringing this up is because you can actually customize your fonts inside of after effects and the way you can do that is by simply clicking on a text layer and going over to create shapes from text for example and then you can go in here hit g to bring up the points and then select them and adjust them accordingly so you can see this a letter here it doesn't have this extra corner point so we can delete that and select this one maybe bring it over like that but in this case we're gonna skip it just for the sake of the tutorial so let's delete these shapes bring back the amazon text maybe delete that turn off the original logo and let's turn the background back on and let's now get on with animating these alphabet letters first off let's control alt home to center the anchor point to the text layer and then control home to center it to the composition next up we're going to go down here to the text property for this text layer and click the arrow here on the animate to add an animator and in this case we're looking for the scale and then zoom in here you can see these points that pop up these are going to be very important so let's just first go over to more options and this is where we can control those points so this is the grouping alignment and i'm looking at maybe the eye letter so let's go over to the horizontal by nine percent maybe and vertically it should be fine so let's leave it at zero and the reason i'm mentioning this is because when we scale up and down you can see it scales up and down from that point so if we move it vertically and bring it to the point at the top for example you can see scales from that point but in this case we want it to be right there at the base of each letter now let's go back to the beginning and before we move on with the animation let's just adjust the tracking so the gaps between each letter and we can do that by using this value up here or you can add an animator which is tracking and you can just increase that but in this case we're not going to be animating the tracking so we'll just use this value up here so let's delete that oh one important thing when you're adjusting the gaps or the tracking is the paragraph so if it is centered when you increase the gap it increases from the center whereas if it's left aligned it increases from the left and in this case we're going to set it to left align because we're going to be moving from left side to the right side now let's increase this as much as we want maybe double click on it increase the border of all these letters hit s to bring up the scale scale it up bring it all the way at the middle so we want the a letter to be at the middle of our comp at the beginning and maybe bring our anchor point right here at the a letter so when we scale it up it scales from that point and our a letter stays centered now we can move forward with the scale of these letters so let's go down to the text go down to the animator now what we need to do in order for these letters to scale up one by one is to set these to zero at first then go up to range selector and by animating the start value and we can't really see it right now but let's just scale it down just so we can see it you can see if we increase this it shifts the scale and therefore every letter comes in one by one so what we want to do is set a keyframe at the beginning move forward by say seven seconds and bring this all the way up to 100 percent now let's scale this back up to 1000 as we had it before center it to the comp and what we want to do is as this letter scales up and the other letters start to scale up as well we want the camera to pan all the way to the right so that it follows each letter being scaled up and the way we can do that is by either animating the position of this text layer or we could create a new null object and do all of that within the null so that we don't have to touch the text itself so let's go ahead and create a new null object layer new null hit p to bring up the position set a keyframe there now before we do anything else let's just parent the text to the null bring the keyframe all the way at the beginning and now click u on the text layer to see where the last keyframe is and go to that point and now since the text layer is parented to the null when we move it it just moves with it and now we can hold down shift and it will just scroll very quickly and then we can arrive at the z letter so you can see now not only are the letters scaling up but also the entire layer is being moved to the left side and we can constantly see these letters being scaled up now what we can do here at the beginning is maybe shift this over by say 10 frames so that it doesn't start immediately and maybe even ease that now of course this is going to shift the timing so now we can't quite see all of these letters being scaled up now in order to fix that all we have to do is just play around with these keyframes now first of all i'm thinking this takes way too long so let's go back to four seconds drag these over and then select both of them maybe 75 on those and maybe drag it back to that keyframe maybe even easy ease this keyframe at the beginning so that the letter doesn't just scale up immediately actually let's bring them back to five seconds now i'm thinking we set both of these keyframes at the same second but this keyframe which is controlling the individual scale of these letters we can just set the keyframe velocity to something like 75 and now when we preview this at the beginning we can see most of these letters being scaled up and then it just goes by quickly and then finally at the end we can start seeing them and the camera slows down quite a bit and we end in the z ladder now keep in mind this is all trial and error i'm probably not going to be able to get it to be the same exact result as i did in the original one i do take quite a lot of time with these keyframe animations you know pushing them forward easing them increasing decreasing the keyframe velocity so if you're not able to come up with a solid looking animation don't worry just keep at it and eventually you'll end up with something that you're quite happy with let's duplicate this null and then we can hit p uncheck the stopwatch and right click on the position to reset it and what we're going to do next is parent this intro position control to our other controller that we just duplicated and now the reason i like to do it this way is so that i can more precisely control every part of the animation let's set a keyframe find the spot where this animation ends so at this frame let's go back by maybe 20 frames bring the keyframe here and let's go over by 20 frames on the other side as well set a keyframe there maybe even by 10 more frames now what i'm gonna do is we want to end up in this spot right well let's go back to this position we're going to push this null to this side let's just keep frame velocity on those when this null reaches the final position it doesn't just abruptly stop instead it sort of slides as well now of course the easing is not quite right i don't want this to be 75 instead i'm just going to ease it so let's preview maybe drag these back by 10 frames so you can see what i mean it doesn't just come to a stop instead it just smoothly slides across and this just makes the animation flow that much more now of course by doing this if we go back to the beginning we can see that the original position has been shifted and that's because we shifted it in this keyframe so let's go back to the first keyframe and readjust that to be at the center now of course this might mess up our animation but everything should be in place and there you go we already have the first part now let's move on to the next part of the animation which is this letter scaling down and all the other letters of the logo coming back together and then we get to see the arrow finally but let's just focus on the letters first and then we'll do the line animation all the way at the end now what i'm going to do is create a new text layer and let's just type in amazon make sure the paragraph is centered and you'll see why in a minute i'll center that and scale this up so that it fits with the current z that we have and reposition it doesn't need to be exact just as long as it's nearly in the same spot and the same scale now we can bring down the tracking and reposition that again and what we're going to do is just delete the z letter so just select the layer delete the z ladder hit space to make some space there now it's not quite the exact gap that we need so let's select the a letter increase the gap right here so roughly like that maybe bring it over a bit to the left side and now what we're going to do is parent this to our text layer and we'll just shut it down for a second now let's duplicate this layer again maybe rename this so we can differentiate between them later on so maybe say end scale control extra slide pro let's hit you to bring up the keyframes for this undo everything and just center it up and then we'll parent this one to this one and what we'll do now is animate the position and the scale of this null so that when we come here at the end before it stops sliding it actually starts scaling down and repositioning to the final spot that we want it to be at so let's hold down shift hit s to bring up the scale while also keeping the position set a keyframe there and let's see where was the last keyframe of the slide so there maybe go back by 10 frames bring the keyframes here and then go over to say seven seconds and let's just scale this down and try to put it roughly in the middle of the composition so we want the final position to be there and now of course you can see all of these letters within the original text layer that we have a quick and easy way we can fix that is let's select the original text layer and let's just draw a mask around that z letter and we'll hit mm to bring up the mask properties set a keyframe here go back by one frame and then zoom out and just scale this up vertically and scale it up all the way to the left side so that it covers all of these letters just make sure the mask is long enough vertically so that you don't cut off any letters and then we'll just bring that keyframe over here and this way since we can't see any of the other letters at this point we just move forward by one frame and we isolate only that z letter and when this scales down you can see that we can't see anything else other than the z letter now let's bring up the keyframes of that n scale control again select