What can we learn from an After Effects template?

this video is made possible by envato elements stick around to learn how you can save 50 on an annual subscription hey it's jake and today i want to do something a little bit different i want to learn something i've got this after effects logo animation template that i got online and i kind of just want to dissect it and see how the original artist created it see if there's anything that i can learn and if there's anything that i think i might do differently if i were to design the template let's take a look [Music] so this is the template file that i'm going to be walking through it's an animated logo reveal it was designed by snezko rex i think is how you say that but i got it on envato elements and i just want to open it up in after effects and see how it works so let's go ahead and jump in so over here in after effects we have a standard looking after effects template which if you have any experience with after effects templates they generally are really complicated to adjust it's pretty much what you see is what you get you can swap out your logo and that's about it so i want to take a look and see how this designer created the template see if they made it flexible enough so that somebody who actually understands after effects could go in here and start tweaking things the folder structure is pretty organized we have this holders folder with a logo and text holder project control music and render me so a render comp and then a folder that says elements do not edit for everything that's behind the scenes that the artist didn't want you to touch because it will break the template and we're definitely going to be looking at that but it does come with a handy little pdf from the artist that explains exactly how to customize it so they're saying in the holders folder that's where you can place your text and logo it also claims that you can change the project to whatever project settings you want it also says there's a project control composition where apparently we can change the project settings we'll take a look at that and if you want to put music in go ahead so in my experience this is actually really common where the project file is set up for somebody who maybe doesn't understand after effects doesn't want to understand after effects all they want to be able to do is grab their logo and stick it in maybe slide in some music and hit render so that their logo is animated exactly the same way that the preview video was but in the past i've been asked by clients to take a template put their logo in and then modify things about it and the way that the project was built was just a nightmare to try and reconstruct and tweak and figure things out it really got to the point where i had to just strip everything back and almost rebuild it from scratch because it was just so complicated to work exactly that one way and no other way now before we get into this i want to tell you a little bit about this video sponsor which is envato elements envato elements delivers unlimited access to over 55 million assets like fonts photos video templates wordpress themes and even adobe templates it's a truly massive library and it's such an invaluable resource as a designer to be able to just grab anything that i need whenever i need it they offer a super simple license that counts even after your envato element subscription has ended and if you use the link in the description to sign up for an annual subscription you'll save 50 off which is giving you access to millions and millions of assets that envato elements offers for less than twenty dollars a month and for someone who works for themselves being able to get access to so many high quality assets at such a little price per month it's just a no-brainer so be sure to check out that link in the description and thanks to envato elements for sponsoring this video so why don't we take a look in after effects and stick a logo in here see how it works the way that it's intended to and then see how difficult it might be to actually change some things to customize it so i've brought my logo in and i want to change this to sort by type so it's alphabetical but organized by type so my logo is down here at the bottom let's go into the logo holder comp and we have the envato logo which is the placeholder and then a guide so if you remember the way that this is animated the logo kind of is centered in these circles so that guide that we're seeing in after effects is to kind of show us where the logo will be in relationship to those animated lines and then these brush strokes slide in and everything else fades away except for the logo so that's a good visual guide to have there and it is a guide layer it's locked so i can't change it but it won't render so let's just go ahead and swap this out i'm going to select that click and drag this while holding alt or option on the keyboard and then that will swap the sources but the original logo was actually scaled down so i'm going to scale this up to fit inside that circle a little bit better and maybe shift it over just so it fits that circle a little better all right and i'm noticing motion blur is enabled that is something that will definitely slow down the entire project but if i jump over to the render me comp then i can kind of play this back and we'll just see i'm looking at this at half speed it's rendering pretty quickly until this point and suddenly it's not anymore so i have a feeling after effects was rendering some of that in the background but also that could be where some effects are happening on top of that comp revealing my logo which could definitely slow things down but i'll just play this through and edit it out and then we'll take a look all right so let's take a look the logo comes in very cool works all right so at this point a lot of people are probably going to be like awesome that's perfect they'll change their text obviously we'll go into the text holder i could say jake in motion i could change that font if i wanted to let's just say balboa and at the website www.jkinmotion.com all right very straightforward that updates in here if i go into 100 it does take longer to render and that does look pretty janky i'm