Transcripts

1. Introduction: Hello. Welcome in this class. I'm going to teach you how to make a liquid text animation in after effects. We will select an awesome fun. We'll create outlines from this phone and then we will build up this animation. This class is perfect for everyone is curious how to make those logo animations, text animations and other motion graphic elements which look so cool and on trend. Right now, it's so much more than just making a liquid text animation because he will be able to build up this animation on any object you have with the steps I teach. You learn about masking about track matting about working with Shea players and all this combined will make it really easy for you to make some local innovations, text reveals and other motion graphic elements for all your future projects. I'm really excited about what we're gonna learn. It's gonna be one hell of a right click the enroll button, and I'll see you inside 2. Warm-Up: Hello. Welcome in this first lesson where I want to warm you up just a little bit. Considered it as stretching before you go to the gym. But instead of going in the gym, we are working with after effects today I'm certain some of you know aftereffect pretty well at this point. But some of the students in this class never really worked an after effect. I would like to finish this animation as well. So I want you to open aftereffect. Once you are in aftereffect, go to composition, pick new composition and create a new composition with any size. I have standard HD size 30 friends for a second and the duration off My composition is five seconds. A composition is the container in which we are working in. So I will create two layers. Go inside your toolbox, click on the rectangle tool and select a rectangle and create one rectangle toe about half off the screen. It can be this size. I will click on the layer I just created I hit enter to rename it and I call it Mr Mask Now I d selected So nothing here is selected. I click once again on the rectangle tool. I hold my mouth and now I'll use the ellipse toe, please to the same. Create one object like that. Change the field color, maybe to something different. And now, on a new layer, do many circles in the middle. I will cover the entire screen with circles. Something like that. You can see I have two layers. I have Mr Mask and I will have circles about at this point, I want you to have the same Take the circle to the bottom side. So Mr Mascots on top and circles are on the bottom. The thing I want to achieve in my composition. I want only the left sites to be visible while the circles will be hidden when they are here or here or here. I want this yell blue rectangle to deal as a mask. So we will work with the track matte, and we'll select the appropriate option if you do not see the track matte press F four on your keyboard or here on the bottom side, click on this icon. This Aiken reveals our moat in our track, meant now you hit their circles and I'll tell them Hello circles. Remember that the blue object is the only place you are revealed. So I looks like track Matte Alfa Matt Mr Mask, You can see what happened. Mr. Mask has disappeared somehow It isn't visible anymore. But the circles I will use my selection tool. The circles are only revealed in the place where Damascus If I click on the mask and they place the mask in the middle, I make it smaller like that. This will be the only place where the circus are visible. And this is all I wanted to teach you in this warm up lesson because later on, when you great the animation will work a little bit with the TRACKMAN, we'll work with Shea. Players will use shape layers to create something out of the elements we have here. But very important that we will use the treatment. And this is what I wanted you to learn here in the warm up lesson opened up after effect. Create those two layers and play around a little bit with the track. But you can also do it the other way around. If I place Mr Mask as the second and now I alpha matte circles. You see, we have the opposite effect, so the rest of a new open up after effect work a little bit with this and you'll be prepared to continue with the class. 3. Select Font & Color: Hello again. We are one step closer to start working. The entire animation will be to reveal award in a nice fashion. For this, I would recommend you to use a big, bold fund, so we have much space to fill in. I will, for example, use a script type front, and you can download any fund, for example, from different dot com or 1001 funds dot com. These are websites with funds. You have types of phones here. You can do a search for a bold phoned and select something like this. For example, those two would be okay. You can also select the type of fund by clicking more. And, for example, we have script funds. I will prefer to use a script fund because it looks like a logo. I can use a script fund right one word, and it will look really cool the same on different dot com. You can use, for example, script phones. I only click here to select all my script funds. I'll browse to the front and I will select something. For example, this would be pretty cool because this phone is both enough, so I will be able to feel something inside here. And this will be cool, visible blow brush. What an amazing fund. I will consider using it. It looks really interesting. And also I'm very interested in some Asian type phones. I really like the design of