(magical jingle) Well, hey everybody. Welcome into this Adobe After Effects tutorial, brought to you by tutvid.com, my name is Nathaniel Dodson. Today we're going to take a look at this very cool, simple, beautiful, but so smooth, title or animation effect that we're going to create here in Adobe After Effects. You can see the example popping up the screen now, pretty clear. Pretty simple, pretty cool looking. Let's cut this intro thing short, because we all hate intros, and jump into After Effects right now, and check this thing out. Well, alright, alright, here we are in Adobe After Effects, and the first thing that I think you need to do is go ahead and create a new composition. Now, I have a new composition, but I am working with a 2560x1440 composition at a frame rate of 60fps. The background color can be whatever you want it to be. We're going to be covering that up. I'm also going, as you can see, with a duration of 15 seconds. I'm going to cancel this, because I have my composition here and it's called recorded title. Now, I have a little stock photo from unsplash. I've got a link for this exact stock photo down in the description to the video. It's quite just an awesome looking stock photo here. I am going to choose to zoom, just a little bit more. Maybe to 50%. Just so I can really see what's going on. I'm going to grab my selection tool up here, and I'm going to size this little photo down. In fact, I'm going to bring up my align panel over here. And I'm going to align to the composition and just get this thing centered up perfectly first. And you know what? It's pretty much sized down as small as I want it to be. I could fuss with it a little bit more. Maybe bring it down a touch. But I think I'll leave it there. I am going to go ahead and hit the little lock icon to lock this layer up. So make sure you finish up your positioning, get it how you want it to look, boom. Lock it in place. Then I'm going to right click down here and choose new, I'm going to choose to create a new solid, see that? Solid, nice and easy, right? And I don't need to mess with anything except - well, I'll just name it black fill, or something like that. And the color, of course, is going to be solid black. I'm going to hit OK. And I'm going to hit OK. It places black fill, which covers up my image. That's a problem, right? Not really. We want it to do that, but we just want to reduce the opacity. We're going to do that by hitting the letter 't,' which is going to bring up the opacity slider for the black fill. Bit of a mouthful, but I think you're hanging with me, right? We can set this to 50% opacity which is going to effectively reduce the contrast in this background image. Darken things up a little bit. Give us some nice, just background separation when we create our little title. I'm going to collapse the black fill, as well, by hitting the little toggle flyout arrow, right there. And then I'm also going to hit the lock icon for this layer, as well, to just lock that layer up so we don't mess with it, adjust it, change it in any way, shape, or form, as we build out our animation. Now comes the time to begin creating some shapes. This is where the good stuff comes into play. So let's grab our rectangle tool here, and drag out a rectangle. As you can see, it's a totally random rectangle. Any size, any shape, anywhere on your document. We're going to change all that in a moment by coming down here to the shape layer. Open up contents, open up rectangle one, open up rectangle path one, and here in the size, we're first going to shut off the constrain proportions little link-y link icon. And I'm going to set this to a specified pre-determined width of 985 wide, and the height is going to be 235 pixels. So, there you go. Just like that. Looking good; looking strong. I love it. The only thing I don't like is my anchor point is hovering out there in no man's land. So I'm going to use the hotkey CMD+OPT, that would be CTRL+ALT on the PC. And I'm going to come up here and double click on the pan behind the anchor point tool. That's going to just realign my anchor point to the middle of our shape. I'm going to grab my selection tool once more, and we are going to use our align panel again to align this shape horizontally. Align it vertically. And there we go. Our very first shape in the middle of our composition. I know I'm moving a little fast, if you're having trouble following along, or I should say, having trouble following along, if I can pronounce these words correctly... Just try to slow the video down, or just use the pause button liberally. We're going to try to get through this at a brisk pace, so as not to bore anybody. Alright, I'm going to just collapse that layer for a quick second, and I'm going to name this layer, just by hitting the ENTER/RETURN key. You can see, it activates so you can name this. And I'm going to name this "white shape." I know it seems rather literal, but trust me, it's going to help out later on when we're really messing around with this a bunch. Now, I'm going to hit CMD/CTRL+D to duplicate "white shape," I'm going to hit ENTER/RETURN