Category: SonduckFilm YouTube

Let’s get things spinning with the craziest carousel animations in After [music] Effects.

It doesn’t matter if you have photos or video. The way you present your media is what [music] turns simple content into something cinematic. Let’s get started. All right. These are all very easy to create, but definitely more advanced than my previous carousel tutorial, which, you know, I’ll drop below. But if you want to be the best, we’ll start with this carousel where all the images scale on when rotated in. So, always start by using the rectangle tool to draw out any shape that [music] you want. And make sure this is absolutely centered with no lunch money right there in the middle. Huh. And be sure to go to the roundness to make this a curvy boy. Now, what the heck do we need all this for? Well, this will allow you to drop in your pics or any videos right on top of it. Then you can go to the trackmat and set your assets to [music] that shape we just created, allowing you to easily control the sizing of whatever you place inside of this box. Very cool. But make sure you parent your media to the shape. So that’s all easy to move with [music] just with one layer. Most importantly, place in any text or graphics that you may have and then parent those to that shape mat as well. But okay, let’s make a carousel. With the pan behind tool, we can move the anchor point of the shape directly to the bottom right here. Then let’s create a null object and parent the shape mat to it. And again, move the anchor point of the null object below your composition to where you want the center of gravity to be, so to say. But now we have some null seion going on. So let’s add a key frame for rotation at around 20-ish [music] frames and then move to the beginning to rotate this over to the side. Then add a final key frame a few frames after that last one. And this is going to give us a single animation. But to loop this, let’s altclick the stopwatch and use the [music] loop out offset expression. And this little movement now becomes a constant incremental movement that will loop forever. I would also highly suggest making those [music] two key frames easy ease with F9 on your keyboard and then use the graph editor to smooth out the animation however you need. However, before we expand with additional imagery, when [music] our media is rotated to the side like this, let’s add key frames for scale and rotation of this mat layer right here to slightly tilt [music] and scale down. Then hold the sizing rotation at the top and then [music] key frame the scale and rotation again to do the same thing when this comes over to the other side, if you will. And then smooth out those key frames if you want to do that. And this is going to [music] add some variety to the overall animation. But now we’re ready to expand on this. So duplicate all of our elements here and also duplicate the null object just this one time. And then [music] delete the expression and the key frames. Then parent the duplicated mat to it and rotate the null object by the same amount [music] that the initial rotation had to move the graphics over. Then when you’re done, you can parent that mat back to the first null object and then offset those mat, you know, position and rotation key frames to perfectly time the overall animation. And you know that’s great. Absolutely perfect. So now you continue the process to create [music] more duplicates to build out your carousel. Now for a pro tip to swap in some new media, select your pick or video here in your timeline. Then alt drag your new image into the timeline and bam, just resize and position and call it a day with some fun at [music] the casino. Sorry, you know, this just reminds me of a roulette wheel. Um, I might have some problems. But now we have a pro carousel and the basics to create more advanced designs and easily produce professional visuals and save time with my free After Effects and Premiere Pro templates, drag and drop transitions, animation presets, and carousel and multi-creen motion graphics that you can customize with a few clicks. You can access thousands of templates directly in After Effects and Premiere where you can edit them to fit your vision in seconds, allowing you to build cinematic masterpieces in no time with a link below. Oh, and if you do pick up anything, you will be supporting my channel. [music] So, thank you very much. All right, let’s get more conceptual and design this endless carousel spin. So, with an image and a shape mat ready, let’s select the ellipse tool and choose the tool create mask option with the shape selected. Then, let’s draw out a path and turn off the mask. Then, copy the mask path and paste it to the position. Then feel free to stretch out the final key frame and add the regular loop out expression to follow the path forever. Now you can duplicate both of these elements. You know, I would maybe change the sizing of the shape and you can insert new imagery. It’s really just up [music] to you what you want to do. Now, finally, move those key frames over by a touch on that duplicate layer to create a timing offset. Finally, mass duplicate everything until you go full circle around the path like NASCAR. The only difference is that I could actually watch this for 500 laps, you know, because it looks great. Now, if you want to walk into the club with a little more style, perhaps you don’t want a full loop, but just an endless [music] echo base animation. All we need to do is create a custom path with the pen tool and then copy the mask and paste it to the position as before with, you know, no expressions this time. However, we can animate the [music] scale and rotation to start small and tilted and then smooth out our final two key frames to have a subtle stop as if we know we were coming to a red light. Now, with the setup ready, duplicate, replace, and offset each layer as many times as you want to finish out your carousel trail animation. You know, actually, I don’t know if this really qualifies as a carousel, but you know, we can fight about it in the comment section. All right, just joking. Moving up into the world. Well, maybe rotating the world. Let’s create a 3D carousel tunnel. All we have to do is make the layers 3D [music] and then rotate the Y rotation of the shape mat by 90° or a little more if you want a better perspective. Then move the anchor point to one side of your composition. And this will leave the anchor point directly in the middle. Now, duplicate and adjust the Z orientation of the duplicate by 90°. and then repeat this process to finish out a complete box. Now, I don’t think you need me to say swap out the images anymore, but now let’s create a 3D null object and parent the [music] mats to it and use the time expression on the Z rotation of this null to get it spinning. You know, it’s very simple, but what if you want to create a tunnel? Let’s do it, baby. Duplicate all the imagery and then move it into Z position space to create some depth. [music] And if you like, you can use another null object with a negative value on the time [music] expression to have this spin in the opposite direction is kind of cool, right? But do as many duplicates and position moves as you want to expand on your tunnel. We can also create a camera and add key frames for position and point of interest. With the dolly [music] cursor tool, we can easily move into the tunnel. And because we have an epic camera ready to go, you can enable the power of depth of field and increase the aperture and blur level to make things go out of focus and maybe adjust the focus distance for well better focus. But this is just another idea for the arsenal. [music] Though for the final weapon of mass destruction, we have my favorite, the inner carousel. All we have to do is make the layers 3D once again and push the Z anchor back by say500 points. then just duplicate and offset the Y rotation by like you know negative or positive 24 degrees. And then we begin the process of duplicating and we complete [music] the full circle once again by those incremental plus 24° moves. Hopefully you’ll notice how each of these examples are just getting easier and easier as our powers grow to the point where AI is the one that is cooked. Anyway, create a 3D null object and parent all the shape mats [music] to it and then use another time expression to have this spin around. But for my favorite tip, create another camera and use a wide focal length preset to make the carousel appear bigger through distortion. Very cool. But now you can create the most advanced [music] carousels in the world. Subscribe to be the best and always be

