- Hello everyone, this is Evan Abrams, and in this After Effects tutorial, sponsored by VideoBlocks, we're gonna be creating
a delightful sliding glass pane slideshow, I dunno why I said "slide" twice, that looks something like this. This is something that I've been asked to do a bunch of times, so I guess it's pretty popular. You see you've got some footage on there, you have these sliding
glass panes going over it, y'know, we could throw in
some particles I guess. But the panes are distorting
what's under them, when we transition to something new. We'll talk about how
to expand this to have, like, a million panes or no panes, or, you know, pain in my butt. Or we're gonna just have a lot
of clips, not a lot of clips. But we'll talk also about,
kind of template design, and some of the big picture stuff. Yeah we're gonna technically do the thing, and if you wanna just do the
thing, you're welcome to. But, you know, stick around, we'll talk about more stuff hopefully. And then we'll do some real learning. Anyway, before we go into After Effects, you're probably gonna need some footage. And I also mentioned we are
sponsored in this episode by-- Episode? Do I have episodes? I dunno. I think tutorial, we're
sponsored by VideoBlocks, we're doing a thing that requires footage. Oh man, that's great
synergy, because VideoBlocks has 1.8 million clips
for you to choose from. So check that out. I think it's the largest
unlimited download library on the internet, so they say. Looks pretty large to me. So I recommend you check it out. There's actually a link in the description where you can enjoy seven days free access to all this royalty-free stuff. Yumyumyumyumnum. Enjoy 140 clips, download
those, they're yours for life. Enjoy, get those. And then, let's get into the tutorial. Okay, so we're here
inside of After Effects. The first thing you wanna
do is import some footage. Also if your After Effects doesn't look like my After Effects,
that could be because I am using version 13.8.0.144, the newest as of this sound recording. And that could be it. So, let's get that footage in here. So double clicking over
here, grab these footages, open them, yes please. And the first thing you'll
notice about the footage is, first the size, 1920 x 1080. That's the 1080p frame size. And you'll also notice they all kind of have different frame rates. We've got some 24s,
23s, 29s, and for this, I'm gonna start by
making a new composition. I'll call it Slide 1. And we're gonna use the HDTV 29.97 preset. You will need to pick something that's gonna be your final
input for this thing. So when you're doing montages, or when you're doing
arrangements of footages, when you're doing slideshows, you might not have all the same stuff. So you are gonna want to pick a common denominator for your stuff, and just be aware that, let's say, you have something that's
24 frames a second, and you're going up to 29, then, well, you'll lose,
y'know, roughly five frames every second as it tries to catch up, or you'll have to speed up the footage to make up the difference. Or, you can work with the
fewest number of frames. So the smallest number I had was 23.976. So maybe we should stick with that. And the duration that I'm gonna choose is how long one slide is gonna be. So how long do I wanna look
at one picture at a maximum, how long do I wanna look at one piece of footage as a maximum. And I think ten seconds is long enough. You might want longer,
you might want shorter, I dunno what you're doing,
I don't know your business. But that's it, we're set
up, we're good to go. And, yes please. So what we're gonna do, since
we're making a slideshow is I'm gonna wanna be able to duplicate this Slide 1 composition, you know, 10 times, 20 times, however many times, and replace very few
things to make a new thing. So, in the slide, I'm
gonna want the footage. So I'm just gonna drag
the footage down here, and we should probably reorganize
our stuff a little bit. So let's take all of these
footages, put them in a folder, call it Dootages Footages, good. And we've got a slide here, and when we have more slides,
we'll reorganize that. But for now, we've got a
slide, it's got footage, what do we want to do with this again? I think sliding panes
of stuff was the idea. But before that, there are some steps to do before we get there. I know for a fact that
no matter what we use, whether it's an image,
a picture, some video, this video happens to
have some motion in it. You know, we've got this
little tracking shot that goes through the woods, pretty nice. But if it was a different
piece of footage, maybe it was footage
like, maybe this sunset where the camera doesn't move at all, we're totally locked off. We want to put some
motion into this layer, and so that no matter how
boring the shot might be, this is not a boring shot,
but, if it's a photo, if it's something else, whatever
we switch this out with, we want it to still have
that dynamic movement to it. How would I either move this, or move something looking
at that like a camera? So I'm gonna make this 3D, and then I'm gonna go "New", "Camera...". And use the 24mm preset. Wonderful, I've got a camera in here. I'm gonna hit the old P button