a little surprised by that but overall it does work as intended it ends up with my logo and the text and obviously i can change this text if i want to to fill out the space a little bit more maybe using a different weight for my actual title but there we go works as advertised but what i want to know is how this was actually built because we have this one big project control comp and if you remember back in the pdf if i go into that project control comp i have some options so let's take a look at what options we actually have we have color control and this is just a null object with color expression controls so it's giving me options for the first background and second background so let's figure out what that means if i turn this to a different color okay so that's the background for the first part of the animation and then near the end that all wipes away okay so we could have two colors we could have a second background color that's more of the color of my brand something like that so those are nice controls i'm going to undo that we've got the grid color so i'm assuming that's all these elements here let's just make it like a cyan and see what happens yep so those are all the lines except for some of the ones that are textured i guess that's probably lines one and two cool so these are all great little color controls to be able to customize this to fit your brand or just to give it a different feel maybe you wanted to give this more of like a blueprint feel we could make the background paper like that we could change the line color to be white including this color here and this one and now it's got more of a blueprint feel and that was really easy to do we've got logo edge colors so if i zoom in here you see that there's an outline version of my logo so if i change that edge color to white then it's going to fit this blueprint feel a little bit better now i was expecting my logo to fit within this circle since in the logo holder there was a guide that had the circle in it but it is not lining up so i'm going to scale that down a little bit more and then take a look at that again there we go now that fits a little bit better we've got text edge so same thing we've got an outline view of that i'll make that white and that text color is going to be the final revealed version of the text so right here so maybe i want to make that something that fits my brand a little better and there we go now it definitely looks like some grain was added in here motion blur is enabled i definitely saw some depth of field so all of these things stacked together look really nice but they also slow the render down and that's a constant struggle when designing a template figuring out a good balance of render time with render quality a lot of times you want to add a bunch of effects and cool depth of field but if that's going to make a single frame take 10 seconds to render you got to decide if that's worth it and i think that kind of depends on what the template is for if it's a logo animation like this one then you're probably only going to be rendering it out one time or not that often so having an hour long render if it takes that long isn't really a problem but if it was a lower third that you want to set up as a mogurt inside of premiere that can just kind of render on the fly then render time is a really important factor for your template so if you're looking to get into building templates these are things you're going to have to think about you can't just throw every single effect that you want on there with a ton of depth of field and 3d objects and who cares how long it renders because you're designing this template for a customer for someone else and you want to give them the best experience possible when they're using your product now i'm not trying to discredit this artist in particular because like i said this is a logo animation you're probably not going to need to render it out a whole bunch of times so render time isn't necessarily that big of a deal just something to keep in mind when you're creating templates so let's take a look at what other controls we have here we have project control with some check boxes so first of all we have curves on and off it's off currently so let me check that on okay so that's literally a curves effect and it looks like that's just making everything a little bit more dark which is interesting it's also affecting the color of my my final screen and actually there's a shape layer right here named curve so if i just take a look at that it looks like an s curve there and a little bit of a color shift too if we go to the red green and blue channels red and green are left alone but the blue shadows have been lifted and the highlights have been dropped down a little bit which is why it's a lot more yellow uh that's what this effect is going to do so that's really just a color curves like a color grade so i would probably have labeled that differently just to color shift but that's just my opinion and this is actually something that we can learn from so take a look at all these shape layers here and how they're labeled this is actually an adjustment layer if you didn't know any layer in after effects pretty much can be an adjustment layer because it's just a switch you can enable that for a solid for a shape layer text layer even and it will become an adjustment layer and the reason why you might want to use a shape layer as an adjustment layer in a template file is because you have access to the rectangle's size which you can use expressions to tie to the size of the comp so if the user the customer who downloads your product changes the size of the comp the adjustment layer would automatically scale to it that would be more difficult with an actual solid which is what a default adjustment layer is made from so using the size property to size to the comp is just a really easy way to make sure that your adjustment layers work across different resolutions and this artist didn't use that uh expression on the size for this adjustment layer but they did use an opacity control tied to that checkbox so it's just a simple if else expression to check if you've used this checkbox or not if it's on and then the opacity is 100 if it's off