again, and I'm going to rename this "green shape." And well, we need to fill it with some green, so I'm going to open it up again. I'm going to go down to contents. Go down to rectangle one. Down here to fill one. So, we have one fill within our rectangle, and sure enough, the fill contains a color. So, we're going to - and, by the way, I should have mentioned, my white shape, it's got a white fill, but it has no stroke. If you have a stroke, you can hit the word stroke, and you can just say, yeah, get rid of that stroke. But I didn't have a stroke on it. So, I just have a nice, white fill, that's all I want. And for this, I just want a nice green fill. And the exact green that I want, let's go with 7dba00. So you can see, a nice, very, very bright, vibrant green. I'm going to hit OK. Looking good. And now that I have that, I'm going to deselect those layers, and I'm going to grab my text tool up here. And I'm going to click once, and what I'm going to do, is I'm going to type out the word "northern lights," two words, actually. It's two words. One, two. Northern and lights. And then I am going to commit this change by hitting CMD+RETURN, that's CTRL+ENTER on the PC. I want to make a couple changes to this. So over here in my character channel, I actually like the Bebas in terms of the font family. This is a free font. I believe you can get it over at fontsquirrel.com, if you're interested in it. It's the font that I'm going to roll with. I'm going to go with 150 pixels for my size. And I'm going to change the color here. So, I'm just going to hit the little fill color rectangle - or, not really rectangle. Thumbnail, I should say. And I'm going to change this color to 111a27. So it's going to be a very deep blueish, purple - eh, it's probably more blue based on where it is on the hue there. I have a difficult time seeing blues and purples. And what I'm going to do now with this, is once more, hold down CMD+OPT, that would be CTRL+ALT, double click that pan behind tool. And then, I'm going to use my align panel here, and align this guy horizontal, vertical, center of my composition, as well. And you can see, now, we've got "northern lights" splayed across our green rectangle, looking as good as ever. Alright, once more, we'll grab our type tool. Now, we're going to type out - we're going to give this a location. So, not only are we going this is northern lights, but I happen to know that this is Kirkjufell, I believe that's the proper way to pronounce it. Or, Kirk-HU-fell, maybe with that 'j' in there. Kirkjufell, Iceland. That's our location for this. And I'm going to set the size here to 95 pixels. Big shout out to Kirkjufell. What a beautiful place, right? And then I'm going to go with my fill color. We're going to make this white. I'm going to hit OK. And once again, I'm just going to double tap, holding down CMD+OPT, or CTRL+ALT, the pan behind tool. Grab my selection tool. Let's use our align panel. Align this guy to the horizontal centers. And what I'm going to do here, is I'm going to zoom in a little. And I'm going to drag it straight up while holding down my SHIFT key, just until the letters basically touch the bottom of the green. And I want to just bump it 100 pixels down from this point. So, the way I'm going to do this, just nice and simply, is hit the letter 'p,' and you can see, this opens up the position parameter here in my layers panel. And this 875 right here, this is my y-axis, this is the up and down movement. So I want to push this up 100 pixels. So, 875.9 is basically 876. So, let's make this 976. Boom. We've got our spacing, and it looks just right. I'm going to zoom out a little bit here, and you can see, we're establishing the base of our nice, clean title. Now, hang with me. I know you're getting antsy. I know we want to start animating. Trust me, I do too. But in order to build a beautiful building, you gotta have a solid foundation. We're trying to set that foundation right now. And we're almost done with it. Just got to add a couple more graphical elements. Let's zoom in on this, just a little bit here. And what I want to do, I want to grab my rectangle tool again. By the way, it's important that when you create a new rectangle shape, you don't have one of your other layers selected. If I have one of those layers selected, and I grab the rectangle tool, and just go and drag out a rectangle, it's going to create a mask for the selected layers. A little quirky thing, if you're not used to working in After Effects. Just bear that in mind. Just make sure you go ahead and click out here, or wherever, and just deselect any potentially selected layer. And then we're going to drag out a nice, thin rectangle. And you can see, we get a beautiful, new shape layer. In fact, I'm going to select that shape layer, hit ENTER/RETURN, and I'm just going to call this, "bar," because we are going to make ourselves a little bar here. I'm going to set the size of this bar. And I'm going to set the size here within the contents of my rectangle, by opening up rectangle one. I'm going to rectangle path one. And here under size, once again, I'm