Intermediate Animation Techniques

[00:00:00] hey Kyle here again guiding you through

[00:00:00] your introduction to After Effects this

[00:00:00] is the last video in this series so if

[00:00:00] you're just joining me here you'll

[00:00:00] probably want to step back and watch the

[00:00:00] earlier videos to make sure you haven't

[00:00:00] missed anything by now we've covered

[00:00:00] many of the tools and techniques you'll

[00:00:00] need to be successful in After Effects

[00:00:00] so it's time to take things just a bit

[00:00:00] further we'll Begin by learning a little

[00:00:00] more about the conceptual side of making

[00:00:00] things move and once we're feeling good

[00:00:00] there it's time to tackle our final

[00:00:00] example together compared to static

[00:00:00] design motion gives you the ability to

[00:00:00] communicate a tremendous amount of

[00:00:00] context I would go so far as to say that

[00:00:00] motion is meaning let's say that you're

[00:00:00] asked to create an ad for a new brand of

[00:00:00] shoes for a static design you'd probably

[00:00:00] do something kind of like this says the

[00:00:00] name of the shoes some kind of offer and

[00:00:00] we see the product itself but if this ad

[00:00:00] can be animated imagine how much more

[00:00:00] information you can communicate even

[00:00:00] with just a simple animation let's say

[00:00:00] three or four frames on a low frame rate

[00:00:00] Loop you could show the shoes walking

[00:00:00] okay that's pretty straightforward or

[00:00:00] you could show them running now that's

[00:00:00] communicating what you do with the

[00:00:00] product but what if you show them say

[00:00:00] dancing that's much more of a statement

[00:00:00] about the lifestyle of people who buy

[00:00:00] this brand that kind of context can be

[00:00:00] very immediately communicated with

[00:00:00] animation you might remember our earlier

[00:00:00] example with these two identical circles

[00:00:00] these are just some pixels on a screen

[00:00:00] but this animation clearly communicates

[00:00:00] that one of them is heavier than the

[00:00:00] other right meaning that we're able to

[00:00:00] give this simple shape a sense of weight

[00:00:00] by the way it moves we're also

[00:00:00] establishing that this isn't just a line

[00:00:00] it's a hard surface of some kind and

[00:00:00] that we're in a space with gravity Al

[00:00:00] bet you can also Imagine The Sound each

[00:00:00] of these circles might make as it

[00:00:00] bounces off of that surface That's The

[00:00:00] Power of movement you may already be

[00:00:00] familiar with the concept of using

[00:00:00] contrast to draw a viewer's eye to a

[00:00:00] specific area in a design areas of high

[00:00:00] contrast are going to stand out and be

[00:00:00] more noticeable while areas of low

[00:00:00] contrast can be easy to overlook

[00:00:00] visually speaking you definitely need to

[00:00:00] keep the in mind when animating since

[00:00:00] your elements move you'll need to pay

[00:00:00] attention to their interaction with the

[00:00:00] background or other elements in frame

[00:00:00] because while this line of text is fine

[00:00:00] up here if it also needs to move down

[00:00:00] here for some reason suddenly that

[00:00:00] doesn't work at all right you can also

[00:00:00] use contrast in the speed and amount of

[00:00:00] the movement you add to help certain

[00:00:00] elements stand out or take on more

[00:00:00] importance having everything move at the

[00:00:00] same speed and similar amounts might

[00:00:00] make it difficult for your viewer to

[00:00:00] know where they're supposed to look

[00:00:00] again these two circles are the same but

[00:00:00] the extreme movement of the one on the

[00:00:00] right means that's probably where you're

[00:00:00] going to look it's actually pretty hard

[00:00:00] to pay attention to the circle on the

[00:00:00] left right but if both circles have that

[00:00:00] same extreme movement they start

[00:00:00] competing for your attention and it's

[00:00:00] probably unclear which one you're even

[00:00:00] supposed to be trying to follow now that

[00:00:00] I've got you thinking about all these

[00:00:00] movement Concepts let's revisit the logo

[00:00:00] we animated in one of the earlier

[00:00:00] examples as we were animating these

[00:00:00] letters we added an extra key frame to

[00:00:00] give a little bit of Bounce to each one

[00:00:00] as they settle into into

[00:00:00] place in the world of Animation this is

[00:00:00] called overshoot most things in the real

[00:00:00] world aren't able to immediately come to

[00:00:00] a Full Stop So this mimics that real

[00:00:00] world movement usually in a slightly

[00:00:00] exaggerated way but it also adds extra

[00:00:00] emphasis to the movement and makes it

[00:00:00] feel more energetic for comparison

[00:00:00] here's a circle moving with no overshoot

[00:00:00] there's certainly nothing wrong with it

[00:00:00] but here's that same movement with

[00:00:00] overshoot notice the little bounce as it

[00:00:00] lands which makes it feel like it has

[00:00:00] more energy compared to the circle above

[00:00:00] if you add that same little bounce to

[00:00:00] the beginning of a movement it's known

[00:00:00] as

[00:00:00] anticipation anticipation is like a

[00:00:00] little charge up before the movement

[00:00:00] which again mimics the way things tend

[00:00:00] to move in real life but to an

[00:00:00] exaggerated amount for visual effect

[00:00:00] let's compare all three of these and see

[00:00:00] what you

[00:00:00] think and let's take a look at the key

[00:00:00] frames you would create to build these

[00:00:00] our top Circle just has two key frames a

[00:00:00] start and

[00:00:00] end once you add overshoot into the mix

[00:00:00] you end up with three key frames you

[00:00:00] have a start position and as you get to

[00:00:00] the right side here it goes just a

[00:00:00] little bit beyond that end position and

[00:00:00] then settles into

[00:00:00] place to create anticipation you'll end

[00:00:00] up with four key

[00:00:00] frames you start at that original

[00:00:00] position move backwards just a little

[00:00:00] bit and then it moves across to again go

[00:00:00] a little bit Beyond because we have

[00:00:00] overshoot as well and then settles into

[00:00:00] place let's look at all three for a

[00:00:00] direct

[00:00:00] comparison these won't make sense for

[00:00:00] every animation of course but they can

[00:00:00] add a lot of energy and personality to

[00:00:00] your movements now in addition to making

[00:00:00] choices about how many key frames you're

[00:00:00] creating and how close together they are

[00:00:00] you can also actually have control over

[00:00:00] how each of these key frames actually

[00:00:00] behaves I said earlier that a key frame

[00:00:00] is a value at a time and when you have

[00:00:00] more than one value at one time you have

[00:00:00] animation but you can control how After

[00:00:00] Effects moves between those

[00:00:00] values here's that simple animation I

[00:00:00] created back during the lesson on key

[00:00:00] frames if I select these key frames you

[00:00:00] can see a line between these two points

[00:00:00] this is called a motion path and these