No more games. These are all the secrets you need to create the most powerful motion graphics with just After Effects, baby. [music] By using these new native tricks, your arsenal of cinematic eye candy becomes limitless. So, let’s become the best and get started. All right. Making scenes like this are actually fairly easy to create. And the big secret is just a single color choice, [music] texturing, and a great hairstyle. Hm. I don’t think I have that last one. So, the first order of action is to always start with a background. And we can use the new 2026 mesh tools to create a plane, not an airplane, unfortunately, which gives us the ability to rotate this by 90° and lower it down by a touch, giving us a floor to work from because everything gets built on [music] top of this layer. And building things can be quite fun. For instance, we can be creative by using say the cone tool here. And by adjusting the radius values and the height under the mesh options, we can go ahead and build out somewhat of a tree here. And to finalize the low poly nature of what we’re going for, we can adjust the bevel options to refine [music] the curvature of the tree, which is now only missing a stump. From here, we can use say the cylinder mesh to add a trunk by adjusting the radius and height right here in the middle of our scene to complete the overall tree. But the master takeaway here is that you can combine shapes [music] to put together a lot of different master overall designs. But of course, a model is only good as its texture or material. Now, you can mess around with the material options here in the properties panel with your layer selected, but instead I find that there are some amazing materials on the Adobe community assets page, [music] like this metallic substar. And when you connect your texture to your object under material assignment, this gives you the option to edit the color and other essential values like resolution, all right here inside the properties panel. Keep in mind this ability is only available to some textures. And if you want to use the same texture on another object like the trunk, just click unlink to create a new instance and then change the color. And specifically, I like to use this material for regular colors as it just provides this beautiful metallic shine and is very easy to work with, just like it’s easy to watch my videos at half speed. Other than the fast-paced nature of my videos, I love organization. So, I would pre-ompose any model that has multiple shapes together and then click [music] this cog icon. And don’t forget to add that 3D cube right here in the 3D box. But absolutely perfect. We’re off to a great start to finish off this beautifully visual scene and easily produce beautiful visuals and save time with my free After Effects and Premiere Pro templates, drag and drop transitions, animation presets, and cinematic motion graphics that you can customize with a few clicks. You can access thousands of templates directly in After Effects and Premiere Pro, where you can edit them to fit your vision in seconds, allowing you to build cinematic masterpieces in no time with the link below. And if you do pick up anything, you will be supporting my channel. So, thank you [music] very much. All right, before like populating a scene with incredible details, I highly suggest laying out your master object first. While it’s great to model your own designs, you could easily get free complex models with a quick search. Remember, After Effects will accept 3D models that are OBJ, GB, GLTF, and FBX. And when you’re ready, just place it into your scene. Now, I like to come here to the top view after selecting two views to ensure that this master object is in the direct center of the scene. Also, this is a good time to lower the Y position of any model so that it sits directly on top of the floor. And as a pro tip, don’t forget to adjust the anchor point of your models so that when we key frame later, everything will animate from the correct location and you’ll thank me later. Also, feel free to scale the floor to maximize its size. Okay, so now that we’re all set up for cess, this is where I would duplicate your detail models like this tree that we’ve made. And we can use the top view to help reposition everything around the scene so that we’re not like clipping these objects right into each other. However, the Z position is your friend for creating depth, which will come in handy for that cinematic out of focus look later. Then don’t forget to scale your trees to create some, you know, hierarchy. After you’ve time-lapse your way to become the king of details, let’s become the agent of light and shadow. For this scene, we’ll keep it simple and we’ll just use an environment light with shadows ready to go. This does make a massive massive difference in the visual quality of the scene, but you should always try images and HDRs connected to the light source to essentially relight the scene and check how everything updates and get the right look. Also, before we jump out of our seats, adjust the lights rotation [music] and intensity to see how a single image or HDR can dramatically shift your scene. And for the most dramatic change, think about setting your floor airplane layer to have accept shadows to only with cast shadows turned to off because this will allow you to use a gradient ramp on your solid layer background to create more or less a seamless look throughout the entire scene. Just absolutely perfect. Now, before we finalize the overall scene, always think about the finishing details that you might need. for example, like importing additional 3D assets. With some 3D models, [music] you can change their textures to, you know, match your existing materials that are being used, which is just another reason why I like using substars to keep the overall color palette consistent. For these low poly clouds, I used a sphere and set the slice start to 180° to cut them in half. Then rotated and duplicated to make a larger cloud setup like this. And obviously we can use the half sphere concept even further by throwing it on the ground. [laughter] Anyway, camera movement and overall animation is the easiest part. Though quietly do yourself a favor and click draft 3D to prevent your baby from melting. I I mean computer. Anyway, for most objects you could just key frame the scale to have them animate into your scene. And if you place your anchor points at the bottom, the trees will just animate in from the floor. You know, I told you you would thank me later. And most importantly, create a camera layer. Use the camera tools here at the top to angle and reposition to have the right perspective. But for any master scene rotation, create a 3D null object and parent the camera to it. Then just key frame the Y rotation on the null object to have your camera orbit around the scene. Just beautiful. Now for the final master touches, go ahead and select everything and pre-ompose it. Call it whatever you like, but immediately we’ll use the 3D channel extract effect [music] and use these two values to make what you want to be in focus black while making everything else [music] white. Then when you’re ready, use the depth to field effect to blend the overall depth map with maximum radius. I don’t think I [music] said death. Duplicate this comp and then delete everything as fast as possible. Then just use the epic camera lens blur effect. [music] Set the drop down to the bottom comp and then select effect and mask. Beautiful. Now just dial in the blur radius. And this is going to be great. Now the best method I have for a tilt shift look if you will, which is just blurring the foreground, is to create an adjustment layer and use that camera lens blur effect again. Then use the regular rectangle tool to create a mask. And just don’t forget to feather it out like crazy to introduce some of that foreground blur. Okay, for the last touch, we can use the curves effect again on a final adjustment layer to dial in [music] the correct tonality of your scene, which looks really good at this point. And for the final time, I’ll say finally, go to your renderer options and your original composition to dial in the shadow resolution. And no, I I don’t think you always need to max out the shadow quality. As you can see that my settings here are just fine. And just for [music] a recap, think about creating your own landscapes with just using, say, the cube meshes. Then this will [music] allow you to use textures like dirt and gravel along with some actual grass models to expand your [music] arsenal of possibilities. Subscribe to be the best and always be creating.

Drama, action, boom. Your motion graphics are only as powerful as the story behind them.