them all keyframe assistant easy ease and these last two keyframes will set them to 75 percent maybe even 75 percent for these and we'll shift the timing so that they start quite a bit earlier so what we're going to do is adjust the tracking of these as the text comes in let's go down to the text go over to animate tracking go back in time and find the spot where this starts to come back in and let's just increase the tracking amount all the way up till we can't see anything maybe something like 300 in this case let's set a keyframe here move forward to about seven seconds and bring this back to zero and now we can ease these so that seems pretty good for now okay so for now let's just leave it at that and move on with the line animation so let's go over to the beginning bring in the original logo maybe solo that out just so we can quickly mask the arrow so bring up the pen tool you can also use g to bring it up as a shortcut and just start masking around this and we only want this line part for the intro at least and what we'll do is put the anchor point on the left side unsolo it so we can see everything else and now let's move in time and try to position it underneath the a letter and let's just parent it to the intro position control so that it moves with the null and what we'll do is find the point where the a letter almost scales up completely so maybe at frame 10 and then hit s to bring up the scale for this line matter of fact let's just rename it to line for now bring the scale down to zero set a keyframe move in time till we can see it just scales up completely out of screen so maybe there we can ease the first keyframe until it goes out of screen so at this point we just trim it alt close square bracket and just trim it over here at the beginning as well and one thing i noticed here is you can see the j ladder being cut off because of the mask so let's say them to bring up the mask select the keyframe let's just bring it over so we can adjust that keyframe and just scale it up vertically and then bring it over here one frame before that now we can move over to the end and take care of the line at this part now one thing i just noticed here is you can see how the tracking is happening around this point so the z letter is not quite centered with all of these letters one thing we can do to quickly fix that is let's just hit p and hold down shift hit u to bring up all the keyframes and let's just set a keyframe for the position right there at the end and then move forward um maybe just bring this over here so that it's right at the center bring this over here it should be the exact same length as these tracking keyframes and also the exact same keyframe velocity so let's just check what those were so this is 75 and this should be default right so easy ease that and 75 for this not only does the tracking come in but also the position of these changes so let's see maybe bring it over to the left side even more yep just so that they come in around the z letter now let's duplicate the line layer bring it over unparent it and let's just center it to this spot and we can duplicate this rename this amazon original delete the mask and let's just scale this down just so we can put it in the exact same spot as the logo that we have now so let's maybe bring it on top of course this is not going to fit perfectly just because as i told you before this is a custom font but we'll roughly try to match it so see the end letter here let's just put it right there at the corner and put the anchor point right there at the corner as well and then scale from that point and we'll just mask this around so it's in the exact same spot now what we'll do in this case is animate in reverse and it'll make sense as to why once i show you let's just bring the anchor point to this right side first so right here bring up the scale by hitting s set a keyframe there and let's find the keyframe where the tracking ends so right there bring this over go back to the point where you can see the a letter and we'll just scale this horizontally now one way we can do that is maybe by hiding these ui elements from the mask and just grab this and just scale it up or we could unlink the scale property and increase the scale on the horizontal value and we'll just bring it over like that and then we'll ease the last keyframe by 75 what we need to do next is to parent this to the original text layer so that when it scales up the arrow scales up with it and you can see how i messed that up just because now we have to readjust the scale of this so let's see let's go back find where the point is where we can see the a and bring that over here and scale it back down and everything should be matching perfectly so and now what we'll do is go back and this is what i meant when i said we're going to animate this in reverse because we have this last part set up what we have to do now is simply go back find the point where we want this line to come in so maybe start coming in at this point create a new null object and maybe drag it all the way over here then we can parent the line to the null but parent the null to the original text layer so that it still follows it so nothing really happened but we want to find a point where we want this line to come in so now we can animate the scale of the null let's unlink that hit s bring up the scale set a keyframe there move in time where we want the line to come in completely so maybe here set a keyframe there go back and just scale it back down and now we can ease this one and now if we preview it so you can see this is the power of using multiple nulls to control the values of multiple kinds of things and in this case if we wouldn't use a null it would be very problematic to have the line scale up from one side and then scale down from the other side because we'd have to animate the anchor point and then the anchor point jumps back and forth in that case the position shifts and so we just use nulls in this case and we get all that sorted out let's rename this line and control maybe go in time here trim all of these layers for whenever they come in and i think the final element that we need to add is the arrow tip right here at the end so let's just duplicate this and since we have the mask what we need to do is let's just delete it and let's just create a new mask real quick let's make sure not to get the z letter there arrow tip make sure the anchor point is here and so when we scale it up it scales up from that point and now we'll find a point where we want this arrow to scale up set a keyframe move forward set a keyframe there move forward even more and just set a keyframe there and this middle point will just scale it all the way up this first keyframe will set it to zero percent and you notice here this is parented to the line and control so at the beginning when this is scaling up you can see it's kind of stretching and we don't want that so we'll just go back here unparent this and we'll just parent this to the text so that it follows the scale and now let's ease these in and 75 percent the last keyframe now what i want to do is have the arrow tip kind of start scaling up a bit earlier and i even want to trim it so that whenever it pops up it's already scaled up at this point now what i want to do is follow this line instead so that it doesn't just scale up in the middle of nowhere and we can do some parenting and all that but in this case i just want to keep it simple so let's hit p to bring up the position set a keyframe there find the point where we have this line coming in at the last keyframe set a keyframe there move back and just reposition this easy ease so not only does it scale up but it also follows the animation of the line you can notice here that we can see the amazon letters so let's just go in time and just trim them from this point now before we move on with the next logo one more touch i want to add is right there at the end i want to give it just a bit more scale down motion the way we can do that is let's just create a new null object one last time parent the n scale control to it hit s bring up the scale set up a keyframe and maybe bring it over to eight seconds set the keyframe there and go over to the last keyframe just scale it down just a bit maybe like 90 percent and hit 75 percent easy ease this one and now we should have a smooth scale down now you can't quite notice it because the scale down is very small but if we scale this down even more to say 75 percent we can notice it quite a bit more moving on we got the shell logo and we're going to start off by creating the rays that you can see here in the middle and then we'll create the base shape of this shell on the outside or the outline if you will and then we'll animate all the values and have it all come back together in the end let's just double click on this rectangle tool and this will automatically create a shape layer for us and then go down to the rectangle to the rectangle path and you can notice now we can't quite adjust the points and what we need to do is right click on the rectangle path and convert to bezier path so if we click g and then select them we can adjust the points now what we want to do is scale it down vertically and we'll select the top point hold down control and it'll scale down proportionally then we can just bring this all the way over so that this sits in the middle now we'll delete one of these points so select and delete it and bring this point roughly at the center by the way i'm using shift to snap it vertically because if we don't hold that we might accidentally push it to one side or the other so now that we have our base shape let's just delete the stroke because we don't need that and let's add a repeater effect and what this allows us to do is to just add multiple copies of this and we'll just set this to something like 24 which i found works perfectly for this case and we'll go down to the transform and let's just first off set the position to zero because we don't need to repeat the position and we'll just increase the rotation to 15. now of course these are values that i found work perfectly with this logo but in case you want to change that you just adjust the copies and the rotation since the base of these lines is all the way down here at the bottom we need to shift the position of that so let's move it downwards just so that it roughly aligns with these lines and then we also need to adjust our mask so that the lines don't come in as much so maybe to that point and maybe just drag these two points at the