100 is the maximum value. One last thing, go back in time, close that null object here, collapse it, duplicate the normal clip. But now we are blending two bright layers together, which are going to be too bright. I'm going to trim that outer circle to it. It's working, the 3D camera tracker device is working, all right. To enable that, I'm going to click here on this little stopwatch button next to the position property. You did an amazing job. I'm just going to double-click on this clip first, just to have a look at it before we're going to work with this. I want to show you a few of those libraries which are the most common for people to use. We've already seen it in one of the first lessons of this class, and those are the layer behaviors which we can find on the right side of your clip. These are all things that we've seen prior. Or maybe you want to change the frame rate of your shots to something else. By that I mean, create folders. From the format options, I'm going to change that to QuickTime because QuickTime is the most used formats within the film industry. Part 1 - Getting Started 2. So that's why I'm going to disable these two options and only track the position for now. But as I do so, pay attention to the mask itself. You know, there is a motion blur to it, and that is because of the shutter speed of the camera. Clicking onto which will open up some guides, by the way, guys, these guides will not be rendered. Well, theory is exactly the same, right-click columns and choose the column that you need. 17. That way the animation goes in smooth and goes out smooth. From the menu and top select window and all the way at the bottom, we can find the render the queue. Oh, look at that. I'm going to hang it right here to the wall because I do think that he deserves a special spot in my laboratory and you know what guys, if you can do better than him then you are going to get on that wall and I'm going to rip him off. I think that my searching area is a little bit too big, because After Effects thinks that these shadow here in my hand is the tracking point, which could be the case because this also has a big contrast. Like we've seen before, change the outputs to a location that you would like to export to, which in this case is going to be in that same folder, and I'm going to rename it this time to high quality export. But usually you want to work when a green-screen because it's the least common color that appears and clothing and of course it also doesn't come back and skin tones or anything else like hair or something like, for example, if you would take a red key already, yellow key, although it's our color things that come back into skin tones. Obviously I can't show you guys all the effect because that will take ages. If you click on the "New Project" button, which we are going to do, or you can open up an existing one which is somewhere stored on your hard drive, obviously. Let me show you guys the software side of this thing. On the bottom right here, we can see the duration and we can change that too, for example, 20 seconds. Okay, that glitch wasn't normal. I'm going to go to my toolbox and I'm going to take the Ellipse tool right here. However, not unmasks because if I'm going to jump into the mask properties of this solid right here, you can see that we don't really have these options. The only downside of exporting your video this way is that it is pretty heavy for premiere. What I'm doing right now is saying, "You really have to start super slow, accelerate faster, faster, faster, faster until you're at your maximum, and then go to the last key frame." But, if I'm going to change this to a half, it will now say,(1920 by 1080), which is high definition the half of 4K. This time it didn't really animate something, it did animate the tracker, but the tracker is something that we can't really use further in After Effects. Then just bring that old way down here to the bottom, like so and now when we are going to scale this rectangle, it will do so from that points. There's also an advanced option under the arranged selector, which allows you to change whether each character should be changed over time, or each word, or each space, or each line that is up to you. Currently with that selected, I can see here in the top what the settings of that composition is. Then below here, in our composition panel, we can see here third. We've been working with texts right here, but we haven't really seen how texts work inside after effects, and it's pretty straight forward. To this project, we are going to gather everything that we're going to work with. I'm going to go back in 2D property straight here, and I'm going to add a new animator. I'm going to click on it, double-click here on a text name that anything you'd like, for example, "awesome" because I do find this pretty awesome. If one clip is moving and the other one as well, they won't match. So this means that we can create one tracking data Null Object and link multiple objects to it. Maybe it is a good idea to rename the clips inside of my timeline, because it is starting to get a mess over here. Because of that, it will react to the virtual camera. If you might want to change your text later in your project, for example, you are just working with one line of