going to uncheck that little, constrained proportions link. And I'm going to set this to have a width of 1040, and a height of a mere 5 pixels. It's going to be a very, very thin, little line that we're creating. And now that I've set our size, what I'm going to do, is well - make sure I have it selected. And I'm going to hold down CMD+OPT, just like we've been doing all along here. Double click that pan behind tool, just to get a nice, centered up anchor point. I'm going to grab my selection tool once again. I'm going to open my align panel, well it's open already. I'm going to align horizontally here to my composition. And then I'm just going to use my arrow keys. And I'll probably nudge it up. I'm just going to eye it up. Make sure it looks like it's about halfway between the northern lights banner, and the Kirkjufell, Iceland little bit of text down here. I think that looks about right. I think good enough for what we're doing for right now. Now, again, make sure I have nothing selected down here, and I'm going to select my rectangle tool icon, and choose ellipse tool. Again, we're just going with a white fill and no stroke. I'm going to drag out while holding down SHIFT a nice, little circle. An ellipse, a circle, you know, whatever. Tomato, tomato, right? I'm going to - well, I'm actually not going to change the name yet. We're going to go to contents, ellipse, ellipse path one. Now I'm going to leave the constrained proportions link, on because I want this to be a perfect circle no matter what I do. And I'm going to make it 25, and you can see it's going to go 25x25. It's a nice, little circle there. And I'm going to drag this guy over. And what I want to do, I'm actually going to CMD+OPT and double click my pan behind tool again to just get my anchor to the center of my little ellipse. I want to align this to the center of the document, and then nudge it out so that it's stuck to the end of this bar. So I'm going to align it to the horizontal center here. And then I think everything from here is going to be a little manual. I'm going to go ahead and choose my selection tool. I'm going to bump this up a few pixels this way. Is it just me, or does this look like an oval than a perfect circle? It does there. I'm going to zoom out. I'm going to undo this a couple times, because I think I must have messed something up. Hang on. Hang with me here. We can all be a beginner together, right? Alright, so this is a - that's a perfect circle. Select that. Let's bring this down to 25. Let's double check it. Alright, still looks like a circle. Let's go ahead and double click for the pan behind option. Still looks like a circle. Alright, maybe I just made some dumb little mistake. I think I must have. Alright, I'm going to select this now, I'm going to nudge it upward until it's about at the very center of my line. The bar that I created. Something like that looks good. And then what I'm going to do, is I'm going to slide it all the way out to the edge. But I'm afraid I'm going to mess things up. So what I'm going to do, is with this shape layer selected over here. I'm going to hit the 'p,' and that's going to bring up my position parameter. And if this 886 is the up and down, the y-axis, 1280 is the x-axis. So I can just click on that number and drag to the left. And you can see, that circle is dragging over, dragging over. And if I deselect, you can see, we're a little beyond the line. And maybe you want a little gap there. I don't know that I really want that little gap. So I'm just going to nudge it over til it's just - boop! just touching the edge of the line. Just like that. I think that's good. I think that looks nice. I'll zoom back in on this a little bit. And now we basically want to duplicate this little circle over to the other side over here. So, I'm going to select the shape layer, and I'm going to hit CMD/CTRL+D, it's going to duplicate that. Great. I'm going to hit the letter 'p' to open up positioning. And I'm just going to hover over 749 here, and I'm going to drag way over to the other side, and we'll try to do the same kind of thing. Where we just nudge it right into place, until it looks right. Is that right? Is that not? Can I push it a little bit further? Whoa, that's a little bit too far. Maybe we've got to leave it at 1812, and that's probably about where we want this to be. Not necessarily the most scientific way to do this... But you know, it works for me. I'll put it you that way. Alright, let's just name these two shape layers. I'm going to hit ENTER/RETURN here. This is the right ball, so I'm going to go "right," if I can spell right correctly. "Right ball." And this guy over here, I'm going to hit ENTER/RETURN and this is "left ball." Great. I'm going to collapse those layers. Voila. And now, if I zoom out, we have our initial base artwork. Now, ladies and gentlemen, it is time to begin our animation. Let's zoom in on this a little bit. A lot bit, actually, if I'm looking at it that way. I'm going to select my white shape here. This is what we're going to begin with. I'm going to hit the letter 's' to bring up my scaling, and