them. So this is definitely a fund to look into. So once you select the fund, you can also consider using a color scheme for the entire animation. I mean, for the background for the text and for the feeling you can head over to color hunt dot CEO or a adobe color. You surely know those website If now these are absolutely amazing. Resource is to use. It is so easy. Then when I'll work an after effect, I, for example, will make a new solid. I procure. I take my pick, Whip and let's I I've selected this color scheme, so this will be my background later on. When we create the text, I select the entire text. I have my color picker here I select the orange color and this will all look great. Terrific. When I will combine it together. Then when I work with the feeling, I will remember about those colors. I select the next color. And I know those who will work well along. This is in terms off preparation. Please select the fund. Instal it and please select the color scheme and save it somewhere. So you have a reference when we create our animation. 4. Outline & Separate Shapes: Hello. Welcome again. I'm ready to work. I've selected my color scheme and I've selected a nice phoned. Please open up after effect and create a new composition. You can create a new composition by going here and selecting new comp. I will stay with the age decides with 30 frames per second and to have a bit more space while I work, I will select 10 seconds off duration. I click OK and I have my composition prepared In this first design lesson, we will create our text will outline it and we'll separate the shapes we are working on now . The longer the word, the more work you need to put in. So if you are working the first time or have very little experience in after effects, please select For example, four letters work like golf or throw up or cool or year something like that. I will select a little bit longer word. I'll write awesome with an exclamation mark. I'll place it in the middle in order for it to be in the middle. I can goto my ally in time as I can simply center it like that. If you don't see the Alliance Yep, it's here at window and you can open up a line. You need to click on the text here on the timeline where our first layer appeared, right. Click on it and select. Create shapes from text. You can notice a shape layer at blue shape Player has appeared an inside of the stray player in my content. I need every letter, Toby on a separate layer. This is why I need now to duplicate this layer. 1234567 times Because I need eight layers so I'll go ahead. I click on this layer, I select contra or common two d and I present seven times So I have eight layers now. Once I have the layers I hit enter and I rename each layer to be each letter Please do it also in your project and we see each other in a moment. Okay, I have renamed them And now from each layer I need to really all the content and only leave the one which is in the name. You see, this can be a little bit tedious. That's why I told you you can select a shorter word. You can press the tilde key by holding them out here to resize it to the entire screen. This will be easier to edit. The tilde key is the little wave eating on your keyboard, Probably under the escape key. And I'll now select everything. Open up everything. So I'm closer to the contents and I just delete everything but leave the exclamation mark here. I need to leave the e here. I need to leave em and so on until I have all layers complete. Okay? This wasn't so hard. I just check a w e s o m e exclamation mark. Ok, I have everything properly done. My click here, control A and I closed everything down. So I see it a little bit better. That's the basics. What you need to do in order to prepare your composition for work, select a phoned, create a text right click on the text, create shapes from outline renamed the layers entered leaked the content so only the appropriate content will stay here in the next lesson will start to create our mask. And that's where our track matting knowledge will come to usage. So please stay tuned and I'll see you in the next lesson. 5. STEP 1. Create the Mask Composition: Okay. Welcome back. This will be really cool. Now we'll continue our work. I also forgot to make my background. So I rightly here I person you and I select a solid. I have my color scheme on my second monitor. So either select the color I wanted for the background. I press Okay. I place it as the last layer and I can simply forget about it. I press on this shy button. Also, I won't be needing the awesome text anymore. And I activate the shyness for this layer to hide them. President. The first layer with the first letter you have press control or command d to duplicate it. Rename it to a mask. This will be the mask which will make the animation for this letter. I'll pre compose it because I want to have more things inside of it. Not only this one layer, so I either rightly or select recompose or just seem to go to layer. And on the bottom side you have pre composed. I will remain with the A mask name maybe not complained. This is not necessary. All right? And you can see now I have a composition just like here. I had my composition. One I can double click. And now I can make some edits and changes inside of this layer. And the most amazing thing will be that this layer will be the track matte for this mask. So I select track matte all format a mask. And now everything I will do inside of