end here all the way to the side so that we can't see the edges of these lines now we could go ahead and turn the opacity down to 35 percent for both of these just so we can see that we're roughly the same size on the lines and everything so you can notice here these lines are very thick on the shell logo and the lines that we have created are not as thick so let's just try to correct that let's just select this mask go over by one pixel and make sure to go the same distance on each side one thing we could do is maybe select both of them hit ctrl t to adjust both of them at the same time now of course we're not looking to be perfect with this so we'll just leave it at that for now and we'll turn off the shell logo for now now let's go back to the contents of this shape layer and let's now add a trim paths effect and we want to put this below the repeater now i think we're at the point where we can start animating this so let's start off with the trim paths end value and you can see if we decrease this see how these lines come in and again i'm using control to slowly shift the value and we'll find a point where we can no longer see them 46.9 let's just round that at 47. set a keyframe bring this all the way at the beginning and let's move forward to maybe something like one second by holding down control increase this until they all fill up so we got this simple animation coming in let's now also animate the start value so let's go over here at the end you want the start value to be at zero go back and maybe increase this so they come in so they come in and also at the same time get thicker now we could shift the timing of these so that they come in first and then they get thicker so let's go up here to the rectangle and under transform of the rectangle let's adjust the rotation so let's set a keyframe here go over to maybe like five seconds bring the keyframe over and then move back a bit rotate it on this side so maybe by minus 180 and bring it all the way over to the beginning and now we can see what happens now we're not going to be messing with the easing of these values just yet we'll do that all the way at the end now let's shut these off just for a moment rename these arrays and let's focus on recreating the shape for the shell now one thing we could do is we could maybe auto trace this and after effects automatically create some mask around this shape but then we would have to clean it up go in here just delete a bunch of keyframes instead i'll show you a way we can create these shapes by using guides inside of after effects so let's undo the auto trace and create a new solid and let's just pick the color of the shape and hit ok now we'll turn it off for now and what we'll do is bring up the rulers and the guides so let's just hide the title action safe go over to view and show guides now we can't see anything yet and that's because we need to create some guides and to do that we need to bring up the rulers so show rulers or ctrl r and what we'll do is let's just zoom in here and start bringing in some guides and in this case what i'm going to do is just align these guides to the outer outline and you'll see why i'm doing this when we all bring it up together in the end and we'll bring one for the middle let's just bring in the title action safe so we can center it up and now we'll bring up some vertical lines as well okay so once we have all of those guys set up i'll show you now how we can create masks and snap to these points and make it very easy to create the shape so with the layer selected let's hit g to bring up the pen tool we need to make sure snap to guides is checked and now everything should be snapping to these guys so let's create a point there click again snap it there click again and since we have these crossing guides we can easily set points and just snap to them we'll do the same thing up here now we do need to put a guide right here at the top so that it snaps to that point and then we'll just click snap there now of course these are linear points and some of them we need to switch to bezier points and the way we can do that is by clicking on the pen tool holding down and going over to the convert vertex tool and then you can just click on these points and this will switch them to busy points next up we'll just adjust these accordingly you can see here i'm also using this grid line to snap this bezier path to that point and same goes on the other side in fact i'm using this one instead and then we'll just adjust the bottom part just so that it fits perfectly with a shape we'll do the same thing on the other side and then you can see i strain up this line at the bottom and the way you can separate these lines from each other instead of controlling them at the same time you can hold down control and this will switch to this icon that you see right now and this allows you to separately control them and there you go now we have the outer shape set up what we'll do next is go over to view uncheck the show guides and this will hide all of the guides now let's turn on the shape and what we'll do next is hit m to bring up the masks duplicate that mask set the second one to subtract and then we'll select that second mask hit ctrl t to enable the transform and then while holding ctrl and shift we can scale it down proportionally so something like that now we might need to adjust this just a bit so select this point move over by one pixel while holding down shift move over by one pixel while holding down shift on this side as well try to keep it symmetrical maybe we'll turn it off for now just so we can see everything better select all of these bring them up a bit bring this up and there you go but this is a cool way of using guides to recreate certain shape paths now let's turn off this base for now turn off the original shell logo and let's just focus on the animation for the rays so let's hit u to bring up all the keyframes now let's see here so in the beginning they come in we can maybe add some easing to those and maybe some easing to these as well maybe move forward a bit so i'm just playing around with the timing and the easing of these keyframes so once we have these lines come in they keep rotating and in the meantime we'll have the shape come in as well let's just turn the shape back on set a keyframe for both of these masks go back double click on them hold down control and shift and let's just scale them up until they fill the screen and we'll bring it over here at the beginning maybe set it to 75 percent and then move forward and maybe go over to three seconds and set the last keyframes there again with 75 percent actually the first keyframes let's just set them to be linear and what we'll do is we'll shift the timing so that this inner outline comes in first and then this outer outline comes back in which means this bottom point should be dragged over and you can see what that does so we could even maybe say go to frame 15 and shift the first keyframe over and maybe even scale this up quite a bit more now of course in order to make these faster we just have to adjust the timing and the easing so i'm thinking we'll bring this in at 115 maybe 75 percent that and just shift it over now we'll select the entire layer and just shift it over so we can see the lines come in first and then the shape starts to come in now of course i want this rotation to also come to a stop smoothly so let's set that to 75 percent next up let's duplicate our shell shape so ctrl d and we'll rename this to shell matte and what we'll do is hit m to bring up the masks and we'll just delete the inner part so delete the inner mask then we'll bring this on top of the rays and we'll set the rays to alpha matte this way you can only see the rays on the inside of the shape and just to be safe here we'll just hit double m on the shell matte just so we can decrease the expansion a bit and one thing i'm noticing here is these lines that we're using in the shape layer are not quite the same color as our outline and that's because we need to set this in the fill of our shape layer so let's pick the color from that now one thing i forgot to do in the beginning is to set the offset to three in this case and that's because in the end when we set the copies to seven we would need to offset them by three copies so that everything is symmetrical but anyway let's find a point where we can do the transition between 24 copies to seven copies so i'm thinking maybe around two seconds and let's just set a keyframe here at the copies move forward by say 10 frames and set this to 7 copies but now of course since we have the rotation still going on we're able to see this cut and that's not quite what we want so what we're going to do is duplicate this ray right here at this point so ctrl d and we don't need to use a shell mat so let's just undo the track matte bring this all the way at the bottom here now we'll do is for these rays let's just delete the copies keyframes and let's just alt open square bracket and then we'll move in time and now we can still see the race just as before and what we want to do is say from this point on so like 2 15 where we start to see these lines we'll set a keyframe for the end value and then we'll move over all the way at the last keyframe which is our rotation decrease this slightly to the left until we can't see the lines anymore and then we'll just 75 percent those and there you go we got the base animation set up and i think what i did in the original example is i animated the scale of the original shape so let's hit s to bring up the scale and before we do anything else let's just parent everything to that shell shape hit s to set a keyframe for the scale move forward say to six seconds and all the way here at the beginning where the shell shape layer actually starts increase the scale to maybe something like 200 and then select this one and 75 that again remember you can do the same thing with the keyframe velocity just by right-clicking and setting the 75 values here but seeing as i have the flow plug-in i'll just use that i think this is way too much scale so let's just bring this down to 150 and maybe at the end here we can set it to something like 75 percent if you can't tell by now 75 percent really is my favorite percentage and there you go the finished shell logo animation we can now move on to the next logo moving on to the starbucks logo first off let's create a new solid and pick the color from the circle make sure this is square so that when we double click the ellipse tool it automatically creates