[music] [Luisa Winters] So welcome again. I'm Luisa Winters. Everything that I'm going to show you is on my YouTube channel. It's free. You don't even need to subscribe. I'm not even asking you to do that. Although if you do, that would be very nice. But it's all for free. And you can also email me, luisa@videotrainers Everybody says that I'm crazy because I give my email address to thousands of people, but do you know really and truly how many of you guys email me? Zero.

So I will not get inundated by emails, all right? So okay. I have After Effects open.

And for those of you who have never opened After Effects, this is what it looks like. And to create a new project, it's very, very difficult. So pay attention. Click on the button that says New Project. All right? So get rid of all of these dialogs and all of that. How After Effects works? It's in Compositions. Consider a Composition, like if it were a Photoshop document, or an Illustrator document. And then in this Composition, we're going to have layers.

Either we create the layers ourselves, like, creating a shape in Photoshop, or something in Illustrator, or you can bring in media and create the layer by adding the media into the Composition. So at first, this interface looks very intimidating because it doesn't look like anything that you are familiar with.

But I assure you. If you're familiar with Photoshop and tell me how many of you are good in Photoshop.

You already have 80% of After Effects you just don't know it.

Literally, you just don't know it. Everything it's going to look different, but it's going to act the same, blending modes, masks, the Pen tool, all of these things, even clipping masks exists in After Effects. They're just not called clipping masks. But you know what? Potato, potato, same thing. It does exactly the same thing. And once you establish that connection in your brain, you're just going to go, "Well, yeah. This is not that bad." And you will be able to create the animations and the composites that you need to create.

Now the thing is that in Photoshop, you don't have to worry about when things happen, unless you're working with video, but-- And this is just between us friends. Friends don't let friends work with video in Photoshop.

All right? That's why we have After Effects. So do yourself a favor and don't dig a swimming pool using a spoon.

The right tool for the right job, and that is After Effects. All right? So in Photoshop, you don't have to worry about when. In After Effects, you do. It's not just where things happen, but when are they happening, all right? Once you establish that connection, piece of cake.

All right? So here we go.

To import a file...

You just go to File, Import, File. And funny enough, File, Import, File, and File, Import, Multiple Files is exactly the same thing.

Seriously. You can even go from finder if you're a Mac from file explorer, if you are in Windows and drag it in here just like you can in other apps, all right? So I'm just going to go File, Import, File.

The dialog opens up. I have my stuff on the desktop because, well, why not? And now I'm going to go to where I have my files.

I'm going to stick with Illustrator files and Photoshop files, but you can bring in audio, you can bring in video, you can bring in photos, graphics, all of these things.

Quite frankly, not that hard. File, Import, File, Control/Command-I. Done. Right? So I'm just going to bring in one Illustrator file that has just one layer. All right? I'm going to click on Import. And just for now, I'm going to ignore this, and I'm just going to click OK.

See, it says Vector Art, and it's all good. If I want to put this into a Composition, I need to create the Composition 'cause it doesn't come with one. You, kind of, sort of need to make it. To create the Composition, there are so many ways, it's not even funny. I'm just going to give you two ways.

Composition, New Composition...

Or click on that little new comp icon at the bottom of the Project panel, right? There you go. It opens this dialog.

Call the Composition anything you want. It doesn't matter. I'm going to delete it, so I'm not going to rename it, but you would rename it here. Choose one of the presets. Yes. We have presets for social media. So 16:9, 9:16, Square, blah, blah, blah. We have a frame rate. That's how many frames per second. The default in the US is going to be 29.97 because we are in the US. But you can change it to whatever you want. And, of course, there is a start time code and a duration, right? So by default, it's going to be 30 seconds, but you can change it to whatever you want.

This background color is just that. It's a background color.

Meaning, that's not really black. That's transparent. See it? But when things start moving, especially white text and that, sort of, thing. This is going to drive you bananas really quickly.

So, yeah, I don't want to see that.