[music] If you have After Effects, you’re holding one of the most cinematic storytelling [music] tools on the planet. So, here’s the secrets to creating the best visual content. All right, we got the camera flipping around, the wind blowing, crazy depth, and explosions. Well, maybe not so dramatic like that, but you know, a little fire here and there didn’t hurt anyone, right? So, to start any type of cinematic scene like this, we need to start with depth in mind. So, this begins by drawing out a very large rectangle with the shape tools and making it 3D. And at this time, let’s also add a gradient ramp to this layer and set the colors to, you know, two darkish tones. Then set this to a radial ramp so that the middle is the brightest point. Now, as any good floor does, set the X rotation to 90°. Lower the position down by a bit and scale it up. And finally, create [music] a background solid within, you know, the same color palette of that floor. And now, it’s time to collect that pension. I mean, it’s time to collect assets, as we just need a few graphics to build out a master scene from nothing. The best method is to search for free vector graphics of what you need as they’ll usually come in EPS or Illustrator formats which can be opened in Adobe Illustrator. And you know this is part of the creative cloud. But here in Illustrator we just do some very basic stuff like you know drag select the element that we want copy it on your keyboard and [music] then create a new 1080x 1080 document. Then just paste that element in size it up to fit and just center it. And finally, save this as an Illustrator document because now back in the good old AE, thankfully we can import this as footage and drag this bad boy right into your timeline. [music] And if you click continuously rasterize to add that cog right there, you can essentially scale this up without losing an ounce of quality. You can also [music] use the fill effect or the gradient ramp effect to dial in your own color and make it match with your palette. But now you have the ability to collect what you need for your masterpiece. But that masterpiece continues with [music] the concept of depth. So firstly, I highly suggest using the pan behind tool and set the anchor [music] point of your objects to the bottom of their contents. This will make resizing so much easier as you develop the scene and keep that vein in your forehead from popping [music] out. Or, you know, maybe that’s just me, I don’t know. But once that is all done, make your layers 3D and then lower the Y position until your assets start to clip or sit onto your floor and feel free to duplicate and set their Z positions back into the scene to harness the full power of depth. Now, feel free to scale, [music] add in new objects, but most importantly, create a scene where you populate the background and even the foreground with objects. As [music] you create your depth, think about changing the color of your objects as this concept can further enhance the depth of your scene. Now, with that said, I highly advise as a pro tip to keep your master object like you know this character here at a Z position of exactly zero to [music] keep them centered directly in the middle of the scene. But when you’re happy with your overall design and your depth, we’re ready for success and some full grown beards [music] and easily produce beautiful visuals and save time by free After Effects and Premiere Pro templates. drag and drop transitions, animation presets, and cinematic motion graphics that you can customize with a few clicks. You can access thousands of templates directly in After Effects and Premiere [music] Pro, where you can edit them to fit your vision in seconds, allowing you to build cinematic masterpieces in no time with the link below. And if you do pick up anything, you will be supporting my channel. [music] So, thank you very much. All right, now that we have some graphics set up, I like to set up a quick camera layer and use the dolly torch cursor tool to essentially [music] close up on the scene. So, I know roughly where my final stopping point is at. Also, since we moved the anchor point to the bottom of these layers, well, at least I hope you did. You can easily animate the rotation to have these animate in, say, the wind. But we’ll revisit all this later. For now, let’s add some physics and drama to this spectacle with particles or in my case, blowing leaves. So you can use any graphic you want to turn into particles. Though I would pre-ompose it and call it anything you like. Now create a solid layer and use the famous CC particle world effect because you know I am crazy but I’m not crazy enough to duplicate a leaf myself straight away. Let’s go to the particle tab and set the type to a textured quad polygon. Then set that texture drop down to your pre-mped layer. And absolutely great. Here I would set the size variation and the max opacity to 100% just to get that out of the way. And from here, let’s go ahead and increase the producer size of all the values to spread the particles around the scene. And most importantly for the physics, we’ll use a jet sideways animation. We’ll set the gravity to a small negative amount so that the leaves will fly up. And we’ll dial in the velocity and the resistance just by a touch. Lastly, let’s increase the longevity and set your birth rate to finalize the amount of flying leaves that you have. Keep in mind, anytime you’re working with particles like this, it’s just a process of figuring out the right settings and the final look that you’re going to get. So, you know, don’t stress about it and smash a keyboard like I usually do. [music] I really got to get help. The next big animation concept is wind blowing on your character or any graphic that you may have. So, for that windy animation, let’s take this character or any layer and pre-ompose it and make it 3D again. Then, inside of that composition, let’s go straight away to composition settings here at the top and let’s make sure that the comp is the same size as the image. This is actually kind of important. Now, let’s grab the pen tool and create a mask around the things that you want to have blow in the wind, like the hair or the clothes here. Though, most importantly, again, make sure there’s an absolute straight edge with your mask. Then duplicate your layer. Set the bottom mask to subtract and [music] set one the mask on the top layer to none. From here, we can use the wave warp effect and set the pinning to right edge. From here, let’s dial in the wave height and width until you know you’re cool with that animation. But we need to fix this terrible cut. So to fix this, we’ll throw in the transform effect and place it at the top of the effect stack. From here, we’ll use the position on that transform effect to move it over to the right side of the composition. Then we can use the regular transform position on the layer to set this all back in place. And that looks great. Now, if you have multiple mask like I do here, duplicate this layer and switch the mask back to add and none. Just switch it like that. And of course, fix the transform position [music] and the regular position to finalize the wind animation. Now, back in the main composition, be sure to resize this as necessary. And also, you can get this fire asset with the free project in [music] the description below. But now we’re off to the final steps where everything just comes together. Now there’s a lot that we can do with camera movement just by adding key frames for position and point of interest. You can dolly into your [music] scene with the camera tools or you can use the pan under tool, which I like to call the [music] XY tool. I know it just makes more sense in my head to have our camera like track in like this, but you know, hey Josh, you know, there’s nothing there when [music] we do this. Okay, for simplicity and so we don’t have to create like a million layers, let’s preompose like our groups together. So like our background trees here, I will pre-ompose those together in one composition. And for rocks and these bushes, I’ll pre-ompose that into their own composition. But make sure that you click continuously rasterize and I would add the 3D cube in there for good measure. Now when you duplicate, you can reposition all these assets to fit in the empty areas and you’re just so much more organized. And on top of that, this scene is just so much bigger than it previously was. But if you really want to lose [music] your mind and have the camera spin around the scene, this is how you do it. Firstly, create a null object, make it 3D, and parent the camera to the null. Oh, and by the way, I would remove the key frames on your camera unless you know you’re just pushing in with the camera movement. But now, let’s add a key frame on your null object for Y rotation and have [music] this spin by one time. And again, we have a lot of emptiness here. So now that the scene is so much bigger, we should go to two views here and use [music] the top view. And from here, we’ll go ahead and duplicate and start to fill the scene behind the camera layer and also on the sides of the scene. But as an important note, you don’t need to rotate any of these layers because when everything is ready and your scene is surrounded by your asset, here’s the biggest secret. Select all the assets in your scene [music] except for the floor and background. go to layer, autoor orient, and select [music] orient towards camera. And for some extra good measure, I would do the same thing to all the layers inside of their comps. And of course, turn on motion blur. [music] Now, if everything is done correctly, you will now have this spinning scene. And I promise [music] you, you will impress some people. Even my wife was impressed because she said, “Cool.” H, thanks. For the absolute final touches, I would enable depth of field inside the camera layer. And I like to increase the aperture and the blur level [music] to kind of really pop out that out of focus look. You might also have to key frame the focus distance to keep [music] your character in well focus. Uh for lighting control, I like to use the CC vignette effect on an adjustment layer and throw in a low noise effect. But do what you want [music] with the camera movement to make something awesome. Subscribe to be the best and always be creating.

