Complete Intro to Motion Design | FULL AFTER EFFECTS COURSE

this video compiles my entire intro to motion graphics 2021 series into a single video don't worry about the fact that it's now 2022 all techniques are still absolutely relevant and you'll be able to follow along no problem at all i'm releasing it for free here on youtube in its entirety so let's jump right in [Music] hello everybody welcome back to tiptoe and welcome to intro to motion graphics 2021 i'm really excited about this series um it's an update to an old one that i did and uh it's on in my opinion much better already just based on the example that we'll be creating so we'll be making something similar to this that you're seeing on the screen right now it's going to cover all of the basic techniques that you need as a complete beginner to after effects and motion graphics from everything from working with text and graphics to adjustment layers and expressions and things like that and masks and all these important things that you will then be able to apply to any different project so hopefully this will be a really good starting point for a lot of you people now we encourage creativity here at tiptop but if you'd like you can download a reference image from the website and recreate this exactly or you can do the same thing and recreate it with different words and text and colors and things like that so with that in mind there's a few resources i'm going to take you through before we get started so i've just opened up a blank copy of after effects here and the few things that you will need are the reference image if you're going down that route so if you go to tiptut.xyz and the link is in the description and click on the resources page the uh there will be a link which says intro to motiongraphics2021 if you click that image it will take you to a google drive where you can download the reference image to be used in your project once you do that you just drag it into after effects but also if you're wondering about the colors that we're going to use i have been using a brilliant website called coolers dot co again the link is in the description you can click this start the generator button and it will give you a five color color palette every time that you press the space bar so you can come across with some really great color palettes straight away without any design theory knowledge you can hover over things you click the copy hex and that'll get you the hex code i've already created one on my account here intro to motion graphics and this is the one that i'm going to be using throughout this project okay so let's jump right into the actual motion graphics then i'm going to go to my file explorer and i'm going to find my reference image which i've downloaded here as you can see now this is um just a jpeg or a png rather that we are going to drag directly over the project window in after effects now before we get too into it i'm going to say that if at any point during this tutorial i use a window that you cannot see and you can go up to the window box here on your toolbar and it will be somewhere in this list and you can just click that for example brushes and it will bring up that panel somewhere in your interface so don't panic if i've got a window that you can't see so this is for complete beginners so we're going to take this very much from scratch uh the project window is where all your assets are going to be collected and when you want to work with these assets and create something you need to create something called a composition so i'm just going to click this big new composition button and we're going to make this for um social media instagram so we're going to make it square i wanted to be 1920 by 1920 pixels and a frame rate of 30 frames per second which basically means 30 different pictures per second of footage a duration of 10 seconds is going to be fine for this and the background color of black is also fine but i am going to rename this composition to be main the rest of these settings you'll learn as you go now we are a creative tutorial channel here so i'm not going to take you through all of the individual tools and do a boring series like that what we're going to do is learn how to use after effects using this project so um we're not just going to go this is the brush tool this is the square tool we can use them in context so just try and follow along and by the time you finish the series you'll be able to build and take these theories away to make your own projects so we have our reference image and now we have a blank composition so we need to add stuff to that composition now and to do that i'm just going to drag my reference image down here into the timeline window and release and that's just going to drop my image onto my timeline here and you can see that i have reference.png with a little bar and also if i select this image in our composition window i can drag these corners around to scale it up or down and holding shift i can scale it in aspect ratio control z will undo whatever you've done but you'll notice that as a reference image is not very good at the moment because our background is the wrong color so what i'm going to do is create a solid box that's just going to sit behind that and i'm going to hit ctrl y to do that or you can go to layer new and solid to do the same thing white solid is fine but we're going to call it background it's automatically going to create the same size and we're just going to hit ok that has popped it on top of our reference image where we want it behind so i'm just going to drag this background layer below our reference image layer like so and you'll notice our reference image has got a little bit of a gradient on it going from white to dark gray but don't worry about it we'll be building all of this piece by piece so i'm just going to grab my reference layer and at the moment it's a little bit too visible i want to reduce the opacity because we're only going to be using it as a reference so i'm going to select my layer in the timeline and i'm going to press the shortcut t and that's going to bring up our opacity which is see-throughness and i'm going to say instead of 100 let's take it down to 10 and that's going to make it very see-through using that we're just going to lock this layer by clicking the little lock box underneath the lock icon which means that we can't now select this layer you can see that i'm trying to click it but i'm actually moving the background the solid that we've just made so i'm going to lock both of those off and now i can't grab or touch anything which is great so okay let's get to work we're going to create this word intro first which you saw in the beginning of the animation sort of whipped into screen straw squashing and stretching and everything like that so i'm going to press uh the t the horizontal type tool in my toolbar up the top here and i'm just going to type out the word with caps lock on intro okay and that's going to give us a piece of text that as you can see if you leave cat blocks on you'll get this refresh disabled to to fix that you just press caps lock again and turn it off um you can increase this size holding shift and just position it until it's roughly the same size as the reference image okay now you'll notice that um if i press r for example to bring up the rotation tool i can rotate this to my heart's content however it rotates from this little circle in the bottom right here so what we want to do is position that little circle in the middle so it rotates in the middle and to do that you can just press ctrl alt and home if you don't have a home key button on your keyboard because it's a small one you can choose this pan behind tool which is the shortcut y and you can move it like that okay but ctrl alt home great way just to snap it into the middle go back to your selection tool and open up your character window and you'll notice that we have a fill so the text is filled in but there is no stroke which is this white box with a red line through it if we press this little swap arrow next to it it's going to swap from fill to stroke which basically just either fills the shape or adds a line around the edge of the shape okay now that stroke is a little bit thin but you'll also notice that when we select this um it's still editable type which is great but we don't actually want it to be editable type we want it to be shapes so that we can manipulate and squash and stretch those shapes however we'd like okay so to do that i'm going to right click on my intro layer i'm going to go to create and then choose shapes from text it's gonna look like not much has happened apart from we now have a duplicated layer called intro outlines and our original layer intro is now invisible so on intro outlines you can see that we can now no longer edit this text but what we can do is change things like the thickness on the stroke i'm gonna just put up to two pixels because that looks good to me okay now we want to be able to edit these letters individually so we can do things like change their color and other properties so i'm gonna go to my line window and i'm gonna pop it right in the middle of my screen like so okay and then we're going to grab both of these intro and outlines just so it's not distracting we're going to right click them so i just uh clicked and then shift clicked it there to select both layers right click them and just choose pre-compose now all this does is it's going to take those two layers it's going to pop them inside their own composition so we're going to call this intro and make sure that the second option move all attributes is selected now we can double click on that intro layer and we are popped inside a composition with just our intro we know it's about the right the same size so it's fine we can work on it individually now if we twirl down our intro layer you can see that we have a contents box and we can twirl that down and we have each individual letter now i don't want these on the same layer because it's quite difficult to work with we're going to separate them out to their own layers do that we're just going to duplicate it a few times with ctrl d until we have five layers that was one too many so i'll just delete that and we can just twirl down all of these again and open up the contents on each of them on this last one we just want the o and then the one before we just won the r then just the t just the end just the ice they're all separate layers do that i'm just going to rename them quickly by pressing enter call that one o and i'm going to select everything apart from the o and just hit delete this one we just want the r so i'm going to rename that one r and i'm going to delete everything except for the r this one will do the t and this one will do the uh n there may be a faster way to do this but without plugins i haven't um figured it out yet and i don't really want to introduce plugins in this basic series but now we have five layers i n t r o all on their same layer and uh we want to put the right colors on them so i'm just gonna go back to my main composition which you can see in the timeline here and you can see it goes blue red yellow green blue so back in our intro layer we're going to go blue and then we need red for the n uh i don't think i deleted the eye on the end which i didn't so we'll just do that on the end we need red so i'm going to go to my color palette i'm just going to click red and with the layer selected i'm just going to go up to stroke here and hit paste you can work with your color libraries if you know what that is um but it's a little bit buggy in after effects so i choose not to uh t i believe was yellow and once we have these colors in here somewhere we can just sample them from the project so we don't need to keep tabbing out and now that you've seen the process i'm actually going to drag this window off onto my other screen which you can't see just so i don't have to keep tabbing towards it just makes my life a little bit easier when it comes to clicking these colors and things like that so make that one green and the last one again is blue now we need to start working on these shapes but as you can see where we split them up the anchor points are all the way in the wrong places so i'm just going to select all of these layers by dragging a box ctrl alt home as it does before and that's going to pop our anchor points right in the middle of each of these which is great okay so the next step is to animate these characters so we want to animate the position of these um points on these paths and so they can whip onto screen like so now to do that we're just going to twirl down the eye icon here hold down the contents until we get to this icon here where it says path and there's a stopwatch next to it clicking this stopwatch will add a keyframe which is basically saying at this point in the animation we want something to change okay so we're gonna do that on frame one and we zoom in with this little handle here like so and i'm gonna move over to frame 10 by just pressing ctrl shift and right so doing that with right and left will move you ten frames doing that without shift so just control left or right we'll move you one frame and move over to frame 10 and we're going to keyframe again so this will be its ending position okay so we now have a start keyframe and an end keyframe i want a keyframe somewhere in the middle i'm going to put it at frame four like so okay so now we have three points where we want our key positions for our shape to be i'll go back to my first frame then i can just click and drag to select all parts of my path now this is important that we're editing the path at the moment if i select my layer and i get this bounding box with the um anchor point in the middle and the nine dots around it that's wrong for this point we want to select this particular keyframe to give us the path elements so that when we move it we are moving the path and not the shape itself now i'm just gonna hold shift and drag this guy up off screen like so and then i'm just gonna select just the two top pieces here and holding shift i'm going to squish him down into a little rectangle so now we have a little rectangle that as we scrub through is growing into a big rectangle okay but we want this to stretch as if it is like whipping very fast so we're just going to select just these top two keyframes again but this time on our fourth frame and holding shift we're just going to drag them off screen so now we have a very long very thin eye so we've got a whipping into position like that boom boom which looks pretty good apart from it looks pretty like static and not very interesting at the moment because all of our keyframes are linear which means there's an equal amount of movement between each frame which just doesn't look good that's not how things move in the real world so to fix that we're