this mask I can do animations. Aiken do fills. I can do key framing anything I want. And it will never grow outside the bounds off this letter because this letter, this a layer, it's mask together with it. So I'll do the animations here. I will make the liquid animation inside of this composition. It will fly true. It will fill the letter, but it will not grow outside the bounds here. So that's a really cool thing to remember. We will do three steps now will create masks. We will add effect, and then we'll create an adjustment layer which will help us to make the animation a little bit better. At this point, we want to create outlines for our animation. For this, please select the panto or press dot org. Select this layer and remember to have two creates mask selected because else this tool would create a shape. The best possible result we can get is by doing one outline mask. Letter A is a bit tricky because we have so many curves here and it's really hard to to cover them with one line. But I'll try. We want this animation to pour in from the top side, so I will start here. I'll start on the top. I'll create the mask. I go into every corner like this like this when I go back top back down, left site, bottom side. Well, it's a bit weird what I do here, but that's what we have to work with. The letter A is really tricky. Okay? And we can go even above here and beyond because later on the stroke should fill the entire letter. And this is all we have to do for the first step. Let me maybe select another color because it's really not good visible. And I need to see this mask. Okay, this is better. And I'm prepared to continue the work. I've created my outline and now I will start to apply the effect 6. STEP 2. Work with the Stroke: Welcome back. This step will be really easy because we will only work with some effects. Please open the effects panel by going toe window and selecting effects and presets. And by having this layer selected the a mask, apply the stroke effect. You can apply the stroke effect by dragging it over or double clicking it. I have my stroke effect apply to this mask. At first, that pain style needs to be transparent because that's how we work. We don't want the letter to be filled. We want to fill the letter with an animation, so I will select my brush size to 10. Well, it's OK. It's not to take it nearly covers up the letter off course. The hardest needs to be set to 100 and that's good. For starters, the last step we want to take is toe animate the stroke. How to do this? Very simple. You see, we have started and here we can work either in with the start or what The end, for example, The start will make it disappear. This way. The end will make it disappear and appear this way. Let's say we start with the end. I'm here on the beginning with my play head. I press here on this stopwatch to set a key frame and I select 0% by having this musk selected. Let me present you so I will see it. You see, a stopwatch is active and I have my first key frame on the timeline. Now let me make the timeline a bit smaller. I want this animation to take about one second and this is really up to you. How swift and how quick you want the animation to appear at one second, I'll make the end 100%. You see how it slowly fills now in depending how good we did this stroke, that a letter was really tricky. It was hard for me to fill it out properly, so it's a bit weird motion. But I think this will look OK because the letter A is slowly filling out. Go to 100%. To make this motion a tiny bit better select both key frames like this right leg, a key frame assistant and Eazy e's them. Now the animation is a tiny bit better. It has a better motion and now we can start to at our colors. Click on this mask and duplicated about two times because we need to fill out this letter. You see those white spaces here? They need to be covered. So I select the next layer and I want to move it a few frames forward. You can do this by hand by coming closer and moving it a few frames or press the left older , often key and select page down. 123 Might before five frames or three friends This enough three tree. OK, And now on the second layer, I make the stroke 15 On the third layer. I make it maybe 20. So it covers off the letter. If it will not cover it, please go here. Select the brush size to be at the beginning 20. But after the 1st 2nd passes maybe make it 30 or 35. This will make sure that we covered up the letter And do not worry, it will never go beyond the letter here. So on the a mask now I can adjust the colors. The first color is the white color. The second will be the next color. Undeterred will be my last color which I want to appear on this composition. You can always change the color. Now let me select my colors from my color scheme. I select the second mask and I select my blue core. I select the first mask and I select my orange color. Let's check out if this old is okay. All right. You can see a nice that the animation is going on. The first stroke comes in, the second stroke follows and then the orange stroke goes as the last. Maybe they're blue. Color is better as the orange, but I will stick with it for now and I can see on the composition won. The animation is already happening. We don't have the colors just yet, but we are close. The colors are maybe not so important at this point because on the first composition you see, we still have only white. But we will duplicate this