to call up its position. I set one key frame over here, which is, by clicking the stopwatch. And then go to the very
end, and, let's just, shave 200 pixels off of that, so that it's constantly
pushing in a little bit. So I think that's a nice, nice movement. 'Cause if we have something
that's very static, we probably want to
jazz it up a little bit. And the other thing I
wanna do with this footage, because I'm gonna have
side-to-side sliding motion, I kinda want this to slide
side-to-side as well. So I think I'll bump this by
100 pixels in one direction. Cool. Then go to the end over here
and, you know, we'll just go 100 pixels from baseline
in the other direction. And that causes us to be, we
have this little edge here that is not very attractive. But don't worry, we're gonna get smooth there by the end of this thing. I have a feeling, I have kind of a feeling I know where this thing goes. So we've got this subtly
moving thing in the background, and I think we're able
to, now, safely move on and put those glass panes in front of it. So like I said, for our base layer, we can use any kind of layer. Anything that has information on it. It could be a composition
full of other stuff too. So I could precompose this like so, and just call this "Footage!" Or (mumbling) "Footage 1". Just because then if you wanna come in here and mess with this, they go into Footage 1, they could put whatever they want in here. So, great. Remember, we've got footage on the bottom followed by a new adjustment
layer on top of that. And this adjustment layer is
gonna be those glass panes. Now, adjustment layers are
not the same as other layers. I got this little box checked here, and, for those of you who are not aware, nothing you put on the adjustment layer is really going to affect it. It's sort of like a lens through
which we view other layers. So if I, for example, got to the effects, and I put a tint on this layer, this layer doesn't get tinted, but anything under it is tinted. So we put a tint on there. And let's tint it down, 5% tinting. So barely noticeable tinting. Let's also put on here a curves. Some curves, that could be fun. And with the curves, I
think what I wanna do is adjust the reds, adjust the reds like so, and then I think I wanna adjust the blues the opposite direction, like this, causing what we call cross process, good. But the big thing about the
glass is not that it's tinting, it's not that it's altering the color, we'll just switch those like that, so it curves first, and then tints. But the thing it does, is it magnifies. And thankfully, a lot of
the effects in After Effects are named for what they do. So you wanna magnify the layer, well, we got distort, magnify,
enjoy, drop that in. Magnify cases this
little circle to show up because our shape is circle. I want that to be a square, please. And the magnification, I
mean, it can be pretty big, can be zero, like 100%,
but let's just go to 110. That should be fine for now. And then we can make the scaling soft, we can make it scatter. We can, this is sort of a quality thing. Change the blending mode. The big thing we're interested in is the magnification and the size. The size is, how big is the square. And this is important
because the magnify effect is applied to the frame,
and everything about it is relative to the frame. So you can see the square there, I hope, and if we take the adjustment
layer, and I move it, see that square doesn't
stay in the same spot? The boundary for the
adjustment layer has moved, but the square is in the same spot. Because it's defined by this center here. So if I move it over
here, I move it over here, that's how you move this. Not by moving the layer. So I'll just go ahead
and reset that value, I'll go ahead and position,
I'll go reset this value. What we wanna do is make the square so big that covers the entire thing without us having to do very much stuff. So 1080 is probably
gonna be a very safe size to take over the whole frame. If your frame is smaller, smaller number. If your frame is bigger, bigger number. So we've got it magnifying, we've got it changing the color of it, we've got it tinting a bit. Let's also make it blur a bit. So many blurs, ♫ So many blurs I think the blur I'm interested in is the obsolete fast blur. It's no longer cool. And make sure you have
"repeat edge pixels" on. I think 10, 10 blurriness is fine. Might not be fine for you. What's right for me might
not be fine for you. ♫ It takes Diff'rent Strokes We've got this. So I think that's working out. Now if we just animated this over, it'd be (imitates machinery noise). That seems to be working, so, good. We don't want it to be this wide, though. I don't think the glass panes
ever need to be super big. So what I'm gonna do is,
I'm going to scale it down. And unclick this link. And then we're going to scale it down. Scale it down 25%, sure. And, so now we've got this glass pane. I think that's working out alright. But the glass panes, we want
to have a little edge on them. We want those edges to be
magnifying in a different way than the rest of these things are. And how will we do this? Well, we are going to duplicate
this particular thing, so we've got one adjustment layer, and we're gonna call it "Main Adjustment". And let's call this one, let's call this one, "Edge 1 Adjustment". So we know this is for the main stuff, and this will be just