then the opacity is zero and i'm sure the same thing will apply to these other options so we have a vignette on and off that's again an adjustment layer down here my only guess as to why the curves is unlocked is because this way you can change the color control yourself you can adjust that grade if you want to i'm guessing the artist didn't want you messing with but if we take a look it's again just an adjustment layer using curves and levels with a soft feathered mask to create that shape so nothing too complicated there we've got sharpen on and off so let me zoom in here i thought it did look a little bit crunchy and sure enough that's where that sharpness is coming from it's this checkbox on an adjustment layer which uses not only a sharpen effect but also noise so that's an interesting choice noise definitely slows down renders a bit but it gives it a look and you have the control to turn it on and off so i'm just going to disable that see if it renders a little bit more quickly we have camera lens blur on and off so let's take a look at that this is an adjustment layer with camera lens blur that effect is notoriously slow to render it but it produces amazing looking results if i back this up to that initial camera move there's some depth of field so is this what is driving that depth of field it is not so that's interesting this actually is must be using a 3d camera with depth of field we'll take a look at that but i want to figure out what this camera lens blur is actually driving so let's see if we can figure this out and there's actually a camera lens blur strength so i'm just going to bump this up to 20 so it's really crazy high we can better see what's actually happening so now that i'm on this frame maybe it's this kind of vignette camera lens blur if i turn that off and on sure enough there it is so it's blurring out the outside radius of the frame kind of like a vignette but we're doing it with this camera lens blur again it does a really nice job of producing really great looking out of focus areas but it does create a render hit so i'm going to set that back down to its default of 5 turn that on and off so you can see that it's just pulling focus to the center of the frame and it is a nice effect now this is not using a feathered mask like before that wouldn't actually create a falloff of blurriness so let's take a look at the blur map and see that it's layer number nine blur map so let's go into that and sure enough it's just a very simple vignette so again using a shape layer and a gradient fill we go from white to black and that's how the camera lens blur effect is operating wherever that blur map is white things are in focus and as it gradually fades into black it becomes more and more out of focus so that's a nice little use of camera lens blur and that's all of our project controls so at this point we've looked at and touched everything that this artist intended for us to touch and now i want to kind of just dive in a little bit deeper and see how more of this was created so let's go into this elements do not edit folder and take a look at the composition comp because i'm pretty sure that's what's going to have the majority of this template file inside of it and yeah this looks more like a standard after effects composition with a bunch of layers track mats a 3d camera and let's figure out what the cc one and cc2 layers are so they're no objects no effects applied so they're not controlling anything with expressions but it looks like they're actually controllers for objects in the scene so if i move this around the camera is moving with it so maybe cc stands for camera control 1 and camera control 2. and yep now that's more obvious the camera is parented to camera control 2. camera control 2 is parented to camera control 1. so let's see what these keyframes are i'm going to give myself a little bit more room here so we've got one camera move that is actually scaling up which is interesting i don't normally animate cameras using the scale property but that does work and we've got x rotation now this is taking a little bit of time to render each frame so i'm just going to click on this draft 3d button so things render more quickly now i can scrub through this almost in real time it basically just knocks out the depth of field and lowers the quality of a lot of these settings but i want to see what happens when i scale this up or down okay so if i scale it up it's basically zooming out it's i believe actually zooming the lens out because it's scaling down it's shifting the perspective it's not just moving the camera in and out i could be wrong about that but i think that's what's happening so i'm gonna move this camera control one out of the way so we can focus on just this first move so we're going from this tilted down angle zooming out to this flat angle and then when we bring that second control back in and move this one out of the way we've got position that is basically running along the length of the paper as well as scaling out a little bit and then scaling back in towards the end so i know this is crazy looking with all the draft 3d but combining these two together we have this nice movement upwards outwards eventually resolving on the logo and then pushing in just a little bit all right i'm going to turn draft 3d back off so we can see everything again but that's a really elegant way to handle that camera move using multiple layers of controllers to help you focus on different aspects of your camera move is a really smart way to move a 3d camera around very precisely and smoothly i'm just going to press u to bring up all the keyframes and it looks like uh the camera also has focus distance keyframes so that just sets the focus for the first frame and then by this point the focus being locked to that distance looks like it works from there on for the rest of the scene cool so if i were to design this i would probably go into the depth of field and tie that with expressions to a controller in the project control just because it can make such a big difference with the render time and i'd probably even just tie it to the camera lens blur on off checkbox just because it's basically the same thing so why don't i do that really