Light, shadow, color, boom. These are all the elements that will unlock your new hidden power inside of After Effects.

Creating cinematic and studio motion graphics is as easy as throwing down a few lights and buffoonery effects to make a work of art. Let’s get started. All right, let’s turn on the lights, get dizzy for our camera movement, and listen to my terrible jokes. But I have a gray beard and you know I work hard on that thing. So give me some credit. As a consequence of all my recent tutorials, let’s start with the plane tool, which apparently doesn’t have an airplane symbol next to it. But create a very large shape. Then rotate the X rotation by exactly 90°. Lower it by a touch and scale it up. Then finally create a very dark solid background layer to start off your scene. Now, before we do any lighting and make the big box, import a mass 3D object into your scene like this buck. Uh, but obviously if you need a specific 3D object, you know, I’ve had no problem finding free 3D models with a quick search. Remember, FBX, OBJ, GB, and GLTF are all accepted 3D formats for After Effects. So, just scale and ensure your 3D object is in the center of your scene and sitting nicely on your floor like this. You may want to adjust the Y rotation of your object so that it’s not under the influence. That didn’t make any sense and I told you these jokes were terrible. But okay, here’s some real talk. Lighting. Real lighting from a practical source. For example, let’s create a stroke only white circle. Make it a 3D layer and push it back into Zosition space by a touch and then place it somewhere. Just get off to the side. Also, think about rotating this for a creative angle if it’s off to the side. Now, it’s actually time to create a real light for the scene. and let’s go with a spotlight with shadows enabled. Also, let’s create a 3D null object and parent the spotlight to it. For me, I just find it easier to move and rotate spotlights around with a null object instead of using the regular light controls on that spotlight. But obviously, let’s use the null’s position and rotation values to align the spotlight to where the circle is at. And for me, I want some better visualization. So I would go ahead and create a camera now. Then use the dolly towards cursor tool to essentially zoom out of the scene to fully see that beautiful tone of light which we need to control. So firstly let’s go into that shape layer and turn off accepts lights to ensure that you can see its original white color. Then let’s dial in on the spotlight by increasing the intensity and setting the fall-off to smooth. This will then allow us to adjust our radius to dial in the length of the spotlight, creating this powerful backlight effect. But now we have officially set up the groundworks for building a cinematic scene and easily produce cinematic visuals and save time with my free After Effects and Premiere Pro templates, drag and drop transitions, animation presets, and cinematic motion graphics that you can customize with a few clicks. You can access thousands of templates directly in After Effects and Premiere Pro where you can edit them to fit your vision in seconds. So, build cinematic masterpieces in no time with the link below. And if you do pick up anything, you will be supporting my channel. So, thank you very much. All right, we still have to expand on our lighting, but I like to visualize the final look of our scene before judging the final light. So, let’s talk about textures. With a 3D model selected, you can click get substance community assets within the properties panel. From here, you can get like rock textures or any texture of your choice for your scene. And when those are imported into After Effects, you can set the material to those substars. And great though, I suggest lowering the scale right here to maximize the quality. And if you can set the resolution to max and essentially you can do this for any 3D object that you have in your scene. But for now, let’s finalize that lighting baby as you know, this scene might just be too dark. So firstly to fill in the shadows a bit let’s create an environment light and then dial down the intensity to slightly reveal the shadows and to hide our dark nature. Additionally to fill in the front of our model let’s go ahead and create a point light and then position it to the front of the model or off to the side like so. But most importantly I would position this up by a little bit and enable smooth falloff. Then dial in that radius and position it again to ensure that this only lights the front of your object and not the floor. But this looks great. Now, at this time, I want to go ahead and make things pop with glows by creating an adjustment layer. And first, let’s use the noise effect at around, you know, 10% and uncheck color noise. And now, let’s go ahead and throw in that glorious glow effect. Though, we primarily want the glow effect to only affect the circle. So, let’s go ahead and increase the glow threshold and set the radius to around 100. And, you know, everything should look good with these settings. Then to see how strong your scene can get, duplicate the glow and increase the radius by much more. Absolutely perfect. And since I’m actually a maniac for practical light sources, you know, these lights that we can actually see like the stroke circle that we’ve created this time, let’s just create a small filled out circle and align it to the exact middle of the comp. Then make it 3D and turn off except lights once again. From here, let’s create a point light that has the fall-off set to smooth and copy the position of the shape layer to the new light. Then parent the shape to the light. Then let’s adjust the Z position the light to move this away from the center from a 3D depth perspective. Finally, let’s create a 3D null object and parent the light to it. Then alt click the stopwatch for Y rotation and use something like time asterric 100. And this should spin the light around the scene perfectly from the center. The only problem is that the you know that shape turns away. So to remedy the situation, select a shape, go to layer, transform, autoor orient, then select orient towards camera. Boom. Crisis averted. Time to sign some autographs, which will come after we dial in the actual camera movement camera. Man, there’s a lot of movement potential that you can do with the camera tools. However, I’m not joking when I really want to spin things around instead. So, let’s go ahead and create a 3D null object. And this time, let’s parent the camera to it. Feel free to key frame the Y rotation on the null object to have this start from a side view like this. Then make that last key frame easy ease with F9 on your keyboard. Go to the graph editor and pull this handle all the way across like this. Absolutely fantastic. But before we win any cinematography awards, let’s create another 3D null object and parent that previous null to it. Now create an overall slow Y rotation animation that will continue the camera movement past that initial movement. At this point, this is some form of nullception, but this prevents my brain from exploding. Now, with the camera movement set up, we can now enhance the lighting experience even further. For instance, we can come here to the spotlight and key frame the color to change from white to any color of your choice. And you know, this is looks great, right? except we need to go to that ring shape layer and key frame the fill color to match the timing of the lights color change. But you know, no problem. Can be easily done. We can also key frame the intensity of the spotlight to have the scene start from dark and then you can essentially turn it on. You can also add the wiggle expression to the intensity to have the light flicker. And don’t forget to add some sort of wiggle expression to the first glow radius on your adjustment layer to finalize the perfect flicker. Another great element to add is particles. You know, we all love particles, right? So, all we need is a white solid layer, hopes and dreams, and the CC ball action effect. Just lower the ball size and max out the scatter. And since this is a 3D effect, the camera will just fly through the particles. Okay, congratulations. We’re ready for the finishing effects. So pre-ompose everything except for that adjustment layer with all the effects and add the 3D channel extract effect and set the black and white points to create a depth map. Whatever you want to be in focus needs to essentially be black and everything else should be white. Then add the depth of field effect and increase the maximum radius. Finally, duplicate the layer, delete the damage, I mean the effects, and add the camera lens blur. Set the blur map to the bottom layer. Select effects and masks and dial in your blur amount and the roundness to complete your overall scene. So take these concepts to create your own scenes and combine them together. Describe to be the best and always be creative.