going to add some easing to our keyframes i'm going to select all of these keyframes here and i'm going to press f9 which is just basically a very simple way of adding easing you can do the same thing by clicking right click keyframe assistant easy ease now what this does is it will just make it start and end a little bit slower and you probably won't be able to see much of a difference at this point if you select these keyframes again and press control whilst clicking them they'll go back to their original form and i'll show you this original form so we can understand how it changes when we add easing if you click your graph editor here like so it's going to take you to the same keyframes but just with a graph view as opposed to a keyframe view and it should look like a flat line if you're on the value graph for this it will look the same but sometimes it might look different so you want to make sure you're on the speed graph okay and we've got a flat line because like we mentioned there is an equal amount of movement between each frames if we select these and press f9 and go back to the same view it looks like an m now because we've changed how much it moves during each frame more vertical this line is the faster the movement the more horizontal this line is the slower the movement so we can see now that it starts off with not a lot goes into a lot of movement and then settles in to slow movement towards the end but it still doesn't look terribly realistic okay we want this to whip really fast into position squash and hold its position when it hits the ground and then speed up again as it bounces out of it and you can edit that really simply by just dragging over the points of this graph here this middle graph and using these handles to pull your lines now if vertical means fast it's going to whip in really fast now you can see the difference between that and that way loads more difference yeah so controls there to redo that so whipping into position if we wanted to sort of slow down here we can pull this handle the other way until we get this weird wide looking m and now really whips into position it looks good yeah really nice but there's a lot of energy hitting the ground here and we kind of want the p to move and react to that energy so i'm going to press this graph button again to go back i'm going to select my layer and hit u just to collapse it down and then i'm going to twirl down my eye layer contents and press p and that's going to bring up my position keyframes okay and this is going to move the position of the entire object as you can see because we've got our bounding box back so i'm going to go to frame one i'm going to keyframe the position i'm going to press u to bring up my other frames as well just to see what's going on we're going to move all the way over here we're going to wait until it hits on frame 4 we're going to give it another keyframe and i'm going to go up to say frame 15 to give it a little bit of extra bounce and we'll keyframe again there okay so as it hits here we want it to sort of punch down into the earth so we probably don't actually need a keyframe on our first frame so i'm going to delete that when we move over to frame 10 say we're going to keyframe here i'm just going to push this guy down just a little bit not a lot just by pressing shift and down now we have some keyframes that whip into position it hits the floor it overshoots just a little bit and then rebounds back into position so looks a little bit nicer we need to add some easing to this select all of those and hit f9 and go to your graph view and we kind of want it to really rock it in with the same speed so we'll do the same the same shapes m see what that looks like nice that looks good however there's this little bit of slow down which doesn't look good it kind of like hesitates before it hits so we're going to grab this first frame here and we're going to drag that all the way out so that it's coming in with full speed yeah boom nice and we'll just see if we can't get this keyframe to do the same thing it's whipping in bosch is hitting the ground it's going full speed already which is great and then it whips back into position let's do that very nice wicked okie dokie i don't like it going that way though so let's grab these keyframes and see if we can't push it the other way see what that looks like that looks a bit nicer down and settling back in nice that looks pretty good to me so now we have our animated eye whipping into position i could tweak here all day um but i will try not to so now we have our animated eye and essentially it's the same thing for the rest of the letters um so i'm going to let you do the n and the t and the o by yourself but we're going to use the r because the r and the o have a unique feature in that the they both have two shapes per layer so on the eye layer here if we check at this we have one path no matter if we press u and expand everything under contents there is just the one path i i path yeah but on the r and the o we actually have two paths if we twelve these down contents are we have two paths for the r one for the outside and one for the inside and to stretch these we're gonna need to animate both of them so we're gonna go back to the beginning here and if that's coming from the top we'll have that from the left this from the bottom uh we'll have this one from the top as well okay now if i just grab some of these points and start stretching it might look okay but you can see there's like a weird little slant on the line here and there'd be the same thing here that much more pronounced look which doesn't look grey okay so we actually need to add some points to this path and that's really easy we're going to grab um the one path so let's start with the out outer path here and i'm just going to change this from from blue uh guidelines by clicking this little square next to the layer and we'll change it to something really easy to see like uh red bit easier to see the outline points there now for example so we're going to select this path and i'm going to go up to my pen tool and click it and that allows me if i hover over the edges of my path you'll see there's a little plus icon that allows me to add points to this path and we want to add points where we're going to stretch it so i'm going to zoom in real real far and just above the curve on this r i'm going to add a second point there i'm going to do the same thing on the inside of this d and on the other side as well so now if we go to our selection tool click our path we can grab these points and again you can zoom in and shift click to grab individual points we can grab these individual points and stretch up in a much more pleasing look okay so we're going to do the same thing here we're going to keyframe both of these paths press u to collapse everything down go to frame four keyframe them again go to frame 10 keyframe them again okay now we know that at frame one we want the whole shape to be off-screen keyframe four we want our stretch so we'll just select excuse me we will just select our um relative points shift clicking them and i'm holding space to just pan around there and holding shift to drag these elements off screen so i've got a super stretch r as well whipping in hitting the ground shrinking down to normal now we've got um both of these parts we need to select all these keyframes hit f9 go to our graph editor and in the middle we need to adjust to get our own shape and very nice so you can see how just that little extra bit of position there i think adds a lot more realism and movement so we'll do the same thing we'll grab our r we'll hit shift p and that brings up position in addition to our current keyframes we'll keyframe at 4 at 10 and at 15 and we will adjust their position so frame four nothing at frame 10 we wanted to jump down a little bit and let's try and line it up roughly with the amount that the eye dips to because it's moving at the same speed and position i accidentally had all keyframes selected there though so it's actually um changed all of them if you can see all three have changed there so i'm just going to make sure i've just got the one keyframe selected and i'll reposition this guy with just the arrow keys and then i'll copy that keyframe with ctrl c and i'll paste it at the end and then we've got it ducking down let's grab both of these we'll check by selecting these keyframes what our speed was so it was fully in and then um fast or slow so we'll hit f9 to give us something to work with go to the graph editor reduce this guy down and this guy down and then pull this guy all the way over so we've got a nice dunk exact same movement as the eye very nice okay so uh the rest of these letters are exactly the same process but we're gonna do it coming in from different angles so let's start with the n and i'm gonna i think i'll fast forward through these because they're exactly the same um but if you watch you'll still be able to follow what i'm doing and uh it also will then help you to understand the process without just copying what i'm doing which is very important so we're gonna jump into time-lapse mode and we'll finish off the rest of these letters [Music] [Music] [Music] [Applause] [Music] [Music] [Applause] [Music] okay so there are all five of our letters animated and whipping in to the beginning of the uh to the middle of the screen there uh but they're all coming in at the same time which doesn't look great we want them to come in sequentially so to do that we're going to use something called a sequence sequencer and we want to trim our layers so that they sequenced the amount of time that we've trimmed them if you don't know what that means and don't worry we're about to find out so for example if i want these to take uh say five frames to pop in we're gonna go to frame four select all our layers with shift click and press alt close square bracket or right square bracket and that will trim our layer at frame five which means that all our beautiful animation just disappears but don't worry we'll get there select i first and then shift click o and then right click that and choose um keyframe assistant sequence layers with no overlap just hit ok and that will basically place them one after the other at the point where our layer stopped and if we zoom out again we can drag the end of our layer to bring back our shapes all the way to the end of our composition and now they start one after another and pop in and look much cooler very nice okay now the last bit is um the uh the t that spins in and flicks the intro word up so we're gonna do that now before the t actually comes in and then we'll use that as a way to sync things up next episode but we now want to control all five letters at once and adding a load of keyframes for position rotation etcetera etcetera uh to each individual layer is very cumbersome and very difficult to change later on so we're going to introduce something very important called a null object and we're going to use this null object to control all of our letters ctrl shift alt and y will add a new null object or you can go to layer new null and you can select this null object and what it is is an invisible layer an invisible controller that you can use to control other things so i'm going to reposition it to the top left of my eye like so and just to help with issues of scale and reference and things like that we're gonna stretch this until it covers our layers it doesn't have to be super accurate like that okay now we've got a box surrounding all of our layers just for us that when we come to rotate and maybe scale things later on we get a relative scale so i'm now going to grab all of my layers and i'm going to collapse them down to make it easy to see but you'll notice next to each of these layers we have a little thing that looks like a spiral and this is like it's called a pick whip and it's like a piece of string and we're going to tie one of our layers to our null object layer and what this means is wherever our null object moves those other layers will follow and this concept is called parent and child the null object is your parent the other layers are your children and the children follow the parent so with all those layers selected we're just going to grab this little pick whip tool and drop it over the name null one and you'll notice all these parents and links now go to null one which means if i select my null layer and move it everything else moves with it too which is great okay so i'm then going to hit p and r p shift r to bring up position and rotation keyframes and at the point where our o stops moving which is a one second and five frames i'm going to keyframe both of those okay we want to rotate from the middle of our shape and our anchor point is in the top left so on our null object we're gonna hit ctrl alt and home which is gonna position it in the middle i'm going to go over say maybe 10 frames for now but we can edit it doesn't matter we're going to keyframe again and we'll go over another 10 10 frames and we'll keyframe again on both of those uh on the middle set of keyframes i'm just going to shift it up a little bit maybe that much and we're going to rotate it to say three or four degrees not a lot just a little okay and what this basically looks like is our shapes come in it's going to leap up as a team and then slam back down into the earth but as you can see linear keyframes look rubbish as you know by now so we're going to select all of these hit f9 we can do both of them position and rotation so you can see we get two paths now one for position and one for rotation uh we wanted to jump really quickly as if it's been hit by something so we're going to select both of these points and we're editing position and rotation here and we're going to drag that handle away this handle we're going to drag all the way over to the left and this one we want it to slam into position so we're going to drag that all the way over to the right and all the way over to the right as well so we get this really extreme bosh hangs in the air for ages and then slams back down okay so let's look at that looks nice but what i want to do is adjust this rotation so that it jumps in the air but it starts to tilt back down just a little bit earlier so to do that we're just going to move just this one rotation keyframe over and you'll notice it's going to start to spin just a little bit before it starts to move back down so just gives a little bit more realism to its movements i might add another five frames by moving these keyframes i can click and drag them or i can press alt left and right to move selected keyframes and alt shift left and right to move them ten frames in the same way that we navigate doing that five times will give us five frames and that just lets it hang in the air a little bit longer and that will look uh much cooler when we've got our