quickly i'm just going to lock this effects panel so that i can see it and go back to my composition grab that depth of field and alt or option click on the stopwatch and i'll just add a variable var and we'll call it c for checkbox grab my expression pick whip and select that check box semicolon to finish that off and drop it down and then write an if else statement which would be if open parentheses c equals one meaning if the checkbox is checked a checkbox that is checked gives a value of one so if that checkbox is checked open curly bracket drop down and we'll say return a value of one again that on off for the depth of field is the same as on off for a checkbox so value of one means on drop down after that curly bracket and say else open curly bracket drop down zero meaning off and my expression is finished so if that checkbox is checked depth of field is on if it's unchecked now it's disabled so this should render more quickly now with both the camera lens blur and the actual depth of field from the 3d camera tied to that camera lens blur checkbox so turn it on my blur comes back turn it off and it renders more quickly cool let's take a look at this background grid and see how it's created so down here we have a lines comp and a grid comp let's double click that grid and see what it looks like so it's not animated it's just a grid made up of shape layers and that's probably repeated in here let's unlock that effects control so we can see yep sure enough there's a repetile that just brings this center tile and repeats it out into this cool grid which by the way this design is very nicely done in this very tight grid all based on that square size very cool and this color control if i double tap the e key to bring up expressions that is what's driving the fill color for that line so everything in this project control folder with that color control null object is driving all of the colors throughout the composition so on that grid layer we have expressions tying very simply just a direct link from this fill color to the color control in this composition so that's how you can create global controls throughout a template it's just by making a bunch of expression controllers to drive all of those colors from all right let's jump back to the composition and then see what's inside this lines comp so i'm going to double click in that and this is where we get this very cool geometric pattern that's animated out so we just have a single shape layer which is very interesting is it pretty complicated for having a single shape layer and it doesn't even have any effect controls but with it selected we can see that there's a bounding box right around here so if i open this up i'm suspicious that there is going to be some repeaters so we've got m h and v i'm guessing that's for horizontal and vertical sure enough there we go it's the horizontal repeater and vertical repeater we stack those two on top of each other then we're splitting this out into basically a mirrored both horizontally and vertically so inside group one it looks like that's where all the shapes are off the lines and each one of these has a trim path if i press u to bring up all the keyframes there are a whole lot of these and they're all timed and eased very nicely so that it just plays out in a very smooth elegant looking trim paths animation when you just layer things on top of each other you do a lot of easing you keep adding things it can create something that looks very visually complex even if it wasn't all that complicated to create so that's a very cool look and this mh group is actually not a group at all it's a repeater so if i were to just add a repeater and rename it that's exactly what this is doing and the transform controls for it are what are shifting these around so they flip the scale to flip it on the horizontal axis making sure that the position and anchor point are zeroed out so that it's mirroring it from that point and then they just did the same thing again but flipped it on the vertical axis instead of horizontally so that's a cool little composition and because it's a shape layer it can scale infinitely and it will always look crisp and clean so even though we're zoomed in nice and close here same thing for the grid it's always going to be nice and clean and that's because of this collapsed transformation switch if i turn that off you can see that quality of those lines have dropped significantly so that's an excellent use of shape layers there and then we have bg matte as a track matte for this layer it's set to a luma matte if we jump into this this is a very interesting texture it's just a simple raster image and it has a levels effect to drop down that white to looks like around 50 gray but that's not animated there's nothing dynamic about this comp it's just being used as a matte and those lines exist just back here in space so if i turn that on we can see that it exists right there that is interesting because the lines come out further than that if i solo the lines you can see them out here so that matte is not showing up on top of anything below this line right here i don't know if that was a mistake or not but uh it goes by so quick that you probably would never notice it and for the rest of the composition you never see beyond that matte anyways so it's not that big of a deal although it is you know missing the mark here on the outside edges once it zooms in you're not going to see that but if i was the you know art director approving this i would say go back scale that up a little bit so that it's always filling the frame even at the beginning here i don't want to be able to see any part of the line that's untextured so i just scale that up and now that matte will fill the entire frame and always give texture to those lines obviously i'm being super critical here i'm just trying to dissect every little thing that i can and see if there's anything that i can learn from it but i hope i'm not coming across as a jerk who's just trying to pick on somebody this is a really nicely designed template and i'm being overly critical but you know that's the point of this video so let's take a look at this next pre-comp center precomp so this is where the logo lives uh but