for one of the edges. And, 'cause we wanna line
this up in a very good way, let's go changing its
anchor point by hitting A, set the anchor point to 960,0, meaning the anchor point is
now here on one of its edges. And we're going to parent,
parent one of these to the other, so the edge is parented to the main. And then we're going to change its position to also be at zero. So it hasn't moved but
if we scale this down, we scale it down to be like this. And already, we've got this
brighter edge, wonderful. And we can rotate this, and
move it around, and woo! It's doing the things! Awesome! But I don't think, I don't think this is everything that I want this edge to do. I would like it to tint more,
a 10% tint would be good. The blurriness is okay, but it's not the kind of blurriness I want. So I'm gonna delete that. The magnify, I'm down with. The curves, we don't really
need the curves on there. But I would like, would like
a blur that is directional. I want this only to blur in one direction. And I kinda wanna have control over this, 'cause you might want it to
be blurring a lot, maybe, blurring at 50. And maybe you want to have this sort of match the angle that your stuff is at. So if we wanna angle these at 45 degrees, maybe we angle this at 45 degrees. But right now I think it's doing a good job going vertically, we'll touch that up later. So we've got this, we've got that, and the next thing, I think, is make use of a brightness
and contrast change. And we're going to make it, let's make this a little bit brighter. So this'll be the bright edge. And the contrasting, make it
a little less contrasting, like maybe this edge is kind of frosted. Or you can make it more contrasting, maybe as the light refracts through it. These are all choices that
you have to make for yourself. So, I'll just go ahead
and reset that rotation, and stick it back in the middle here, just so we don't lose track of it. Okay. So we've got one edge. I think that edge is a little bit too big. Two, eh, three, 'kay, that's good. Let's make another one, let's,
if we've got a bright edge, we should have a dark edge. So let's duplicate that, and y'know, edge two adjustment. So since we want darker,
we know, just, minus this, and 30 contrast is good. But its location is not good. So call up its position,
call up its anchor point, and change this numbers to
be matching the other edge, so that the anchor point on
it is now moved to 960, 1080. Its position relative to
its parent is now 960, 1080. So we get these two edges. I think that's working out pretty well. The next thing that we're
gonna wanna do though, is to take these, and we are
gonna want them to be 3D. And we want them to be 3D because a camera's moving in towards them, and if they're not in 3D, they're not gonna
interact in the same way. So let's click this box
and make them 3D also. So that when the camera
moves forwards, good. So, it's moving with them. And we might wanna have
10 of these things, we might wanna have,
like, 50 of these things, we don't know. But I do know, I don't wanna make, like, three of these every time, so let's precompose them. Let's go, command+shift+c precompose, and let's call this "Pane". And we're gonna move all the attributes into the new composition, 'cause that's the only choice we have. And please open the new
composition as well. And we're gonna hit okay. And in here, as you can
see, there is nothing. Nothing going on. These layers are still here,
but they're adjusting nothing. So that's not very interesting. We go here into Slide 1, and, it looks like there's also
nothing going on in here. And that's because we need to hit this collapse transformation button. And what this does is it takes everything that's in this composition inside Slide 1, and brings it out here. So everything in Slide 1 is out here now. And now we just need to make it 3D, so we can manipulate it around. And then we can just, just
rotate this as we like. So we'll just go (clicks tongue) What do you think, 60 degrees? That looks okay, cool. So there you go, we've got
one pane sliding across, ooh, boy, so we can do that. Now if we duplicate this a bunch of times, so we make one up here, we
make one overlapping here, we make one over here. You know, we could just
make a bunch of them, and I think we are good to go. But if you wanna alter
the pane is some way, like, "Oh, man, I don't think, "doesn't need to magnify that much. "Do this." Well then that change
will populate out here. And similarly, if you wanna
add some stuff in here, like I've just decided that
this requires a gradient on it, like a gradient kind of shine on it. I think the best way to
do that is to have it run, this is the dark edge here,
this is the bright edge here. So I'm gonna duplicate this layer, and instead of being an adjustment layer, I'm gonna click this, and
that, no longer adjusting. And it doesn't need any of
these effects, get rid of those. What it does need is a gradient, a gradient ramp. Yours might not be called gradient ramp, I don't know what yours is called. But we're gonna set that in there, we're gonna go to its
toggle switches modes, and then we're gonna
go to the mode of Add. And if you're like me, and