So right now, and you saw how easy that was to create a Composition. I have a Composition, but no layers.

I can drag doggy down, right? I know he's ridiculous.

And there he is. You know, I can also, I'm going to delete it. I can drag doggy to the right, and there he is.

Only a couple of things for you to know. If you drag him down, doggy is going to be centered. Any layer will be, right? I'm just working with doggy now.

If you drag him to the right, doggy is going to stay where you put him, right? That happens over and over again. Oops. I deleted the wrong thing.

If you drag him down, by default, doggy is going to start at the beginning.

But if you drag him down and then to the right...

Doggy is going to start whatever that second play head appears. See how now this layer starts later on in time? If you drag doggy to the right, he will always start at the beginning, but that doesn't mean that you can't just click and drag and start him later.

Is this making sense, guys? All right.

Goodbye-- And you know what? I'm tired of doggy. Goodbye, doggy.

If you want to import a multilayered Illustrator or Photoshop file...

I'm going to choose logo.

Then this dialog which before I completely ignored, then this becomes really important because I can import this as footage...

And I can merge all the layers or I can just choose one of the layers to bring in.

And that's all great if that's what I want. Except that's not what I want. I want to animate different parts of this logo in the After Effects timeline. So I need for the logo to come in as a Composition already...

And to give me all the Illustrator layers as separate layers in After Effects.

So I say, "Hey, no, bring it as Composition." And then I have two choices, and I'm going to show you both.

Each one of the layers will be the size of the document...

Or will be the size of the layer.

The difference really is where the anchor point is.

Are we all good with what the anchor point is? All right, so same thing as in Photoshop, as in Illustrator, blah, blah, blah, blah. So if I choose document size, do you see how I have now a Composition? And then I have a folder with all the separate layers.

To open this Composition, I need to double-click it.

And now I have all of my separate layers.

Look where the anchor point of each one of them is. It's in the middle of the Composition.

But if I bring it again...

And this time, I say, "Hey, layer size." Composition, but layer size.

Now each one of the anchor points is in the middle of the layer, not the Composition.

That makes it a little bit easier to animate independently from each other. Did that make sense? Any questions with that? That is how importing Photoshop files works as well.

If I want to import and, by the way, I'm double-clicking an empty space in the Project panel, and that gives me the Import dialog.

That's all I'm doing. Just double-clicking an empty space in the Project panel.

If I go to my Photoshop files and I bring in same logo.

This is now a Photoshop thing. I can bring it as Footage. I can bring it as Composition. And I can bring it as Composition - Retain Layer Sizes. It looks slightly different than what the Illustrator dialog did, but it's the same thing. It's just where the anchor point of each one of the layers will be. About the only difference in this is do I want editable layer styles or do I want to merge the layer styles into the footage? This doesn't have any layer styles, and I'm talking about Photoshop layer styles. So it doesn't matter which one I choose. So Composition - Retain Layer Sizes, double-click to open it up, and same thing, each one of them comes in with the anchor point in the middle of the layer not the entire Composition. So same thing as in Illustrator, right? So I'm going to delete this again.

And I'm going to open the Illustrator file again only because I want to show you one thing. So I'm going to go to the Logo, Footage, no, not footage, Composition - Layer Size. This is great. And now I'll double-click it and open it up. I am zooming in and out of this display, which is called the comp panel, by using my mouse scroll wheel.

I could also use the period and the comma keys.

Making sense? Just like in Photoshop, we zoom in and out of this view all the time. You zoom out to view the whole picture. You zoom in to take care of details.

Just like in Illustrator, just like in Photoshop, just like in any other program, right? But this is what I wanted to show you. If I want to scale this, you know, I want to make-- Let me just say the words, authentic drones. I'm going to make those bigger. If I want to do that-- This is vector, right? So it should never look pixilated...

Right? Because it's vector.

This is enough to just make you scratch your head and just go, "What's going on here?" So this goes to the core of how After Effects thinks, all right? Which is different than Illustrator and Photoshop.