it's not actually the logo it's the it's the object that draws around that logo so we've got a nice little animation again with two shape layers so that can be continuously rasterized and then we have reptile which is repeating this the same way as those lines in the background horizontally and then vertically and this is actually a really interesting use of cc reptile that i probably wouldn't have thought of it's repeating that tile four times but because they're using the tiling method of unfold it's basically rotating each one of those sections 90 degrees so it makes a perfect seamless square pattern out of that single tile that's really clever i probably would have used a couple of mirror effects but this is much simpler very cool then we've got a few comps with l edge logo and l edge text so let's double click into one of these and see what it is all right so lh this is the logo being revealed as an outline and also with some texture and it's made up of a lot of layers and right here at the top the first logo holder is set to the blend mode of stencil alpha what that's going to do is not allow anything outside of the logo to be revealed basically it's using it as a matte for the entire stack of layers below it so with that off we can see what's happening a little bit more these lines are scribbling down and up to kind of reveal the logo and then that logo holder is trimming it to the original alpha channel of the logo then we have another copy of the logo set to silhouette luma which if i turn off the first layer is going to actually punch a hole the shape of the logo through everything below it so we have some effects on this one find edges find edges 2 and tint so let's solo this layer turn off that blend mode and then see what these effects are doing so i'm going to turn on my transparency grid and turn off the second two effects we've just got to find edges which is giving us this outline view and it is inverted so that the center of the logo becomes black we've got fine edges two which is just making that outline a little bit thicker and then a tint to turn everything that was black white and everything else basically black it is a little bit textured but now that can be used as a luma mat or a silhouette luma blend mode to punch a hole through the whole layer stack and combining that with the stencil alpha we're now getting an outline version of the logo where the outline exists inside the logo so we're basically adding a stroke to the logo aligned to the inside of the logo that's a very clever way of achieving that and then we have all these lines that are just coming in and they're all duplicates of the same composition with the shape layer that's just animating in in this very long skinny v shape using trim paths but that's basically just a way to make a custom scribbled line and using it as a matte like this it kind of reveals that outline version of the logo so that's cool l edge logo one l edge logo o2 is probably going to do something similar sure enough it does but at a 45 degree angle rather than just vertically and it looks like we've got a different trim precomp just a different shape v to make that scribble a little bit different you combine those two together but these are just kind of repeating one after another to reveal the logo a little at a time and in different directions and we've got the same set up for the text so outline version with the scribbles in before we get to this bigger transition where the paper basically gets brushed off and this is something i am really interested in seeing how it was created so let's take a look at the background which is just a shape layer it's a solid white color but we have this brush matte so let's double click into that and see what is going on here so we've got all these brushes very cool textures and they're all sliding in at these 45 degree angles very cool so let's just open up uh brush one and see what is happening here looks like we've got two copies of the same brushstroke asset which has transparency built in already and it's using the second instance as an alpha matte and that second alpha matte layer is just sweeping in to reveal the original so we're using the shape of this brush stroke to reveal the asset in just linear way and it gives the texture a lot of movement a lot of texture within the texture you combine that a couple of different times with a couple of different brush strokes and then duplicate them and offset them a whole bunch of times and you get something that looks like this that's a very cool looking animation there's a shape layer down at the bottom called soft and this one is not an adjustment layer it looks like it might be filling in the background just a little bit if i turn it off and on you can see that transparency grid more or less so let me just solo this and yeah it's just a white solid with a fast blur enabled and very high blur level so that it's soft but it fills in that background so we don't have any transparency showing through those brush strokes so that's cool and using that as an alpha matte for that background gives the background animation a very cool look all these brush strokes coming in and that brush match shows up on top of a grid on top of the logo holder and on top of the text holder as well so that reveals in all of this second instance of everything we've seen in the first part of the animation but revealing it in its final colored form with no texture applied and that's basically the end of the animation now i do want to point out that everything in this comp almost except for that background layer is a 3d layer so it's all reacting to the 3d camera and this lines comp down at the bottom is continuously rasterized so if i jump into there that layer is also 3d and that's important because if this wasn't 3d then collapsing the transformations would not have preserved that 3d and things wouldn't have worked properly so if i actually just disable that and show you you see that grid just shifted around it's not aligned anymore so that's a very important thing to keep track of if you're collapsing the transformations of things that need to be 3d then make sure that 3d switch is enabled within the precomp as well now while i was