[00:00:00] dots actually tell you the location of

[00:00:00] this layer at every single frame between

[00:00:00] these two

[00:00:00] values so if I move the second one

[00:00:00] closer you'll see these dots get much

[00:00:00] further apart because there are fewer

[00:00:00] frames between those two values but this

[00:00:00] motion path is actually also a bezier

[00:00:00] path if we get our pen tool click on one

[00:00:00] of these points and drag away look at

[00:00:00] that we've now made a curved path but

[00:00:00] you'll see there are no more key frames

[00:00:00] here in our

[00:00:00] timeline but we completely changed the

[00:00:00] way this animation looks

[00:00:00] I could grab the other side as well drag

[00:00:00] that out and again we've completely

[00:00:00] changed the way this animation looks but

[00:00:00] there are still only two key frames here

[00:00:00] on this

[00:00:00] layer the way after effects moves

[00:00:00] between values is called interpolation

[00:00:00] when we edit the motion path like I just

[00:00:00] did we're changing the spatial

[00:00:00] interpolation for those key frames this

[00:00:00] is something you can only do with

[00:00:00] position you can also change what's

[00:00:00] known as the temporal interpolation or

[00:00:00] the way you move between these values in

[00:00:00] time time we're actually taking

[00:00:00] advantage of this when we set our key

[00:00:00] frames to easy ease which we've done a

[00:00:00] couple times now so let's make sure you

[00:00:00] understand what's going on there up top

[00:00:00] we're looking at what's called a linear

[00:00:00] key frame those are the default key

[00:00:00] frames and they're just sort of a hard

[00:00:00] start and stop to the movement feels

[00:00:00] pretty mechanical right we've been using

[00:00:00] easy EAS which gives a little bit of a

[00:00:00] Slowdown at the beginning and end of the

[00:00:00] movement if you look over at the right

[00:00:00] side you can actually see a depiction of

[00:00:00] this change the linear key frames up top

[00:00:00] are a constant change so it's a flat

[00:00:00] line changing from one value to another

[00:00:00] for easy ease you can see there's just a

[00:00:00] very slight S curve to that line the

[00:00:00] values change a little more slowly at

[00:00:00] the beginning and end but they're pretty

[00:00:00] consistent near the middle you can also

[00:00:00] further customize this like the bottom

[00:00:00] example where I've made that pretty

[00:00:00] extreme and you can see there's a pretty

[00:00:00] big change between the speed at the

[00:00:00] beginning and end versus the Middle

[00:00:00] where it's really fast and snappy you'll

[00:00:00] find plenty of times that a constant

[00:00:00] linear move movement might make sense

[00:00:00] like if you're animating something with

[00:00:00] a more mechanical feel or you want that

[00:00:00] movement to have a very consistent speed

[00:00:00] but other times having a fast Snappy

[00:00:00] movement will be what's appropriate

[00:00:00] let's take a look at how you can change

[00:00:00] and control this for yourself these two

[00:00:00] shapes each have a basic rotation

[00:00:00] animation going from 0 to 90° over the

[00:00:00] course of 1 second with a quick preview

[00:00:00] you'll see right now they're exactly the

[00:00:00] same if I select this shape on the right

[00:00:00] and press F9 to easy ease those key

[00:00:00] frames you'll see that there's a

[00:00:00] difference but they're still pretty

[00:00:00] similar now I'll select the rotation for

[00:00:00] this left layer and click on this little

[00:00:00] icon right here to open What's called

[00:00:00] the graph editor down here you'll see a

[00:00:00] representation of the change in that

[00:00:00] value right here we're at 0° and then

[00:00:00] there's a steady change up to 90° at

[00:00:00] which point it stops moving there's no

[00:00:00] change here slowly and consistently

[00:00:00] changing from 0 to 90 and then again no

[00:00:00] change clicking on the rotation for this

[00:00:00] second layer just like the example from

[00:00:00] a minute ago we have this gentle S curve

[00:00:00] because we are easing in and out of

[00:00:00] these key frames no change slowly easing

[00:00:00] out of that value and then picking up

[00:00:00] speed and then it slows down and then

[00:00:00] after it hits that key frame we again

[00:00:00] have no change but we're not just in

[00:00:00] here to look let's adjust these you can

[00:00:00] select these points and then these are

[00:00:00] yet another bezier path that you can

[00:00:00] adjust you can pull out the these

[00:00:00] tangent handles and now you'll be

[00:00:00] changing the way that this move happens

[00:00:00] let's preview

[00:00:00] that so just as this graph indicates no

[00:00:00] change and then we're slowly easing up

[00:00:00] in this case it starts moving much

[00:00:00] faster much earlier because now it has

[00:00:00] to ease much more slowly into this

[00:00:00] second key frame we could grab this

[00:00:00] first key frame and drag it over and now

[00:00:00] we'll have a very slow e e both into

[00:00:00] this movement a very fast movement in

[00:00:00] the middle and then a very slow ease to

[00:00:00] the second key

[00:00:00] frame what a different feel that is now

[00:00:00] right I'll select both of these press F9

[00:00:00] to take them back to the default easy

[00:00:00] EAS key frame and then I'll come down

[00:00:00] here and click this little menu we've

[00:00:00] actually been looking at What's called

[00:00:00] the value graph you can also look at

[00:00:00] this in terms of the actual speed of the

[00:00:00] change so let's SEL s that and now we're

[00:00:00] looking at the speed of change for the

[00:00:00] rotation value on that right shape let's

[00:00:00] look back at our left shape though this

[00:00:00] is the representation of that speed

[00:00:00] again no change and then as soon as it

[00:00:00] hits that key frame we're suddenly going

[00:00:00] exactly 90° per second because we're

[00:00:00] rotating from 0 to 90° over the course

[00:00:00] of 1 second so that's the speed of that

[00:00:00] change once we get to that second key

[00:00:00] frame again we're back to zero because

[00:00:00] there's no more change happening on this

[00:00:00] right layer though we have a very

[00:00:00] different graph on each side of this

[00:00:00] graph we're starting at zero and then up

[00:00:00] in the middle it reaches its top speed

[00:00:00] so again we can select one of these

[00:00:00] points and drag the handle over to

[00:00:00] change the way this animation

[00:00:00] happens we're starting out very slowly

[00:00:00] and then easing into that move with the

[00:00:00] fastest movement happening way over here

[00:00:00] at this point almost at the end of that

[00:00:00] movement

[00:00:00] let's look at a similar example with

[00:00:00] position the top shape has linear key

[00:00:00] frames and the lower shape has been easy

[00:00:00] eased you can see more of a difference

[00:00:00] here but it's not

[00:00:00] huge I'll select this top layer's

[00:00:00] position and open up the graph editor

[00:00:00] for position you'll actually see two

[00:00:00] lines because position has an x value