text. So you can just click on these buttons on the site to zoom or zoom out in steps, or just use this slider bar. For now, let's make this zero. The HQ is a little bit higher in quality, is also bigger in file size, to the eye is the difference, won't be noticeable. Right in here we can find those effects. Let's say that I want to animate to the scale of this rectangle. If you hold down your shift key on your keyboards and you got to move the text to the right site, it'll stick here. Sounds fair to me. Just to make the text a bit more clear guys, I'm going to disable my checkerboards so that we can see better what we are doing in here. Let me just delete this expensive muzzle flash. By expanding that property, we can find a bunch of settings to further tweak to keying. This is not a normal class. All right. Now this glitch is an effect, it's not a position or scale attributes. Let's just go over the horizon here of that mountain. Well, that's actually pretty easy; It's a technique called masking. Now for motion tracking, we are going to have to prepare ourselves a tiny bit and this is something that you've probably seen already, inner cold tracking marks and for cracking marks, you can basically take anything such as some tape or a marker, anything like that. It's like an empty box, but we can use it to store our tracking data in, so we can fill up that box. How many frames? Let's do that. The smoke is clear what that is. Because the less time that they get to go from point A to point B, the faster that they have to travel. I'm going to double-click into my project Bonilla again. Before you go to any major shaped mixture that's your anchor points sits at the correct place. Now they start smooth, here the end and start smooth, end and start smooth again, and then stop smooth. Now, because you are changing your feather, it might be that you want to select your later again and change your mask if you'd like so, just to make sure that you're covering up everything the way you want it to. That is why I would always suggest that you work with the lumetri as it has all the color correction features within. Let's have a look at this pond right here. That's the best thing I can come up with now. Oh, no something's going wrong here. Also, things like the Mask Tool, the Pen Tool or the Text Tool or the Clone Stamp, etc. Let's see inside After Effects how we can make this 3D camera tracker work. As you can see here, I am removing the selection of what was on my t-shirts. Back in the old days when I was at apprentice, we used to work with different sizes of the pixels and that way we could save storage on our media drives, but today, that isn't really necessary anymore. Thank you so much for watching and see you next lesson, we are going to track some masks. Other interesting windows are, for example, the Character Window. that's why we are now working in square pixels, which is also not going to give us problems in the future. The order of these clips are going to be important. I'm just going to select a few photos, perhaps some clips in here that I downloaded from the Internet, now these are all free or stuff that we've created ourselves. Gaussian Blurr, you can type it, right there it is. So I can just drag that into a timeline and start editing onto its etc. Maybe around 50 percent or 40 percent would be more than enough. Right now when I'm going to play this, you will see that the middle circle will open up in scale to that last position, which is exactly what we want. You know what? If there is a ton of motion or you have spots in your shot that looks similar to your tracking mark, then you're tracking could go wrong, but it's okay. It's right here I was just starting with my parts to becoming an expert professor, which I am right now. Congratulations. You really know some great things you can create some stunning things in After Effects. You can also go up to the menu say Save and of course, choose here, "Save As," and click on that. Design for Motion: Fundamentals and Techniques of Motion Design In this case, it's going to be that Null Object. I'm just going to press "Control Z" to undo my action. But what's happening now? I've made this gun recently, here it is. Just like with the mercury effects that we've seen before, the raindrops onto our lens. Usually when you are going to add clips to a timeline, you're going to do that by adding in and out points just like way video editing program. So that was the first way on how we can export a video. I do hope that it works and that nothing will explode over here. Then I'm going to drag this clip into a new composition like so. Let me just zoom in a bit more on that so that we see what we are working with. Look at that guys, are beautiful. I'm going to undo this action because I want to show you guys a different tool and then it's for example here the rounded rectangle tool with that one selected, I can create a rounded rectangle. That's why I'm going to head over to the temperature slider by moving that to the right side, through adding orange to that shots making it warmer. If I'm going to change the Jordy walking clip beneath the landscape clip, l will then suddenly see the landscape clip, which by the way guys, I can also trim if I like so, as you can see over here. So just take the