Here are five motion graphic tricks to make anything cinematic in After Effects. As you know, we’ll be using a handful of muffinery effects to create light and shadow, which will allow us to produce an infinite amount of motion graphics. All right, my first and favorite motion design trick is turning random shapes into gradient masterpieces. So, firstly, create any shape of your choice with the shape tools. Though you could use the rectangle tool to create a large shape in the corner, maybe rotate it or even use the ellipse tool to create a basic circle or stretch it all out to create an oval for some variation. Now, for some quick animation right off the bat, we can use the wiggle paths property inside the shape layer. This is a very simple effect if you will, as you only need to increase the size, lower the detail, set the points to smooth, and maybe use a low wiggles per second. And this can also be copied and paste to your other shape layers as well to create that $1 million animation. But to give this scene some life, go ahead and add the four color gradient effect and move the points to the edges or the sides of your graphic. And finally, you’re going to want to use two colors of the similar tonality to create a very nice blend. Now, to help blend this into the background, let’s use the gaj and blur effect and set the amount to, I don’t know, around 10. And most importantly, let’s use a CC radial blur effect to set this to a fading zoom. This effect is going to allow you to move the center origin of the blur with the anchor point right here, which should be placed on the side of the shape. Then all we need to do is increase the amount to make the side scatter with a blur. Awesome. We can also alt click the stopwatch here to use the wiggle 0.520 expression to add a little bit more animation. And of course, you can copy and paste these effects to your other independent shape layers. But now let’s go ahead and add some character with our cinematic effects by creating an adjustment layer. The first effect to add is noise, which we’ll set to 12%. The second effect is glow, which all we need to do is nearly max out the glow radius and maybe adjust the threshold if needed. And finally, try the posterize effect to create some grit. And if you like, use the curves effect to add some extra contrast. And most importantly, to make sure that these effects actually work, you’re going to need a very dark background underneath your cinematic gradient shapes. Now, go ahead and make those millions. The next cinematic motion graphic is creating pockets of light and shadow with a single effect. Looks great on almost anything. And that effect is CC spotlight when you apply it to a white, maybe bluish solid layer. The color doesn’t really matter. Now, wasting no time, we should set the blend mode of the layer to either add screen or lighten. and set the intensity of the effect to 100. Doing this will allow us to visualize the spotlight correctly. And all we need to do is move the anchor points of the spotlight effect to help angle this in the direction that you want. Then make sure that the height is set to zero, allowing you to accurately adjust the cone angle and the edge softness. Now, we could add the wiggle expression to the cone angle to add, you know, a little flickering animation. Very cute. Now, to help fade the light beam into the background, let’s go ahead and use the linear white transition effect and set the angle to match your current beam direction and then adjust the completion and truly go crazy on the feather. Awesome. But to boost the darkness of the scene, let’s go ahead and duplicate this spotlight layer and then set the bottom blend mode to darken. Cool. But to take this even further, we can use the same adjustment layer effects from that previous technique without maybe the posterize effect. And awesome, you can also add some new spotlights by duplicating the top layer and moving it around. Also, you can animate the from and two values to actually move the beams of light to create something cinematic and easily produce cinematic visuals and save time by After Effects and Premiere Pro templates, drag and drop transitions, animation presets, and powerful motion graphics that you can customize with a few clicks. You can access thousands of templates directly in After Effects and Premiere Pro where you can edit them to fit your vision in seconds, allowing you to build client ready masterpieces in no time with the link below. And if you do pick up anything, you will be supporting my channel as I don’t do any sponsorships around here. So, thank you very much. All right, this is a quick technique to add a simple refraction effect to anything is by drawing out a thin straight line horizontally or vertically in an empty composition. Then right click this layer, go to layer styles, and add a gradient. Just make sure that the black and white colors will stretch from side to side like this. And finally, create a lot of duplicates. And I mean a lot lot. And when that’s all done, from here, just select everything and hit P on your keyboard for position. Then hold control and alt or option and command on your keyboard to proportionally spread this across the entire composition. Like so. You know, this won’t look great or anything, but now we can take this composition and place it over any body of work that you have in another comp and turn it off. Now, all we need to do is create an adjustment layer and add the displacement map effect. We’ll set the map layer to that, you know, composition that we created and adjust the displacement values to create a glassesque refraction effect. And remember, you can create this vertically as well. So, it can be horizontally and vertically. With that said, my next favorite motion graphic is creating curved light streaks like this. So, we can start off by creating a very large white stroke only circle with the ellipse tool. Then, we can contain the line with trim paths. As you may have guessed, all we need to do is adjust the end and the offset. You can even key frame the offset to rotate the line by a bit. Now, to smooth out those hard edges, go to taper and max out the start and end length just like so. Perfect. Now for the effects, use the gaj and blur effect and set it to 10. And then use the CC radial fast blur effect. Increase the amount and set this to brightest. Now use the glow effect and increase the radius. And for a stacking, you know, technique, duplicate the glow effect and increase the radius even further. Now finally, to give this some color, go ahead and create an adjustment layer and use the tronee effect and just set that midtone color to any color you want. And again, use the noise effect at 12%, pretty recurring theme in this video. And then use the glow effect once again for some good measure at around 300 points or so. Then of course, make sure that you have a background. And you can animate the streak however you want. Maybe cough cough. Use the trim paths to bring in your glowing cinematic streak. Just awesome. But okay, the next and final technique is creating colorful motion graphics and moments with the techniques that we’ve already used in this video. You know, kind of tying everything together to aura. So, for instance, you can create any shape that you like. And I’ll set this to a, you know, radial gradient for this specific shape. You’ll typically want to set your points for the gradient off the bat so that we can actually see the colors as we edit the gradient with a bunch of different, you know, tones like so. Now, if you have a stroke object, we can animate it in with trim paths. Right? But back to the basics again with an adjustment layer. We can use the noise and the glow effect several times to compound the overall glowability of everything. And of course, you can use posterize to add some grit to your object. Also, since the blur effect is a massive key to this cinematic theme, try the camera lens blur effect on your actual shape. And then use the wiggle expression again to pop this in and out of focus. But now you have the tools to create cinematic motion graphics. Subscribe to be the best and always be creative.