[00:00:00] and a yvalue so we're seeing both of

[00:00:00] those represented here in the graph the

[00:00:00] red line would be the x value that

[00:00:00] changes from this value to this value

[00:00:00] over time and the green line would be

[00:00:00] the Y value that never

[00:00:00] changes if we look at this in the speed

[00:00:00] graph again you'll see a flat line for

[00:00:00] zero and then it's moving at a

[00:00:00] consistent speed until it hits the

[00:00:00] second key frame and then back to

[00:00:00] zero let's look at the position for the

[00:00:00] second layer as you'd expect we see a

[00:00:00] very similar curve right here because

[00:00:00] it's just the default easy ease so it's

[00:00:00] going to look the same when it's applied

[00:00:00] but position has something special about

[00:00:00] it and that's that you cannot change

[00:00:00] anything in the value graph or position

[00:00:00] because these two dimensions are locked

[00:00:00] together if you'd like to be able to

[00:00:00] change those you can come over to the

[00:00:00] position property right click and choose

[00:00:00] separate Dimensions now your X and Y

[00:00:00] Position will each be treated as

[00:00:00] separate properties since the Y position

[00:00:00] isn't changing on this animation we

[00:00:00] could actually just click that stopwatch

[00:00:00] to disable the animation and now under

[00:00:00] the X position we'll be able to ease

[00:00:00] that key frame and adjust it as we

[00:00:00] like all of this is to help illustrate a

[00:00:00] point that when you're animating you

[00:00:00] want to be mindful about what's moving

[00:00:00] when it's moving how it's moving and why

[00:00:00] it's moving of course there won't be

[00:00:00] some deep meaning to every single

[00:00:00] movement you create but being

[00:00:00] intentional about the choices you make

[00:00:00] and understanding the impact that has on

[00:00:00] the people who watch your work will make

[00:00:00] it that much stronger and more effective

[00:00:00] now it will probably take some time and

[00:00:00] experience for all of that to really

[00:00:00] sink in but to help you get more

[00:00:00] comfortable with the tools themselves

[00:00:00] let's reopen that very first example we

[00:00:00] created and see if we can make it look a

[00:00:00] little more Dynamic I'm back here in

[00:00:00] that make it move project that we built

[00:00:00] way back in the first video if you

[00:00:00] didn't do that one along with me there's

[00:00:00] a completed version of this after

[00:00:00] effects project in your downloads now

[00:00:00] the first thing I'll do is come over to

[00:00:00] the project panel select that

[00:00:00] composition and duplicate it this way we

[00:00:00] keep a backup version of our original

[00:00:00] animation just in case we don't like

[00:00:00] what we do here so I'll go ahead and

[00:00:00] rename that to original let's preview

[00:00:00] this animation to remind ourselves what

[00:00:00] we're working

[00:00:00] with okay not bad but I bet you're

[00:00:00] already seeing a lot of room for

[00:00:00] improvement here let's stop that preview

[00:00:00] and make some decisions about what we'd

[00:00:00] like to change I don't think we'll need

[00:00:00] to change anything about the texture so

[00:00:00] I'll close that one and go ahead and

[00:00:00] lock it and we'll come back and deal

[00:00:00] with the cow in a minute so let's just

[00:00:00] twirl that closed as well now you might

[00:00:00] remember that each of these text layers

[00:00:00] only moves on one axis so those look

[00:00:00] like great candidates for using separate

[00:00:00] Dimensions right let's highlight all of

[00:00:00] these key frames and then over any of

[00:00:00] the position properties of any of those

[00:00:00] three layers you can rightclick and

[00:00:00] choose separate Dimensions now make only

[00:00:00] moves horizontally on X so deselecting

[00:00:00] that we could turn off the animation for

[00:00:00] the Y position it only moves vertically

[00:00:00] so we could get rid of the animation on

[00:00:00] X and move also only moves vertically so

[00:00:00] we can get rid of that X position

[00:00:00] animation as well selecting all three of

[00:00:00] them I'll press U and now I only see

[00:00:00] those properties that are key framed

[00:00:00] let's once again select all of these key

[00:00:00] frames and press F9 to easy ease and now

[00:00:00] let's dive into that graph editor since

[00:00:00] all three of those properties are

[00:00:00] selected all three of them are visible

[00:00:00] in here right now you can see the red

[00:00:00] line is the X position for make and if

[00:00:00] you hover over the line it will tell you

[00:00:00] exactly what it is so this right here is

[00:00:00] the Y position for it

[00:00:00] and this is the Y position for move

[00:00:00] we're currently looking at the value

[00:00:00] graph if you were looking at the speed

[00:00:00] graph you'd see something like this

[00:00:00] because they all move into place and

[00:00:00] then they sit there motionless until

[00:00:00] they all move out you can choose

[00:00:00] whichever one of these you'd like to

[00:00:00] adjust this will work the same in either

[00:00:00] case I think it's a little clearer to

[00:00:00] show you what I'm doing in the value

[00:00:00] graph now you could select one of these

[00:00:00] points and you can adjust these

[00:00:00] individually if you like when you pull

[00:00:00] on these handles you can freely drag

[00:00:00] them in any direction or you can hold

[00:00:00] shift to lock that in and keep it on a

[00:00:00] straight

[00:00:00] line I'll just undo that but if I want

[00:00:00] to make sure these moves all feel

[00:00:00] similar I can actually draw a box around

[00:00:00] all three of these points and adjust

[00:00:00] them all at the same

[00:00:00] time we'll do the same with these key

[00:00:00] frames up front these are the key frames

[00:00:00] where they land in place we'll just drag

[00:00:00] those out and now let's do a preview and

[00:00:00] see what this animation feels like

[00:00:00] already such a huge change

[00:00:00] right all right let's close our graph

[00:00:00] editor swirl these layers closed and

[00:00:00] then select our cow and then press U to

[00:00:00] open that up I'll press K to jump up to

[00:00:00] that position key frame select that and

[00:00:00] then let's grab our pen tool by pressing

[00:00:00] G and then you could change this motion

[00:00:00] path if you wanted to and easy ease that

[00:00:00] one as well dive back into the graph

[00:00:00] editor and then remember we can't adjust

[00:00:00] the Val value graph for position when

[00:00:00] it's still unified so we could change

[00:00:00] over to the speed graph here and then

[00:00:00] drag that handle out if you like and

[00:00:00] let's see how this

[00:00:00] feels right now the cow still has linear

[00:00:00] key frames for scale and rotation let's

[00:00:00] just quickly grab these inner key frames

[00:00:00] where it lands easy ease those let's hop

[00:00:00] back into the graph editor one more time

[00:00:00] select these two incoming key frames and

[00:00:00] pull out that handle select this

[00:00:00] outgoing key frame and pull out that