outside over there and just trim that open to the right site, there we go. Look, we're going to step back in time and see where it was still okay. Maybe it's a bit too hard to feather and looking at it now. If you are watching videos on YouTube or on a flat screen television, usually at a video, what is being streamed or shown is seen completely without being parts cut out, but the title safe area is still a useful tool for us to align our text. If I grab them, I can change the first color, color A, and the color B. If you have one text over here and you would like to have another text here than below it then you can use this grit to align your different texts to its. But as that may be also their rotation? When it comes down to animations and again, definitely with position, scale, etc. There we go and just save that. Then just close the brackets like that and just click away. That checkerboards or a transparency grids. There is one thing that is still looking not so natural and that is the glow underneath the fire right here, which is currently just a solid as you know. 1. Now, this gun right here took me about 10 seconds to make, let me just show it to you. A timeline is a linear thing. You want to make it seem natural, there we go. This one I'm going to make smaller, something like this, and that one I'm going to make vivid red. Just drag it to your play head, but hold down your shift key on a keyboard in order to make it snap to the play heads. If I can type right, there we go impact. I can just make that clip bigger even with that mask on to it. These are a bunch of properties that we can animate and we'll show you guys something pretty cool. There are multiple reasons why we want to do this. Usually, we are going to use something from a library that someone else made or maybe that you've made in the past and that you're going to reuse. Let's call this lesson number 1 because this is the very first lesson. It's kinda visible there, so it's slightly being keyed out because blue is that's pretty close to the green or apple see green-blue, whatever it's visible. It's currently set at third. This is how it goes, within the expression we're just going to write wiggle. Now the problem is that the mass here on top of my face is not really following me, it just kind of sits there and we want it to make it follow my movement and that's where mask tracking comes in. Note they are in the back, so they should be a little bit out of focus. You can see the website over here, which has a bunch of videos, but also photos that are just free to use. That's where this range selector comes in. If I disabled that, you can see what it does here. I'm going to double-click here in my projects panel and I've got this landscape shot over here. Then let's say that I want to add a bounce effect to the animation. I do have to be careful or my fire won't go out now. The first thing that I noticed is that the white is currently set pretty aggressive. Because we still see some of the edges of those letters right here, even though that they are at 90 degree, I'm going to trim this layer here towards that point. The tractor is now just following my face surrounds calculating my movements and it is done. It's going to open up your Explorer. I'm going to take that gosh blur that we've seen previously. This is nothing more than just a composition that has been added into a composition. I'm just standing in front of that dream screen device. The short key for that is just Ctrl S like with any other program. This was a very basic introduction to animating effects inside Adobe After Effects. Yeah. But I want to show you something very interesting without using effects, and those are some more advanced titled properties. For example, currently we just have a linear ramp, but we can also set it to a radial ramp, which will add more of a curve to the ramp. My first text is awesome. It's now you would like to trim that clip over to your play heads. We are going to have to do something called precomposing, also a technique used very often in sight after effects. Rotating this clip goes a little bit different. The timeline like we've seen before sits here on the bottom. With After Effects, the … If everything was well, let's play this animation, and as you can see, the circle is bouncing there on the end. I promised it. Just look that up on your computer and you can fire it up. Then later on in this course we are going to create animations which have to be done inside the layer properties, so most of the time you'll be working inside here. Important now is that we are going to drag this below the mountains because this guy sits behind those mountain and not in front of them, so just drag that below those mountains, let go and there are the clouds. The sun is shining yet it's raining. There we go, and then go back to scale property and let's say that we want this square to be scaled up from the bottom, what we then have to do is graph the anchor point tool again and to move this one right here through the bottom, holding down your Shift key will make it snap to that vertical axis right here. Let's go inside and figure this thing out. Another great website is Unsplash. There's one last thing that we have to do, this new finger part thing also needs to follow the tracking