our two in intro two when we get the two spinning around and hitting that um also as they come down just for the hell of it let's have some of our letters the n and the r for example let's shift click both of them go to our position keyframes and if we just go over those 15 frames again let's just have them finish a little bit higher up and see what i say looks nice apart from they fall too quickly because the easing isn't correct so we're just going to select those easings and we're just going to drag them over so that they end in the same position we're at the same speed great okay that looks pretty good we may come back and add some more details this later on when we're talking about expressions but for now we're going to leave it there okay so like earlier i'm going to press tab to bring up my composition composition flowchart and that basically means that we are inside the intro composition which is inside the main composition so if i click main it will take us back to main and you'll notice now that we are in our ending position like so for our um to match it up with our original so i'm just gonna grab this intro comp we're gonna move into position and you'll notice that this one is on a bit of a wonk so we'll bring up our rotation keyframes with r and we'll give it a rotation of three and we can zoom in and just reposition this perfectly if it's a little bit big you can just scale it down because we're using a pre comp which means this won't affect any of the animation that we've done and we can just line that up until we're happy okay well this does mean however you'll notice is that some of our animation takes place off-screen but that's fine and some of it pops in on screen as well if that makes sense like here the edge of our composition no one will notice motion but if you want to fix that you can go inside your composition right click choose composition settings and make it way bigger let's make it 3840 by 3840 hit okay now that's given us loads more space yeah and you can go to the point where the t is broken for example press u to bring up your keyframes and on the first frame here you could then just drag oh excuse me if i select the path you could then just drag that off screen and go back to your main comp and you'll see that there it's now starting off screen when it whips into position it starts way lower i think that is overkill i'm gonna undo all of that and we'll just reposition it okay i don't think it matters if you think it matters great use it we're going to carry on with uh making our animation today what we've done so far is this kind of whip stretched text effect on the intro and today we're going to learn about motion paths and animating with realism as we add the t and o in the intro to this next section so without any further ado we'll just jump right into it so to start off with we need to obviously add our text so i'm going to grab my text tool and just click and type in the word to now you can use whatever your font you'd like but if you're following along obviously you need to use futura pt um like i mentioned before control alt and home will place our anchor point within the middle of our letters and we're just gonna place them over until they roughly line up with our guide layer that we used in the last episode and that looks pretty good to me i'm just going to swap out the fill in my character window so that we have a blue fill and no stroke and i think the fill we used for the o was yellow so we can just grab that from our color palette which i moved off screen last episode if you remember and we can just paste that in like so now this is going to have a very similar process to the previous episode we're going to right click and pre-comp and we'll name this one two and that's just going to create a composition that we can drop inside and we can animate the two individually from the rest of the work doing it this way allows us to know that the t is currently in its perfect finishing positions when we animate it later on we don't have to worry about that i'm gonna right click that layer and just use create shapes from text like we did before and we're gonna leave the original layer invisible i'm also going to do the same thing we did before which duplicate it with control d and just separate out the t and the o onto their own layers by twirling down selecting the ones we don't want and deleting them now we're not actually going to be using this t letter shape we're going to be rebuilding it but we will be using the o so i'm just going to hide the o for now because it'll work on the t first and i'm going to reduce the opacity of this t down to 20 and i'm just going to lock the hidden text layer as well as the t and o layers because we're only using those for reference now if we zoom in we're going to grab our rectangle tool um from the toolbar up here and you can long press on that if it doesn't look like a rectangle because a circle long press on the circle and click the rectangle tool holding alt i'm going to click until the stroke disappears and there's just a red line through it and we're going to check that this is the correct blue which it is i believe yes so we can hit okay then i'm going to zoom in as closely as i can and uh if you having trouble seeing you can turn the background to a checkerboard might help and we can click and drag until we draw a rectangle that is the height and width of the full stem of our t going back to our selection tool we can click that again and press ctrl alt home to ensure that the anchor point is in the middle of our shape okay now we have this part of the tea um ready we're gonna wait until we um form the crossbar until a little bit later i'm gonna choose fit in view and i'm gonna collapse that layer with the u key and i'm gonna rename it t stem oops i'm gonna rename it tc apparently t stem there we go now we need to draw a path for the whipping motion that we want uh the t to follow so to do that i'm just gonna grab my pen tool with no layer selected i'm going to alt click the fill until there's a red line through it and then zooming out i'm just going to draw myself a path that forms a big spiral with the pen tool by clicking and dragging and holding shift if you want a perfect angle by just clicking and dragging you can use these handles to pull your shape into position and i'm just going to finish it right beneath where our t-rectangle starts okay so now we have an empty path that's in a spiral now you can select these individual points by just clicking and dragging and using the handles and dots to reposition until you get a nice smooth spiral that you're happy with okay i think i want my spiral to come in like this but it might be nice if it starts off screen if you want to add handles to a point you can alt click it and that will give you a handle to work with which allows you to change things like trajectory and just tweak that until you get a spiral that you're vaguely happy with i think i'm happy with that now we are going to use something called create path from nulls which is a built-in script in order to create a null object which if you remember it's just an empty object with no content that's going to follow the path of this line and then we're going to attach our rectangle to that path so to do that you're going to need to go to window and make sure that you have create nulls from paths open selecting that will open up this window for you here we are going to twirl down our path layer which we will just rename to path until we have the key frameable layer of the path selected and then we're going to click trace path what that's going to do is create a null object as you can see here and if we press eu on that null object it will bring up all the keyframes and you'll notice that it's already created two keyframes for us one at the start of the path and one at the end of the path now it's already taking a second to move which is totally fine but we want to animate it in a cool way at the moment it's very linear so what we're going to do first is attach our object now go to the last keyframe of your path and you'll notice that the null object points will line up with that last point it's very important you do this at this keyframe so that it aligns correctly but you're then just going to grab your t stem which i like to put above the path because that just makes sense to my brain and we're going to pick whip or parent it to the trace path at that keyframe the reason we do it with that keyframe is that then it will follow that path perfectly all the way through its animation okay if for example you did it halfway through when you parent it will parent it at that point and then obviously that looks completely incorrect okay so go to the last keyframe and then parent to your path now this path just has the movement and we want it to sort of whip into position and then speed up at the end so we're just going to start by just going to f9 select both those keyframes and drag it out let's see what that looks like not great yeah kind of whip super fast in and then kind of slams into position so we're going to definitely want to reduce the last keyframe so that really does whip we want it to go quite slowly until about here and then speed up quite a bit okay so before we do that and before we refine this much further we also wanted to make it look like this this object is very close to the camera and then it disappears by getting um well not disappears it scales down by moving further away from the camera too that's very easy we're just going to press scale s on our t-stem layer and keyframe that at the open and the close so zero seconds and at one second i'm going to go back to the first one and just scale it up scale up as much as you want then you can see it's going to start to make a little bit more sense like so you'll also notice that now we have an object attached to it we can see that it's going to loop forever which is no good we only want it to loop once to do that you go down to your trace path and twirl down everything and then under uh the progress where it says expression progress you can just select all of that and delete it that will allow your animation to go once and no further okay one second seems pretty sure i'm gonna alt shift and write until we get to two seconds and automatically that gives us a lot more time to work with which is great i'm going to grab all of my keyframes the scale and the progress keyframes are going to hit f9 to give them an easy ease effectively undoing what we've just done and i'm going to find a point where i really want it to speed up which is probably going to be about here and then i'm going to keyframe again so selecting these keyframes and control clicking them will just turn them back to normal keyframes effectively undoing the speed ramping that we just did just to test things then if you hit f9 on them it will add the easy ease in and go to your graph it should look like this if you've got the other graph that looks like that then you're on the speed graph and you need the you're on the value graph and you need the speed graph it should look like an m and a w we essentially would like this to go um fast or rather slowing in hovering at the top here and then speeding up again and with easy ease it kind of does that but it doesn't look great okay that's because we want it to whip into position so we already know how to do that by just dragging to go faster slow boom looks quite nice and this one we want to whip fully into position and completely have no speeding out so that it really does like slam into there maybe we can leave a little bit of it in depending on what we think that looks nicer okay so with that in mind we've got this point where it hesitates and we really don't want it to stop so to do that we're going to move to the value graph selecting all your keyframes go to the value graph and you'll see that horizontal movement is no movement in this and we can go to our scale and select that individually and our progress and select individually or we can do what we usually do which is just select both to see both now if we wanted to maintain a little bit of speed it's very simple we just need to drag these points until they are linear i.e there is an level amount of motion and you'll notice that the scale the position hasn't been done yet but the scale continues where the position has stopped if we do the same thing to the position we can get a really minute level of detail where it slows down but it doesn't stop at all and now boom looks good however two seconds far too long one second wasn't enough two seconds was far too long but i think i've got the perfect amount of time if you notice back in our intro setting we had at one second and five frames bosh it starts to jump up that's when we want it to end exactly so we'll go to two and we'll alt drag this until it reaches there that's going to maintain all of the easing we've just done it's just going to speed everything up until it reaches the point we want boom okay so it looks a bit stilted still and that's just because at the moment we haven't really controlled it with a great amount of detail for example at this point i want it to be much smaller than it is so i'm just going to scale this down we kind of want it to be pretty much it's finishing size great the other reason is because the rotation is an overshooting as it spins if this object were actually rotating out like this the back of it might spin out a little bit so we're gonna hit shift r with our t stem layer selected to bring up the rotation keyframes and as it whips into position here we might add a keyframe have it spin out slightly by just moving forward a few frames moving forward a few frames and every time there's a hard corner just overshoot the rotation ever so slightly boom especially the keyframe here and right before we have it properly whip into position before making its way back to uh 0 or 90 i suppose boom now let's look at that it's a little bit nicer let's also take our scale at this point unlink it keyframe that and right before it slams into position let's have it be longer because of the speed that it's moving that looks much nicer already i think as well the path is a little bit extreme or rather not extreme enough so we're going to grab up half of the pen tool and we're just going to tweak out to get an extra bit of spin and overshoot you'll see there and don't worry that it's not matching up to our original we will fix that because it's going to continue to spin in that direction so really what we could do is actually have it start and finish like that perfect okay so we have our spinning um block coming in like so and we also have the ghost layer of our teeth where we want this to finish up so at this point i'm just going to collapse all my layers and press u until just the keyframes come up and then with the t stem selected i'm going to