we want to animate this out first. Now, we're not really going to see this animation until we animate the green, because the green shape is covering this up. So I'm going to hit the little eyeball icon here to shut off my green layer. Just so I can see what's going on with the white layer. I'm going to move out to 15 frames, but in order to see this a little bit easier, I'm just going to zoom in here on the timeline. You can see here now, we see, five frames, 10 frames, 15 frames. So I'm going to move out here to 15 frames. And what I'm going to do, is I'm going to go ahead and, first of all, unlink the proportions because we're only going to be scaling horizontally. And I'm going to hit the little stopwatch icon which is going to drop a keyframe out there. Because this is actually the finished position. This is what we want to scale to, if you will. Then I'm going to come back here to zero frames, and I want to just animate horizontally, so it looks like this folds out from the middle. And, by the way, it's going to fold out from wherever that center anchor point is. So, if the anchor is not in the dead center, you can use that CMD+OPT, or CTRL+ALT, double click that pan behind anchor tool to just realign that there. We're going to set our horizontal to 0%. So now what's going to happen if I scroll along this on my timeline. If I play through it. You're going to see that we get this nice animation out. Now, I want to make it a little smoother. So I'm going to hold down SHIFT, and I'm going to make sure that I click on both of the keyframes. See, they're both selected? They're both nice and blue. And then we're just going to hit F9, which is going to give me this easy easing. Which is just, I don't know, it just lends itself to a nicer, smoother, more professional looking animation. You can see, we get this nice, little white whoop! whipout animation. Looks pretty cool. Maybe we can even do with these two keyframes selected; we can hit our graph editor icon right here, and we can just give this a little bump-di-boo right here at the end. What that's going to do, is it's just going to animate past where we set it to animate, and snap back into place. So if I get out of it and come back to here and play through this now. You're going to see, we just have a little - just a little snap on the end of it, right? Just a subtle, little effect. But when it comes to this kind of animation, the subtleties are key. Now, let's go and turn on our green shape again. I can collapse my white shape. Select green shape, and we're going to animate position here. So we're going to go ahead and hit the letter 'p.' Now, we're going to move out to the thirtieth frame. So, 30f, you can see right there in your timemarker, by the way. You get - you're at the thirtieth frame exactly. And we're going to drop a position keyframe here. I'm sorry - not a position keyframe. We want to hit 's' because we're working with scaling. We're going to drop a scaling keyframe. I'm going to uncheck the constrain proportions. We're going to drop the scaling keyframe. I'm going to move back to zero. And once more, we're going to set our width to 0%. I'm going to hold down SHIFT, and select the keyframe, and hit F9 to apply an easy ease here, as well. Let's play through it once to get the choppy preview. And then play through it again to get the smooth version. And you can see what we've got happening here. We have these two shapes that are exploding out from the middle. Very cool. Alright, see? We're making some noise now. We're making some noise. Now, let's go ahead and select the "northern lights" text. Our main text. Now this one, I'm going to animate the positioning. What I want to do, is come out here to the thirtieth frame. When the green finishes animating out, I want my "northern lights" text to be in position. The "northern lights" text doesn't really have to do much. I just want to give it a little movement. Just make it look a little, maybe paralax-y, give it a little bit of dynamicness; make it feel a little bit deeper, and more rich, the whole animation overall. And by not having anything static and still, you're going to do that. So we're going to drop a keyframe for position right here. Then we're going to move back to frame number one. You can see, we can still see our "northern lights" text. It's a little difficult, but it's there. And I'm just going to move the horizontal positioning. Maybe move it over, I don't know. Bring it over to 110 or something. We'll make it so as the shapes come into play, the text is going to slide right into place. So, you can see how it looks pretty cool. But, obviously, it looks pretty bad, as well, because it's - well, number one it's appeared there. And there's nothing beneath it. And also, it's obviously sliding onto the shape. We don't want that. Here's how we combat it. It's a really cool, little trick. We're going to take our green shape. We already have the animation in place, it's looking good. I'm going to duplicate it. CMD/CTRL+G. I'm going to hit ENTER/RETURN and rename it. I'm going to name it, "text mask," and then I'm going to