So I'm just going to stand up because sitting down it's too sedentary. So this is what happens, right? Are we all good with what a vector file is? All right, so it's made out of mathematical equations. It's not made out of pixels, which means you can have it as big as the convention center or as small as an inch. And you will never lose resolution because it's not made of pixels.

There's only one tiny little problem with that.

If you see it, I assure you, its pixels.

You can't see a vector file. Because last time I checked, projectors, monitors, and all of that display pixels.

So there is a conversion that happens that turns the vector into a pixel. So if it goes from vector to raster, raster means it's made out of pixels, and that's called rasterization.

This is what After Effects does. When you bring it in, it rasterizes it at a scale of 100%. So it gives you a certain amount of pixels. And when you scale it up and notice, I'm not talking about zooming in. Zooming in is something else, you know? I'm talking about scaling it.

After Effects is scaling the raster and not the vector.

And because I know you're going to be working with vector files and you're going to be animating in them, you need to tell After Effects, "Stop it." I mean, what the hell, right? You know, I mean, what makes you think that if I'm using vector, I want you to scale the raster.

So you need to go to the timeline and you need to tell After Effects in this view, which is called the Switches. This is a Column in the timeline called Switches. And by the way, if you don't see it, right-click any column. Go to Columns, and make sure that Switches is selected.

This second switch...

Has a very weird name. It's called For Comp Layer: Collapse Transformations, For Vector Layer: Continuously Rasterize, which is, like, "Okay, whatever, dude." So I call it my little sunshine because it's just cuter, and it looks like a sunshine because I'm being positive. And on a negative day, it's a sea urchin.

That's it. Don't want to see you, urchin.

But since this is going to do a good thing, this little light of mine...

Almost always let it shine. Boom! Look at that.

What you are telling After Effects is, "Dude, scale the vector and then rasterize again." Continuously rasterize.

But I wish Adobe would have called it little sunshine.

You know, it's cuter. All right. So you really almost always want to let that shine when working with vector layers. Let me just give you one example just so that, you know. If you type something, and it doesn't matter, I mean, you know, you can see I type beautifully. Do you see how the little sunshine is on and grayed out? I don't know why they don't do that with Illustrator files. It's like when you come in, if your vector, just turn the little sunshine on, and that way I don't have to do it, but it's not. So I recommend that you almost always. There are occasions in which you don't want to do it. But as soon as you turn it on, you're just going to go, "Well, crap," and then shut it right off, and then let's pretend it never happened. And then that's it, but it should be turned on by default. It isn't, so you have to do it, all right? So now I'm going to delete this layer...

And I'm going to Reset scale.

Oh, I moved it. So I'm going to reset everything.

There you go.

And now I'm going to move it here and pretend that I-- That's correct. I'm just eyeballing it, but-- I want, for my Composition, to be 1920x1080. Because this is just going to be like a bug that I'm going to animate and put at the bottom right-hand side of a video that I'm making. I'm just pretending, right? I need to change this Composition. You can see it and know that that's not 1920x1080. You know, it's like the proportions are wrong.

So go to-- Well, first things first. After Effects doesn't work very well if you don't select what needs to be selected.

One of the things that frustrates After Effects beginners the most is this.

Everything is grayed out.

I mean, what the hell? I can't do anything. It's all grayed out. But if you think about it, you know? If a layer is not selected, how can you add an effect? An effect to what? So all of the effects are grayed out if a layer is not selected. Select the layer, and all of a sudden, everything works.

So if you ever get frustrated because something is grayed out, it's because you don't have the right something selected. And by selected, I mean clicked...

All right? So if we want to change the Composition settings, the Composition needs to be selected. Do you see that blue outline here in the timeline? That means that it's selected. And now I can go Composition, Composition settings, and I can choose my preset for 1920x1080, and this is now the correct size.

Did that make sense? If I want to move all of these guys, I can select them here, like a marquee select, or I can select them here.