hit ctrl shift d to split that layer now if i press u it's actually duplicated it's all those previous keyframes are there but if you want to be neat you can just delete them we don't need them for now okay now at this point we've probably noticed that the line has slipped off a little bit so i'm just going to take my path keyframe once again where it finishes and we're just gonna reposition just so that it looks central just that last point not the whole thing just the last point and then here bam perfect okay so this is still linked to the path which is great apart from we don't need that anymore so i'm just going to disconnect from the trace path and if you want to you could also split ctrl shift d the null object just so that visually in your timeline you can see that it's uh we're finished with it now we want this to keep spinning and then drop into position so position definitely let's keyframe that let's have it move 15 frames and then another 15 to go back to its original position and in the middle let's have it move up like so selecting all these keyframes hit f9 to give them an easy ease go to your value editor or graph editor make sure you're on a speed graph and because it's just whipped out of this massive spiral we want it to go super fast at the beginning so we'll remove all influence from the start and add all influence to the end very nice so you can already see how this might look pretty good apart from we want to have it settle into position with a smack so we'll give loads of influence at the start and reduce some at the end boom very nice okay so that is the position that looks totally fine let's look at the whole thing i think i'm happy with that it's a bit long at the end there perhaps we stretch that scale a bit too much but don't worry we'll leave some of it maybe 120 because we'll be stretching this scale as it spins as well which is actually the next step so shift s on that layer to increase the scale that needs to be at 120 it's going to rotate rotate rotate rotate rotate and it's going to stop let's say at the beginning about here so we'll put that down to 100 100 here that'll make more sense when we add the rotation shift r with the layer selected adds a rotation keyframe go all the way to the end and let's say it spins out two full rotations so we click this first number here and type in two so two full rotations plus it'll have to land perfectly upright so let's just zero that out so now we've got the object spinning but it's spinning in the wrong direction it's going to flick into position here and then start spinning the wrong way so we actually want to make sure that that is negative too so it's now going to spin and land looks okay but again now we can fix the scale once we've fixed the speed of the rotation so we're going to grab those two rotation keyframes hit f9 and you guessed it it's going to go from super fast to super slow i don't know if we can remove all the influence yeah we should definitely remove all the influence bam that is pretty nice [Music] and the scale kind of works already but there'll be a point if you go to your graph editor where a drastic amount of speed has been reduced somewhere around here and at that point i'd say is where we want the scale to roughly end so we'll just f9 those [Music] nice very nice okay so let's look at that looks nice apart from i do want it to slam down a bit harder so i'm just going to grab those position keyframes again and i am going to remove all of that influence because when it slams we want it to squash and stretch to compensate it's much easier to squash and stretch something and keep it in place if your anchor point is at the bottom of the shape so we are once again going to split this layer ctrl shift d u to bring up all the keyframes and just delete them all to make it nice and clean then we can move our anchor point down to the bottom of the shape we can just grab our pan behind tool from up here in the toolbar and holding shift we can just click and drag on that anchor point until we position it roughly at the bottom of the shape from there just some simple scale keyframes so scale once we go forward say 10 frames and we've already we know we're at 100 100 so we can just squash and stretch this to our hearts content go forward 10 frames stretch up making sure it's taller and thinner because we want to make it look like it's maintaining the same amount of mass we'll have it squash and stretch just a little bit again and then return to 100 100 which is the shape of our original t hit f9 on all those keyframes and we've got something that looks like this which looks a bit rubbish so again really has to influence its scale coming out super fast boom and that looks kind of okay but you need to remember that there's energy so it's squash it's going to hold at the bottom then it's going to shoot up a little bit and that's going to continue but dissipating slightly each time so you'd want to grab and add just a little bit of influence one way grab that same amount of influence back the other way and then for the final one you can add just a touch of influence both ways like so and then that looks kind of okay like that so let's drop back here and take a look that looks pretty nice okay so i'd say that's that part of the shape i'm happy with it for now i'm going to go to my last keyframes that it's in perfect position perfect size and i'm just going to collapse everything like that i will leave this with with you so i can see where my last keyframe is and then on a new shape layer i'm going to get myself a copy of the same blue with a fill and no stroke i'm going to come in and i'm going to trace there's a slight upward tilt in my font might not be the same for you so i'm going to add that in i'm going to trace the outline of that t and line it up so that all the sub pixeling looks fine and that's probably close enough since it's quite small you'll never be able to tell and then pressing open square bracket i'm going to position the start of this layer here like so using my pan behind tool i'm just going to link or move the rotation point up to the top left of this t part here and we're basically going to have this this part swing out of the t so we're going to take our rotation tool keyframe that uh rotate by 90 degrees or just enough to hide it so 61 degrees move forward 10 frames and we're going to overshoot it a little bit by just scaling that up undershoot it again a little bit and then bring it back to nil now you'll notice that at some point the top of its arc you may need to adjust its path just extend that so that it covers at all points and don't worry too much about it poking out the other side because we're going to actually just trim that trim that single frame off because it doesn't really matter let's grab all those and f9 you know the deal by now we want it to go fast into not so fast into not so fast that looks pretty good like so lovely now at the very end again at the very end we're going to pick whip that to our stem and the reason we do this is because we're going to offset it in a moment but first i'm going to duplicate this layer with ctrl d right click it choose transform flip horizontal and that's going to fill in the other end of our t here may have to just bring it out just a little bit like so so we get a perfect t and now all we need to do is flip these rotation values because obviously the rotation value needs to be negative 61 rather than positive 61. that needs to be positive 11 as opposed to negative 11. that needs to be negative nine as opposed to positive nine and zero is zero it doesn't matter so now we've got two sides of the t popping out like so and kinda doesn't matter that they they flop down and reveal the top of that t i'm happy with that it's how it would actually be that's fine and now what we're going to do because we pinned them after all the movement was finished if we just move these back by selecting them both and choosing open square bracket they will be scaled and connected to the movements of the t so they too will squash and stretch with the t which means as the t comes down and these things flip out they're going to react and come up which is a form of secondary motion which looks very good looking at the whole thing nice let's press tab to go up to our main composition and we'll see how now it looks like the t swings in and knocks the word intro up perfecto okay may just tweak the beginning of these teas see what it looks like there that looks nicer actually a bit earlier doesn't it very nice okay cool so that is the t finished which is great so let's move on to the o we're going to make our own layer visible and unlock it because this is the layer that we're actually going to be doing the editing on no no sneaky duplicate shapes this time ctrl alt home we'll place this at the center of the o which is quite important but because we're going to want to make this bounce we're going to grab our pan behind tool and holding shift we're just going to position it at the bottom of our o like so now we're going to use similar techniques for this o but it's on a symbol symbol it's on a single shape so it's much easier we're going to grab our position in fact let's make it let's make it drop in at 105. so we'll just open square bracket there and keyframe our position let's have it take 15 frames to hit the floor and we're just going to go back to our first frame and drag it off screen on our second frame it's going to hit the floor let's have it go 10 frames oh no let's say 15 keep things even and have it raise up then there's less space for it to travel in less energy so 10 frames should be fine and we will just copy this original keyframe there another 10 or that's 20 frames sorry my mistake another 10 frames and we'll have it come up slightly less another 10 frames it hits the floor just pasting that keyframe another 10 frames it comes up slightly less and another 10 frames paste the keyframe another 10 frames even less and another 10 frames paste the keyframes now we have a very boy [Music] rubbish looking bouncy ball let's grab all of those and hit f9 and we want this one to just come rocketing up in speed so it's going to start dropping and with gravity obviously it doesn't slow down as it reaches the end of its arc so we need to make sure there's absolutely no influence there so it's just completely speeding up and then here what we're probably going to do is grab both of these arcs maybe not 100 influence but we'll see let's drag it up to say 85 influence either side or thereabouts see what that looks like looks a bit weird yeah that looks a bit strange so let's drag it touch down again say around 50 influence for these until it starts to slow down like this okay that looks kind of okay [Music] i think this needs much less than the start because it should be rocketing out as it reaches the top of its arc it should hover there for a bit so we will pull this one out as well so that it hovers slightly it's going to hover in the air it's going to keep speeding up which means there's going to be no influence or very little influence towards the end then it's going to rock it into the air again at the next keyframe it's going to hover so we'll add a little bit of influence there it's going to hover in there so we don't want it to drop too fast so we'll drag up the influence as it drops towards the ground there'll be barely any influence before it hits here we want the same thing we want it to be slightly faster moving out of its influence hanging in the air dropping into no influence and then the last two are so slight that you can probably just get away with it almost you can see it gets a bit floaty towards the end and that's because we haven't um adjusted this influence well enough so if you hold alt you can zoom in which makes your keys a little bit easier to see and you can see where the issue is it slows down as it hits there so we need to remove that influence this influence hangs in the air as it rockets up a little bit and then as it hits there'll be barely any influence so alt again to zoom out very nice so those are the position keyframes um we now need to add squash and stretch to this as it folds so we're going to have shift s on this layer to bring up scale and we can do this in a very similar way we're just going to go straight ahead on this one as it drops you can see the dots on your line here which make it easy to see where the speed starts to slow down we're going to have it be unlinked scale and we're just going to stretch the height just loads loads loads because at this point you can see it's moving half the distance in a single frame by the next frame we're just going to squash it down and make it wider and you'll notice that on the first keyframe i haven't done any editing and that's so i can just copy paste it it's not really because it's going to speed up as it starts to drop it's not really going to stretch until about here maybe here so we'll copy this first keyframe and paste it that means it's going to drop stretch and hit by about here we'd like it to squash and stretch the other way and you can just grab these handles and it's going to start to slow down around here so again we'll keyframe that move to where we think it's reaching the apex of this arc and we'll squash it back into a regular ish shape it's going to start to drop again and speed up which means we need another keyframe as it speeds up we're gonna need a few more shapes and this isn't as extreme because um it's lost a lot of its energy on the first bounce squash and stretch it in the other direction as it moves back up into the air let's go one frame further we want to squash and stretch it the other way it's going to start to slow down again so we kind of want it to go back to its original shape in fact maybe we could even just paste it you can see how otherwise you get a little bit of creep you can see it scales up so let's look at that so you can see actually there we over scaled quite a lot you can see that massive drop and that is an issue with working straight ahead is that you will get this creep scale creep which is why it's good to basically check your work i think that needs to move forward a bit as it drops through the air here we just want a little bit because it's lost so much energy now we're just going to stretch it one way it's going to hit the floor we'll keyframe that on the next frame we'll just squash and stretch it the other way it's going to rise into the air let's paste back the original size and then i think we're done maybe on this bounce we'll have a final tiny bit of squash and stretch by just like that okay let's take a look that looks okay let's see what that looks like in context by going tab back to our i'm main a look perfecto okay one thing i did like however about this is that um you could see through it in the original and to do that i literally just went