drag this layer up just above my "northern lights" text. You see that? We got this green shape text mask right above "northern lights." And, by the way, this green shape, when we copy it up, it carries with it all of those scaling animation properties that we already created. See, it's got his keyframes. It's looking good. Now, if you don't have this track matte option here in your layers area. You're going to want to hit this toggle switches and modes button down at the bottom. But here, for the "northern lights" text, I wanna say, look, take your track matte, and make it an alpha matte for the layer right above the layer text mask. Now, what this is going to do, is it is going to unmask the text using the same exact animation that we have going on underneath. Right? See how much better that looks? But we can make it look even better, because I don't like how there's absolutely no break between the edge of the text and the edge of the green. We want there to be a little bit of space and we can add a little bit of space by simply dragging the first keyframe for the text mask layer. Alright? This very first keyframe here, just drag it in and drop it on, I don't know, the fifth frame. You can see, we're just going to open up - we're offsetting the animation a little bit, and opening up a little bit of space. And, by the way, I'm just noticing we didn't easy ease our text slides, so I'm just going to SHIFT click both those keyframes, and I'm going to hit F9 to easy ease that. And let's check out our animation so far. We'll play through it once to get the choppy preview out of the way, and here's the smooth, actual preview. Look at that. See how much nicer it looks just adding that little bit of slide to the text? It just makes it feel a little bit more dynamic. A little bit nicer. So I'll collapse these layers; and we're going to begin animating the left and right balls from the center out to the edges where they're going to live in the final finished piece. And then we'll animate the bar between them once we know what our little balls are going to do in terms of their animation. So let's begin with "left ball." Hit the letter 'p' to open up positioning. And what I want to do, is move out to frame 20 right here, and for the positioning, I love where it is. This is its finished position, right? So I'm going to go ahead and add a keyframe right there. Then I'm going to move back to my first frame, and I'm simply going to align this shape to the center of the composition horizontally. And I'm going to go ahead and just align this to the center. And you can see, right now, doing what we just did, we're now going to have that little circular shape. Start at the beginning - er, start at the middle, excuse me. And just vloop! Zip its way all the way to the outside. Now, that's not enough for me. I actually want it to go out further and snap back. We could use the graph editor like we did, and you know what? Maybe we will. Let's just drag this keyframe out to the 25 frame, because that's actually where I want the animation to end. And I'm going to SHIFT click both of these layers and hit F9 to easy ease. With those two keyframes still selected, I'm going to hit the graph editor. And what I'm going to do here in the graph editor, right at about the 20 frame line, you can see, we've got this funky looking graph. This might be a little bit more complicated, actually, doing it this way. But now that I've committed myself, let's do it this way. Hold down the CMD/CTRL key and you're going to get this little pen icon that's going to be the plus icon. You can drop a keyframe right there. You can see that, right? So this is now the ball position. The ball position here, starting at about 1280 and it's going to animate all the way over here to the position of 749 which is its final resting place there. So I'm going to take this and I'm going to say, look, I'm going to pull you down, you're going to go to 675 or something. And now, what's going to happen if we check this animation out, the ball shoots past and snaps back into place. Just like that. So, that's a little subtle thing. But it's in there. I'm going to get out of the graph editor, you can see, we've basically gone and created a second keyframe just like I was going to do manually before. But we went ahead and did it the more advanced way, because you know what? Why not? Alright, I'm going to collapse that. Let's go to "right ball" here and hit the letter 'p' to open up the positioning here. Once more, let's go out to the 25 frames. We're going to set a keyframe. We'll use the graph editor as well here, just because we can. And then I'm going to go back to the frame number zero there and once more, we'll make sure we align this horizontally to the center. Select both of these keyframes. Hit F9 to give our easy ease. And as we did before, let's open up the graph editor. You can see we're going the opposite direction now, because again, we're starting at 1280 but this time we're moving up in terms of - as we move to the right, it actually jacks the number up for our x positioning, right? So, if I go to here, you