[00:00:00] handle let's close up the graph editor

[00:00:00] and do one last

[00:00:00] preview compared to where we started

[00:00:00] that's a totally different

[00:00:00] feel what a difference right you're

[00:00:00] obviously free to make your own version

[00:00:00] of this and I would actually encourage

[00:00:00] you to make a couple duplicate that

[00:00:00] original composition a few more times

[00:00:00] and try out different adjustments and

[00:00:00] different easing on the various

[00:00:00] properties maybe add in some of that

[00:00:00] overshoot and anticipation we talked

[00:00:00] about earlier that way you get a feel

[00:00:00] for working with these and how the

[00:00:00] Curves in the graph editor line up with

[00:00:00] the effect they actually have on your

[00:00:00] animation when you're ready we're about

[00:00:00] to dive into our final example where

[00:00:00] you'll get to apply almost everything

[00:00:00] we've covered but first I need to

[00:00:00] quickly introduce you to one more

[00:00:00] feature we'll be using in the last

[00:00:00] project and get ready because we'll

[00:00:00] literally be accessing another dimension

[00:00:00] so far we've been working with X and Y

[00:00:00] values which move your layer around in

[00:00:00] two-dimensional space but after effects

[00:00:00] also allows you to move layers in

[00:00:00] three-dimensional space looking at my

[00:00:00] switches panel under this column with

[00:00:00] the little Cube I can click that to

[00:00:00] enable 3D for this layer you'll see that

[00:00:00] my layer now has this new control in the

[00:00:00] middle and we have additional properties

[00:00:00] over in the properties panel there's a

[00:00:00] third value for position scale and

[00:00:00] Anchor Point and what was a single

[00:00:00] rotation is now several in addition to X

[00:00:00] and Y our position property now also has

[00:00:00] a value for Z which can push this layer

[00:00:00] further away from us or bring it closer

[00:00:00] to us these little circles allow you to

[00:00:00] rotate your layer in all three

[00:00:00] directions one at a time or to Freer

[00:00:00] rotate you can come up to the toolbar

[00:00:00] and grab your rotation tool the shortcut

[00:00:00] for that one is W since R was already

[00:00:00] taken and I've always remembered this

[00:00:00] one by thinking of it as rotate you can

[00:00:00] use this to Freer rotate the layer and

[00:00:00] if I spin it around far enough you can

[00:00:00] see that yep even if it's in 3D space

[00:00:00] it's still just a flat object kind of

[00:00:00] like a postcard 3D definitely opens up a

[00:00:00] lot of complexity so we're just going to

[00:00:00] get a little taste of what's possible

[00:00:00] here what's really exciting is that we

[00:00:00] also get the ability to work with actual

[00:00:00] 3D objects directly in After Effects you

[00:00:00] can create your own or find them online

[00:00:00] including from Adobe stock when you

[00:00:00] bring one of these 3D objects into your

[00:00:00] composition you'll get this popup

[00:00:00] notifying you that after effects is

[00:00:00] changing over to a specific 3D engine to

[00:00:00] work with this file that's okay you'll

[00:00:00] also get the option to make adjustments

[00:00:00] to this model scale right here if needed

[00:00:00] once you hit okay now you can work with

[00:00:00] the model directly in your composition

[00:00:00] again this is a fully three-dimensional

[00:00:00] object so I can rotate it in all

[00:00:00] directions and we're able to see that it

[00:00:00] has a front and a back and a top and a

[00:00:00] bottom so you've got all these new

[00:00:00] options but without really changing up

[00:00:00] your workflow having the power to work

[00:00:00] with your 2D art in 3D space and then to

[00:00:00] add actual 3D objects as well again this

[00:00:00] totally opens up a whole new world of

[00:00:00] possibilities right I'll bet you're

[00:00:00] excited to see how this all works so

[00:00:00] let's get started on that final example

[00:00:00] in your downloads we'll be opening this

[00:00:00] soda promo After Effects

[00:00:00] project and once that's open you'll see

[00:00:00] we have a fully prepped project nicely

[00:00:00] organized and ready for us to animate

[00:00:00] I've already colorcoded layers set up a

[00:00:00] lot of blending modes things like that

[00:00:00] you're of course totally free to explore

[00:00:00] all of this but I figured that I would

[00:00:00] save us the setup time on this example

[00:00:00] so we can focus on the animation

[00:00:00] techniques we'll be doing a promo for

[00:00:00] this new brand of soda which happens to

[00:00:00] be my favorite Wate woot beer or um root

[00:00:00] beer very tasty and their slogan is give

[00:00:00] your senses a spin right now we just

[00:00:00] have a placeholder for this 3D can but

[00:00:00] we'll be importing that later as far as

[00:00:00] the concept I'm thinking that we can

[00:00:00] have this can come up into screen we

[00:00:00] could have it rotate slowly since we'll

[00:00:00] be able to take advantage of that 3D

[00:00:00] movement and then this Arrow will bring

[00:00:00] our eyes right over here to the tagline

[00:00:00] so I think we could probably animate

[00:00:00] that to give it some life and then we'll

[00:00:00] continue right down to the logo we'll

[00:00:00] animate that a bit too so we'll have

[00:00:00] this nice flow right around like this to

[00:00:00] build this animation we're going to

[00:00:00] tackle each section of the screen or

[00:00:00] each major group of elements one at a

[00:00:00] time this obviously makes more sense in

[00:00:00] this format where you're following along

[00:00:00] with me but it can also be a helpful way

[00:00:00] to approach your real world projects

[00:00:00] I've already figured out the values and

[00:00:00] timings that I think make sense for this

[00:00:00] example so I'll be giving those to you

[00:00:00] as we go but experimenting and seeing

[00:00:00] what feels right as you work your way

[00:00:00] through in animation is always a really

[00:00:00] important part of this process so you're

[00:00:00] always free to adjust any of these

[00:00:00] values the way you like and give this

[00:00:00] project your own spin working with those

[00:00:00] 3D objects does tend to be a bit more

[00:00:00] processor intensive so we'll save

[00:00:00] importing that actual 3D can for later

[00:00:00] on I think a good place to start is this

[00:00:00] block of text over here on the top left

[00:00:00] so let's start by coming over here and

[00:00:00] click and drag to solo these top three

[00:00:00] layers right here I'll zoom in a bit

[00:00:00] drag this over and now we can focus on

[00:00:00] this section you'll see this is already

[00:00:00] broken out into two different layers of

[00:00:00] text one for each line and then these

[00:00:00] green lines are both contained on one

[00:00:00] shape layer let's start with give your

[00:00:00] senses a we can come over to the

[00:00:00] properties panel for this one but we

[00:00:00] don't actually need to adjust any of

[00:00:00] this we're going to take advantage of

[00:00:00] some of that text animation that we

[00:00:00] learned earlier so under text animation