a circle for us so let's double click on it hold down control and shift and just scale it down until we get the same scale as the original logo so something like that rename this circle bring it at the bottom turn down the opacity for this to something like 40 and before we get into anything else let's just recreate all of these shapes within the icon and then in the end we can take care of the animation part first let's just duplicate this set the opacity back to 100 and let's just start off with the body here so click g to bring up the pen tool and then click and drag and mask around we'll name this body and turn it off then let's take care of the face so let's create a new solid for this in fact so layer new solid make sure this is white let's rename this face base and let's just draw a circle right around the face so maybe click there in the middle of the nose hold down control but don't hold down shift because we don't want it to be a perfect circle instead i just want to make the shape sort of like an egg and then double click on it maybe bring it up a bit and then maybe adjust the top part here so something like that and this is going to be our face base and now let's duplicate the original layer name this eyes let's delete the mask for now and let's just mask out the eyes and then duplicate it one more time let's now mask out the nose and then one last time we'll mask out the mouth and remember we'll only take care of one side we'll just duplicate them flip them horizontally and there you go we got all sides covered up and we'll do that all the way at the end so that once we do the animation for all of these parts we'll just flip them over and we don't have to redo the animations for this part as well seeing as this is all symmetrical now let's maybe do the crown over here at the top by starting off with the star so let's just go over to the star tool and all we need to do is just double click and that will create a star shape now maybe we can go down to the polystar and delete the stroke let's turn down the opacity for now and let's just scale it down reposition it of course we're going to need to edit the points as well just like we did before we're going to have to right click on the polystar path and convert to bezier path and now we can select both these points maybe bring them up bring this point up and we'll just set the color to white rename the star turn it off for now now for these shapes right here what we'll do is duplicate the circle and rename this crown spike big make this white now let's create a shape to match that shape now what we need to do is make sure that when this rotates so we hit w to bring up the rotation key when we rotate you want to make sure it goes along this line and in order to achieve that we have to adjust the anchor point tool so let's just click on the anchor point hold down shift to snap vertically and just go down to maybe the chest here and try to rotate now go down just a bit more that looks pretty good for now let's duplicate this small spike let's just double click on the shape maybe scale it down rotate it a bit and we can come back to these and adjust them later so it's no problem now let's take care of this base layer so let's duplicate this one more time call this crown bass oh and by the way i forgot to delete the original circle path so let's do that real quick and scale it back down let's just create two masks so duplicate this one set the second one to subtract and then hit m just like we did before to expand this by bringing up the mask properties try to set the thickness to the same size as the base layer on the crown here and then we can select both of these and just double click to scale them up and down and then we can just adjust them until we have them where we want them to be so roughly like that that seems fine and then maybe we can expand this one upwards as well just a bit now that we have the crown base let me just real quickly show you how we can use this with a radial wipe effect to have it come in so let's solo that out for a second maybe solo out the background as well i'll just make the background black and let's add the radial wipe effect so control space radial wipe and over here we can see the transition completion but instead of having clockwise or counterclockwise we'll set it to both and we'll set the start angle to 180 and now you can see how when we increase or decrease the transition completion it animates from this point what i did in the original example is i duplicated this use the first one with zero degrees so it comes in from the bottom and then the second one comes in and just closes it from the bottom but for now let's just delete these effects and unsolo everything and move on with the other parts now we did duplicate this before and rename it to right hand but we did not mask it so let's just delete the mask and mask around this right hand now let's just turn that on for a second and just see what happens here so since the anchor point is right here at the mouth when we rotate it it's not quite rotating the way that we want it to so we need to adjust the anchor point for that part as well so what we'll do is go back to say the crown base and let's duplicate this crown base hit m to bring up the paths duplicate one of them and let's just scale this down it's very small just so we can use it as a reference for the anchor point and we'll go back to the right hand hit ctrl shift h to toggle the ui elements and then click y to bring up the anchor point and just bring it down here at this point and now when we rotate it should rotate along that path and i'm thinking we need to slightly adjust it so that when we come down here at the end it just goes off the circle and the way we can do that is by slightly pushing it down so that when we rotate it it has a bigger arc to it we can now move on to these other parts let's delete that reference layer and let's duplicate the crown base rename this line one and let's just delete all the masks and what we'll do is create these shapes from scratch so and it doesn't really matter that it's going over the shape because at the end we'll do like a matte for the entire shapes and i'll show you a cool little trick that you can use with only a single layer to isolate every part of this icon now let's move on with the other lines now we do need to make sure that the inner part of this line does not get shown now to do that let's go over to the crown base hit m to copy the path that we created and let's just paste it here and now we can maybe just scale it down a bit just so that it lines up right there and we can set that to subtract and you can see how that cuts off the line and we'll do the same thing for all of these lines that we created so just copy and paste and now once we have all of these lines set up if we select them all and rotate them since we set up the anchor point previously they should all be lining up perfectly now let's duplicate the original logo one more time mask over this first hair hair one duplicate adjust the mask and adjust the mask and adjust the mask and then one more time now we do want to make sure that we cut properly here so at this point let's just make sure that the curve is right duplicate it one more time let's name this wrist delete the mask and let's mask around this part reset everything to 100 opacity and then take care of the keying and all of that stuff okay so i went ahead and color coded every single one of these it's always good practice to rename your layers now let's isolate the body for a second so let's see isolate these ones so we got the face elements the body element and let's bring up the background as well now you can notice here since the original logo has a circle which is green we need to key that green out so we end up with only the white parts in order to do that we can add an effect called color key and just pick whip that color to the solid there and then maybe we can increase the tolerance and just to be safe what i like to do is add a fill effect and make it completely white in this case just so that when we have some sort of like green edges going on or something like that we can just turn on the fill effect and everything should be white now let's turn off the body and we'll go at these one at a time instead of having the whiteness appear for the eyes or the mouth or the nose we'll have the white disappear and only keep the green parts and trust me it'll make sense when we get to animating these so let's do color key for the eyes and let's pick the white we can't really notice it just because we have the face base enabled so let's turn that off go back to the eyes and let's just add a fill effect again make sure it's the same color so you can see these pixels here they're kind of like brighter at the edges so that just takes care of everything and let's copy this paste it to the nose and the mouth paste them to the hair paste them to the wrist and also paste it to the right hand now let's go down to the crown base and re-add the radial wipe effects so radial wipe both increase that set it to 180. let's just make it so that it is exactly the length of the original one so let's turn on the original starbucks icon and let's just turn down the opacity so we can see it better around there seems fine we'll set it to 79 okay so there you go i have separated all the elements into their own layers and now we can move on to the animation part and once we do that we can simply duplicate all of the side layers flip them horizontally as i mentioned before and everything should be in order let's hit m to bring up the path set a keyframe all the way at the beginning let's move forward by maybe 20 frames set a keyframe there and go back to frame 0 and just scale this all the way down until we can't see it set this to 75 percent and ease this one as well and it just comes in like that now let's move on to the face and just so we can focus a bit better let's isolate only these parts so we got the body we got the circle now let's go over to these layers hit p to bring up the position and set a keyframe for each of these in fact the body we're not going to animate at all instead we'll just parent that to the face base so then whenever we scale this up and down the body scales with it and we'll do the same thing with these layers as well now let's set a keyframe for the scale as well go over to two seconds bring all of these keyframes over in fact we have the position keyframe for the face base let's stay on this keyframe and then we'll push all of the keyframes