can see the x positioning is up to 1600, and sure enough that's what that red line has indicated. So once again, we'll go here to about the 20 frame mark. And I'm going to hold down CMD/CTRL and let's add a keyframe right there, and we'll drag this sucker up. And we're just going to go about a hundred pixels beyond - whatever, I mean, we're just kind of eyeballing it right now. If we wanted to be a little bit more precise, we would probably just go ahead and do it the non graph editor keyframe way. But you know what? Let's just have some fun with it. Let it be a little organic. Let's see what we got. So you can see, we just have two circular objects going out and snapping to the end of our bar. But it looks a little funky because the bar is not animated. Well, we're going to fix that right now. We're going to animate the bar. So what we'll do with the bar, is with it selected, hit the letter 's' for scaling. We're going to go out to frame 30 where we're five frames beyond when the little circular balls come to a rest there. So here at frame 30, we're going to drop - well, I'm going to unconstrain. I'm going to drop a keyframe there. And let's come back to frame zero here, and we'll just reduce our horizontal scale to zero. So it begins at zero, I'm going to hold down SHIFT and select my other keyframe. Hit F9 to easy ease that. Let's play through for our choppy preview. And, then of course, we're going to check out our nice, smooth preview here. And there we go. You can see we have a really cool looking little line. If I just zoom out a little bit here. Whoops I didn't mean to do that. Let's zoom out a touch, just like that. I'm going to deselect everything. Let's just play through this to see what it looks like. Looks pretty cool. Alright, so the last thing we need to do, is just go ahead - well, not the last thing, but the last animation we need to do, is go ahead and animate Kirkjufell and make it slide down, as though it is sliding out of our little, thin bar there. So, I'm going to zoom in on this a little bit. This is actually going to be relatively simple. We're going to select our text here, and we're going to hit the letter 'p' for animating the position. And we're going to move to the thirtieth frame, this is where we want, basically, all the animation to be complete. And we'll drop our keyframe there. And then I'm going to move back to, I don't know, the eighth or the ninth frame, this animation will begin sliding down after the rest of the animation has started already. And then what I'll do here, is I'll just subtract 125, or something, from this number. So, I would take this back to 850. Let's see what that looks like. Is that enough? Yeah, that's just enough. So, you can see, as long as it all begins before our horizontal line. That's perfect. I'm going to SHIFT click to get my other keyframe here, and I'm going to easy ease that. That looks good. But obviously, the problem is, even if I watch this, it's not a very convincing slide out from underneath, because, well, it just looks like it's there. We need to mask it so it disappears when it's above this bar. How are we going to do that? Well, first of all, we'll deselect all of our shapes and all of our layers, and everything there. Let's grab our rectangle tool here. And we're going to just draw out a new rectangle. And you can see how I'm drawing right across the bar. So I'm kind of splitting the bar in two with this rectangle. And I can select that rectangle, and I'm going to hit ENTER here, and I'm going to call this "text mask 2," or second text mask, whatever you want to call it. And I'm going to drag this down and I'm going to place it right above the Kirkjufell, Iceland text layer. And once more, we're going to track matte this. Now, "why are we going to track matte this?" you may be asking. Why can't we just select the text layer and apply a mask? Well, simply put, doing it that way, we would have the mask animating with the text, because we're animating the position of the entire text layer; and this way, it's just a mask that's independent of the text layer. I'd like to do it. I feel like it compartmentalizes the document a little bit more. Keeps things nice and simple. And now you can see, the text will, in fact, begin sliding down from the other side of that horizontal line. So, if I deselect all this - whoop! I don't want to create another text object there. In fact, I just undid the mask. So let me just go ahead and reset the alpha mask. There we go. Use my selection tool, deselect everything. Let's bring this back to the beginning to a choppy preview, and then let's do a nice, smooth preview. And you can see, we've got what we've got there. So, at this point, I'm going to zoom out. I'm going to go back to 50% here. Everything is looking pretty good. We want to make this slanted, to give it an even additional aspect to our animation. It's going to make it look even more complex and just add an element of coolness. So, what I'm going to do is, I'm going to hold down my SHIFT key. I'm going to select the white shape layer down here. And with SHIFT being held down, I'm