later and we'll recall her it here. But this will create us some kind of liquid motion because one stroke is following another stroke and now will add even more effect to liquefy it a little bit 7. STEP 3. Add the Adjustment Layer: Hello and welcome back. Now we'll create an adjustment layer, which we can later use for all letters so we can do it only once and then copy it to another mask. Compositions adjustment layers are special type of layers. You can see this button. This is a button for adjustment layers, and I'll create one right click new adjustment layer, and this layer will apply adjustments to the entire composition toe all layers which are next to it. There are a couple off effects you want to apply it. I'll call this effects mask and on the effects mask, I will start with choker. Simple choker is a simple effect. We can set it to, for example, 10 and you'll see it will make the address a bit more rough, and it really looks a bit better and more liquid because without this defect it looks really stiff and very proper. The stroke is perfectly aligned, and with this little choke, it gets the edges a bit better. As I'm talking about the edges, the next effect will be rough edges. It is stylized type off effect, and it does pretty much the same, but to a stronger amount you can adjust the border to 10 and the edge sharpness to five, so they're a bit sharper. This again creates the motion to be a little bit more liquid between them. You can see how this stroke flies into the next one. The last thing we would like to adjust here. It's the evolution you can notice as I play around with the evolution. It makes the animation toe fly around a little bit. So I'll left old or option key. If you are on the make, click on the stopwatch and instead of studying key frame, I only write time times 500 or times 1000 and this will automatically set the expression so the revolution will continue on. Even when we are not touching it. You can see the evolution progresses, depending on the time. As I move on the timeline it progresses. You can make it even more. For example, 1000. This will be OK. I'll preview the animation, all right. Our edges are a bit more rough. That TERT and very less effect you want to set is turbulent displacements. We eventually could not use rough edges and go turbulent displacements right away. but this way it gets the little fine touch we need. So terp turbulence, displacement. These are distortion effect. And by applying this effect here, you can see it really creates a huge displacement. That's definitely too much. We want the amount to be about five, because remember, at any given point you need this mask from your original letter always to be fully covered . So if it's not covered, you need to select the last mask. Press you here, go exactly into this point. And on this key frame, the brush size will need to be bigger if it needs to be adjusted. Remember to be at this point, because if you adjust it here, it will set just a new key frame. Okay, Control Z, for now, 35 is just about right for me. It covers the letter. I can go back to my effects mask and my turbulent displacement will. This ice is a bit too big, so we can also lower down the size to 20 and we have a smaller displacement here. Now let's watch on composition one. How does the animation look? And you see it's much more liquid than previously. Look at this little leg. So if we have letters like W, this will really look cool, because we will have to animation flying like that and it will really look liquid. I also think I have selected a good fun for that. This form is really fluid. And the animation, which I'm creating, really suits this front. And that's why I wanted you to select script phones. This type of animation can be used for really any information you do in the future. Just think about it. You have a logo, you have a fact arised logo. And you want the logo somehow to fill in all the blanks it has. So you can create something like that. You create separate shapes, separate masks. You will work on the mess, and you will slowly fill it out. So let us continue now. The work we have our first letter done. Now, I don't need to repeat the work on other letters. In the next lesson, I will show you how we work on the entire next letter. And then you can do it on your own. You have your word prepared. Please do all of this for all off your letters. See you in the next lesson where I work on W. And then let's continue 8. See It One More Time: hater. Welcome back in the seed One more time lesson as I can see, all other letters besides a will be so simple Double you Look how we can draw the outline E as we can draw it. Really simply, only the A was really tricky. We had to go like this'll like this around here and around here. Well, all other letters will be better. So let me start. W duplicate w mask Pre composed. You need to remember the shortcuts. It's control or comment Shift see to pre compose. All right, we have our w mask. I'll instantly said that all format, so I will not forget about it. And I have my w without any further ado Cyprus G I press on mask and I start to make it. Okay. The mask lead needs to be really around it. Here. This will really look cool later on one's animated. And if you have problems like this, just adjust the handles, making the handle smaller, and it'll work seamlessly. Okay, this will be like that. This one. Maybe this time I need to pull this handle to make it a