And then I simply click and drag him.

Done. All right. So in the animation that I want to create, I want for my logo to end here. End here.

And I want to change position and rotation...

All right? I want all of my layers to animate. And again, I want them to end here.

For that we need to keyframe.

So I'm going to now define keyframe in my own way.

A keyframe is a moment in time.

Notice that I'm not saying that a keyframe is a diamond thingy, or a dot, or-- I'm saying it's a moment in time because when you're keyframing to avoid a lot of frustration, the when needs to come first.

When do I want for this to happen? At one second. Oh, okay. Move the playhead to one second.

And you can do that a number of ways. You can just type 100 here.

There you have. Or you can just click and drag, you know, and then approximate it. But when needs to come first? When do I need for this to happen? At one second.

Move the playhead. You have to move the playhead.

And we need to now tell position and rotation of all of our layers...

That is what we need them to be at that moment in time.

So if you expand one of the layers, I'm just doing it with one, but it the same with all. You're going to see Transform in there and transform, as always, anchor point position, scale, rotation, and opacity.

These are pretty self-explanatory, you know? Anchor Point is where the layer is, where the anchor point is with respect to the layer.

I'll explain that a little bit later. Position is where the Anchor Point is with respect to the Composition.

Rotation is measured in degrees. Scale is measured in percentages with 100% being the native scale or the native size. And then, of course, Opacity, fully opaque is 100% and fully transparent is 0.

So I need to see position and rotation for all of my layers.

And if I expand, and this is only-- I only have four layers. If I expand Transform in all of them and show all of that, I already run out of room, and this is a simple thing.

So there are shortcuts for this.

If you select all of the layers, you can press P for Position...

A for Anchor Point, S for Scale, R for Rotation. Can anybody tell me what opacity is? It's T.

And I know that doesn't make any sense. How dare they? It used to be called Transparency, not only that, but it's a long tradition in video...

That I is for in and O is for out.

So we cannot use O for Opacity. We need to use T for Opacity.

I know, saying Opacity with a Dominican accent that does not work.

All right, so I want to see rotation and I want to see position. The problem is that if I press P for Position, I see Position, and then I press R for Rotation, I see the Rotation, but the Position is gone. I want to see them both.

Select one. So I already have rotation, then press Shift-P...

And it shows you both. And now you have enough room to work on all of these, you know? Instead of just showing everything in which you have to be scrolling up and down and it's, oh, please. No.

Making sense? At this point, Position and Rotation of all of my layers needs to be here.

So I am going to click on the stopwatch.

Do you see how if I just click, click, click, click, click, click, click. Well, not do you see, but if you do that, you're going to get Carpal tunnel very soon. Just click and drag.

All right? Click and drag just like in Photoshop. Don't click, click, click, click, click, click, be kind to your hands, right? Now I'm going to go backwards. I'm going to move the playhead because I'm keyframing and when comes first. When? At the beginning. Oh, okay.

Boom. Did that make sense? When? What? Oh, what is easy? I'm going to deselect the layers by clicking on the gray.

You go here, you go here, you go here, and you go here.

Do you see how the keyframe was already created? That's because even though it just happened, I'm going to say something crazy because I am, kind of, insane. Clicking on the stopwatch does not give you the keyframe.

Even though it just did.

I know.

Clicking on the stopwatch does this. You are telling After Effects, "Hey, for this Property, changes in time are now possible." And After Effects go, "Oh, okay. By the way, here's a keyframe to help you get started." If you click on the stopwatch again to add the "keyframe." Your keyframes are gone because now you're telling After Effects, "Hey, changes in time are not possible." Did that make sense? So you only click on the stopwatch once, and then you add the keyframe by changing the value of that property, which is what I just did with position.

Now I'm going to change the rotation. Same thing. When goes first, when? At the beginning. Oh, okay. It's already there. What? Oh, rotation. And now I'm going to use the Rotation tool. If you hover above it, you see that the shortcut for the Rotation tool is W, and that makes sense because it's wotation, right? So let's wotate take this.