you work on (mumbling) screen, for tutorial making, toggling switches and
modes just does that. Out here, you can see these
are all set to Add now. If I set this to normal, like this, then these are all now set to normal. So we go back in here, definitely have, that's definitely the winner. And its transparency, we
bring that way down, thanks. So that looks good. And then we get this
kind of thing going on. Ooh, pretty, pretty fancy. So now we've got these panes set up. If we want to make changes to them, we can go ahead and do that. But I think the thing we want to do with them is make them move around. Am I right, people? Am I right? So, let's do just that. First, I think we need some variety. So we've got, I dunno, a bunch of them. Let's make more of them. Let's make some of them scaled up. Let's scale some of these, like this. Let's make some wider ones. Let's maybe make some 200 wide ones, cool. I'm gonna change the color
so that we can remember you know, these are
sort of the bigger ones. And let's scale these down, I think. Let's make them half
size, so we will remember. Lavender, no, pink maybe? That's the same color as the camera. I dunno, sea foam, sure. So we've got small ones,
we've got big ones, we've got medium ones. Let's also offset them in space, so that as we move forward, some of them are gonna be moving a
little bit more than others. So let's call up their positions, and I kinda wanna put them in order. Since we're working on adjustment layers, they're gonna force their order onto us. So they will ignore, visually, which one is in three
dimensions, closer or further. They'll only remember what
order they are in the layers. So let's kinda randomize it a little bit. This, this, this, this, this. Yeah, it looks okay. And then, starting at the
top, let's make you minus 500, so its getting closer to the camera. Minus 400, minus 300, cool. Next, minus 200, good. And finally, minus 100. And then, ooh boy, whoopsies,
screwed this one up. Let's go minus 600 and
then move it up to the top. Oh boy, even I make mistakes. So as you can see, that is now altered. These things, as we move closer to this, they seem to be drifting a little bit. That's a little bit of motion already, and we haven't even moved them. But. We're gonna set position
key frames for them all. We are going to move them, let's move them out of
frame for some of them. Move you out of frame over here, great. Let's move you over
here, I think, very good. And let's move you over here, great. And let's move you over here,
and move you over here, sure. Okay, good. So we've got all these things, maybe even further, that are starting like this. And then when they end, when they end, we sort of want to compose
our busy busy frame with all the things we
wanna stick on here. So move the things into
position, and we go, let's have this thing just
kinda careen through into here. Let's have this big
fella come on like this, kinda framing up, framing up the shot with these things, like this. And maybe something like that. Hm, how am I feeling about this. Eh, (thoughtful noises),
feeling okay I suppose. Maybe I need to scale
these down a little bit, maybe that's too big, I dunno. Maybe in here, I think, well, now I think that dark edge is probably too big. So I'll just drop that down a little bit. Alright, and go back
in, yeah, that's okay. Let's drop it down even more. Good, okay. This is something I can live with. If it's kinda boring, though, the way they're coming in
is not doing it for me. So call up all of the
position key frames here, and let's go into the graph editor. And select all those properties
of all those key frames. And hopefully your graph
editor looks like mine. I toggle it with this. But if not, you might need
to look at a speed graph and set up a value graph. So a value graph would look like this. A speed graph would look like this. And then in here, select everything, and we're going to (mumbling). You're gonna hit F9, you
can click this button. Now what this is telling us, is before, everything was at
a constant speed over time. But this is telling us
it is doing nothing here, getting faster, and then
coming back to nothing. So I'm gonna pull this handle like this, so that its ending nothing
is a lot more influential. And then its beginning nothing
is not influential at all. So it's gonna start as fast as possible, and then drift, gently drifting, and wonderful, this
wonderful, gentle drifting for the rest of this thing as we push in. And you might also wanna
like, tweak these around. This is the time when
you're gonna play around with these things to really make it, make it do what you want. And hopefully it does. Anyway, you play around with
it, you do what you gotta do. The last thing that you need
to do is bring this footage on in some way, so it's not
just, bleh, hangin' out. We've got these angled things coming in, why don't we use one of them? Gimme, gimme one of these
gimme the biggest one, maybe. Eh, actually give me the averagest one. So I'm gonna duplicate this
one, and I'm gonna call it, eh, let's call it "Transition Pane". And the transition pane,
I hit P on that one. And we're going to clear those key frames, click the stopwatch, get rid of them. Set it to zero, on the Z axis, so it's right down, against the footage. Move it down to be right on