that we create all the way at the beginning so first of all let's bring the face base down all the way at the bottom then we'll scale it down quite a bit to maybe 50 percent and at the same time we want to push the eyes and the mouth and the nose downwards i'll just show you some perspective tips what happens when you have eyes closer to the camera nose is a bit farther away from the camera and the mouth is farthest away from the camera seeing as how perspective works the eyes are going to move faster and further so that means we push all of these layers down by holding down shift we deselect the mouth we push one more time and then we deselect the nose and we push one more time and this means that the eyes travel twice as much or three times as much as the mouth and twice as much as the nose so when we preview this maybe go over here let's just set the position to where it is right now just so i can demonstrate this method so you can see what i mean it looks as if the head is being tilted up now we can see that the eyes are slightly cutting the head off so let's just adjust the mask and now let's ship the timing of these keyframes so let's go over to the beginning and bring the body and the head at the last keyframe at about 115 and we want these to be the exact same now as for the scale let's go back by 20 frames bring this over here and then go back again set a keyframe there and go to the middle keyframe and just scale it all the way up to like i don't know 150 and then we push these keyframes of the face over here we can push it one step further and just animate the face base mask so let's do that so hit m to bring up the mask path and set a keyframe at the end go back here and seeing as we're looking down what you want to do is have the chin a bit thinner and then maybe increase the scale on the head and maybe even push this point up a bit so if you go slowly scrub through frame by frame and just focus on the face you can definitely notice how it looks as if she's tilting her head upwards now let's take care of the easing for these so maybe 75 them all let's see how that looks not quite we want to have the scale come in very fast so let's easy ease and 75 only this now the position also doesn't need to be eased out at all again i'm constantly adjusting these keyframes and the timing and the easing to get the result that i want so don't be afraid to mess around and experiment and all that stuff okay so once we have the body parts set up let's unsolo those and take care of the other parts so let's now do the crown so solo those and as a matter of fact let's bring back the body just so we can use that as reference for the timing so we'll start with the crown base duplicate this turn it off for now and bring the other copy to be at zero and we'll just decrease this until we hit the base down there at the bottom so 96 percent go back to the beginning go over two seconds where the head actually stops maybe even 215 and bring it all the way at zero percent and then we turn this back on hit the stopwatch maybe push even further this is where the last keyframe is and let me go over to maybe say one second and we bring it back to zero percent and now let's ease our keyframes and then as this is coming into place we'll find the last frame make sure that the small piece of the crown rests at this exact frame so hit r to bring up the rotation set a keyframe there rotate this until we can find the place where it is last seen and that would be over here and we move in time till we get to that spot now we'll leave it as is for now but let's copy the rotation of that go over to the big spike paste the rotation there and so you can see it comes back into place but let's shift the timing by maybe like five frames so that the big spike comes in earlier and then the other spike comes in as well and let's just trim them to wherever they start showing up now let's take care of the star and what i did in the original example is i animated the scale as well as the position so let's say at 2 seconds and 10 frames we want the position to be there well in the beginning let's bring the star all the way down here at the head and let's set this to 75 percent and in the meantime we'll animate the scale as well so set a keyframe at the end go back by 20 frames go back by 20 more frames and set it to zero and over here we can set it to i don't know seven maybe and then we'll ease these and we'll 75 percent the last keyframe let's adjust the scale to come in earlier so maybe at that point but we can't quite see it because it's in the middle of the head so let's bring it up and we need to find the point where the head actually rests so it's at this frame so we need to bring this position keyframe all the way over there and maybe even a bit earlier push it up a bit now let's take care of the hair so let's find where the hair is turn all of those on and let's just add the linear white effect and let's set the angle to 180 degrees so that when we increase this it shows up from the bottom and up so go over to 100 move forward by four frames and bring it down to zero or actually we don't need it to bring it to zero we need to find the point where it reveals itself fully so we can zoom in and see where that is pretty much 28 and then let's click u copy these keyframes paste them to the other hairs now we might need to adjust the angle here i don't know why it doesn't copy the angle and then we can click you on all of these and select the last keyframes and hit 75 and then we can trim these move forward by say four frames trim them again on the other side and then we can select the bottom one hold down shift select the top one right click keyframe assistant sequence layers and this will shift them by five frames and then we can click and drag and maybe find a point where we want this hair to come in and actually let's go at the end here and parent all of these to the face base because we want this to scale up as the face scales up i'm thinking we need to push these by 10 more frames maybe bring them over a bit so they start earlier maybe by even 10 more frames now let's take care of the lines on the right side that will be the hand and the other lines that connect the arm turn on the right hand hit r to bring up the rotation select all these other lines hit r on them as well and let's bring them over to maybe 315 go back by some frames and let's just rotate them downwards so they come in all the way from the bottom here and let's easy ease all of those go forward bring them over easy ease these as well and now we're gonna do the same thing like we did before with the hair so we're gonna sequence those layers first off let's trim them move forward by five frames now let's bring this all the way at the bottom here just so we have them in the same line and depending on how you select these that's how they're going to be shifted from each other so if we select the bottom one first that's the one that's going to be the first and then this one is going to be shifted over by 5 frames and so on and so forth so we want the right hand to come in first and all the lines underneath it to come afterwards so what we do is let's bring this right hand all the way the bottom because of how these are lined up let's select the right hand hold down shift select the top layer right click keyframe assistant sequence layers and then just click and drag these and now you can see them coming in one by one now of course we do want them to show up when they reach a certain spot and in this case we want them to show up right here and i'm even thinking that these do not need easing at the start and that's because i want them to shoot out immediately and then smoothly come to a stop now let's find the point where all of these show up so for this one that will be right here and now let's select all of them and bring them earlier in the comp so now of course we need to select all of these layers that are cutting off and just increase the duration and i think we're pretty much done on the right side oh except for the wrist here at the middle i believe let's just do that real quick and then we'll move on to duplicating all of these layers and shifting them to the left side so this is where the wrist is let's turn it on find a spot where we want this to come in hit r bring the rotation maybe move into two seconds set a keyframe there and what i want to do is let's push this upwards now of course we need to set up the anchor point i forgot let's just push it and then go back by 20 more frames and push it all the way down and then we easy ease all of those and let's trim it there where we can start to actually see it and i'm thinking i don't want this to overlap with these hair lines so let's just shorten the length for this and there you go and now that we have all the elements animated on the sides let's duplicate them use nulls to flip them horizontally and then we'll wrap it up and move on to the next logo so let's create a new null object then let's select the hair the wrists all of these lines the right hand and the small and big crown and then we duplicate them let's move them up maybe bring them on top and let's just parent them to the null and then hit s on the null unlink the scale and then just set this to minus 100 and now everything should be flipped now i do notice here that the hair is not following along and that's because we have parented them to the null when in fact we need to parent them to the face base so let's do that click and drag and then we can select all of these again and just unparent them because we don't need that anymore and then we can simply delete the null okay so we're pretty much done with the animation part when it comes to this logo but one final thing we need to do is to isolate all of these elements so that we don't see anything outside of the circle and there's two ways we can do that one being let's go over to reveal this composition in the project and let's drag this into a new comp then go back to the comp maybe copy this circle and set this to alpha matte so now this comp that we had before is being isolated only to this circle matte now let's copy the background as well just so we can see it better and it is in fact working now another way we could do this is by going back to the original comp and let's just duplicate this circle bring it all the way at the top and let's set the blending mode to stencil alpha and by using this blending mode we can basically isolate every single layer beneath this layer by using the shape that it has a global alpha