Are you ready to make the best motion graphics possible and become a rock star?

If so, here are five tricks in After Effects that will give all your motion design projects that professional edge. All right, this first technique is about creating professional shading and blending to make some very interesting motion graphic soup, if you will. For instance, applying gradients onto your background and perhaps text is a quick, subtle way to create some visual interest. But that concept can be expanded when creating graphics like this star. Just by setting the points to four and messing with the radius value, we can create a really nice baller star. Now, to create some shading, it’s a little bit different. We can just rightclick this layer and go to layer styles and we’ll add our gradient here. This is the best gradient method for shading. This will allow you to set your colors with preferably two colors of the same tonality. And then we’ll be able to go back to our layer styles and add in a bevel and emboss like a boss. Sorry if I say that way too much, but I just like saying it. Just it’s very catchy. But the settings for the style all lay in the color and the blend modes of the bevel and emboss, which should be similar colors to the gradient that you created. And set your modes to screen. This is going to allow you to mix the opacities. And finally, increase the size for the best shading. I think this is a lot of fun to mess around with. So, you know, no exact settings here. However, to take the shading even further, try the inner glow style. And all we need to do is just change the color to one of those emboss colors that we’ve already used and mess with the opacity. You know, no exact settings like I just said. And finally, let’s try outerlow. Choose the other emboss color that we didn’t use and set the blend mode to normal and mess with the opacity and size until you get a nice glow. I suppose looks good. But now finally, let’s apply that OG original glow effect. Increase the radius and this will push up that glow even further. You know, the blending’s all in the layer styles and the animation is up to you. But as a quick tip, we can create custom paths with the pen tool after clicking tool creates mask on your shape layer. And who doesn’t like those squiggly paths? Because all you have to do is when you add a point is click and hold and this will allow you to curve it out. But when your path is created, all you have to do is go to mass path, copy it, and then paste it to your position. You may need to select all the key frames to reposition where the animation should take place, but overall that shape should follow that path, allowing you to create many different duplicates to create an overall unique motion graphic piece and easily produce uniquely cinematic visuals and save time in my After Effects and Premiere Pro templates, drag and drop transitions, animation presets, and powerful motion graphics that you can customize with a few clicks. You can access thousands of templates directly here in After Effects and Premiere Pro where you can edit them to fit your vision in seconds, allowing you to build client ready masterpieces in no time with the link below. And if you do pick up anything, you will be supporting my channel as I don’t do any of those annoying AI sponsorships. So, thank you very much. All right, moving forward with new great ideas is creating 3D orbiting transitions with your 2D motion graphics. So, I have, you know, a handful of different graphics that are already been pre-omposed for some perfect organization. And all I want to do is flip this to the next set of graphics. So, all we need to do is make our layers 3D by slapping in that cube. This will allow us to bring up position by hitting P on our keyboard. And all we need to do is move the Z position forward here to create a little bit of depth. However, it’s great to create some variation by not setting each graphic at the same Z position. And you can scale graphics down to place them back at its original size from our perspective at least. Be sure to follow these steps for both set of graphics. But ultimately, we’re going to want like a simple background graphic to tie both slides together, which can be a box that should also be a 3D layer and place at a Z position of zero. So, you don’t really have to do anything, right? But now, we can go ahead and create a null object, make it 3D, and go straight away to add a key frame for Y rotation. and then move forward to the other set of graphics to set the rotation to 180 degrees. Now this is important. Parent the first set of graphics including the background shape to the null object before that first key frame. Then parent the second set of graphics after the second key frame. And boom. And that’s how to flip your graphics correctly. However, be sure to hide the graphics accordingly by adjusting their end and end points to sweep everything under the rug. absolutely perfect. Keep in mind, you can animate the fill color of your background shape to add, you know, a little bit more lore to the overall transition. All right. Now, to take this concept that we just talked about and juice it even more, we can easily turn boring graphic scenes into random 3D camera shakes. So, again, make your layers 3D and then you can adjust the Z position of everything really quick to have that, you know, nice three-dimensional offset. When that’s done, we can create a camera layer this time around and we’ll add key frames for point of interest and position. Then just move forward here in the timeline and grab the orbit around scene tool. This is going to allow you to change the perspective of the scene directly from the center. Though, keep in mind your central object should have a Z position of zero to kind of keep the eyeballs directly in the middle. Now, when you’re done, you can alt click the stopwatch for these parameters and add the loop out pingpong expression. And I would highly suggest making the key frames easy ease with F9 on your keyboard. Go to the graph editor and pull these key frame handles across like this to create your smooth 3D camera flick. I would also recommend adding graphics to these new open areas to overhaul the detail. But really cool stuff. If you like the idea of orbiting, this is how you make your graphics revolve around a central object. So I have a few graphics here in which you guessed it, you’re going to want to make them 3D layers. This is my central object. And all I’m going to do is position the small objects over the side like so. And now we’ll be able to create a 3D null object and parent one of those side graphics to it. Just one. Then we’re just going to want to offset the Y rotation to help orbit this around just ever so slightly. Then unparent that shape and parent another side graphic to it. And then repeat this process for every shape until you’re done, until it’s like orbiting the entire central object. Great. And when you’re finally done, pairing all the side objects to the null object one last time. And then you’re going to all click the stopwatch and use an expression like time asterric 20 to have this orbit around the master graphic. Great. Now, if you want, you can create a camera layer and use the orbit tool to help angle in a new perspective. However, you may have already noticed that these graphics just don’t want to face us. Maybe we scare them. I don’t know. So select all the side graphics even the central object this time and go to layer transform auto orient and choose orient towards camera. Boom. Problem solved almost. You know there might be some graphics that are still hiding. So all you need to do is just set the wire rotation to 90° and that’s it. You know this is looking really good. You can also create a stroke only circle, make it 3D, and rotate it by 90° that X rotation to create a visual path for your orbiting graphics. Now, we’re on to the final motion graphic, which is the scrolling animation that will repeat forever. I’m actually kind of proud of myself for this one. I went ahead and created seven compositions of the same graphic, just each one has different titles and icons, you know, just basic stuff. But all I’m going to do here to start off is lay out one graphic and vary the size and create a hierarchy and design just with that single graphic. This is going to allow me to add key frames for position, scale, opacity, whatever you want to do. Then all I’m going to do here is animate this in and then follow the design path for each graphic in the stack. But most importantly, I’m going to leave 12 frames of no animation in between each movement so we can actually have it stop. And you can actually just copy and paste the transform properties of the other layers to your main layer here to help save some precious time. Then at the bottom, we’re going to go ahead and animate the graphic out. And that’s about it. I have a lot of key frames here that are all 12 frames apart. Exactly. Now, just add the regular loop out expression to all three key frame parameters. And this should be animated forever along that design that we created. Great. Now, all we need to do is duplicate this animated layer and offset each copy by exactly 1 second. Great. And that should work like so. Now, obviously, you’re going to want to place in your own unique graphic so we don’t use the same graphic every single time. So, to do this, just select one of the layers here in the timeline and alt or option drag your replaceable composition right in. And that’s it. Now, do this for every layer. And that’s how you’re going to be able to create a loopable scroll here in After Effects. 