to two the layer went to the layer mode and just change it to multiply and that allows you to see through and when we add this motion block in the next episode it's gonna look even better because it kind of cuts the o in half if i just hide these originals here and you can see what i mean when i talk about that i kind of half cut in um color look there so let's take a look at what we've done so far looks pretty good okay last step then is to go back inside this two layer and to just hide the original t like that and there you have it really great shape manipulation with basic uh scale rotation position keyframes really core fundamental um theory by emotion graphics there is this this theory of animation and weight and feeling and motion and you get that by just taking your time doing it one step at a time do the position keyframes come back and do the scale keyframes come back and do the rotation keyframes etc have a go see if you can't replicate this um and i look forward to the next episode where we can do some really fun stuff with masks and a little little bit of expressions as well hello everybody and welcome back to tiptop and welcome back to intro to motion graphics 2021 so far we have created the intro and two words or whatever words is that you're using uh during this and we've explored um animating paths positional scale rotation keyframes uh all the basic stuff that you need to get started with motion graphics in this episode we're going to do something a little bit more complicated but not too much so don't panic uh we'll be starting off with this section here where the shapes pop into view the word motion appears and fades away or very simple and then we're going to start exploring masks and layer effects in this tutorial here where the motion word motion pops up and then there's this red bar in the background so nothing too scary but it will be exploring effects and masks and things like that so starting to get into the nitty-gritty of what after effects is all really about motion graphics so back in our main composition we're going to turn on our reference layer and we're just going to start nice and simply by grabbing the text tool and creating the word oops excuse me let's position it in place because the anchor points on the bottom right there and turn caps lock off so we can see what we're doing and we'll just position that word motion where we need it and press ctrl alt home to place that anchor point in the middle and with the shape tool selected and with no layers selected down here this important part we're going to i'll just eyedropper this yellow to save time we'll just drag out a rectangle that is roughly the same size boom pretty good let's turn off our reference layer again and we'll just rename this layer um a rectangle and we'll press ctrl open square bracket to push it below our text layer then selecting both of these we'll just right click and choose pre-compose like we did before and we'll just call this one motion then double click to go inside and we've got our motion text layer which i'll just make white so we can see it and our rectangle in the background using these we can sort of use them as the base work for the rest of our animation for this section so step one is to do what we did previously before which is to take our text layer here and using my color palette which again i've just got off screen here in intro to motion graphics i'm just going to change each one of these letters into their own color and you can do this by just selecting the text tool highlighting a single layer and choosing that color on that a highlighting single layer sorry highlighting a single character and choosing that color on the character i'm just going to copy the blue again like i said before you can use libraries for this but i've had trouble with libraries it doesn't always select the right thing so i've just got my color palette website open that i showed you in the first episode for now i'm just going to hide this background rectangle layer because it's not what we need at the moment so the first thing we had with these shapes popping up one by one before the word motion just faded in and out this is actually a really deceptively simple thing to do i'm going to sample with my shape tool selected the blue on this m and we're just going to create a shape that is closest to the overall shape of the letter in this case just a rectangle the o even simpler is just going to be a circle so go to the ellipse tool we'll sample the red i'm going to go to the center of the shape and holding control and shift we can draw a circle that grows from the center and we'll just line that up the t again is going to be a rectangle nice and simple and between each shape here i am deselecting the previous layer so that is drawn drawing each shape on its own layer so you can see here deselect so we could rename these m o t i'm just going to duplicate this shape for the eye with ctrl d and then my selection tool just hit okay there scale this down by unlinking the constrained proportions so i can just scale the width and just place that over the eye may as to duplicate the o as well place that over the other o choose blue and for the n we can go ahead and duplicate the m rename it n and pop it over here one thing that might be nice is if we were to split this rectangle to make it more obvious that it's supposed to be an n and to do that we're going to work with a mask so i'm going to select my end layer i'm going to select my pen tool and make sure that i'm selected on the tool creates mask option up here at the top of the toolbar and we're just going to go slightly below our corner point here holding shift we can create a perfect diagonal line let's draw a triangle over that portion of the shape and it will create a mask for that portion of the shape which we can then select the whole layer duplicate it press r to bring up our rotation and rotate that 180 degrees to bring the shape up to the other corner and we can then tweak its position like so that mine let's hide the text layer underneath so we can see what we end up with that's a little bit close so i think i'm going to increase the gap between those two layers here and then holding pressing s i'm just going to scale those down so that it's a little bit more tweaked i'm then going to just adjust the position between these until they're equal and selecting all of them will just press u to collapse all the layers now let's go forward say three frames for each one two three and then press ctrl shift d to split all of those layers and delete the remaining so they only exist for three frames each same thing we did in the previous lesson we can then select all these layers choose right click choose right click do a right click and go to keyframe assistant keyframe assistant sequence layers sorry i'm having trouble speaking this morning press enter on that and that will sequence all of these now we get our nice popping these two however we want them to appear at the same time so i'm just going to drag those two end shapes over the top of each other perfect i am going to shift this over three frames one two three just so we've got three frames at the start and it all appears at the same sequence the next step is to grab our motion word motion very simple here i'm moving quite quickly because this is such a simple thing that we've explored in previous tutorials keyframe the opacity with the shortcut t do it again 10 frames later that was control shift right again let's reduce the first and last keyframes to zero just like it's loading the motion perfect let's again ctrl shift d to split this layer and for the sake of our sequencing in our heads we can just split that above it and we'll take the rectangle and control a closed square bracket to push that up and just open square brush it bracket to push the start of the layer over to where our play head is now with that in mind let's turn on the rectangle layer and let's take a look at what our previous animation did the shape kind of pushed itself upwards or scaled itself upwards and the word motion pops from its original position down from the top but masked out by the rectangle that's fairly simple to the first thing is to take your anchor point of your rectangle and move it down to the bottom of the shape so we use our pan behind tool and we'll just click and drag that until it's aligned with the bottom of the rectangle and we can take the scale property here with s keyframe that let's say 30 frames keyframe again we want it to end up in this position so we'll go back to the first keyframe and just shift that down excuse me that was a position not scale we're not doing position yet we're doing scale first so we'll unlink that and reduce the height down to zero we'll then shift p the position and keyframe that and go back to the first keyframe and just push it down a little bit too that just gives us a nice little extra bit of motion as it shifts its way upwards although linear keyframes we know are rubbish so we'll hit f9 on that go to our graph editor and just drag these final points here so we get a nice eased speed there we go much nicer if we take our motion layer which we can see at the moment is on top but currently or yellow is that correct no sorry currently at opacity zero we'd want this to be opacity 100 so we can just delete all those keyframes but we only want this shape to appear where the yellow rectangle appears if we look at our original here like so additionally it's also um or is showing through the background color so we want to make sure we can do that as well let's go back to our motion composition here and i'm just going to make it white now just to make things a bit easier and with the rectangle layer selected we can go to toggle switches slash modes and there will be an icon on one of these screens under the track matte column and we can choose alpha matte motion two but we want the inverted one what this means is this layer will only appear where the motion layer isn't if that makes sense so alpha matte would make the motion layer only visible when it's in the confines of the rectangle layer but the invert is the opposite this layer disappears when it is in the confines of the rectangle layer and makes it kind of a cut out which is exactly what we want let's go to our finished position keyframe the position of the motion layer back to the start position and just shift it up so that it slides in like so again f9 on those drag this one over boom nice of course this is only very simple motion at the moment you could add as much or as little nuance to this as you'd like but we've learned about masking using uh track mattes we've learned about sequencing and splitting layers and now we're going to learn about layer effects so the final thing that happens in this example here is this red object that scales up from the center and has this if we zoom in kind of a uh animated rough edge to the shape for want of a better word let's go back to our composition this is very easy to make we're just going to grab our rectangle tool or if you wanted to you could just duplicate this rectangle but we'll draw a new one we'll grab our rectangle tool and we'll just make a rectangle that covers the word motion and we'll push it below those other two layers and we'll make the start of it begin where our playhead begins let's go to scale keyframes let's unlink them again go for a full second and we'll scale it up from 0 to 100 the same as we did with the yellow rectangle but on the second keyframe instead of 100 we'll just drag it so that it only fills a portion and because don't put any position keyframes we can reposition this however we like to fill the exact center of that motion text now at the moment this scale looks fine let's add some easing to the keyframes exactly the same as it did before should be second nature by now scales up perfect but it doesn't look nice because we haven't added the roughen edges to it like we did in the example so going up to our effects and presets panel give it a second for all the effects to load there we go and we are going to type in roughen edges when you have that rough edges in your palette just drag that down to your layer and you probably won't notice much at first because it's very subtle but you can see that some of these edges have started to um bend and warp out of shape if you press ctrl shift h it will hide all of your guides and shape layer edges which allows you to see things like this a bit easier and ctrl shift h again we'll bring that back i'm going to increase the border of my shape a whole bunch also increase the edge sharpness to make those edges sharper and the fractal influence needs to remain at one the scale however we want to crunch all the way down to its lowest factor which gives us this kind of animated noise effect which is nice and the stretch will leave it by itself complexity hover will also turn up now it's important to do this on your final keyframe or at any point past it but once you've cranked everything like that up to the top you play with the border in order to see how much of the edge you really want that to affect look at it at roughly 100 to get the perfect amount i'm going to say about 50 works well here these edges are a little bit crunchy for my taste though so you can filter through some of these like rough and rough in color to see which ones you prefer the look of perhaps rusty rusty looks quite nice but it does extend quite far i think i'll stick with roughen the first one and just increase that crunch and you'll also notice that this isn't animated okay it stays at that style of rough and once the shape finishes moving and we're just going to use a very simple expression to animate this and you'll notice if we twist this evolution dial it animates and we could just go to the start of our layer place a keyframe go to the end of our layer place another keyframe and say like 10 times yeah but what if we come to extend this later on yes that works and it does crinkle but that's two key frames that we again have to worry about if when we come to modify this composition so instead i'm going to alt click so hold alt and click this evolution keyframe which opens up the expression window for that specific thing very simple time and then asterix which is the um calculator command for times as in you know four times five or whatever time times let's put 50 in there see what happens and then a semicolon to close that line of code all this means is over time at a rate of 50 animate this element now it is animating but it's very slow you can see so we don't want 50. let's try something drastic like 500 much better now this will animate forever and ever until we choose to stop it with another expression okay so boo boo boo pops up like that let's take a look at our original file i think that is the last thing that that shape does yes indeed so