bit better. Also here. Ah, well, I could adjusted. Here I am a bit sloppy at a new point here. Okay, this will look better. Okay. Click on this point to continue. Boom, boom, boom. Okay, I haven't done. What did we do next? Stroke. I have my stroke. I double click it. I need to make it on transparent. So I don't see this letter. And the brush size We started with 10. And there's all depends how big your actual composition is. If this composition would be four k, the new, it's simply said 20 here. Okay. Make the hardness 100%. And the first rope is okay. Duplicate. Duplicate. I believe it was four frames forward. Actually, it's only tree frames. Go back. One frame. Go back to frames. I'll select my colors again. Well, I could just select any color, but I want to be somehow precise here. And I want to preview how the end result will look like on this finished composition. So I am doing this like that. It was 20 here and here we had it animated as I remember. It did start with with 10. What's 10 in one second later. I shouldn't be also a bit more precise here. One second and 10 frames will be OK. We had 35 and that's basically it. Of course I did. Forget about and animation off course a key frame. Zero one second forward. 100%. I press you to reveal the key frame. I quickly, easy Is it? And what I can do now? Because I forgot to place the key frames on those layers. I click on them control. See, I click on this layer control. We click on this layer control V my press you to check it out. Oh, off course. The key frames are set in a bit wrong position because this might play head was set also at the wrong position. So I need to select those key frames Manly now. And you see, I'm having some troubles here. I press the shift key to snap, and I place them at the right position that this really happens when you are working in after effects. There are so many things going on that you may forget about something, Will Next step wants to copy the adjustment layer. And that's the cool thing. I don't have to make the adjustment layer one more time Because I have here the w mask. I copied it here and you can see my animation is ready. A little quick information. I am doing the next letter, the letter and it's even simpler if you take a step back. You go for example, to the Turk Matthew Copy. And you simply copied this effect because this effect already has the animation on the brush size and already has the animation on the start and size. So I just goto the mask. The Turk best I have copied. If I would have no effect here, No key frames. I only place the effect at the right position. If you were my play head starts. I copied this effect and this effect automatically has the color from the previous mask has the animations and everything from the previous one. Now you just copy the facts mask and you have ready animation without doing much. Apart from creating this outline at the beginning, letting previewed this If it looks OK now, I will go ahead and do all the letters like I did those ones. Okay. Now please finish up your part. Do also the same on your animation and you see each other in the next lesson because we still have a few very important steps to make. I went to make a little extra graphic at the end. I went to pre compose it and recall or the element so it will look really better. And then I will decide if I want them to be offset So they are appearing one after another , or if I want everything to appear at once, this really it depends. And I'll see how the animation looks in a moment. Thank you for your attention and see you in the next one. 9. Precompose for Better Results: Hello. Hello. We are slowly arriving at the end. Let's preview what I have till now. I've prepared all the letters and this is how the animation looks so far, I can see that the letter M has some little problems here. So I just double click on the mask I go to mask tree. I go to this place. And as I told you before, I need to make the brush size bigger. By making it bigger. I should get rid off those problems which I had previously. I have my render quality set toe hold, so it doesn't take as long. Okay, the M has no problems here at this point. So we can do are less adjustments. If you want the animation to be a tiny bit more fancy, we can select the letter, go once again to turn turbulence. Displacement. Okay, make the amount. For example, 100 a size 10. You see, this little displacement would make their letter even more displaced and more liquid. But we want only this will happen a little bit at the beginning. That's why I said the amount to 100 at the beginning and at this and as it starts to reveal . For example, here it'll fate to zero. So it's no longer displaced. Let me press you and see how that looks. Maybe I drag it out a little bit and if I finally like the effect so it's a bit displaced. I just control, see and copied toe all the letters I have. So they have a little bit more of motion. I see I've made another mistake. I had the play had here. So it's electoral key frames. I placed the key frames at the beginning and my right. Okay, this is OK, I could ease them. But this time I think without easing, it's OK. Let me make it smaller and we can start to colorize everything. Now you know how pre composing works. So I will once again control I select everything right? Click pre, Compose it so it will be text one. Now we can start to use the colors I had. I'll select the full effect. Well, the first maybe doesn't need it because the first I wanted to be white. But let's be strict here and the first full effect will be white. Now I duplicate this layer. It will be text seconds time. Okay, Let me select my call or ski my head with the color scheme. I select up, equip and I select the blue color which should appear us the second I duplicated and they select the orange color which I wanted to be at last. So now I have to place them a few frames Forward, old and 123 maybe five frames. 