top of the footage, great. And let's solo those,
let's only look at these. That's all we're interested in looking at. So this one on top of this one, good. And we will be key framing its position to go from totally off out here, and then, and now it should be totally on within, let's say 20 frames, probably. Bop, bop. Right here, 20 frames, we
should be all the way across, perfectly wonderful, good. And the type of motion we want, we wanna go back into that graph editor, we're gonna ease them, we're gonna go into that graph editor, we are going to push this one like so. And this one, we're gonna go 66%. That seems good. So it's gonna just come in, (imitates airplane noises),
pretty fast, cruisin' by. We wanna extend this a
little bit, so it doesn't, doesn't totally get lost. We still wanna see it, we still wanna appreciate what's going on, I think. Good. But, we need it to reveal this footage. So let's go and make
something helpful for that. So let's go, Layer, New, Solid. Wonderful, Make Comp Size. So we got this solid,
and let's make it 3D, and parent it to the transition pane. And when we do, hold down shift, and that'll get this
to sort of snap onto it so that it sticks to the
other one, and moves itself, get those anchor points
on top of each other. Great. Now let's also change that anchor point, so that it's right the edge, 1080, you know how we do. Then we wanna change its
position by grabbing this thing, and going like that, just drag
it down so it's right there on that, holding down
command and locking it in. Or, you can do the math to get it in the exact correct position. The next thing we need to do is, make sure that once this has gone,
slid all the way across, that this black solid here is
taking up the entire screen. So we can do that by sort of
dragging this out like this, and then coming down like so. You know, it's a little
bit janky but it does work. Do do do do, oop. So let's scale up please, move this up please, good. And last but not least,
this is the big thing. We've used modes, now we're
gonna use the track matte. So let's go to the switches/modes, go to Footage 1, and tell it to alpha matte of the black solid. Meaning, that this layer will ask the layer above it, "The layer above, what should I be doing?" and it will say, "You should be visible "wherever I am visible." And then, that's what you see. So anywhere this red thing
is, this thing also is, and that looks like this. So this is, whee, comin' on like so. Now the only thing left
to do is scale this up so we don't have any
more of this going on, any more of that nonsense. That looks like it does it, let's go a little bit further for safety. And, (imitates airplane noises), ah, wonderful. Now we'll take this solo off,
so we can see everything. (imitates airplane noises) Alright. And so we've got these panes over here, that kinda come outta nowhere. Maybe you wanna adjust
those out of the way. Maybe you wanna keep them though, and I'll show you why, in the next part, when we take this and stick it somewhere else. So we are gonna take
this thing, this Slide 1, and let's duplicate it. And we'll duplicate it,
we'll make Slide number 2, duplicate that, make Slide number 3. If we go into Slide 2, we can,
you know, we can go in here, and we can, you know, move
a bunch of the stuff around, and say, "Ooh, this should be here," or, y'know, "This should end, "this should end somewhere else. "This should end, like,
here seems pretty good." Switch these things around, make something interesting
out of all of them. Have a little variety in your day. And then we need
different footage in here. So we should duplicate
footage 1 to make footage 2. And when we go into footage
2, we grab this thing, and we replace it with this, I guess. Or holding down alt,
and then we're dragging onto the new thing. And if we duplicate
footage 2 into footage 3, we repeat the process like this. Or maybe we, like that. The cityscape, great. So we've got these footage containers. And we've also got Slide 2 and Slide 3, so in Slide 3, let's go to footage 1, replace it with Footage 3. Then in Slide 2, we replace
Footage 1 with Footage 2, so Footage 2 is in Slide
2, Footage 3 in Slide 3. And what we end up with
is three different slides. Now, take these three slides, and put them in a new
composition, like so. We would like it to be
a single composition. We would like to sequence
the layers, please. Let's overlap them, great. And that sounds good. And we're gonna go "okay". And it's gonna create this, which is kind of wrong for our purposes. We want it to be so that
Slide 1 is under everything, and then on top of it
is Slide 2, and so on. So that here, where
they overlap each other. So I'm gonna set my
work area here and here so we can observe that. We want them to get a little weird. So you can see, (imitates
airplane noises), this pane's coming in nice. Ooh, that's pretty funky! Nice. Now you can also, as we learned about collapsing transformations already, what would happen if you did that in here. Well, then you get the panes
interacting with each other. Unfortunately, you lose