let's pop back to our main composition we have our shape here however we want it to be below this two layer because the two layer has a multiply on it and if we check our reference it's slightly off position wise so we can fix that by just tweaking until we're happy that looks better to me let's hide our reference and choose its starting point so do we want it to start straight away let's see what that looks like that looks pretty good to me actually at that timing so i think that looks pretty good all right so in this episode we learned a little bit about track masking we learned a little bit about effects layers and things like that and we learn about well we continue to learn about pre-composition which is what's going to be very important in our next lesson because in the next lesson we'll be exploring this graphics section here where all of these layers come in individually rotate into place find their position but you'll notice that each of them has the same interior pre-comp i.e different parts of the same pre-composition so this is where we basically turn everything that we've learned in these previous lessons and place it into this final section hello everybody and welcome back to intro to motion graphics 2021 and to tiptoe um we're going to carry on with our lesson today we've created this stuff so far which looks pretty good to be honest um but now we're on to probably the most complicated part of the animation that's this graphics section here as you can see if i double click my all footage and just scrub through it when we have our graphics appear that is the word graphics as well as the visual graphics it comes in in sections these sections come together there's spinning elements inside those sections the letters spin then there's this venetian blinds kind of effect behind the text as well and excuse me i'll just drag the wrong timeline there and the letters themselves also wiggle so there's quite a lot going on here but um deceptively simple because it's actually all done with one composition so let's just jump right into that here in my main composition i'm just going to turn on our reference layer again so we have our final thing and we'll zoom in so as you can see it starts off pretty simple with just a basic rectangle so i'll use my eyedropper tool to just grab these colors to start with and i'll draw a rectangle that's roughly the right size we will rotate this at the end and for now just keep everything flat so i'll just line it up visually so it looks about right it doesn't have to be exact of course because we're remaking it so that's our base colors there now additionally we're going to need that second rectangle around the outside so i'm just going to hit ctrl g with my shape layer selected and we'll name these we'll name this rectangle and we'll name this one line the second one which we've renamed line i'm going to alt click on the fill until that disappears and then on the stroke i'll just pick my blue color again for the basic basic color and we'll paste that in place there then with the shape selected we'll just drag this out to make it a little bit bigger and we'll give it a stroke width of about four and that looks pretty good let's uh hide our reference leg this is a bit distracting and we're going to need the word graphics in text so we'll just type that out to graphics and i'm going to move my anchor point with the pan behind tool and of course you can use the shortcut ctrl alt home to place it directly in the middle which is what we want to do so then i'll scale this up and center it with my other shapes so i'll just select all three of these shapes go to my align window and just choose center center so now they are all aligned visually to each other's center which is great so from here we can we can pre-compose these right-click and choose pre-compose and we'll just call this one graphics and move all the attributes yes indeed let's double click to go inside that and now we're working once again in our isolated workspace which is great so first step is to change these colors of the backgrounds rectangle and line to a gradient so i'm going to alt click on my fill which will give me a gradient it's already popped in place which is great but i'll just show you you can select either color stop here choose a color from your palette paste that color in place just check it's the right one and here okay and then you can drag these sliders to position your gradient however you'd like i'm going to do the same thing on the line around the outside like eminem and we'll reposition that but the opposite direction and now we've got this graphics gradient color going one way and the other way which is perfect just like before we're going to right click our text and choose create shapes from text which gives us our live graphics as an outline and also just like before we're going to duplicate and delete this layer until we have all of our letters separate so g-r-a-p-h-i-c-s then on the first layer here we'll just select all of these and delete them on the second layer we will select everything except the r and delete it and so on and i'll just fast forward to that because we've done it before so now we have all of our layers separated out into different sections which is great so we'll select each of these layers here and press ctrl alt home and that will place their anchor points in the middle which is fantastic so let's take a look at animating these first because it's the simplest bit on all of these layers we want the same thing to happen which is the scale so s and the rotation so shift r to bring up both and we just want them to spin and scale up so we'll keyframe all of those move over say one second so ctrl shift right right right place another keyframe and then back on our first keyframe we'll put the scale down to zero and on our second keyframe we'll put the rotation up to one full time round so one plus zero degrees select all these keyframes hit f9 go to our graph editor and make it go from fast to slow so all the same stuff we've done before it should be getting pretty consistent at this now looks okay but let's sequence those layers so that they start one after the other i'm going to press ctrl right maybe three frames and then alt close square bracket to cut off my layer now we've done this before i think in this series so i'm just going to shift select all of these layers right click and choose keyframe assistant sequence layers what this does is positions each layer in the order that you clicked them one after the other with no overlap as long as you set now overlap then we can just extend our layers again back to the end of the composition and we have our layers now spinning in one at a time they are however currently filled and i do believe in the original that they were strokes and then after the stroke has finished rotating in we have this some kind of venetian blinds effect in the background so we'll fix that now as well let's go back to our motion comp uh sorry not our motion combo graphics comp and i will just alt click with these layers selected until we remove our fill click once to get our stroke make sure it's a white stroke there we have our graphics word created so to create this venetian blinds effect i'm actually going to duplicate my layers here so g through to s just duplicate that with ctrl d and we'll press ctrl open square bracket to push them below then we can just pre-compose this just to keep it neat and we'll call this graphics inner okay so that's going to give us a composition underneath if we go inside that composition we can alt click our stroke until that disappears and once again give ourselves a fill this time we'll just make it black and so we can see what we're doing we'll just click this small button here next to the active camera pop-up which makes the background of our composition transparent i'm going to just collapse all of this down until we get our keyframes and we don't need our keyframes in here so i'm just going to remove them by deleting them and let's make sure that our layers are visible for the entire time now if you haven't moved your playhead you should be at the point where your last um keyframe ended if not just go back to that last keyframe and go to your graphics inner again and you'll find yourself just where that last keyframe is we're then going to create an adjustment layer with ctrl alt and y and we'll rename this venetian blinds and go to our effects and presets panel and find the venetian blinds transition if you apply it to the adjustment layer it will affect everything underneath it which is great so we're just going to drag our transition completion up to 50 just for now so we can see where um our what our work looks like and i'm going to choose 45 degrees for this to put it at 45 degrees obviously quite easy this one we'll just drag the transition completion to 100 and keyframe it go over one second change that back to 50 boom there you go let's give it a bit of easing in the same way that we usually do and we have our venetian blinds coming in let's press tab to bring up the mini composition flow tar flow tart flow chart rather and go back up to graphics and there you go uh all we'll do now is we'll offset this a little bit just by moving it down and let's try playing with the blending mode what a soft light looks like that looks much better and let's drop soft lights opacity down to about 40 and now we have our letters spinning in and our venetian blinds appearing which is fantastic in our main footage you can see that when the graphics appears and the background venetian blinds is finished coming in you'll notice that if you watch carefully the line around the box fills in from start to end so we just need to add a line trim to that line around the edge so let's do that let's collapse everything oops i could go back to the motions one rather than the graphics one it's my mistake let's collapse everything and take our line and we'll just add a line trim to it very simple so let's follow this layer down and choose this add icon here and we'll choose trim path this one's nice and simple we have a start and an end property we're just going to drag the end property down to zero you'll notice that it starts over here on the right hand side if i press ctrl shift h that will hide and show our guidelines so i can just see more clearly where we actually wanted to start is in the middle so if you drag your offset back a bit until it goes to roughly the middle and of course you can then press ctrl shift h to bring it back and make sure that it's perfectly in the middle out there then when we uh when our line starts it will start from that section so let's keyframe the end position let's move over two seconds this time and we'll drag the end position away up to 100 f9 and this time we'll make it start a little bit slowly and end a little bit slowly as well so we get this nice easing in and out motion fantastic okay so that is the setup for our graphics section done okay so if you ignore all of this extra stuff that's happening on top here excuse me all this extra stuff that's happening on top the inner portion of this animation is finished so now the next section is just adding these boxes over the top and affecting how they piece together our graphics section so whilst this looks fairly complicated it's actually pretty simple it's the same technique applied several times so let's go inside our graphics composition here and believe it or not we're actually going to pre-compose everything once again so we'll select everything here we'll choose pre-compose and we'll just call this graphics main and now we have our main composition inside of which has our graphics composition inside of which has our graphics main composition inside of which has all of our work so we want to be on graphics main this section here if we go back up one we are in the graphics composition we are looking at graphics main okay i'm going to draw a new shape on top let's just give it no fill and a red stroke so i'll bring up my color palette once more grab red and again my color palette's just in a web page on the other other screen and i'll draw myself a box over the center of our graphics pane and you can center that quite easily with the align tab just pop it in the middle of the composition and then drag it down until it's visually centered which looks about right and let's thicken up this border to about eight pixels it's a bit chunky let's make it six okay great on that same layer we're going to choose our rectangle tool once again let's draw if we zoom in on the same layer with the shape layer selected a square over the edge of this corner then if we twirl down this rectangle two and we choose stroke one we can reduce that stroke width to zero here which gets rid of it and we can add a fill you see here fill one has already got a fill but it doesn't actually compute so if you delete that fill and on rectangle two just choose add fill again that will actually fill it in correctly just a little quirk where we created it because it didn't have a fill before and let's choose white now let's twirl this down so it's less distracting and we'll select rectangle two directly not the shape layer but rectangle two and just press ctrl d to duplicate it and we'll position one of these at each corner and we'll also position one in the middle of each line as well let's do the corners first and this is making it look like a fake version of these controls here let's pop you in the middle the reason i do it this way around is so that once i've chosen where the middle is on this rectangle which is about there i can duplicate that shape and just drag it down directly so i don't have to worry about aligning these two because they're already aligned same thing if i go back to rectangle five for example duplicate that i can drag it down find where i think the middle is roughly duplicate it again and then just oops i did the whole layer there so you have to be careful and duplicate it again there we go and move it across and i know that it's at the right vertical height now the reason we did it this way is that now i can adjust and scale this entire layer by itself those boxes look a little bit chunky but i think i'll leave i'll leave them for now doesn't that too much great so now we have our controller which we're going to call controller i'm going to take another rectangle and i'm going to select my graphics main layer and i'm going to draw a mask that aligns with the red line here like so okay bam now we have a mask over our graphics main layer and a controller on top that we're going to use to scale it first thing i'm going to do though is duplicate my graphics main layer delete the mask on the bottom one and just hide that so we've got a raw copy that we're not editing okay so now we have a raw copy and we have our duplicate copy as well let's take our duplicate