matte if you will moving on with the next and last logo animation it is the nasa logo now just like we did before with the starbucks logo let's go ahead and separate each of these elements into their own layers and then in the end we'll put them all together with animation okay so i have the original logo here and it is a png layer so if you solo it out we can see that it is indeed transparent so let's first start off with the letters let's duplicate the logo scale it up because we're going to be pre-composing these and i want the letters to be as high of resolution as they can be so let's scale it up to maybe about there and then ctrl shift c to pre-compose these and let's name them letters tutorial pre-comp move all attributes into the new composition and hit ok now we can double click to go into that composition and let's first start off by masking around these letters so let's select the rectangle tool and then click and drag to isolate them next up we'll add the luma key effect and we'll just drag the threshold on the key out darker until we can no longer see anything else but the white color next up let's mask around these parts that we don't need so let's bring up the pen tool click g and then start rotoscoping actually in this case we'll just use the rectangle tool remember i'm using q to toggle to the rectangle path which is a shortcut and then we can mask around there and then mask around this other bottom part we'll set both of these to subtract and that will get rid of it maybe just adjust this a bit upwards maybe even increase the threshold a bit more just so we can get rid of these red points here like red edges and then move along and cut off all these other parts that we don't need as a matter of fact we'll get rid of this a letter as well just because we have a clean a letter all the way here and it is the same thing and we'll just copy and paste it to the other side and then once we have isolated all of these parts we can select all the masks and set them to subtract now let's rename this layer call it nas and then duplicate that call it a and then we'll create another mask around this a letter and we'll just set that to intersect which means that it will isolate just that letter and then move it into place like so and next up we'll go into filling up this s letter and in order to do that we're going to create a new solid so layer new solid name this s gap fill make this white and then let's proceed to fill this up so maybe drag a rectangle mask over here and then adjust the points like so and maybe even use the pen tool to draw a shape like this and now when we turn this back on everything should be in order we can maybe adjust this part to the left a bit maybe just drag it down slightly and then move on with the middle part here and there you go we got the letters cleaned up nicely now we can go back to the comp that we were in before and now we got the pre-comp and let's now scale it back down until it fits the original letters that we had before now let's turn that off for now and move on to the rocket so in order to recreate this rocket i simply just traced over it so let's create a new solid and get the color from that rocket hit okay now i'm just assuming this is a rocket but could be anything else i don't know now let's press g to bring up the pen tool again and just start tracing around this so okay so once we're done tracing this you can go back to it and maybe adjust some points but in this case i think it looks fine so now if we turn it back on we should have the rocket in its own layer so let's rename this rocket and then turn it off and now let's take care of the stars here so we got these circle stars and then we got these other stars which have a more defined shape and what we'll do for those is we'll mask them out so that they have their own layers and then we'll put the anchor point to something like in the middle of them and then later on we can have them pop up one by one so let's duplicate the logo once again rename it to circle stars and then start isolating all of these stars okay so i think that's all of them let's see let's solo it out and now we have all of these stars and just to quickly clean it up we'll just use a simple color key effect so control space type in color key pick that blue color and just increase the color tolerance a bit and then as always we're going to add a fill effect make it pure white so we clean up any edges now let's duplicate the original one again type in star 1 and let's mask around these custom stars and then we'll go ahead and adjust the anchor points according to each star so we'll put them in the middle and you can see when we use the scale it scales up from that point okay so i separated them all into their own layers put the anchor point in the middle for each one let's quickly just copy these effects that we did for the stars and then paste them to all of these other ones and then we'll turn them off and take care of this circle star in the middle next up now if you're using adobe creative cloud 2020 i noticed that they have a new feature for shape layers and that is the taper feature which just means that if you have a shape or like a line with a stroke on it there's going to be some sort of taper option down here at the end so under stroke you can see it only has dashes in my version because i'm using 2019 but underneath this there should be a taper option as well and then you can use that to just taper the line so that it's thicker on one end and then less thick on the other end but in my case since we don't have that feature i'm going to show you real quick how we can recreate that using text layers and some cool tricks so let's select the text tool zoom out here and then click and drag and let's just make a bunch of points and one thing i want to point out is i'm using the cartoon slam font which is the cartoon network font and i found that that works pretty well because when we adjust some settings some other fonts tend to give me some problems so in this case i'm just going to use this font and i believe it's free on google so you can find it easily and then you can see here that i adjusted the gap or the tracking beforehand so let's just bring this back to zero and you can see we have gaps in between these points let's now copy all of that go to the end here paste it ctrl a to select it all go to the end paste it and then paste it again so we got a bunch of points here and then we'll go ahead and bring this tracking all the way in until it seems like it's just a line now we might go back to this and add a bunch more points but for now let's drop down on the list here go under text and we'll add a scale animator and let's zoom in here so we can see it better so let's bring it down and down here the scale let's just set it to zero and then go into range selector under advanced we'll set the shape to ramp up and what happens is the leftmost side is using 100 scale and then as we go down throughout the points they're all scaling down and all the way at the end here the last dot should be at zero percent so we got this sort of tapered line going across the screen next up we need to confirm this line into a circle shape like we have here so in order to do that we'll select the text go up to the rectangle tool click and hold and then go down to the ellipse tool and what we'll do is just click in the middle here and then hold ctrl and we'll just make the shape kind of like that don't worry for now we'll adjust it later and then go over here to the path options and we'll set the path to mask one and you can see that it is now using the path but we do need to adjust it so let's double click on it maybe rotate it and then holding down shift we can maybe scale it down in fact let's just bring it up because there's some weird stuff going on here with the points now we do need to maybe drag it over even more to have even less gaps and then like i mentioned before we just double click on it ctrl c to copy all the letters hit end on your keyboard to go to the last letter and then ctrl v to paste and now we got an even longer line and let's just bring the gap slightly a bit more in and then we can hit s on the text layer itself and just scale it down but of course let's control alt home to center the anchor point over here so that we can scale down from that point something like that again we're not looking to be perfect with this but we can adjust the shape so that it conforms throughout the shape of the original logo let's maybe solo it out so we can see it just for a second so maybe go down to advanced and you can see here it says ease high and ease low maybe we can adjust these so we get a similar look to the original line so you can see maybe you can increase the ease low to make the line a bit thicker across to the end here and you can notice here if we decrease the end value it just basically scales all of these points across the line to zero percent and we're going to use this value to actually have it come in at the beginning when we get to the animating part and then up here at the path options what we can do is since this is going in the wrong direction so let's unsolo it the thicker part should be on this side so we need to reverse it and what we can do is just click reverse path and for some reason it tends to mess it up a bit so we just check the perpendicular to path and put it to off and that should fix the problem now we need to readjust this just a bit and at this point we can copy even more points and keep pasting them until we have a longer line unsold it again and as i said before we're going to be using the end value to control the animation and also the first or the last margin so you can see what that does if we increase the first margin for example it just basically cycles and goes in a loop same thing goes with the last margin now let's unsolo that turn it off for now and let's take a look at the globe itself now for the globe i'm going to be using the cc sphere effect so let's create a new solid name this globe color doesn't matter let's just put it to white and let's just add the cc sphere effect and you can see the radius is almost the exact same but let's just slightly increase it so it covers it entirely 215 and what we're going to do is link this up so that we can control the scale and the rotation and all that with a null object so we don't have to go in here and you know adjust the radius adjust the rotation the offset or anything like that so let's create a new null object by going up to layer new null object and we'll call