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Let this be your guide for producing the best motion graphics ever. Here’s all the secrets that I know to create any massive 3D scene right here in After Effects. So, no holding back and let’s get started. Okay, low key, if you asked me 2 years ago if this would be possible to create an After Effects, you know, I just be like, “No, go away.” However, large 3D scenes like this are actually very easy to produce once you know these steps. And that first step is basic layout. So, just like any 3D scene, I would usually start it with a floor by using the plane tool to draw out a very large rectangle like so. Then, all we need to do is set the X rotation to 90° and set the Y position to the height of your composition, which in my case is 1080. And, you know, that’s an important note for later. But, let’s go ahead and scale this up like crazy. And we can change the floor color to anything. though I want to set the roughness to 100% and the metallic to zero to really get that true exact color. Now, even though we have a floor, I like to go ahead and create an elevated base for our graphics to actually sit on, or in this specific example, we’ll create the layout via city blocks. Now, you might be tempted to use the mesh tools to create 3D objects, but I find it so much easier to use the rounded rectangle tool to create those beautiful curves as you can easily adjust the roundness. All you need to do is make your shape layer 3D, rotate it by 90°, and then from here, we can slightly increase the extrusion depth, and set the Y position down to essentially clip into the floor. So, it’s sitting on the floor like so. Now, of course, the next thing I would do is roughly set your camera angle before going too far. So, just create a camera and then create a null object in which you’ll need to make that null 3D and you can parent the camera to it. From here, we can use any of the camera tools to essentially dolly out the scene. Rotate your camera to help, you know, visualize that main camera angle. And if you use the rotation of the null object, you can help angle your scene more precisely if needed. But figuring out your angle now will help you determine the scale of your scene. So, back to building the layout of everything. If we come here to the 3D shape layer that we created, firstly, sizing and scale is so important. So, making this main base 12,200 pixels is great. and we can go ahead and duplicate it. And from here, we can come here to the base size of that duplicated shape and increase it even further. Then we just want to lower its position so that it’s just sitting on the floor to help create multiple layers of depth on what would be considered a single object here. And we can take this even further by doing another duplicate of that original shape, setting it to stroke only by turning off the fill and enabling stroke. We can also use a stroke width of say 100 and again increase the base size to really build on that depth with this three layered single object. You know the subtle design tricks is everything when it comes to motion graphics. Now you can obviously duplicate these objects and move them over to create more bases or city blocks if you will. Though I would recommend using two views with the second view set at the top. And if you click draft 3D, this will enable you to use extended viewer to see beyond the composition. So, for example, you could easily increase the base size of your duplicates to create larger city blocks and then reposition them to build out your perfect city or just motion graphic layout in no time. And when it’s all said and done, this layout and camera trick will allow you to create something awesome in a few moments. You know, we’re set up for success. But first, you can easily produce awesome visuals and save time my After Effects and Premiere Pro templates, drag and drop transitions, animation presets, and powerful motion graphics that you can customize with a few clicks. You can access thousands of templates directly here in After Effects and Premiere, where you can edit them to fit your vision in seconds, allowing you to build client ready masterpieces in no time with the link below. And if you do pick up anything, you will be supporting my channel as I don’t do any sponsorships here. So, thank you very much. Okay, next up is building the meat of your scene. You know, the actual, you know, prime rib, if you will, with actual 3D graphics. For instance, we can get a handful of free 3D assets from Adobe Stock and other sources when you just search for free 3D models. But keep in mind, you can import OBJ, GB, glTF, and FBX 3D models directly into After Effects. So, with all these formats, you should be good to go with whatever you’re looking for. With all that said, I typically start by importing a central master model first and slap maycom size when asked. Now, since we know that our floor is set to 1080, any 3D model should have their Y position set to 1080 as well, so that it sets directly on the floor. And then be sure to scale your model as needed. From here, I usually like to import a few other small models and briefly lay them out around the scene. And again, my biggest tip before we go too deep into building out an entire scene, I like building out the lighting now so that we can visualize the end result. You know, as you know, lighting is like the most important thing, right? So, with big scenes like this, I personally go right to the environment light with shadows enabled, of course. Okay. And if you can’t tell right off the bat, I’m really concerned with shadows. You know, that’s what I care for the most. Ideally, I like to adjust the wide position of the light to help angle the shadows more or less towards our current view. However, I highly suggest searching for free HDRs or images that have high contrast like this, you know, and then if I come here to the light source and attach the image to it, the shadows become more contrasted and the overall composition changes by a lot. Now, you might want to adjust the intensity of the light. But most importantly, make sure that all your objects, including those shape layers, have shadows enabled and set the floor to have cast shadows to off. So important. But overall, the reason why I like doing lighting before I lay out everything is, you know, if a client wants to see the progress of your project, at least you’ll be able to show them something polished or at the very least you’ll keep your own insanity at check because you’re doing something awesome. But now to build out the rest of your scene with 3D objects, I would go ahead and click draft 3D to keep your computer span from sounding louder than a Boeing 737 H. But most importantly, this is where you can have some fun laying out all your 3D objects just by positioning them around the scene and making sure that they’re sitting directly on the floor. Feel free to duplicate and reuse the same objects. You know, it’s kind of like, you know, video game development where you see like the same buildings like a hundred times or the NPC over and over again. But as a great tip, be sure to scale and rotate these objects to help create some variety. Though, also consider adding objects just outside of your actual view so that when we actually go to animate the camera, we can see an extended scene. The main takeaway is that the more detail that you get, the more valuable your overall composition becomes. So, just have fun with it. And like I said, it’s just absolutely