[00:00:00] I'll click add animator for position I

[00:00:00] want these words to move up into place

[00:00:00] as they come on so that means we need to

[00:00:00] adjust this property value not the

[00:00:00] layers property value but the one under

[00:00:00] the text animator we'll need to adjust

[00:00:00] that to have a higher y value which

[00:00:00] means it moves it downward right so if

[00:00:00] we set this to 75 this is the modified

[00:00:00] position that they will move from I

[00:00:00] would like these to also fade on as they

[00:00:00] move up into place so right here there's

[00:00:00] this little ad fly out for this animator

[00:00:00] we'll click on that and choose property

[00:00:00] opacity and set that down to zero now

[00:00:00] when we open up the range selector and

[00:00:00] start animating this start value you'll

[00:00:00] see everything moves into place let's

[00:00:00] make sure that our CTI is right here at

[00:00:00] frame zero set start at zero and create

[00:00:00] a key frame move up to 1 second and set

[00:00:00] start up to 100 as we start doing

[00:00:00] previews we're going to have a lot of

[00:00:00] dead space back here for now so let's

[00:00:00] set our work area to end maybe around 2

[00:00:00] seconds by pressing n to end the work

[00:00:00] area and now we can do a quick

[00:00:00] preview all right that's pretty fast

[00:00:00] right now but I said I wanted to animate

[00:00:00] these by word so let's change that

[00:00:00] setting if you open up this little

[00:00:00] Advanced group right here we can change

[00:00:00] this based on property from characters

[00:00:00] to

[00:00:00] words yeah that's more like

[00:00:00] it that is feeling a little mechanical

[00:00:00] though so let's set ease low to 70 and

[00:00:00] then preview

[00:00:00] that there we go that has a nice little

[00:00:00] snap to it but also sort of a smoothness

[00:00:00] to The

[00:00:00] Landing I think this layer's ready so

[00:00:00] let's go ahead and select it press U to

[00:00:00] hide everything except for those key

[00:00:00] frames let's hit home to jump back to

[00:00:00] the first frame and now we can animate

[00:00:00] spin you can also find those text

[00:00:00] animation properties right here in the

[00:00:00] layer right across from text here we

[00:00:00] have an animate fly out and it's the

[00:00:00] same list that's in the properties panel

[00:00:00] so again we'll choose position I would

[00:00:00] like this one to slide into place

[00:00:00] horizontally as the letters appear so

[00:00:00] that means we need to come down here and

[00:00:00] adjust the x value on this position

[00:00:00] property I think 150 would feel good and

[00:00:00] since this is spin I think we could kind

[00:00:00] of play up that Theme by adding rotation

[00:00:00] into the mix so again right here on this

[00:00:00] add fly out we'll choose property

[00:00:00] rotation and let's adjust that but

[00:00:00] there's a problem here and it's that the

[00:00:00] letters are not rotating from the right

[00:00:00] place just like layers the text

[00:00:00] characters effectively have their own

[00:00:00] Anchor Point and we can change that

[00:00:00] under the more options heading right

[00:00:00] here you can twirl this open this

[00:00:00] grouping alignment property is how you

[00:00:00] adjust this per character or if you

[00:00:00] would rather have this set per word or

[00:00:00] per line that's possible too but we'll

[00:00:00] leave it set to character for this

[00:00:00] example in this case we'll need to

[00:00:00] figure out what the right y value is on

[00:00:00] this property to be just about in the

[00:00:00] middle of each character it looks like

[00:00:00] right around minus 40% is good you can

[00:00:00] look up here and see those little X's

[00:00:00] right there in the middle of each letter

[00:00:00] so let's close that back up and set

[00:00:00] rotation to 45° Zoom back out out here

[00:00:00] and I would again like these to fade as

[00:00:00] they move into place so let's add

[00:00:00] property opacity and set that to zero

[00:00:00] under the range selector I think we

[00:00:00] could probably steal these start key

[00:00:00] frames from the layer above so we'll

[00:00:00] just copy paste

[00:00:00] that and let's see how that feels okay

[00:00:00] getting there let's open up Advanced and

[00:00:00] adjust that ease low again to 70 so it

[00:00:00] matches the layer above

[00:00:00] okay that's feeling pretty good I think

[00:00:00] the timing just needs a little bit of

[00:00:00] adjustment can go ahead and press U to

[00:00:00] collapse that layer let's scoot this

[00:00:00] over to start at maybe frame

[00:00:00] six that feels pretty good but I bet we

[00:00:00] could make it just a little bit tighter

[00:00:00] if we start it at frame four here let's

[00:00:00] see if that gives us just enough room

[00:00:00] for give to get out of the way away and

[00:00:00] then this kind of slides

[00:00:00] in yeah that feels

[00:00:00] good okay those are good let's deal with

[00:00:00] these lines glancing over at the

[00:00:00] properties panel you can see this is

[00:00:00] already split up into Top Line and

[00:00:00] bottom line unfortunately the modifiers

[00:00:00] like trim paths which is what we're

[00:00:00] going to use here are not available in

[00:00:00] the properties panel so we'll need to do

[00:00:00] all this within the layer we'll just

[00:00:00] twirl this open twirl open contents and

[00:00:00] then you see we have these two groups

[00:00:00] right here Top Line and bottom line each

[00:00:00] of them are just a path with a stroke I

[00:00:00] think we can use one trim paths for both

[00:00:00] of these so I'll select the word

[00:00:00] contents and then choose add trim

[00:00:00] paths twirling that open we can adjust

[00:00:00] this end property right here to animate

[00:00:00] both of those lines on okay so we'll set

[00:00:00] end to zero make a key frame here at the

[00:00:00] first frame and I think in this case

[00:00:00] let's make this one take just a little

[00:00:00] bit longer come up to 112 and then set 0

[00:00:00] up to

[00:00:00] 100 okay that's feeling a little slow

[00:00:00] and kind of clunky here but I bet we can

[00:00:00] adjust that let's highlight both of

[00:00:00] those key frames press F9 to easy ease

[00:00:00] and take a look at the graph

[00:00:00] editor let's grab that second key frame

[00:00:00] and bring this over to maybe around here

[00:00:00] and see how that

[00:00:00] feels yeah look at that much Snappy here

[00:00:00] and it feels like it just works right in

[00:00:00] there with that

[00:00:00] text however I think I would like the

[00:00:00] bottom one to be drawing on in the

[00:00:00] opposite direction feels like it would

[00:00:00] kind of work a little better with the

[00:00:00] movement of spin one option there would

[00:00:00] be to take this trim paths and stick it

[00:00:00] inside this Topline group duplicate it

[00:00:00] stick it in the bottom line group and

[00:00:00] then adjust those key frames but you

[00:00:00] actually don't need to do that notice

[00:00:00] that each of these path properties has

[00:00:00] this little toggle right here and this

[00:00:00] actually allows you to set the direction