One, two, three, and four. I'm just doing crazy stuff. And I'm going to zoom in, by the way, the plus and minus signs let you zoom in the timeline.

This animation lasts one second, and this is what it looks like.

Luisa, that's too fast. Oh, my goodness. Look at this. Boom.

Boom.

Make it last longer.

You see how now it's a geriatric animation? I mean, they are arthritis for real. So you can control when things happen...

By moving the keyframes after you created them. And then you're going to say it, "But Luisa, I mean, you made such a huge deal of when compose first and then the what, and blah, blah, blah, right?" I've been teaching After Effects for more than 20 years.

And this is the number one mistake the beginners make.

They keyframe a property and change the property, the value. They don't move the key, the playhead. They don't move the playhead. Change the value, play the timeline and then complain that the animation ain't happening.

Got to go to a different moment in time, you know? Because keyframing is a moment in time where you give a value to that property. Then you have another moment in time, where you give it a different value. And the interpolation, which is a fancy way of saying going gradually from the first value to the second value occurs. So without two moments in time, you got nothing.

So you need at least two. Having one keyframe and having no keyframes is the same thing all right? Did that make sense? Any questions with that? I know I'm very brave asking questions who have roomed this large. Yes, sir. Can you make the rotations happen at different speeds? Oh, yes. Coming up next, rotating up different speeds.

So once you have your animation with the timing that you want or even if you're just experimenting, you don't have to leave the layers like that.

For example, if I want for my animation to be a little bit more youthful...

I can then move the layers.

It's still, kind of, geriatric, but a little bit better, right? So you are in charge of all of these timings.

Now these are very stiff timings. And by the way, I'm showing you this with a logo, but if you know how to keyframe one thing...

You know how to keyframe everything. Because in essence, there's no difference. It's two sets of value for the same property at two separate moments in time. That's it. That's what a keyframe is. You know how to do one, you know how to do them all.

Done.

But how we interpolate...

Can change.

So let me make things very easy. I'm going to create a new Composition.

I'm going to name it, Interpolation, and I'm going to create a solid. Layer, New, Solid.

I'm going to change the color to a green, why not? A solid... Is a vector layer, I would say, but there is no path that you can edit, all right? So a solid is just like a placeholder. I'm just using a solid now because I'm going to introduce some concepts to you. That it's easier to show if we're not distracted by logos, or by video, or by anything else, it's just a solid, all right? If you change a value, but don't keyframe it, that's known as a global change because you changed it, but it's not interpolating. It's staying there throughout its whole life.

So I'm going to change the value of scale to 20%, and that's a global change.

Now I'm going to keyframe position, position.

I'm going to go from left to right.

So when at the beginning, what position on the left. There you go. Keyframe it.

When? At five seconds.

What? Position on the right.

Making sense? Now you play it, and it gradually goes from left to right.

In After Effects, we have two different types of interpolations.

We have spatial interpolation, which is changes in X and Y, right? X, Y.

And then we have temporal interpolation, which is changes in time.

And at this point, you can just say, "But, Luisa, come on." If it's moving in space, it's doing so in time.

And I would agree with you. Of course. No doubt. But there are some interpolations that change over time, but not in space. Transparency, for example. It's changing, it's fading away, but it ain't moving.

So After Effects makes a very clear distinction between temporal interpolation and spatial interpolation. Let's start with spatial interpolation.

If I go from point A to point B in a straight line...

Straight line...

Linear interpolation. What a shock? Straight line, linear, duh.

But if I go from point A to point B not in a straight line, Bézier interpolation.

Are you guys familiar with the word Bézier? Where have you heard that in relationship to what tool? The Pen tool. So what I'm going to show you now is very much like the Pen tool. But before I show it to you, I must show you one preference so that you don't go crazy.

And this is the preference. If you are on a Mac, the Preferences are going to be under After Affects, Preferences. If you are on Windows, it's under Edit, Preferences, and I'm going to go to General...