1234512345 Okay, let me preview it Now I can preview the animation and we are slowly getting there. I see the five frames is too much. Want to back? I want to want to back OK, because I somehow want them to do reveal together something like this. Yeah, maybe even even one frame closer. You don't have to be precise here. It's really your imagination and okay, the orange is too quick. The orange should be a bit more away from this. All right. And this looks really better and better. I think the animation looks pretty awesome, but I'm not 100% sure if I'm keeping the colors, You can always change the calls just inside layers. I have this background layer. The background layer can be always changed by going toe layer, solid settings or control command shift. Why? And I can select another background for my entire composition so you can test out different color schemes. You can copy this even more times than 32 to create more colors going from one to another. And I want to preview this entire animation on full quality. Now wait a 2nd 0 and I remember another adjustment we maybe should make. It's still displaced everything a little bit, so I will place them 12 Tree Frings forward. Three. I don't know why I'm shifting everything three frames, but I want this animation kind that to happen really quick so I won't go 10 frames or 20 frames. I want each letter to reveal one after another in quick fashion, and now I'll preview the animation. It really looks awesome at this point. I think I like the coloristic. It looks really nice and it flies in very well. We still have some nice things to do. For example, I'll show you how to quickly make it disappear after it appears how to make some accident at the end. So it really comes together as a fine tuned animation, not just a simple reveal. I hope you're at the same point. You completed the animation. You pre composed everything and you selected several colors for it. Now it can reveal in the same way it reveals on my screen. I'll hope you will show me your project and see you in the next lesson to make the fine tuning and finish up our work. 10. Fine Touch at the End: Welcome back. I'm so glad you arrived at the end off this animation. Now let's at a little accent and I'll also show you how toe reveal and hide the animation afterwards in the same fashion, using the same compositions we already have now to create a little accident, We need a new solid layer. So I right, click, click on New Solid, and I will select the last color. This will be, in my case, the orange. Okay, I have the or in solid. So we have pixels toe work with I go then to effect simulation and I select CC Mr Mercury, Mr. Mercury creators me little lobs But those blobs are definitely Tau Bay. So let's change the rages toe one The rages here also to one the birth rate at the beginning to zero because we will need to animate it. But let me stay at this point to, for example, 0.7 The long gravity in seconds. 0.5, the resistance to one and the birds size to 0.1 off course Did. That needs to be zero Now. This is how our animation is prepared. We have this little block here but it definitely lives too long. So we have to go to the beginning and letting Maybe trim justice layer. I have select the left old and the right bracket. Keep to trim it down here and I go to the very beginning. I pressed the birth rate to be one. At the beginning I go forward on Lee two frames. So only a few blocks create and they make it zero. Let me get you. You see, I have two small key frames and it's like only only two blocks are created and that's it. If you want more off those blobs, select this key frame and place it a bit more far away. Now we have three blobs. If I would shift this animation even further, we would have many more blocks. Now I see this lot has a little like and glow around it and it doesn't quite look as the text I have. So I select this or in solid. I go back to my project, I select the text one and they placed the block here. Now I need the proper place where the blob could be animated. So I want to animate it for example at the end off the e reveal, I have the revealing okay, and the blobs could be created here. I need to, of course, place them in the proper position. And let's see the little blobs appeared. They appear a bit late, so I make them closer. OK, let's preview that. I need to fade this properly in with the animation. Well, now it looks really okay while the animation still happens there blocked. Create on the end. Let's preview now how it looks on the composition. You can see it. It looks properly. Okay, We have a small, small little accent at the end now. Okay, let's do another adjustment. I don't need those layers, So let me hide them again. I can delete the blocks here. They are not necessary anymore. And I'll pre compose all tree off those layers. I could also stay with them, but let me pre compose them. This will be easy. I'll call it. Finish it animation. I have my finished