[00:00:00] of that path so if I click this right

[00:00:00] direction right here for the path under

[00:00:00] bottom line now it's going to draw on in

[00:00:00] the opposite

[00:00:00] direction and that's exactly what I want

[00:00:00] perfect let's close up the graph editor

[00:00:00] again press U to collapse this layer and

[00:00:00] I think this group is done we'll

[00:00:00] probably need to slide the whole group

[00:00:00] over to start a bit later but we'll work

[00:00:00] that out once we get to some of the

[00:00:00] other elements moving on let's unsolo

[00:00:00] those couple layers and I think the logo

[00:00:00] is the next good thing to tackle so

[00:00:00] let's solo those two and again zoom in I

[00:00:00] think this one will be pretty

[00:00:00] straightforward we could maybe have both

[00:00:00] of these sort of scoot into place from

[00:00:00] opposite directions with again a little

[00:00:00] fade so how about we put our CTI at 1

[00:00:00] second select both of those layers and

[00:00:00] press P to reveal position now I know

[00:00:00] we're going to want to do some graph

[00:00:00] editor work so I think it would make

[00:00:00] sense to go ahead and select both of

[00:00:00] these position properties right click

[00:00:00] and separate and since we'll also be

[00:00:00] working with opacity I can hold shift

[00:00:00] and press T to also reveal that property

[00:00:00] so now I can create key frames for my x

[00:00:00] positions and my opacities right here if

[00:00:00] you want to hide that y position we can

[00:00:00] just select both of these and press U

[00:00:00] and now we'll come back to frame zero on

[00:00:00] our rotate logo let's hold shift and

[00:00:00] Scoot that over with the arrow key 1 2 3

[00:00:00] 4 5 maybe six times let's do the same

[00:00:00] with root beer but going in the opposite

[00:00:00] direction 1 2 3 4 5 six to the right and

[00:00:00] then we could bring both of these

[00:00:00] opacity properties down to zero and see

[00:00:00] what we

[00:00:00] have I think the graph editor will make

[00:00:00] that look just fine so let's highlight

[00:00:00] all those Landing key frames F9 open up

[00:00:00] the graph editor and then we could

[00:00:00] adjust all of these by just dragging

[00:00:00] this over to maybe around there and

[00:00:00] check that

[00:00:00] out there we go again so we have kind of

[00:00:00] a nice little snap on and a nice slow

[00:00:00] Landing looking at both of these

[00:00:00] together we'll obviously need to adjust

[00:00:00] the timing but everything's feeling

[00:00:00] pretty

[00:00:00] good how's yours working out feeling

[00:00:00] good if not just take a minute and keep

[00:00:00] making those little adjustments until

[00:00:00] you're happy with it we'll be tackling

[00:00:00] this big Arrow icon next that is the

[00:00:00] Wate icon pre because it's a pre

[00:00:00] composition as you can see by the little

[00:00:00] icon there let's solo that and it turns

[00:00:00] out that lay is actually blue there's

[00:00:00] just a blending mode to get that final

[00:00:00] look we're going to be rotating this

[00:00:00] into place so we can twirl this open or

[00:00:00] again you're free to work in the

[00:00:00] properties panel if you like we'll

[00:00:00] create a rotation key frame for 0 de at

[00:00:00] 2 seconds and then come back to the very

[00:00:00] beginning and let's set that up to 180

[00:00:00] so that it will rotate into place like

[00:00:00] that and let's bring our work area out

[00:00:00] just a bit more so we can see that

[00:00:00] land okay so I think this probably needs

[00:00:00] a little bit of overshoot to be a little

[00:00:00] more interesting maybe around here at

[00:00:00] about 108 or so we could copy this end

[00:00:00] key frame but then we want to go a

[00:00:00] little bit past that so I think we could

[00:00:00] set that to maybe about 8 -10 somewhere

[00:00:00] around there now we get just a little

[00:00:00] bit of Bounce and that feels pretty

[00:00:00] clunky right now select those key frames

[00:00:00] by clicking the word rotation press F9

[00:00:00] and hop into the graph editor let's see

[00:00:00] if we can work that out just a little

[00:00:00] bit give it just a little bit more snap

[00:00:00] coming in and maybe a little bit in this

[00:00:00] direction

[00:00:00] too and what a difference that made

[00:00:00] right

[00:00:00] right very nice close that back up one

[00:00:00] thing I am noticing is that these dots

[00:00:00] are pretty flickery and kind of

[00:00:00] distracting as this rotates so I think

[00:00:00] let's have those animate on as this

[00:00:00] moves and to do that we'll need to

[00:00:00] double click on this layer to go into

[00:00:00] the

[00:00:00] pre-composting shape layer it would just

[00:00:00] be a lot of digging to get to each of

[00:00:00] those individual dots so let's select

[00:00:00] each of the dots we can press s to

[00:00:00] reveal that scale property I think we

[00:00:00] could have these land at maybe 106 so

[00:00:00] let's click any of those and it will key

[00:00:00] frame all of them let's come back to

[00:00:00] about frame 20 and bring that up to

[00:00:00] 108% and then hop back to zero and set

[00:00:00] all of those scales to

[00:00:00] zero select all of these easy ease let's

[00:00:00] do a quick

[00:00:00] preview again I think adding just just a

[00:00:00] little bit of snap to those would be

[00:00:00] nice so we'll open up the graph editor

[00:00:00] and again just make sure all of these

[00:00:00] are selected pull this out just a little

[00:00:00] bit and maybe just a little bit in this

[00:00:00] direction that feels like it should

[00:00:00] work and let's offset each of these

[00:00:00] maybe have the first one start right

[00:00:00] around frame six here and then I think

[00:00:00] every two frames is probably a good off

[00:00:00] set so page down page down select this

[00:00:00] layer left bracket and

[00:00:00] repeat all right let's hop back out to

[00:00:00] our main composition and see if that

[00:00:00] solves the

[00:00:00] problem much

[00:00:00] better just to give this a little bit

[00:00:00] more energy let's come back to to frame

[00:00:00] zero create a scale key frame jump to

[00:00:00] the end of our animation and set that to

[00:00:00] be maybe

[00:00:00] 90 just a little bit of subtle movement

[00:00:00] there which will mirror with the

[00:00:00] background in a minute let's go ahead

[00:00:00] and set that work area to be the full

[00:00:00] length of our

[00:00:00] composition and let's solo this

[00:00:00] background so we can see that as

[00:00:00] well all right let's adjust the scale on

[00:00:00] this one as well but I think it would be

[00:00:00] interesting if it scales from this

[00:00:00] little Starburst here so we'll press y

[00:00:00] to get our Anchor Point tool bring this

[00:00:00] over to right in the center of that

[00:00:00] Starburst and then let's create some

[00:00:00] scale key frames here as well press s to

[00:00:00] reveal that and click to create a key

[00:00:00] frame and I think we could actually

[00:00:00] start this quite a bit

[00:00:00] bigger just a little under 100 hop all

[00:00:00] the way to the end and then set that

[00:00:00] back to just over 50 we'll easy ease