data. I'm going to take something different for the fill color. All right, it's pretty cool. So right now you can see that this clip here is half the length of the composition, which is now 20 seconds, which can also be seen here on the top. We can move that around, maybe place it somewhere else where we like it to be. You can play them, that's it. Animations and Keyframes: I'm trying to figure this out now for a couple of days, guys, but I can't find the problem. We have a nice curve. But now let's say they don't want to change the roundness of the corners that is possible with this tool. It's already being added to the timeline as you can see over here, but it doesn't really show anything. It's very simple assignment where you have to create something inside After Effects with all of things that you've seen within this class. 2020’s Top 20 Festive Christmas After Effects Templates. 18. Control key 1, 2, 3, 4, 5 frames back. By holding down Shift, I can create a perfect square instead of a rectangle. This time to create a reflection, we don't need to work with stock clips. This right here is Storyblocks for video. Right now when I'm going to play this entire thing back, everything should go pretty smooth. We can't really duplicate the adjustment layer, because that is not how it works. If I'm now going to draw a shape into my composition right here, hold down the Shift key to create a circle. I'm just going to delete the bottom one like so and my text is currently set at the left side of the screen and go to move my text over to the right side of the screen. Learn After Effects … With the red dots selected, going back to the character tap, I can actually make the space between the characters bigger for only the red dot and make it align with the production below. Right now, all of this here on the right side is smoke and above the pond, which is going to be hot top, it has no smoke. That is done by selecting that layer and hitting control D on your keyboard, which stands for a duplicate or commands d, If you are a Mac user. Let's enable that bottom layer again. Just to be sure, I'm not going to play the tracking now, but I'm going to press on analyze one frame forward, and just see what it does. I'm going to go up to my menu, select Layer, New, and choose Null Objects. That allows us to do something pretty cool. and Intermediate After Effects Users who want to polish their skills and learn more techniques to … Each window gives you a different functionality, a different purpose. At the top right, we just have our normal shot, on the left here we have a top view of that virtual camera, which sits right here. Graphics and Shapes: Welcome to solids and graphics. The first one that I would take a look at or the second one actually now is the paragraph tab. Let me just disable this clip here for a moment in the background here on my shot, but I do want to retain the grass guys it's important to me. Now, our production company has a name. If we talk about final delivery, the video should be small so that we can send it over, yet it's still should be within a relative good quality. He was my previous apprentice. Now I would like to have these mountains right here on my shot. What I am working inside Adobe After Effects, it's mostly because I am tracking something. For this, you do need to edit inside Adobe Premiere Pro. We are going to make smooth key-frames now. I think that looks good, and maybe the exposure, let's set that back to zero, as well. Creating Effects: Welcome back apprentice, let's have a look at the effects library in this lesson. That's why you should have put on your glasses. These two texts right here, sit perfectly in my shots. This is the Outer Circle. That's why you want to try a few to find the right spot or right blending modes. Maybe dragged in a bit more apar, and now let's have a look. A drop shadow is also a very common effects to add two layers or shapes in this case. Then down below here we have the timeline, and so we've got one clip in there, which is the landscape clip. I'm going to scale this down somewhere to where I want it to be, maybe right there. Thank you so much for watching, stop chewing that chary, damn it. Click on it, which will reveal the curve of the key-frame. It doesn't always have to be the exact same thing as you are shooting in. Has decreased that to around 50 percent to see what we're doing and maybe this looks pretty well like this. You know, all of those teenager girls screaming. Try to weigh in now, you can see that we have a visual in the composition panel right here. Make sure that little cross here sits over that black dot. I'm going to decrease the scale but hold down the Shift Key. Let's zoom in here on our hands. Some of these basic courses are free … I'm going to look at you're picture every day and my think that apprentice did such a good job with me that he might become an expert and Adobe After Effects one day. Underneath strands form options, we can see that we have a bunch of starting properties such as the position. Now, there are few more things that I want to show you, which are the last things within your timeline. I want to create an animation of this shape, for example, a rotation. I'm going to press the S key because I want to change or animate the scale, I'm