this globe controller and what we'll do is hit p to bring up the position hold down shift hit s to bring up the scale while also keeping the position and then we'll bring up the rotation by hitting shift and r and i think those are the values we need for now and we'll leave them up like that and go back to the globe and we'll start off with the offset and what we'll do is alt click on the offset stopwatch and this will enable the expression and we'll just pick whip it to the position and this means that the offset is going to be linked to the globe controller's position and then we'll do the same thing for the scale which is the radius alt click on that parent it to the scale and now since the scale of the controller is 100 we're gonna have to correct that so 215 and now we can go ahead and also link the rotation but in this case we don't really have a texture on the globe and we're not going to have a texture on it so the rotation doesn't really matter because we're not going to be able to notice anything but just so you know you can actually pick whip these as well now i do want to point out that this is a 2d layer so in this case we only have one rotation value and if we were to have rotation x y and z we would have to switch this null into a 3d layer instead and now we have all of these values down here also one cool little trick you can use is say you want to control the x and the y position or maybe even the z position separately what we can do is right click on the position and hit separate dimensions and now we got the x position y position and the z position each on their own stop watches but let's control z to undo that since we don't need it in this case and let's uncheck the 3d box go back to the globe and i'll show you how you can use the lighting in this one so let's see here go under light and go into shading and you can see how in the ambience you can control the ambient light control the diffuse have some sort of reflection map on it and all of that stuff but we're not going to be covering the shading just because we don't need it in this case so let's drop that down and take a look at the light you can see here the light intensity pretty self-explanatory light color we got light height now these two values are the only values we're going to be animating so the light height and the light direction and then what i had was also a tint effect so we'll control space add a tint effect so let's just turn this off i picked the color from the original logo and then you can just increase the amount to tint now i'm also going to pick the light color from this okay so now that we have separated all of these layers we also have the globe controller and before we move on to the animation part let's link everything to this globe controller and to do that let's first turn this globe controller into a 3d layer and you'll see why in a minute then we'll set the letters to be 3d as well and then we're going to parent these to the globe controller and then select the globe controller and just rotate it by 90 degrees and then select the letters again and just push them in z space until they go slightly off of the globe here and this means that when we're rotating them they rotate around the globe now let's also turn the rocket into a 3d layer let's bring this orientation of the globe controller back to zero and we'll parent it to the globe controller and bring it back to 90 and now let's also push the rocket in z space but let's make sure that it is behind the letters so let's set it back to reset and also parent all of these stars to the globe controller and do the same thing with the letters as well and now everything is linked to one single null controller with all of that set up let's now move on to the animation part and first off we're just going to use the scale on the globe controller so let's set a scale keyframe right there move forward by maybe four frames or four seconds sorry and set a keyframe there and go back to the beginning and we'll just set this all the way down to zero and then we'll easy ease that and easy ease that maybe 45 on this one and just so we can focus on individual parts let's solo out the globe for now and let's go back to the globe of the cc sphere and turn off the tint and seeing as this is the part where we want it to be all the way in the end so the light height should be at 90. and we're keeping the light direction to 45 degrees and we're also gonna have the amount to tent all the way over to 100 we'll set keyframes for all of these and we'll go back by maybe two seconds we'll set the amount to tint to zero i really like animating in reverse it really speeds up the process because we do know what the finished result is going to be and then we go back in time and adjust the keyframes accordingly and then we go back slightly just so we can adjust these values and we'll set this light height to zero and then we'll just decrease the light height until we can't see the light any longer so maybe minus 100 and we'll hit you to bring up the keyframes and we'll just push these light keyframes at the end here and when we preview this you can see in the beginning the light starts to come in and it's also spinning and then at this point not only is the light height and light direction animating but also the amount of tint starts to come in and then when we reach the end here we got a solid looking globe now i'm thinking maybe these should just be eased and also this one so that means 33 for all three of these keyframes and 75 on the other side now i do remember that in the original example i had the letters come in one by one as opposed to all of them coming in at the same time in order to achieve that we're gonna have to separate all of these letters into their own layers and also control the rotation animation from the layers themselves as opposed to the globe controller let's just duplicate this three times and let's mask them accordingly so for the first one we'll mask the end letter second one would be the a and so on and so forth also rename them now let's unparent them and let's go over to top view and let's set the anchor point to be exactly at the null or like in the middle for all of them and go back to active camera and when we rotate we should have the exact same result as before now we can see that this anchor point here went a bit down but that doesn't really matter so we'll just leave it at there and then we'll select all of them hit r to bring up the rotation for all of them and let's see we need to animate the y rotation so set a keyframe go back to where we want the letters to start coming in so maybe at two seconds and then go over by three seconds set a keyframe there and then go back and let's just animate them to be behind the planet and we'll select all of these keyframes that we just set and easy ease those let's just preview them okay now a mistake that i made is you can see it's not rotating and that's because i use the rotation tool and when we use a rotation tool it's gonna adjust the orientation value as opposed to the rotation value so let's reset all of these orientation values and actually go back in time and we'll just make sure that we adjust the wide rotation value and now when we preview we'll just select them and bring them over a bit so that they come in earlier so let's see yep but now we need to make sure that we parent them to our null controller just because we want the letters to scale down with a globe controller as well now let's also do the rocket and we're gonna have to go to top view and repeat the anchor point process once again just so we can have it rotate from that point and then let's hit r maybe bring up the rotation for one of the letters just so we can see how long it actually is and we'll do the same length so set a keyframe there go back here and we'll rotate it oh remember use the rotation value and we'll rotate it approximately the same amount and let's easy ease that now in the original animation what i did was i also added an optics compensation effect to the rocket control space add an optics compensation effect and when we increase the field of view it kind of stretches it inwards it sort of looks like it's wrapping around the globe so what we'll do is add a keyframe there set it to 150 hit u to bring up the keyframe and let's go back to say this point when it starts to come in and we'll set the keyframe there and then go back to the end and just set it back to zero percent and we'll ease these as well and then 75 percent that we increased the fov even more maybe we could go over by 20 frames at the end here and just stretch that keyframe and i'm thinking we just easy ease that normally as opposed to 75 percent you can see how that sort of stretches out so right here now of course in the beginning here we can still see the letters but i don't want you to worry about that for now we'll do the compositing and all those matte things in the end let's bring up the stars a cool little trick i used here was to duplicate the original globe and we'll bring it all the way on top of the circle stars and let's just turn it off for now we'll go to the globe and we'll set the map black and white to white as this moves in time it becomes completely white and the reason we need it to be completely white is because we're going to be using a luma matte from the circle stars to the globe and illuma mat basically uses luminance values to determine the opacity of the layer if we decrease the colors here so let's say add a fill effect to demonstrate it better and we make it white you can see it's completely opaque and the lower we go with the value or the darker it is the less opaque it is or it's more transparent but it is using black and white values so let's just make sure we tint that cc sphere effect before the tint itself so let's duplicate this reset it undo the amount to tint and let's just bring it on top so now we got a perfectly black and white sphere so we turn this back on it's black and white and then also the tint at the end here that covers it completely white comes back in and now when we set it to luma matte you can see over here as the light is crossing they sort of fade in and out but of course we need to make sure that this part of the globe is completely black so let's first go back to the globe and let's just make sure that we mess around with the shading so let's go over to ambient and let's set the ambient to zero percent so there's no ambient light at all whatever is black is completely black so let's go back to the globe and do the same