graphics main and we'll just call this one and we'll call this one c for controller and i will pick whip layer 1 to layer 1c and this means that when i move layer 1c the rest of it moves with it and you can probably see where we're going with this now let's take let's find when we want this to appear so if we go back to our graphics main sorry our main layer not graphics main layer we can see when we want this to start appearing so we've got our shapes coming in let's have it appear about there let's check with that aligns with our original footage so when does it appear in the main composition yeah just after the red comes up we've got our shapes appearing here so that works perfect for us let's go to our main layer find when the red starts to appear in motion which is about there and then under our graphics layer we know this is the point where we would like it to start okay so i'm going to just choose scale rotation and position and we're going to scale and rotate first of all let's make that take one second again we're not going to rotate a full time round we'll just go back to our first keyframe and choose maybe negative 45 yeah and the scale can be zero so if we keyframe those and give them a bit of easing we can then offset our rotation by selecting these keyframes and pressing alt shift and right so now it scales up rotates into position and then at the last section we want to move it into position so we can do that by actually offsetting it in the first place so let's just have this one move down now i've done those backwards accidentally so i'll just select those keyframes keyframe assistant time reverse and that'll just flip them around let's press f9 on those there give them a bit of easing and we want it to sort of move into position last so that's already at the right position there it's gonna scale up move across rotate into position fantastic you'll notice that our animation here on our graphics mains layers has already completed because that animation is already appearing here taking him uh sorry excuse me the animation is already taking place here early in the composition before our animation is actually scaling and rotating into place that's really easy you just drag your layers here like so okay makes sense so let's clip this layer like so and now we know we've got it starting in the right place or at least one of these starting in the right place where we have our last keyframe let's just duplicate 1 and 1c pop them on top and now we'll have 2 and 1 c2 i will remove this mask to give us our full layer back i'll remove all keyframes from this layer giving us a blank layer again and that means that i can now unlink two from there so that when i move oops excuse me when i move our controller layer it is no longer directly affecting the layer i can use that to scale its position down or scale scale its position down scale its scale down and just move it into a separate position say here for example okay i can then re-link this layer create another mask on two and repeat those steps okay we're going to go back to here where the layer starts we'll keyframe these i'll do them all at once so we know that rotation let's have this one be 45 degrees as opposed to negative 45 degrees let's have the scale be zero and let's have the position just be up and left a bit so now it's gonna move into position diagonally hit f9 on all of those give ourselves some easing and then we can just offset them so we want scale first obviously then rotation then position now we have two of these taking place and of course if you want to you can offset these so they don't appear all at once okay that looks pretty good now this is moving much slower than the original but that's fine because we can speed it all up at the end this just all comes into place a lot slower you can see these ones just whip in a bit more if we watch that and that's just because they're not a full second long but save that to the end and we will just alt drag these to make them much quicker and slower okay so i'm going to go through now and create enough of these shapes that we cover pretty much everything the whole of this section but i will leave little gaps in the middle just to show you uh how i did it exactly the same as the um example so to keep things simple i will not offset them for the moment i will leave them all at the right time i'll time that through the rest and we'll come out on the other side [Music] okay so there you have it i did something a little bit different with the last one making it um go from horizontal landscape to vertical or portrait which i think looks pretty good um so the last step once you've done all these is to first of all just sequence them slightly so we're going to collapse all these down and since there's only four layers i'll just sequence them manually probably a bit easier i'll just go over one two three frames do the same here one two three frames and do the same here do three frames so now we have these layers coming in in sequence that looks much nicer i'm going to select all these layers and press u and we'll just speed this up a little bit so we'll grab all of these maybe we want it to be finished by about here and we'll hover over the last frame hold alt and drag and this will compress your keyframes whilst maintaining all the animation and that looks much nicer there we go so the last step is once all these pieces are in place you're going to want to remember that original layer that we had before that we hid okay you could just want to turn that layer back on choose opacity and take say 15 frames to go from opacity nil to one pass opacity 100 so that just fades that in in the background and at the same time just take all of these layers here grab their opacity and put it down to zero and then you have the boxes fading now you could if you wanted to offset this a little bit so that the pieces finish fading in and then the boxes fade away and again if you wanted to you could offset your um fading out keyframes as well so one two three like so let's do one two three again and the final ones one two three here so now we have uh our keyframes fading out in sequence which looks a little bit nicer let's save go back up to our main composition and see what that looks like flicking here fantastic and we all have our pieces coming together like so that looks pretty good if i do say so myself okay i think i'm fairly happy with that let's just check it against the original see if there's anything that we missed yes we missed the wiggling of the letters inside our graphics symbol there very easy to do so let's do that as our final step let's go inside our graphics main layer so we have all of our wiggling letters here and we'll press p to bring up the position keyframe and all of these okay now we could apply a wiggle expression to each one of these layers but it means that whenever we want to change it or if we want to change it we'd have to come back through and change all of those individual layers so instead what i think i'm going to do is create an adjustment layer with a wiggle and using sliders and then we'll apply that to all of these layers underneath it so inside our graphics main composition we'll press ctrl alt y to create a new adjustment layer and we'll just name that wiggle and on our adjustment layer we are going to put something called a slider in fact we're going to put two slider controls so we'll have first slider control and we'll have second slider control i'll name the first one frequency and i'll name the second one intensity although it doesn't really matter what you name these okay right so we're going to go to our first letter here g and alt click the position keyframe then we have to set some variables okay so we're going to say i want the amount of times per second that it wiggles to be my frequency slider value and i want the amount that it wiggles you know the amount of pixels to be my intensity slider value okay so inside here we're just going to say uh frequency so new variable frequency equals and then we will pick whip to this slider then we'll press semicolon to close the line of text then we'll say new variable intensity equals it looks like we can't call it intensity so let's call it inten is that enough yes so because that was blue there i think that means that it's uh int is already like a reserved name so we shouldn't call it int we'll call it intent instead then we will drag to that slider and press semicolon then we will choose wiggle open brackets frequency comma intensity close parentheses and that gets rid of our warning okay so what we have now is the wiggle this layer is going to wiggle based on frequency and intensity which at the moment are zero which means we should have no wiggle very good if we crank these suckers up we're gonna have a crazy wiggle whoa look at that wiggle okay that's probably a bit much so what i want is it to gradually decrease in wiggle over time so at the start let's keyframe let's move over say to two seconds so that all of our letters are in place and let's keyframe again and here let's say six times a second i want it to wiggle three pixels and that's what our wiggle's going to end up like at the start however i want it to just be massive let's say like six times or 12 times a second let's wiggle 30 pixels and then it will go crazy and decrease because we have our values decreasing over time it's going crazy look at all that crazy wiggle and then it's reducing down to basically no wiggle here okay let's just ease that out a little bit super amount of wiggle down to no wiggle perfect now what we need to do is just copy and paste this into our other position keyframes so that should work now on the r which it does indeed so it comes in to settle and then they start wiggling which is great so we'll just copy and paste that into all the others now yes there is some copy and pasting which obviously takes a little time but what this means is if i change any of those keyframes on the wiggle uh adjustment layer it will change them for all of them here so all of our letters are wiggling if i were to for example make this go quicker it would happen much quicker like so and i think that's a little bit too intense so we will just reduce it down to say five times a second two pixels oops i did that on both accidentally there because i had all those selected so we would just make sure that we didn't balls that up and we'll go just to this keyframe and we'll choose five times a second two pixels and our final things are a bit less crazy there we go perfect now let's look at that in our main composition let's see what we've made perfecto that looks pretty dang good to me hello everybody and welcome to the final episode of intro to motion graphics 2021 and back to tipta uh let's jump right in then so if you've made it this far well done you're one of the very few that actually finishes things and let's see what we've made so far we have our intro to motion and the dropping down and the sliding in of the graphics it looks pretty dang cool i'm pretty happy with it um now is the final step if we look at our reference footage once again the final step we have here is this after effects logo coming in and bloating like like so and then some 3d letters popping in uh and kind of rotating and smushing into place so we're doing that today and we'll also be adding all of the texture into our animation so we get all this nice crunchy uh wobbly lines on it as well so without any further ado let's just jump right into that let's go back to our main composition turn on our reference layer for the final time and we will drag it over the top so we can see what we're doing and let's add in some of these contents here so i have just an after effects logo i think i put it in the resources file if not it's just from wikipedia so i'm sure you'll be able to find it and we'll just drop that into our composition let's pop that on top and scale it down a little bit because it's too big let's just place that over our reference footage and again we haven't made a one-to-one creation here so i'm not worried too much about it being exact then we just need a piece of text that says 2021 really nice and simple this time around ctrl alt home of course to bring our anchor point to the middle and let's scale it up a little bit and you can see here that these letters are slightly more spaced out so i'm just going to select my text and we're just going to increase this uh kerning here until it's a little bit closer to what we want looks like i'm on a slightly wrong font so let's make it extra bold yeah extra bold is the font that we want of course you might be using your own fonts so just tweak that until it's roughly in the right position which it is and i believe that this is the blue color from my color palette but it's just on a different blending mode so i'll select that blue and pop it in like so let's drag our reference layer to the bottom and hide it and once more for the final time pre-compose and we'll just call this bit 2021. let's go inside 2021 here at frame 1 because we'll just then reposition it to the timing that we want and let's do this logo first because this is nice and easy so i'm going to keyframe my scale we're going to go about a second and give ourselves a couple of keyframes and on the first keyframe we'll just make that scale zero it's going to scale up like so let's hit f9 on those to give us a bit of easy easing whack our graph in the same way that we've done before by just dragging boom nice and simple um scaling up there and i'm just going to turn on the transparency background by toggling the extractive camera but it looks a little bit unnatural and boring so with the layer selected we're just going to go up to effects and presets and we're going to use warp to create some pucker and bloat which is my favorite word pucker and bloat um so we just want the one that is under distort warp there's quite a few so just make sure you're on the right one and we'll just drag that down onto our icon layer here now it's automatically gonna make it freak out a little bit but don't worry we do not want the water style to be arc we want the warp style to be bulge and as you can see here we can create a nice little bulging effect and we want the warp axis to be vertical let's see if we can't do something like inflate to make it look a little bit nicer yeah inflate looks much nicer let's choose inflate um so that bends on both axes which is great so let's go back to our first keyframe and halfway between that and our second keyframe so on frame 15 let's see let's add in another keyframe for scale and just make it slightly larger so now we've got it coming up scaling up and settling back down into place on our speed graph for this we want it to go from fast or slow so we'll just drag that second handle and the second one we want it to go from slow to fast so we get this nice settling