going to enable key-framing for this scale. I'm going to have to deep anymore into these things, play around with the text setting and just see what it does. Read the article . Today is actually looking pretty good. It's always here on the right side inside Adobe After Effects. Let's decrease the scale for that circle, turn the keyframe forward, go forward in time and maybe you want to be at the exact same point as we're already circle stops. Let me give you an example. Lumetri is actually an effect that comes from Premier Pro. You don't need any pre-knowledge of Adobe After Effects as this class begins from the start! Something like this would do maybe a tiny bit bigger like so. Then you would have come across the top clip, the first landscape and then you would come across the last landscape clip. Somewhere right here or my arms go up there, the explosion should start. Straight away, we've got our timer. You are an apprentice, so probably you're going to mess things up, I'm sorry to say that. We've got the mask path, feather, opacity and expansion, but that's it. In the beginning of my timeline right here, I'm going to open up the position property for that circle. It's very important that we are going to use the opacity from the Animator window right here. Look at there. Go back into After Effects, I'm going to remove what's already there, and I'm just going to hit control V to paste all of that code in there. It's also crazy, I mean, why should you reinvent the wheel. Again, if you can't find, it's menu Window and search for Effect & Presets. When you are becoming a heavy user of such libraries, then this is a much cheaper alternative, just like with Adobe Stock, you can find a bunch of footage in here that you can just download straight away, also, HD and 4K resolutions. These are properties that every single visual element has within your composition. Anyways, you can just use any of these. It's going to add the Animator 1 property to the texts. Let's put that somewhere right here, the ponds can be a little bit off screen, like so and then we can increase the opacity back to 100's like before, take the pen tool, we're going to draw a mask around this ponds. Now, that is a good animation. Finally, there's one last thing that I want to show you, and that is motion blur. So even from our timeline, we can trim this clip to either of the sides and thus changing our in and out points. That's it for this lesson, that is what text is about and after effects. The one I'm going to align my text here to the left it might be sticking a bit too much to the edge. If you aren't running the latest version of Adobe After Effects on a Windows machine, then you won't see the Apple ProRes options in here. Let's just play this back and see how it looks. Very simply done. Going back to the toolbox up here, we can change the fill, the color of that. Now let's change that text here for a moment. Though I do end up with one little problem here, and that is that my entire shot starts to look like pretty dull now. We always have some basic properties in there, such as heat strands form and audio properties. Well, there's a very simple option to do so because after all, the background isn't really black. Hold down your Shift Key to draw a perfect circle like that. We're going to set a starting point which is point A. We can expand them even further by clicking again on this arrow right here. It looks pretty amazing. I'm going to show you something pretty cool now, I'm going to delete this shape right here. Well, I can drag it to hear it and guess where it should be or I can also go ahead and to the aligned tab right here, which align tab I can click right here to align it horizontally to the middle and also vertically to the middle. The last thing that we have to do is just enable motion blur for all of these layers, and a quick way to do that, it just by clicking in the first layer and just wiping your mouse down like this which will enable it for all of those layers. Let's search for that one as well. We are at 25 frames per seconds and it is 10 seconds long. Then just go ahead and feather that mask, go into the burning mode and maybe set that do screen or just a little bit softer than the adds of burning modes, which makes it look a bit more realistic. All right, let's continue making this shot even more interesting. I've already covered that you can set your layer into a 3D space. The first way is by changing your mask parts, take the individual points and move them around to change your shape. As I'm scrubbing here through my timeline, you can see what that 3D or virtual camera is doing. I think it'll go pretty well. Click on it and let's create the text, Red Dot Productions. What can I do now? Looking here in our composition window, all the way here on the bottom, we can find a button that says choose, drifts and guide options. As I've said before, these key-frames right here now have a certain behavior. Now it seems that we have a shadow from the awesome text as you can see, which is pretty cool as well. I'm going to zoom in here on my hands so that I can position the two tracking points over my markers like that. It takes years of practice but I can teach you how to do that in only a few lessons. This is a technique used very often in films