[00:00:00] those select that property hop into the

[00:00:00] graph editor and this time instead of

[00:00:00] pulling this further to the right let's

[00:00:00] actually grab this handle and Pull It

[00:00:00] downward so this property is going to

[00:00:00] come on really fast and then ease into

[00:00:00] this second key frame we could drag this

[00:00:00] over further to make that a little more

[00:00:00] severe maybe pull this down even further

[00:00:00] let's take a look and

[00:00:00] see so most of that movement happens at

[00:00:00] the beginning and then it kind of slowly

[00:00:00] creeps into

[00:00:00] place we can always come back and adjust

[00:00:00] this but for now that's feeling pretty

[00:00:00] good now looking at everything this is

[00:00:00] what we've got we'll need to kind of

[00:00:00] imagine what the can is

[00:00:00] doing maybe just as a placeholder we

[00:00:00] could quickly create some position key

[00:00:00] frames for this can we'll just kind of

[00:00:00] ballpark this for now so that we can

[00:00:00] kind of see roughly what it's going to

[00:00:00] do okay that timing is not quite right

[00:00:00] but we'll work on

[00:00:00] that I think we can go ahead and adjust

[00:00:00] the timing for these other elements

[00:00:00] though and that will kind of help guide

[00:00:00] us to what the can needs to

[00:00:00] be I think this text block could

[00:00:00] probably start coming on maybe somewhere

[00:00:00] around frame 12 here so let's grab all

[00:00:00] three of those and bring that

[00:00:00] over and then our logo could maybe start

[00:00:00] right around here just as that's kind of

[00:00:00] finishing up let's bring those two over

[00:00:00] like that see what that feels

[00:00:00] like so this can definitely needs work

[00:00:00] but you can see how we're getting that

[00:00:00] flow around here where the can comes up

[00:00:00] the arrow brings us right over to these

[00:00:00] text elements

[00:00:00] it's time for us to work with the 3D

[00:00:00] soda can element so we'll be replacing

[00:00:00] the temporary layer with an actual 3D

[00:00:00] model now depending on how powerful your

[00:00:00] system is remember that you can turn

[00:00:00] down the resolution in your viewer and

[00:00:00] you can also change your preview

[00:00:00] settings there's also a button right

[00:00:00] here called draft 3D which applies

[00:00:00] specifically to 3D layers it will bring

[00:00:00] down the visual quality and temporarily

[00:00:00] disable some features like shadows and

[00:00:00] some effects to improve performance you

[00:00:00] should think of draft 3D as being

[00:00:00] similar to adjusting that resolution in

[00:00:00] your view

[00:00:00] this setting is great for animating a 3D

[00:00:00] layer and then you'll want to turn it

[00:00:00] back off to make sure everything looks

[00:00:00] the way you want before exporting your

[00:00:00] animation I'll start out by soloing that

[00:00:00] placeholder layer and then if you look

[00:00:00] in your assets folder you'll find this

[00:00:00] soda can glb which is a type of 3D

[00:00:00] object that gets created in its own

[00:00:00] little folder here so we can take that

[00:00:00] and drag it into our project there's

[00:00:00] that popup letting us know it's using

[00:00:00] the advanced 3D renderer and that's okay

[00:00:00] so now we'll get this pop up and um hm

[00:00:00] notice this model is actually quite

[00:00:00] small that's not uncommon at 3D models

[00:00:00] but you get the opportunity to scale it

[00:00:00] right here I'm going to set this all the

[00:00:00] way up to

[00:00:00] 1,000% 3D models are not just pixels

[00:00:00] they're created by geometry so scaling

[00:00:00] it up this much is not necessarily bad

[00:00:00] models can also be built at very

[00:00:00] different scales so some might come in

[00:00:00] really big and some really small as

[00:00:00] always trust your eyes that all feels

[00:00:00] good to me so I'll press okay you can

[00:00:00] move these layers around like any other

[00:00:00] layer but using this control which is

[00:00:00] called a 3D Gizmo you can also move

[00:00:00] things just on a specific axis so if I

[00:00:00] grab this green axis you'll see that's

[00:00:00] just moving in y and if I use this red

[00:00:00] axis right here that's just moving in X

[00:00:00] once you start rotating though

[00:00:00] everything becomes relative to that if I

[00:00:00] grab the little ball on this red circle

[00:00:00] now will be rotating on the xais and now

[00:00:00] my Gizmo has also rotated so now I'm

[00:00:00] moving only on the Y AIS but relative to

[00:00:00] the direction that it's now rotated it

[00:00:00] wouldn't be a bad thing for you to spend

[00:00:00] a little time playing around with this

[00:00:00] and get a feel for how it works but when

[00:00:00] you're ready I do have the specific

[00:00:00] values to get this into just the right

[00:00:00] spot to make it a little easier to match

[00:00:00] up with that placeholder I think we

[00:00:00] should add an effect to it so on that

[00:00:00] placeholder layer I'll right click and

[00:00:00] go to effect generate

[00:00:00] fill the default fill color is this

[00:00:00] bright Adobe red which I actually really

[00:00:00] like for temporary purposes like this

[00:00:00] that placeholder layer also had some

[00:00:00] temporary position key frames on it

[00:00:00] which we can just delete and unless you

[00:00:00] want to spend more time exploring that

[00:00:00] 3D Gizmo let's put in those transform

[00:00:00] values we'll just do this all in the

[00:00:00] properties panel here under position

[00:00:00] we'll want to set that to

[00:00:00] 1330

[00:00:00] 532

[00:00:00] 24 we can actually nudge the scale up to

[00:00:00] 105% and then we'll tab through to this

[00:00:00] orientation property and set that to

[00:00:00] 347 53 11 3D objects have both an

[00:00:00] orientation and then individual rotation

[00:00:00] properties for each axis it's usually

[00:00:00] best to use orientation to just set your

[00:00:00] layer the way you want it to look and

[00:00:00] then use the rotations to actually turn

[00:00:00] the layer relative to that you might

[00:00:00] notice that orientation is only degrees

[00:00:00] it doesn't have full rotation

[00:00:00] and so it's not a great one to animate

[00:00:00] in most cases since we want our can to

[00:00:00] slowly rotate over the life of this

[00:00:00] promo we can jump up to the end of our

[00:00:00] composition and set a key frame for the

[00:00:00] Y rotation we'll jump back to home and

[00:00:00] then rotate that back into the negatives

[00:00:00] that's a little too much maybe right

[00:00:00] around minus

[00:00:00] 30 and a quick preview to see how that

[00:00:00] feels all right nice and smooth and

[00:00:00] shows us the full

[00:00:00] name and a reminder that you can always

[00:00:00] just turn down the resolution over here

[00:00:00] or try out draft 3D if you want to work

[00:00:00] a little faster we've got our can slowly

[00:00:00] rotating but I would also like it to

[00:00:00] quickly spin as it moves up into place

[00:00:00] we could definitely create a few more

[00:00:00] rotation key frames and probably spend a

[00:00:00] while in the graph Editor to work that

[00:00:00] out but if you think back to our earlier