that camera motion, so something to consider as well. But, yeah, that's pretty much it. You've made a slideshow. Now, you're probably thinking, "Evan, you put text in yours." You're right, I did put text in mine. You would do that exactly the same as you've done to reveal
this footage here. So, I would duplicate this,
make another transition, and I would put it up in the middle, like in the midst of these things. And then I would just offset
it in time a little bit like so, so the text is coming on after. And then you just need
to make a text layer. So I'm gonna go command+T, text! Like this, that's pretty great. And you can start at
the same time as this. It could be made 3D,
I think so, thank you. And, where should it be, though? Let's look at this stuff from the top. And I think it should be
between the layers, right? So if it's gonna be in
between them in a stack, here, it should be in between them here so it makes sense visually. And then we return to the active camera. We position this somewhere. And then we should treat the text, we should treat the text real nice. So what we're gonna do is
put some effects on that. Effects like a ramp, a gradient ramp, ooh, sweet gradient ramp. And like this, just move
these things around. Oops, swap those please. And the other things that were done were maybe a a bevel of the alpha, and maybe a cc light sweep. Yeah, let's do that. And then, you know, we can
try to have this light sweep perhaps make all the light kind of match, or go counter to the
sort of light scenario that we're kind of showing
off with this stuff. But I do like to sort of make sure that this is actually being animated while
everything else is animating so that this sweep is kind
of like (imitates airplane) shining going acrosst everything. Acrosst? Oh boy. And finally have a
little drop shadow on it. Just a little, little droppy shadow. Little droppy-poo back there. Alright, softness? Yeah, definitely soften that up please. And that should do it. Then you've got some text,
you know, hiding in the back, being affected by all these layers, and then finally being sort of revealed. And then people can enjoy
reading that text, I guess. Or not, maybe they won't enjoy it at all, I don't know. Maybe put something
offensive in your text, I can't say. But, (mumbling). So this thing here, that
has been named Slide 4, that should instead be
named like, "Export Me!" if this was a template,
so people would know to come in and export this. First question's probably
racing through your mind is, "Oh man, I need to add 10 more slides!" Well then, you need to go
here, Composition Settings, increase the length of this, y'know, just three minutes or something. So many minutes. Duplicate these, bam. Put them up like this,
move them over like so, overlap them if you so desire, y'know. And that overlap is key because, y'know, this one starts to come on, you get that line coming through. And then you would just
duplicate some slides so we would get Slides 4,5,6, we would get Footages 4,5,6. We would swap out the footages in here, so this gets swapped with this, or with this. And then we would go back into Slide 4, and then down to here, and Footage 4 goes here. But you can see how, if
you were making a template, that you would wanna tell people, "Alright, export me", and put all of these slides
into something like, that says, "Don't touch me!" And all of these footages here, and put those in something that says, "It's cool to touch me!" and you could have people go
in here, replace the footages, there you go. And people are away at the races. And like I said, use photos, use videos, use whatever you need. Use drawings, as long as it is a layer, and you can put it in there, you are fine. Well, thank you so much for watching, hopefully that worked out for you. If it didn't, if you ran into troubles, let me know in the comments. If you're familiar with this channel, you know I try to respond to everybody. There are no silly questions. (laughs) That's not true. "Evan, how do you make a pie?" That is a silly question, 'cause I'm an expert pie maker,
I will not share my secrets. But if you have troubles
with this specific tutorial, just let me know in the comments, and I'll try to get back
to you as soon as I can. If you have questions about
After Effects in general, hit me up on twitter,
at ECAbrams on there, or get involved on the Facebook. Links to all that in the description. And speaking of links that
are in the description, hey, how 'bout that seven
day free trial of VideoBlocks who sponsored this tutorial. Click the link down there,
it should be above the fold so that you can enjoy it, or, y'know, if you don't
like reading that stuff and you just wanna type what I say, go to videoblocks.com/youtube
and go there, get this stuff. So again, if this is the kind of thing you enjoy, subscribe to this channel. If you have trouble, let
me know in the comments, and if you wanna see more of these videos, well, check out the rest of
the videos on the channel! There's a bunch of them,
it goes back a long way, 'cause I've been doing this for a while, so check 'em out. But if you want future stuff,
you've gotta subscribe. And, you know, lemme
know if you enjoyed this, thumbs up, thumbs down,
that kind of thing. And I guess I'll see
you around the internet. Thanks for watching, and have a great day. Slide! (heavy dance beat)