All right? So After Effects, Preferences, General, or Edit, Preferences, General.

Do you see here where it says Default Spatial Interpolation to Linear? Yeah! No! Go away.

And look at this one. So it doesn't drive you bananas either. If you create a shape layers, which I know we haven't talked about shape layers or whatever, but if you ever work with shape layers, and you want for the anchor point to be centered, turn that on.

Turn it on, or you're just going to go bananas.

Now that this is the way that I need it, I'm going to tell this interpolation bye-bye.

See how clicking on the stopwatch deleted both? I'm going to say, okay, at this moment in time, you're going to be here. And at this moment in time, you're going to be here.

If I go from point A to point B, linear.

I mean, in a straight line, linear. If I go from point A to point B, not in a straight line, Bézier.

Making sense? Still two keyframes, but I ain't going from one to the other in a straight line.

Bézier.

There are different types of Bézier. If I have a third keyframe...

Continuous Bézier.

The handles are connected.

You familiar with this tool? I know, right? If you work with a Pen tool, you are familiar with this tool.

Non-continuous Bézier. Continuous, non-continuous.

Linear, Bézier.

Linear, linear, Bézier. Boop.

Right? You know how to use the Pen tool.

You can change the interpolation exactly, how you needed to change exactly.

Do you see the correlation now and why I'm saying if you know Photoshop, you got this? I mean, you got this. You just don't know it yet. But you got this.

It's even cooler than that. Look at this. This is super cool. I mean, there's some levels of coolness. So this is, like, super cool and soon we're going to get to hypercool, but right now, super cool will have to do.

I'm going to create a solid, and I'm just going to use a shortcut because this is not about creating the solid.

This is about creating a path. Look at this. Boom, boom, boom...

I mean, I am a master at the Pen tool. Have you ever seen such a beautiful path? I'm just saying. I'm just saying. You should be impressed. I know you're not, but you should be. Look at this. M for Mask, and I can now click on the words Mask Path.

This is how cool this is. I'm going to copy that. Ctrl+C, Command-C.

Bye-bye. I don't need you.

Click on the Position property and paste.

Hello. I'm sorry. That was cool.

Could you imagine creating your motion paths in the program for vector files, which is illustrative? Yes. You can. And then you can copy and paste those paths from Illustrator onto the position of any layer.

Do you see now how you got this? Any questions on that? Oh, yeah. I can do that one more time. In fact, you know what? I'm going to do it with Illustrator because I'm feeling like now-- I think my voice is going, like, in and out. That's because who knows? It's because I'm Dominican and those things happen.

Blah, blah, blah. New file. No. Not Dell.

New file. Come on. You can do it. All right. Did you guys know that Illustrator has a spiral tool? It is the coolest thing ever. I mean, look at this. If you click and drag, it's like, "Oh, Fibonacci. But if you press-- Look at this. If my mouse button is down and I press the up arrow, you see how it keeps on going, and the down arrow see how it's making it shorter.

And look at this. I can press and hold control, and it unravels or ravels more.

Ain't that cool? And look at this. Boop, boop, boop, boop-- I can now copy that, Ctrl+C.

And where's my After Effects? And I can paste it here.

Come on. That was fun, right? Do you know how hard it would be to do this by hand in After Effects? Are you kidding me? I would say, nope. You can't get there from here, you know? But you can copy and paste. Think about it.

Think about it. Your logos that now have little sheens because you copy it and paste. But now practice with me.

When you talk to your client and you explain what you want to do, you have to have a sad face.

And you just have to go, "Oh, it's just so difficult." And you have to go like this. And shake your head. "It's okay, only because it's you." They don't need to know what you copy and paste? Two seconds later, the animation is done. You go have a drink.

No judge. And then...

Cache? I'm just saying.

All right. So let's do one more.

Okay. I know, I'm just grunting now.