mind-blowing to create things like this in After Effects. Never knew this was going to be possible. But, okay, we’re actually very close to being done with this. We just now have the finishing touches like adding 2D graphics into our 3D scene like these road markings. For example, we can use the rectangle tool to draw out a rectangle. Right? And inside the shape layer, we can use a repeater to create those quick copies. Then use a transform repeater to position them apart accordingly. And when you’re ready, make the layer 3D, rotate it by 90°, and set it Y position one point higher than the actual floor, which is 1079. And this is going to allow you to position and duplicate everything to fill up your scene with 2D graphics. And what I like about the repeater is that this will allow you to add as many lines or shapes that you need along the road. So that’s just very convenient. But do me a favor, turn off cast shadows for any 2D graphic that you’re using right here. I find this actually helps with producing, you know, consistent shadows. But however, if shadows don’t actually appear when they should, just go ahead and restart After Effects. For a recap, that’s how you add 2D graphics to your 3D scene. But the next finishing touch is colors and materials. Something that is probably the most important thing, right? So with some 3D objects, you should be able to change the color directly in After Effects when you attach a material to them. When you click this icon here and you go to Adobe’s community assets, uh we’re going to look for a metallic roughness PBR material. And when we attach this to an object, we can easily change the color to it. And that’s it. Keep in mind, you can sometimes apply materials to specific parts of a model. And if you click unlink, this will duplicate that already used material, allowing you to customize it independently from the previous version. Now, if you got your models from, say, Adobe Stock, you could actually open them in Adobe Dimension and apply materials directly to them here and change their color. This actually might be Adobe’s like easiest platform ever, but when you’re ready, just save them and overwrite them as a glTF or OBJ and this should automatically update here inside of After Effects. But awesome stuff. This looks great. And now we want to talk about animation because we can just key frame the position or scale of any 3D object. Say like these cars, which I’ll just position animate them. And if we want one of these cars to come to like a stop, I’ll make that last key frame easy with F9 on my keyboard. and go to the graph editors to smooth out that final motion. Additionally, we can key frame the rotation of the null object that our camera is parented to to kind of have the movement orbit around the center of your scene. Or you’re also welcome to key frame the camera’s position and point of interest to create your own unique movement. And finally, try using depth of field inside of your camera. Just be sure to mess with the aperture and blur level to blur out your final motion graphic. Though focus distance is your friend to perfectionize the scene. And for the absolute last touch, quality and shadows, just come here to renderer options. And right off the bat, you don’t need a high render quality setting at all. But dialing in the shadow quality is up to you. I find the most important setting is actually the casting box size. This essentially should be set to the size of the overall scene to perfectly emit shadows across the entire body of work. Now, with that said, great work. Subscribe to be the best and always be creative.

I just made the most cinematic transitions ever right here for After Effects and Premiere Pro. These transitions are just a drag and drop and boom, you can make all your edits cinematic in moments. All right, aside from my free duck pack transitions that are in the description below, I’ve just built a collection of over 800 unique transitions that are of course all housed in this extension panel. All it takes to use this is to hover over a transition to preview it and double click or you can just drag and drop it right into the timeline. And you ask me that’s a cinematic transition. Now when I say these are cinematic transitions, let me explain while I showcase this in After Effects because we got many categories to use like these beautiful film burns that will come in several variations. And in After Effects, we can click the check mark icon and the transition will be applied at the playhead just like so. And this can be easily moved as the cut marker indicates where to place the transition. Now, if you need something with a, you know, a little more character, the trendy transitions have a bunch of different categories like marker and tape, paper, paint, and even a photo collage that just looks awesome. And essentially, these assets provide a lot of detailed elements within the transition. On a serious note, if we need to take it back a notch, there are of course retro transitions that give your edits a throwback feel. For projects that need graphics, well, there’s over 100 object transitions that come with, well, an object. So, say you can use an airplane to tie two aviation clips together. Now, of course, you can add in your own objects for a transition as well, but we’ll take a look at that a little bit later. And finally, the last category host a bunch of creative transitions like camera effects, fire, film strips, 3D boxes, and somehow Counterstrike gaming transitions. I don’t know, that’s just really cool. However, most importantly, you’ll notice as I import transitions, each transition automatically comes with its own sound effect. Let’s go ahead and take a quick listen. Overall, this just saves so much time if you want a sound effect, and it adds that extra value. And of course, you can delete the sound effect by alt-clicking and deleting it. And if you use After Effects, you can just mute the audio like so. No problem. Now, as I build out my edit with even more transitions, if you want to use the same transition more than once, you can either reimpport it or you can just copy and paste all the elements and align them to the cut of two clips. And let’s say you only want to use a transition for in or out only. You can cut and delete the first or second half of a transition and move the remaining elements over like this for a complete edit. Let’s take another look.

So, there’s a lot of options here to make really themed edits if you want to just use the same sort of transitions over and over. But, it’s important to note that these transitions can also be used for vertical resolutions. Let me just import this camera transition. And you’ll just notice how responsive the transition is to the new format, which is great. And yes, this will also work for 4K UHD sequences as well as you can see. Now, aside from transitions, I have also included many different cinematic effects to help complement the transitions if you want to add some style throughout the entire edit. Now, just like before, I can drag and drop these Prisma effects on top of footage and no problem. However, there are a few categories like the old film frames and brush mats that work like noarts, meaning you import them right into the timeline and then you can open the properties panel to essentially drag and drop your footage in to actually use the effect. And as a result, you can change the parameters and everything associated with the effect to customize it for a unique look. But for a personal touch, my favorite effects are under the retro overlays, which include all the vintage effects like CRT, VHS, and more to throw back your edits. But now, let’s take a step back and talk about object transitions. Because if you wanted to use a logo for your transition, well, you can do that when you use the custom object transition. And from here, you would just alt or option click the top layer and then use the placeholder in the properties panel to drop in your own image. And bam, you can easily transition in with your pet duck. You know, he’s just a baby. And aside from the transitions and effects, I also included a few cinematic titles that will animate on with a blur. You can easily change out your text, change the font, and even control the in-n-out duration to use these titles. Anyway, everything you see here is for both After Effects and Premiere Pro. And this is a part of our over 100 packs that we have. So if you do pick up the pack, thank you so much for supporting the channel and all the tutorials that I produce. And always be creating.