[00:00:00] lessons on parenting you know that it

[00:00:00] can sometimes be easier to just use

[00:00:00] another layer instead there's a special

[00:00:00] type of layer called a null object that

[00:00:00] mostly just exists so that you can

[00:00:00] parent other layers to it we'll create a

[00:00:00] null by coming up to layer new null

[00:00:00] object and you'll see it's just this

[00:00:00] empty bounding box here in the viewer

[00:00:00] that's just here so you can manipulate

[00:00:00] it a null will never render as part of

[00:00:00] your animation you can set them to be 3D

[00:00:00] objects though so we'll come down here

[00:00:00] in our switches and enable 3D and now

[00:00:00] you'll see that the null has a 3D Gizmo

[00:00:00] now I want to place that perfectly in

[00:00:00] line with this can so on our can let's

[00:00:00] twirl this open and then select both our

[00:00:00] position and then control or command

[00:00:00] click on orientation copy those and

[00:00:00] paste them to your null you'll see now

[00:00:00] that lines up perfectly with the

[00:00:00] can if we select the can and parent that

[00:00:00] to the null now all those values get

[00:00:00] zeroed out for the can because its

[00:00:00] transform properties are now relative to

[00:00:00] its parent and they're all the same

[00:00:00] let's go ahead and rename this null to

[00:00:00] can mover and and we'll use that to

[00:00:00] animate the layer into place let's come

[00:00:00] up to I think 2 seconds would be a good

[00:00:00] place for this position animation to end

[00:00:00] and we'll create a key frame for

[00:00:00] position come back to home and then I'll

[00:00:00] just grab the Y value and just click and

[00:00:00] drag that until the can is off the

[00:00:00] bottom of the

[00:00:00] screen there we go and we'll snap back

[00:00:00] to that key frame and we want to rotate

[00:00:00] the can similar to the way it's already

[00:00:00] slowly Rota but we want it to happen

[00:00:00] quickly in this case that's going to be

[00:00:00] the Y

[00:00:00] rotation let me just undo that and for

[00:00:00] that can mover null we'll create a key

[00:00:00] frame for our y rotation jump back to

[00:00:00] home and let's set that value to minus

[00:00:00] 100 yeah that'll work

[00:00:00] nicely okay let's highlight both of

[00:00:00] those Landing key frames F9 open up the

[00:00:00] graph editor

[00:00:00] and oh we're dealing with a unified

[00:00:00] position here so we can't use the value

[00:00:00] graph let's just switch that right over

[00:00:00] to

[00:00:00] speed make sure we've got both of those

[00:00:00] selected and just drag this handle

[00:00:00] over somewhere around here is probably

[00:00:00] good and

[00:00:00] preview yeah that's feeling

[00:00:00] nice let's close out the graph editor

[00:00:00] close all of our layers down unsolo

[00:00:00] these and we could go ahead and get rid

[00:00:00] of our placeholder Now preview again to

[00:00:00] see everything in

[00:00:00] context and see if we need to adjust any

[00:00:00] of our

[00:00:00] timing I think that feels pretty good

[00:00:00] but again you're free to make your own

[00:00:00] decisions

[00:00:00] here another cool thing about these 3D

[00:00:00] objects is that you can use lighting to

[00:00:00] make them feel more realistic using

[00:00:00] what's called an environment light we

[00:00:00] can assign certain types of images to

[00:00:00] simulate the lighting conditions of

[00:00:00] being in a specific location like a

[00:00:00] beach or a photo studio to create a

[00:00:00] light come up to layer new light and

[00:00:00] then you'll get this pop up you can

[00:00:00] actually choose from several different

[00:00:00] types of lights but we're just going to

[00:00:00] choose environment here and leave

[00:00:00] everything at the defaults and press

[00:00:00] okay now you won't see a big change

[00:00:00] initially because everything's at its

[00:00:00] default setting but if you look under

[00:00:00] the transform settings for this light

[00:00:00] you can actually r rotate the

[00:00:00] environment itself if we take the Y

[00:00:00] rotation and scrub that up you can see

[00:00:00] that the environment is actually moving

[00:00:00] around this can and we can see the

[00:00:00] lighting and Shadow and even catch those

[00:00:00] Reflections on the metallic Parts at the

[00:00:00] top and bottom of the Canam but this is

[00:00:00] even more powerful when you actually use

[00:00:00] custom images to light your objects I'll

[00:00:00] come over and click reset to put this

[00:00:00] back at the

[00:00:00] default and then looking in your assets

[00:00:00] folder we'll have one more asset to

[00:00:00] import which which is this environment

[00:00:00] HDR

[00:00:00] file you'll see up here in the preview

[00:00:00] this is from a photography studio with

[00:00:00] specific lights so we can just bring

[00:00:00] that down into our composition and we

[00:00:00] actually don't need this to be turned on

[00:00:00] so we can just disable the eyeball

[00:00:00] switch but what we need to do is under

[00:00:00] this light we can set the source

[00:00:00] property to that new layer we just

[00:00:00] brought in and now you should see a big

[00:00:00] difference and with a preview again the

[00:00:00] can itself is rotating so we're getting

[00:00:00] a little bit of ncy interaction there

[00:00:00] but I think rotating the light a little

[00:00:00] bit as well would give some really nice

[00:00:00] Reflections on this

[00:00:00] can once again you're free to choose

[00:00:00] whatever settings you like but I found

[00:00:00] it looks pretty good if you set the x

[00:00:00] rotation to

[00:00:00] 50° and then animate the Y

[00:00:00] rotation starting with a 0 deg key frame

[00:00:00] at frame zero jump up to the end and set

[00:00:00] this to minus 100

[00:00:00] looking good I really like those

[00:00:00] Reflections I think they add a lot of

[00:00:00] dynamic energy and help the can feel

[00:00:00] more

[00:00:00] realistic I think everything is feeling

[00:00:00] really nice so I'll go ahead and save my

[00:00:00] project do a final export and admire

[00:00:00] this great animation we created we

[00:00:00] didn't end up needing any effects for

[00:00:00] the way that I've built this animation

[00:00:00] but that doesn't mean that you can't add

[00:00:00] some yourself again this is just one

[00:00:00] suggestion of the many ways that you

[00:00:00] could animate this scene and this is

[00:00:00] also just one shot so there's nothing

[00:00:00] stopping you from expanding this into a

[00:00:00] slightly longer promo with multiple

[00:00:00] scenes while I try to cover a lot in our

[00:00:00] time together there's so much more that

[00:00:00] we didn't have time to see I hope this

[00:00:00] is just the beginning of your journey

[00:00:00] into motion or motion design or Motion

[00:00:00] Graphics or animation or whatever you

[00:00:00] want to call it I also hope you've

[00:00:00] enjoyed our time together and again

[00:00:00] thank you so much for allowing me to

[00:00:00] welcome you to After Effects and really

[00:00:00] to A Whole New World of creativity I

[00:00:00] can't wait to see what you make with all

[00:00:00] these amazing new SK s