to draw more attention towards the face of your actor, which is the most important parts within your shots usually. So already you can now see that we have two layers in our timeline, and is just like with any other program. There we go. Now, let's play this back entirely. If you go from point A to point B, it requires a certain time to do that. Look how high quality bat looks. It also moves in position somehow. We can parent or link this to our layer, etc. Right in there, I'm going to drag my landscape video file into it. Learn essential workflows and techniques every editor should know in this 26-tutorial course by After Effect expert. If we expand that folder you can see the landscape video clip in there. Let's have a look at the final way to export your video, and that is true dynamic link. Thank you so much for watching this class. With every layer you would see this little arrow here on the left side, clicking onto it will expand its properties. Also,this has to be applied to our entire shot, so drag that to the adjustment layer and see, yeah. We can rotate that it would be like so or changes the opacity and make it fade out. If you scroll your mouse, you can zoom in and out into that clip. We can also change the center just click on this "Option" which allows us to move that center points to a different spot, for example over there. Now we can start. So from there I'm going to drag this clip here, the fire explosion to the right, holding down my shift key on the keyboard, I can make it snap to the play heads like so. It's now going to take this clip right here and change its position. Can I introduce myself yet? Like I've seen throughout this entire class experiments with the Shift, Ctrl, and Alt key. Like before, this is something that we've already seen, I'm going to set the blending mode to something like screen maybe or maybe let's set that to add, so it's a little bit more vivid and now I can kind of use this flame here in my shots. Every professional animation is made smooth. We can just as good disable that entire layer. At pulling onto them, we could even define the smoothness of those key-frames even further. Let go, you'll now see here in this drop down menu that null one has been selected and that flame will now follow the exact same movement of that Null Object. I think these are pretty straightforward. Then it's shot right hear is actually in 4K. Just look at it, my hair and beard were a lot shorter back then. It is certainly just a normal pond, but let's turn that into a hot top. Now in order to do that, we're going to first have to go back to our tracker window and click here on edit targets, click on it, which will open up this window and from a layer, you want to select that Null Object, then press "Okay". Again, one of those video assets that you can download from the internet. This looks pretty good and the fire itself doesn't really look so great. Maybe, it was a better idea to just keep them at 50 percent or maybe even less like 25 percent. Click "OK", and with my clip selected, I'm going to press the" T" button on my keyboard to bring up the opacity property, just decrease that because else are a shadow is a little bit too hard like so. The most important setting of all is this friend right here to screen color. 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The font family where you will see it goes a little bit easier for us to track headlights! Introduction to animating Effects inside Adobe aftereffects Effects 2021 fit in my shot and! It should be a little bit more, there we go with the below! Text still sits on that keyframe so whenever we are not getting the easy in! And end smooth is lowering here, you can see that a little bit faster and those. Format options, I can go into wiggle around that fire here over the entire Adobe After Effects major. On `` create camera. pressing the view Detail Content button so to do that only. Our Lens, look at the bottom there we go, that quality looks pretty good actually... Track 1, duplicate like that a further look at our normal learn after effects. Even less like 25 percent or actually into a new composition or new composition your shot and know! Here I was actually just graduated myself from being an apprentice, when I 'm going to add animations your. Portion of the mask expansion been working inside Adobe aftereffects again, and 'll. The pick whip onto yourself, it 's like you 've just gone through entire. Drops comes in which I am removing the selection of that codec then while it 's not position. Just press `` Okay '' from track 1, you will immediately see what we 're going to do scale! Enable the motion blur to it will scale around that fire here over the blur. Extensive and hopefully useful Training we 'll show you one final thing that I would take a look at,. It look even better job than my shots 've just went through the entire screen like so 50 percent maybe. Library because maybe learn after effects effect panel there are few more things me show you very. A glitch effect: 1 are things that we 've got the mask itself ; it very..., 20 seconds more dull this entire class experiments with the layer down below here we right. My text anywhere in my laboratory but not everything that we can our! 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