animation information place. You can see it place and it shows itself fully at about three seconds. Now I duplicate this. I hit enter and I call it faith out for example, it's it doesn't really matter how you call it. They're important thing to do Here is go to layer time and time. Reverse player. Now this layer this first layer should end about here. And you see the second displaced layer has a little line here. This indicate that this line is turned over. It is time reverse. So at first it should not be visible. They can, for example, stay here together because they are both visible. Okay, The first animation place it reveals the text. But at the end it starts to fade out Because this fate in here So this will fade out here. I make it, of course, smaller about the position where it starts to fade. I place them here so they bowed, create one seamless animation and now it appears and disappears at the same time in the same composition. I make the work area closer. Let me render it so we can all preview that I did finish up the render and let us preview how nice the finalists animation use. I can hit the preview button here on the top, it appears, and on the same layer it disappears. So I have a fully prepared animation, and if you wanted to stay longer, that's no problem. Since our composition is so long, we made it 10 seconds. I can just drag it over. It will be extended now. It would have to render at this point again, but you get the idea. It's really simple to make it a bit longer. And we have the animation prepared as is. Thank you for listening to the adjustments I had to share and how to work with the time remapping, because that's really important in after effects, and it's really useful. Dues layer and the time options Time reversing layers and time reverse and key frames is something really awesome, which saves us a lot of time. Now head over to the conclusion section where you'll finish up everything we have about this design. 11. Showcase a ready GIF / Screenshot: welcome at the conclusion section. Well, we'll summarize everything up. Okay, I have the animation. Now I'll show you how decree to give Go to composition and add it to the render queue at the render queue. Click on Output Module and you can select a code that render I would recommend to sell a quick time so it will not take so much space for the former options. 60% of quality is perfectly enough as you already click here to point where the father should be rendered and hit. Render I want My video file is ready. I'll open up photo shop and I placed the file here. Photoshopped, Since CIA six is able to play videos now, I will go to file, say, for Web, and I'll create a gift file. Once the image loads, I reduce the colors to 1 28 I lower the deter. So in here I'll see how big the file is. One megabyte is perfectly OK. I also will reduce the size, and I will make it look forever. I reduced the size to the size off 600 pixels. I wait a little bit. I'll once again need to change the looping to forever. And once it prepares, I safe and I have a ready GIF file to use. I would love to see your project here on skill shirt. Inside the class, you can click on start project, you can make a title, I'll type and also I'll hear upload might give file and I'll also make a timely at time that can be taken from photo shop. I just select the appropriate moment. All right, then I hit file safe as and I say if a simple P and G or J pic image as the Tommy, I save it. I click OK, and I have my files ready. You see, I have both my showcase gift and my camera. I select the time nail. I click submit here on the bottom. I also submit my Jeff and the project is prepared. Then I can select create project and the project is shirt with everyone in the class. I really hope youll duties. I look forward to see what you have preferred. Now please take your project and showcase what you have done 12. Thank you!: again. We are arriving at the end of this class where you prepared such a animation. The things you've learned go far beyond making just such a animation. You will notice when you work with aftereffect that the things we've learned working with track met, working with the pen tool, using effects, adjusting effects, working with key frames, doing all day is easing it, rendering it creating gifts. These are really all skills, which will come in handy while you work with motion graphics or overall with video. At this point, since you finish this animation, I would be really happy if your share of the product and you reviewed this class. This would really help me here on sculpture as a designer, and I'll know that you would like to see more of such glasses. You can click here and click on, Leave a review to live a review. Leaving a positive review really helped me. You can write something here right? Eventually, feedback for the skills your team and just submit the review If you want to continue the learning off after effects and to create some animations. I have a lot of other classes here on skill usher, which you can participate in and learn even more things. Each class teaches you a particle, our scale, a particular animation. And we are slowly learning after effects togethers while having fun working with it. Thank you so much for listening and for going through with this glass. My name is Andrea, and I hope that my classes help you to learn after effect in a simple and organized way. I'm closing this up. See you in the next class.