going to select all the way up to "right ball." I'm going to right click, and I'm going to choose to precompose these layers. It's kind of like a giant layer group. And we're going to call this "title" in all caps. And I'm going to hit OK. So, now our title is wrapped up in this precomp. You can see, if we play through it, it still works exactly like it did before. Maybe it has to re-prerender for us; but there we go. It's looking good. But what I can do now, because this is in this prerender, I can go ahead - I'm going to just get it to a point where I can see it. I'm going to open up my effects in presets; and here we go, I'm going to look for the slant effect. And there it is, cc slant. I'm going to drag it down and drop it on the title layer there on my layers panel. And here, in my effect controls panel, I now have the options for slant. I'm going to slant this, I don't know, let's go with something like 30? Let's see what 30 looks like. I think that's perfect. I think 30 is absolutely perfect for this, and it doesn't look the way I want it to look. What I want it to do, is I want it to be slanted like this, but also actually tilted a little bit. So I'm going to select the whole precomposition like this, and I'm going to hit the letter 'r.' And I happen to know that the rotation that I want is -13. So, there we go. We've got this nice northern lights little title. I'm going to manually align this to the middle. Something like that I think looks good. What I could do, is use my pan behind tool, and I could grab that anchor point; and I could manually choose the middle of my title. Something like that. And then I'll come over here to my align panel, and I'll say, look, just align this horizontally and vertically. Just align this manually here to the middle of our composition. Just, you know, nudge it and move it around until you think it looks pretty good. And part of the coolness of this, is you can see, all of our animation now just behaves on that tilt, because we've applied that slant effect to this precomp. So we took all that animation, and instead of worrying about, ugh, how do we make it exactly look right on the angle? Well, we just did it straight, and then we angled it. Now, the one thing I might want to change here... It looks great, but we do have those white dots that are hanging out there. And I don't want anything to be there when this animation begins. So check this out, here's how you can now edit this once you've created this precomposition. Just double click on the precomp, right there. You can see the title precomp has opened. We still have our recorded title, sort of master file open. And this is the layer group within it. And all we're going to do, is apply a little bit of scale to the left and right ball. So, I'm going to hit the letter 's,' and maybe over the first, I don't know, five frames, or so. Let's zoom in. Maybe over the first five frames here we will just have it zoom from 0% to 100%. So, come out to frame number five, go ahead and drop a keyframe for scaling. Move back to frame zero, and just set this to zero; and because constrained proportions is ticked on, both width and height will be set to 0%, great. You can select these, you can apply an easy ease. It's going to happen so fast, you're probably not really going to see anything. But, just on principle, we'll do that. Let's go ahead and do the same thing with "right ball." Let's go out to frame number five. Let's drop our scaling. This is basically saying, look, over the course of five frames, scale up to 100%. At frame zero, set it to zero. Voila. There we go. We're good to go. I can close out title. And when I come back here, sure enough, there is absolutely nothing visible. Let's just play through this real quick. And you can see, those little circular dots, they seemingly appear out of nowhere. Just like that, ladies and gentlemen, we have created this clean, cool, sleek, smooth, beautiful looking titler from scratch in Adobe After Effects. Well, there you go. That was it. We made it. It was great. If you enjoyed this video, go ahead and subscribe to my channel. I really hope you like it enough to subscribe to the channel. Hit the little bell notification - the little bell icon, I should say, it'll send you a notification so you know whenever a new tutorial goes live that you may be interested in. You can click through; you can check it right out and never miss a single thing that the channel puts out. If you really enjoyed the video, you can follow me over on Instagram. That's @tutvid, is my handle. Or, if you prefer something like Discord. We've got a Discord server, discord.me/tutvid. There's a link in the bio. There's a little lower third that appeared, as well. You can check all that good stuff out. And I hope to see you around in future video tutorials. Guys, for all the different animation technique, shape building, and precomposition, we even used. Just everything! Including that little slant effect there to top it all off, here in Adobe After Effects. That's it! Get it? Got it? Good! Nathaniel Dodson, tutvid.com, I'll catch you in the next one.