poking around in this project file i did notice in this do not added folder into the background folder there's this composition called lines one by four and it is not used in this project at all if we take a look at it though it's really complex it's another one of these compositions with a bunch of animated lines but the pattern isn't nearly as uniform it's very intricate it has a whole lot of different elements and it just looks really cool again it's just two shape layers with a ton of trim paths animated in offset and sped up and down and it's all stemmed from this original icon shape layer which doesn't have any animation at all but that doesn't get used anywhere in the template file so i'm not exactly sure what it's there for it probably was left in by mistake but it does look pretty cool now another thing that i noticed is that even though this is just shape layers with trim paths you know turned on it's taking a while to render and that's because motion blur motion blur is enabled and makes the simplest things take so much longer to render if we go into our composition settings and take a look at the advanced we have the samples per frame set to 16 meaning that for motion blur 16 intermediate frames are being generated to produce this motion blur on every single thing that is moving with that motion blur switch enabled so that is another thing that would really impact render time and honestly i would say just turn that motion blur off it can make things look nicer but for the majority of the things that i make motion blur is never on fortunately you can enable or disable that in any comp so this is the render comp if i have it on then the motion blur will show up and if i turn it off then it's disabled basically project wide or at least for everything nested within that comp but if i dig deeper i'm actually noticing that motion blur is not enabled for a lot of this stuff so what that motion blur is really driving is just the lines animation and that adds so much time to the render that i really just don't feel adds enough to the animation that i would never have enabled that motion blur in the first place i mean we're not even seeing it on any part of the scene here it's literally just showing up where those lines are animating in so i would just make that render just that little bit more quickly and just completely disable the motion blur now as we can see even with the changes that i've made even with that camera lens blur turned off it does take a little bit of time to render but you know things that look nice take time to render i shouldn't expect this to be playing back in real time now i just noticed there is some motion blur showing up right here even though i have the switch off so that does happen from time to time if you're seeing things with motion blur just turn it on and back off and that should disable it throughout all the nested precomps and now it is rendering much faster so you can see just how much of a difference that motion blur makes again i'm not totally against motion blur it can add a lot but if you're going to use it i would say use it across the entire composition and not on just specific little elements because the camera movement of all things should be producing motion blur if anything at all is producing motion blur so let me just quickly add a force motion blur effect and you'll see that apply to everything that's what i want to see if motion blur is enabled so that it looks more like an actual camera moving across a physical object but that is just my opinion everybody has their own right to theirs so if you like motion blur go wild all right with that i think i've pretty much dissected this project as far as i need to i've found out some pretty interesting uses of the reptile effect and just a lot of stacking of different elements to make things work as mattes that look like scribbled texture and stuff like that it all works together very well to create a cool looking logo reveal and those guides inside that logo holders comp is also very nice although i would have liked that guide to actually lined up with that final so that i knew my logo would show up right in that circle in the same place but overall this is a really great template it has a lot of really useful controls for being able to customize this i was very quickly able to make this fit my brand and make this more like blueprint paper which is really cool and having those effect controls for turning off things like the sharpness which i wasn't a big fan of and the camera lens blur all those things are really useful i really do hope that this was a useful video for you and that you learned something like i did while going through this project i kind of went through without any prep so i was learning things and discovering things as i was recording the video and uh you know just a big shout out to envato elements for allowing me to be able to access this entire library and be able to download this project file and just dissect it and have fun with it and i want to give a huge thank you to all of my patrons over on patreon for supporting videos like this one if you're interested in seeing more content like it then i'd ask that you consider to become a patron you can find the link to that in the description of the video and obviously i teach on skillshare i have lots of long content on that platform all based in after effects teaching animation and and lots of different things that you can do with the software so if you want to see much more in-depth courses in after effects from me check out my skillshare profile thanks so much for watching and i'll see you in the next one

Channel: Jake In Motion

Views: 2,635

Keywords: after effects, after effects tutorial, adobe after effects, after effects tutorials, tutorial, adobe after effects tutorial, after effects for beginners, after effects basics, after effects animation, adobe after effects (software), after effects tutorial for beginners, after effects tutorials for beginners, tutorial after effects, adobe after effects tutorials for beginners, adobe after effects tutorials, learn after effects, jake bartlett, madewithenvato

Id: tjg_1PjJGQ4

Length: 34min 29sec (2069 seconds)

Published: Wed Dec 15 2021