into position kind of animation then we want our bend amount to be let's say negative 15 by the time it gets to here let's have it be positive 15. let's push it a bit further that looks hilarious then by the time it gets to the third frame the third keyframe here oops let's put the keyframes on that so 30 there and negative 15 on the start by time it gets back to here we actually want it to be at say negative 5 or so let's put it a negative 10 make it a bit better and then let's extend past it one more step and then go back to zero and that's just going to add a nice bit of overlapping animation for us let's put it exactly 15 frames after again let's f9 all those keyframes and we want this one to be the same kind of thing so we want it to hold its pucker and hold its bloat then this one we want to be slightly less influenced so now it comes in [Music] and now we get that nice little settling squishiness to it perfect okay great let's have after effects pop in and by the time it's finished and it's just settling in we'll have our 2021 animation begin so same thing we've done before let's right click these choose create shapes from text and let's hide our original layer and we'll duplicate this four times and then the same thing we've always done which is to twirl down the contents and delete all those bits that we don't need on each layer won't fast forward through this bit because there's only four and we'll rename them so that we don't get lost it's very important to label your layers and then again control alt and home and that places all of your anchor points in the middle for this one there we actually want them to be at the bottom so we'll grab our anchor point pan behind tool and we'll just drag them down you have to do it one layer at a time like so and just position it i've actually got a plugin called motion v2 which allows me to do it with one click which is very useful but you can just use the pan behind tool like we've done all the other times won't take you long these layers we're going to do a little bit of 3d which i thought might be fun so we're going to toggle our switches down here with this button until we see this um 3d column here and we're just going to drag until there's a little box in all of our 3d columns and that allows us to rotate these items in 3d space select all of them and press r and you'll notice now that you have a much more complex rotation panel and you can rotate all of these in 3d space so we're going to rotate them all 90 degrees and see what that looks like it might have to be slightly less than 90. let's make it slightly more than 90 and let's keyframe all of those orientations there let's go forward 30 frames although we'll probably end up squishing it and let's drag it so that they rock backwards they overshoot a little bit so 15 frames and put them back at normal and we should now have these letters overshooting and settling into place let's add some easy ease to all of these let's have them rock it into position so just select our middle keyframe and our last keyframe and just have them uh like the the m shape from before and let's take it a step further actually let's say another 15 frames and we'll just say another 10 frames let's have it overshoots by say like 5 degrees another 10 frames back to zero okay and now if we check these and we just press f9 to smooth those out we should have a slightly more complex settling animation let's have a look perfect there we go brilliant let's collapse these layers down let's alt open square bracket on the first keyframe so that they start in the right position and let's duplicate them control and shift and right square bracket to push them above it and then control and right say six frames and then open square bracket to push them over six frames then on this first layer let's get rid of the fill rubbish fill we don't want it and let's give it a yellow stroke of four pixels let's say but i want these to disappear as they flick up as like a little just a little precursor to that first bit so these are going to flick into position and by the time all four is way too chunky let's have it still be at two yeah by the time these blue ones catch up so let's say about there as soon as the yellows begin to overtake let's cut those layers okay select all of our layers with shift and i definitely want to speed this all up a bit so let's compress that down let's see what that looks like very nice although let's have the yellows cut here instead perfect now we just need to offset these layers so i'm going to select all of these layers uh we're going to go to position them all at the same start point essentially and just line up these keyframes from where we can press them let's say three frames an alt alt close square bracket to cut those off and let's do the same sequencing layers that we did before and then drag these guys back out we don't want these to appear any longer than their first keyframes but we do want all of these to just continue on for the entire length of the duration of the composition and now we have our shapes popping into position and popping out as well let's have a look at that that looks quite nice uh they appear a bit too early because they should appear on their keyframes so we'll just fix that so then they're already in motion by the time they pop up fantastic okay uh i believe these were on hard light blending mode so let's do that first of all which obviously won't change until we put it in our main composition so let's put it in our main composition when we want this to appear probably i'd say about there so let's just open square bracket oops on the correct layer 20 21 to push that there and look at our pretty much finished animation looking nice hopping in intro to motion graphics 2021 fantastic okay so the only last thing to do then is all the lovely stuff on top that makes this look crunchy and real so we'll do that with a simple um adjustment layer ctrl alt and y to create a new adjustment layer and i like to just call this one noise let's then add an effect and preset of noise and the amount of noise uh you want noise and grain and then noise underneath that the amount of noise depends on the overall size of your composition i find for a composition of this size about 10 looks quite nice for me just add some of that realness back in essentially everything looks a bit too digital you want to make it look a little bit more analog so just a touch of noise there then to create the rough and bumpy edges that you saw in the original let's just have a look at that you can see all these delicious crunchy edges like so we're going to use a turbulent displace effect not for not its intended use essentially let's just type in turb to bring up turbulent and displace and is under distort not noise and grain as turbulent displaced grab that and drag it onto our layer and everything's going to look suddenly very wobbly so let's zoom right in we basically want the size to be tiny so we're just going to crank that size all the way down oh and there's some of that lovely wobble already i find an amount of about 30 or perhaps 40 for this size works well the most important one is complexity if you drag all the way to the top to create all those lovely little bumps now this will make your computer render a bit slowly so what i find the best thing to do is whilst you're working on this is to turn this off and then just turn it on when you're ready to render essentially i think the final thing we did was take our 2021 and turn it to hard light on this above layer oh hard light maybe not maybe it was vivid light or maybe it was soft light maybe it was a multiply multiply there we go multiply it looks much nicer um sorry it's been a while since i actually made this in real life so there we have our finished thing the final step is to add our crumpled paper and our texture to our background so on our background layer from before we are just going to add a simple linear ramp sorry a simple gradient ramp not a linear ramp my fault gradient ramp there from underneath generate and it's just going to be very simple going from white to slightly gray just add a bit of texture to that background lovely job now on top of the noise layer we're going to bring in our assets which you can find in the description and these assets are our three pieces of crumpled plastic texture so i'm just going to drag those in to our project window and we're going to create a looping texture with these to do that i'm just going to grab my first one pop it onto my layer here and choose a blending mode that i like probably soft light let's have a look that makes it look a little bit dark let's try overlay again makes it look a little bit dark about screen screen makes it look a little bit too bright let's choose lighten for now light and loses a lot of that detail you can still see some of it but not enough for my mind so let's choose let's choose soft light which brings in a lot of the detail but reduces opacity to about 70 there that looks much nicer okay so using that i'm just going to pre-compose this layer right click pre-compose and we'll just call this texture and we'll move all the attributes into the new composition that's fine let's open up our texture comp and you can see that we have this file here now we actually want this to be a rather short composition so i'm going to zoom all the way in i'm going to press ctrl right maybe three frames and then ctrl shift d to split my layer and that just gives me three frames of this image let's duplicate that twice so we've got three copies and then using the other two textures with the layer selected in the layers panel and the layers the file selected in the project panel just hold alt and drag them over each other and they will replace that image so we'll do that with these two we can then offset these just by dragging them and you can feel free to play around with the size and scale and positioning until you get a texture that you're fond of for example on this last one i think there's too much information so i'm just going to reposition it like that and this one there's too much information at the top so we'll just reposition it there and this one i don't like that crumpled bit so we'll just do that as well so now we've got three pictures like so let's check what our frame rate for this is 30 frames per second so let's have these last say perhaps five frames so every half a second will have a loop that looks pretty nice if that feels too fast you can obviously just slow it down let's try it at a full second because you don't want it to be too distracting of a texture that looks a bit nicer to me so i'm now just going to trim this composition to be one second in length by going to one frame before one second and pressing n and then right click trim comp to work area and that's going to give us a one second looping composition okay let's go back now to our main and as you can see here it's changed our texture to normal so we'll just have to change that back to soft light and we can see it in action and you can kind of see it might not turn up on there on the video on youtube so maybe i'll just for youtube let's do it on a different one let's do it on overlay let's turn off our noise for now just until play about until you find the right thing you might choose multiply actually and then invert your texture layer that looks quite nice and then we could reduce the opacity of that down to say like 40. that looks pretty good actually let's keep that for now but obviously you can play around and choose whatever blending modes that you like let's now right click this layer choose time enable time remapping or the shortcut for that is control alt t let's alt click time remap and just type in loop out open and close parentheses semicolon this will make your animation loop but be careful because at the end of it you might get a single frame of blankness there okay this may happen every time or it may only happen on the first time so all i'm going to do is because it's happening on that first time is just clip that layer and move it over and now when we play we have a looping texture it does seem to have that flashing frame so instead what you can do is keyframe one frame before it and then delete it and that should fix it for you if it doesn't then you can choose to continually rasterize your layer by checking this box here and that will definitely stop the flicker there's just a few little i don't know if they're bugs or just i'm misusing the intended feature but i talk about it in my looping compositions tutorial anyway that should allow you then to just have your continuously looping file without it flickering i think that flicker is because it's the last frame in the composition and there is actually no technically no information there whereas if you choose continually rasterize it will continue that information essentially so let's just wait for this final little part to render and we can watch our finished animation in all its glory and go there you have it you are now officially a beginner at motion graphics well done for finishing this course um i hope you enjoyed this lesson series uh it's a bit of an update from an older series that i did i tried to incorporate some more modern techniques and some more interesting mograph for you guys uh apologies if it was a bit all over the place um i was trying to incorporate most of the basic stuff that you're gonna need to know to get working in after effects and i try to ramp up the speed per episode as well so you don't get bored repeating the same things if you have any feedback please let me know these longer series are kind of hard to judge so please do tell me in the comments anything you think i could improve for next time and hopefully i'll be able to do a more advanced series on motion graphics in the near future so thank you very much for watching everybody i really do appreciate it and i'll see you next time for another episode of tiptar congratulations once again massive thank yous once again to my level 2 and above members without whom tiptup would not be possible you guys are super delightful if you'd like to become a member of the tip-top zone you can click that join button below for exclusive perks and benefits remember to subscribe for more tips tricks and tutorials thanks for watching

Channel: TipTut

Views: 210,036

Keywords: animation, blender, adobe animate, grease pencil, adobe, after, effects, illustrations, illustrator, photoshop, flash, design, theory, graphic, tiptut, helpful, basic, easy, simple, tutorials, tutorial, tut, learn, beginner, friendly, creative, cloud, how to, how, motion, graphics, mograph, intro, to, full course, course, free, after effects animatio, intro to after effects, after effects tutorial for beginners, beginner after effects tutorial, AE

Id: ROw_Xnmg2W4

Length: 135min 11sec (8111 seconds)

Published: Mon Aug 01 2022