If I have the Pen tool, and I-- This is going to be horrendous, but I have absolutely no shame. So I know that you guys are going to think that I'm horrible. And you're right.

Okay, that's not much better, but...

Copy it.

Go back into After Effects. I'm done with this guy. I'm going to create a new solid. I'm using shortcuts, Control/Command-Y. And the reason for that is, this is not about the solid, right? This is about what I copied from Illustrator that I'm going to paste here.

I forget. What is free transform? The shortcut for free transforming Photoshop? Command-T. Same here. I'm going to make this bigger.

All right? Here we go. Select the layer.

Remember, this is a mask I pasted from Illustrator, and then I resized here. I'm not doing anything else. And now I'm going to add an effect. Effect, Generate, Stroke...

All right? I'm going to make this stroke golden, kind of, golden, why not? I'm going to make it a little bit bigger, and I'm going to have it On Transparent, all right? The stroke has these values for brush size, hardness, and all of that. Those are pretty self-explanatory, but the ones that are not self-explanatory are the start and the end. They mean start of range, so the start of the path and the end of the path. Which are set as two separate values, and they're measured in percentages. By default, the start will be zero and the end will be 100 as in percent. So if I keyframe end so that it begins, I know, it's so difficult, and so that it begins at zero and I keyframe it. I can now have the word right itself.

And that's, kind of, cool, but it's even cooler...

To have what wrote it.

In this case, a gorgeous pencil.

Because anchor point determines position I need to put the anchor point of this pencil, where the pencil writes.

This is the Anchor Point tool that After Effects insists on calling the Pan-Behind tool, but Anchor Point tool. And I'm going to put the Anchor Point at the tip of the pencil, all right? When? At the beginning. What? Follow the path. Copy, go to the pencil, and keyframe position.

And what you get is a pencil that does not write the word at all.

So this is what's happening.

Masks in Illustrator and even in After Effects are abstract. They don't live in time. They just live. But position keyframes live in time. So whenever you copy a mask and use it for position keyframes, After Effects will always give it a duration of two seconds, and you can't change that.

You can change the keyframes after you paste, but when you paste between the beginning and the end, only two seconds would have passed, and the stroke that wrote the word Adobe lasted longer than that.

So the keyframes of the pencil and the keyframes of the stroke must start and end at the same time.

Luckily, for us, we can do that.

To see keyframes assigned to a layer, select the layer, and press the letter U as in unicorn.

And then as you drag the keyframe, press and hold Shift.

And then the keyframes, the visible keyframes snap to one another, they just-- And you will get a perfect timing...

For your animation.

Did that make sense? Copy, paste, Pen tool, Illustrator, Spatial Interpolation.

Pretty cool. All right, so this was Spatial Interpolation.

Temporal Interpolation works very much the same way.

And I know we're running out of time. But I'm just going to do this really quickly. I'm just going to go from left...

Well, from middle to the right. If you go to the Graph Editor, this will show you a graph that is showing you the values. If you want to show the speed you click in here, show the Speed Graph, and now you can change the speed to whatever you need to.

The lower the line, the slower the speed.

This is a different interpolation. See it? It's no longer linear. You are accelerating and decelerating, all right? About the last thing that I do want to tell you is that if you select both keyframes and it doesn't have to be in the Graph Editor, you can go Animation, Keyframe Assistant, Easy Ease. And this will give you a gradual acceleration and deceleration on your keyframes. This will make all of your emotions look and feel more natural. You don't have to think about it. You don't have to go into the Graph Editor and edited it. All you have to do is select your keyframes and press F9, and your animation is just going to have a different feeling to it. More fluid, more alive, more natural, all right? All of these things are on my tutorials on YouTube. So if you didn't take notes, if you forgot the steps, if you did whatever, just go to YouTube, watch those tutorials. And if you still have any questions, shoot me an email. Don't think you're bothering me. Remember, no one emails.

I feel lonely as hell. So email me, ask me your questions, and you'll be my friend for life. Thank you.

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