thing and you should be able to notice now that every single point star here is completely black and then as the light comes across it reveals the stars and it's a very natural looking transition and then of course all the way at the end here the amount of tint comes back to 100 and they all become pure white so that's a cool little way to have those come in and now we'll take care of the stars that actually look like stars so let's hit s for those maybe go through three seconds we'll set a keyframe there move forward by 10 frames and then move forward by 20 frames set a keyframe there go back let's scale the middle keyframe to be very large so something like 25 and the first keyframe should be zero and then we select all of them easy ease and we'll do 75 for all of those and now when we preview that part you just focus on the lights now once we got all those set up let's trim them at this point and now let's adjust the timing so that as the light transitions those lights pop up one by one following the light height so let's select the first star and find the point where it should pop up oh and i think i forgot to center the anchor point for this star just because you can see here it just scales across the scene let's uh correct that so select the anchor point bring it over in the middle and it should work fine now yep now let's go back in time and adjust the star and i think we've pretty much covered all the elements except the line or like the circle line in the middle here which is like some sort of star shooting so let's animate that now and then in the end we'll composite them all together and we'll trim them and use mattes and all of that stuff okay so what we'll do for the line is we'll make sure to scale it up and then at the end it scales back down to where it's supposed to be so let's hit s to bring up the scale set a scale keyframe to five seconds go back to three seconds and let's scale it up so it goes beyond and then it falls back into place and we'll leave it as is and we'll go over to the first margin or the last margin like i showed you before into the path options and we'll animate that value so let's set a keyframe to the first margin and let's go back in time to maybe one second and let's push this forward so that the main tip here goes behind the globe and once we get to the compositing part we'll make sure that this line is sort of coming behind the globe as it goes around the other side of the line shows up and then it scales down in the end and just fits into place now we'll do some easing for those maybe we'll bring the scale back here push this one to six seconds we go all the way here to six seconds and we'll set the first margin keyframe there and we'll just push it so that it ends in a similar position as it does in the original logo now one thing we need to make sure about is when it reaches this point we have to have the scale of this in a way so that doesn't overshoot in order for that to happen we need to push this last keyframe to a point where it's actually inside so maybe even push the inner value or like the enter keyframe okay so i'm thinking the animation looks pretty solid for now so let's move on to the compositing part and let's just turn this down and let's take care of the letters first so let's move in time here and first thing i want to do is actually have them so that they come in five frames apart let's go over to the beginning move forward by five frames so one two three four five trim them alt close square bracket and then let's make sure that we select them in a way that we want them to shift so the way these shift in time depends on how you select them if we select from bottom up it means that the bottom layer will come in first and the top layer last and in this case we need the top layer to come in first and the bottom layer to come in last so let's select the top layer first hold down shift select the bottom one and then right click keyframe assistant sequence layers and then we'll just click and drag and when we move in time here you can see that the last letter comes in first and the other letters follow along now let's find the time where we want these to just turn on maybe right there for the a letter so let's select that alt open square bracket moving time and what we'll do is split the layer over here so we'll ctrl shift d click and drag and bring it behind the globe so you can see how that comes in from behind and then it just splits and comes in in front then we'll move on to the s letter then we'll select the a letter and i'm thinking because we can't quite see it because it's way too fast we'll just trim it from here so actually from this point and let's check out the end letter and we'll just trim it from this point and now when we preview you can clearly see that the letters are coming from behind now we're gonna have to take care of the rocket as well and let's do something real quick so let's trim it from this point where we get to see it and what we'll do is hit m to bring up the mask path set a keyframe there move forward to maybe 415 set a keyframe there and then we'll go back double click on the mask in fact let's bring the mask over here just so we can see it more clearly and let's just hold down shift and scale it down and we'll 75 percent this and you can see it comes in but it's small and then it scales up quickly okay now let's take care of the line here which might be a bit more complicated but first off let's select the globe controller and the original line layer duplicate them let's bring them on top and let's ctrl shift c to pre-compose them so let's say lines pre-comp tutorial and then we'll disable this layer and seeing as we have the globe controller inside the comp this should be still linked to it and we're still fine in the original comp and we'll set this to be behind the globe actually so that in the beginning here it comes in from behind but at this point we want it to be on top actually so let's create a new solid layer new solid hit ok and let's duplicate this line together with a solid we'll bring it on top and we'll set this to alpha matte to solid and of course we're now going to be able to see the entire thing because this is completely filling the screen but what we'll do is we'll mask around this part where it should be on top but also make sure that we don't have this part so you can see the other side of the line and we'll take care of this part later on so don't worry about it and now what we'll do is hit m to bring up the mask path and just keyframe this to move along and just follow this shape here in the beginning we'll just take care of this part and we'll just mask around that like so and we'll hit m to bring up the mask and we'll subtract that and then move in time here and see where we have some sort of other shapes that we don't need so maybe select that subtract that as well and we'll hit mm to bring up the mask properties hit the keyframes so we don't need to see these layers until this point and then move in time and adjust the masks accordingly oh and i'm thinking we need to adjust this mask at the top and we'll go to a point where we no longer need the upper part of the line and we'll just trim this layer over here i hope that trick made sense in a way so let's just give it a quick preview and see where we're at so that's pretty much the idea we wanted to come in from behind the globe and then end up in the middle of the globe now you can notice here how the rocket interferes with the letters and that's because these are three layers and they're rotating and the rotation might not be exactly how it should be in order to fix that what we're gonna do is first off let's duplicate the rocket and the globe controller once again ctrl shift c to precompose those so rocket pre-comp tutorial break it on top disable the original rocket since this actual pre-comp is behind those it's gonna be sitting behind those all the time but we do need to use this in a way so that we can set it up to be exactly like the original logo so let me find that what we need to do is make sure the n and a letters are on top of the rocket whereas the s letter is on top of the rocket at the top part here which is fine but behind the rocket on this part so one way we can do that is maybe duplicate this rocket pre-comp bring it on top of the s and we'll set the s to alpha invert which means it's going to be behind it but we'll mask the rocket so that it is only showing this bottom part and now you can see how it's only going behind on this part now of course if we go back in time it's gonna you know mess up here but we do need to animate the mask path so that it follows the actual animation so let's select the matte and hit m to bring up the mask path set a keyframe there and see it's fine there and then we push it back while making sure that everything is in line and then we can end the clip over there now the last thing we need to take care of is this circle trail line or like star and we need to put this left side behind the rocket so we'll just duplicate the rocket comp once again bring it on top of the rocket and we'll just mask this part out and in fact let's bring all of these layers behind this a letter so that it doesn't interfere with it and i think we're all set and done with the mats and the pre-composites oops i also forgot to mask out the bottom part so let's see where was that rocket so i think this one um no okay this one so let's mask that part out okay so there we go we're finally done with all of the logo animations now of course these might not look exactly like the original examples and that's to be expected since this is a tutorial and i wanted to keep it as short as possible while at the same time try to cover every detail step by step so that you can incorporate all of these methods all of these tricks all of these ideas into your own concepts and into your own logo animations with all that said let's now move on to the outro of this video alright guys thanks for watching and being patient all the way through consider subscribing and hitting that bell button to be notified whenever a new video comes out if you want to follow my work or ask me any questions personally then you can find me on instagram if you have any suggestions then leave a comment down below thank you once again for watching and i'll see you next time [Music] you

Channel: Broken

Views: 700,428

Rating: 4.9620533 out of 5

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Id: aWxlWgBEcnI

Length: 102min 5sec (6125 seconds)

Published: Mon Aug 31 2020