We are moving on to the next example, and we'll create an animation like this on a single text layer.
As you can see, we have three stages here. We have the appearance,
we have a kind of running wave, well, to emphasize, let's say, to draw attention to this object again.
And then we have the disappearance.
And, of course, all of this works on absolutely any word, on absolutely any phrase.
Let's center all of this now and check it.
Yep.
Okay, I'll temporarily turn this layer off.
And let's also take the text tool and again, write 'Video Smile'.
Beloved by all of us, I hope.
Let's make it a bit bigger. Something like this, let's say.
Okay, and I can hide this layer using the Shy Guy.
We go in and add an animator here.
The first property I want to add is Scale. I want something to appear.
And most often, the appearance is done with scale.
We select Scale here.
Here, an animator is created.
Let's rename it right away. Let's have it be called 'scale' with the prefix 'in'.
This is to make it clear that this is the animation's entrance.
Usually, 'in' denotes the entrance, and 'out' is the exit from the animation.
We select it and take a look.
What does scale do for us now?
If we start changing it, look, the letters begin to get bigger. But they scale up and down strangely, relative to their bottom edge.
And there's also a small cross, you see, in front of each letter. That is their local Anchor Point.
And if you try to take the regular Anchor Point tool to move it, nothing will happen. See? It just doesn't work.
So where is this adjusted?
It's adjusted a bit higher up, that is, outside the animators, in the 'More Options' tab.
We expand it here, and we have the most important parameter here - Grouping Alignment.
And here we can move it.
And you see, it's in a percentage ratio, it kind of calculates the percentage of the height and width of your letter, and you can position it here like this.
Well, let's place it more or less in the center. I won't move it on the X-axis, but on the Y-axis, I have -41. But again, this all depends on the font you're using.
Alright, we can hide this, go back, and check how the property works.
Yep, this is already closer to the original.
So, I want to create this kind of growth effect.
And now, what will our rule be? The rule will be that we don't see them at the beginning.
So we say: all letters, your scale is zero. They don't exist.
And now our task is to somehow limit them.
We expand the Range Selector, and let's animate, for example, the Offset parameter.
Although for this example, we can also animate End or Start, it doesn't matter.
Whichever you choose, that's how it will be.
Let's make an animation like this over one second.
Well, of course, we select them, press F9 to make the animation a bit smoother.
Let's see. Well, there isn't much smoothness here.
That is, we see that the letters, yes, they slow down a little at the end and at the beginning, but this easing is only due to this boundary, because it itself slows down.
But if we look at the animation of each letter, for example, the letter 'E' as it flies in, see? It has no easing at the beginning or at the end, and it stops abruptly.
And it looks okay, of course, but I'd like it to be better.
I'd like us to be able to somehow put accents at the end of the animation or at the beginning, just like we do, for example, in the graph editor, right here, when we do something like this, right, working with the parabola.
I'd like to be able to do the same thing with the letters.
But when you use the standard Range Selector with the standard Start and End, this feature is not available.
Let's look at a slightly different example. For now, I'll temporarily disable this.
And we'll do this. Let's take the text tool, just click in an empty space, and I'll type a few dots. Just type them in a row, you can make more of them.
See, these little balls appear. Using them as an example will make everything much clearer.
Let's make the scale a little smaller, something like this.
And now we expand all of this and add a rule for position.
Yes, we won't touch scale right now, just position. And, for example, our position is up somewhere, minus 60.
And if I now, look, animate my Range Selector, look what happens.
See, you have practically no easing.
That is, first the first character goes, then as soon as it reaches the end, the second one starts, then the third, fourth, and so on.
But I want to create an offset, like we did before, so that, for example, the fifth character hasn't finished its animation yet, but the sixth and seventh have already started moving slowly.
Right now, this is impossible to do within the standard Range Selector. See, it doesn't work, not with the Start parameter, not with the Offset parameter, not with anything at all.
So how can we achieve this?
Look, we go into the 'Advanced' tab, and here we need to change one parameter called 'Shape'.
This is the transition shape. That is, the shape of the transition from the state where the rule is active to the state where the rule is not active.
Well, at this moment, if I set Start, for example, somewhere in the middle, you see, here my rule doesn't work, here it does. And this transition is dictated by this Shape parameter.
Let's choose something other than Square here. Usually, either Ramp Up or Ramp Down is used, depending on whether you're animating left, from left to right, or from top to bottom.
Well, you'll see for yourselves now. We select Ramp Up, and look how everything changes instantly.
So, here we have a transition, right, and it's really very smooth, going from one state to another.
However, if we now try to animate Start and End, we can't quite make everything appear, right?
I can either make it appear like this, and then like this. But that's difficult, right? Look, you have to animate two parameters at the same time.
Therefore, as soon as you switch the Shape from the standard Square, this sharp transition, to Ramp Up or Ramp Down...
...you can immediately make a note or remember: Start and End are no longer used by you.
From now on, you will only use the Offset parameter.
And look what I'm doing. I start dragging the Offset into a negative value, that is, you can take it into the minus, down to -100.
Like this, there. I set a keyframe, move it to the one-second mark.
And now I start increasing it. See, it goes, increases this boundary, increases, increases, they start falling one after another. And I keep increasing, it reached zero and I keep pulling, and it gradually, gradually returns all these balls to their place.
And in the end, we have this animation.
See? And this looks much smoother, you'd agree.
Especially if we make it a bit faster.
Of course, you could have made that boundary even smaller. For example, if you don't want all the balls to appear at the same time, you can clamp the End, for example, set it to 25%.
So you have this little transition, and it runs along here and reveals everything.
Well, 25 is probably too sharp. Let's make it 50.
Like that, yes.
But I want to add even more accents.
I want it to be a really smooth curve. How do I do that?
Next, we go down. Here, after the Shape parameter, we have two more parameters: Ease High and Ease Low. These are our graphs.
Look, I start dragging Ease High. What happens?
Pay attention to this trajectory. Before, it was a straight line, now we are kind of adding an ease-in at the beginning of this animation.
So because of this, these balls, even though they are already affected by this rule, are still stationary. We've kind of added a parabola there, right? If we press F9, we add that value there.
Let's remove it again.
So yes, it's not very intuitive, in my opinion. The developers could have probably come up with something more interesting, but this is indeed how it works.
So, here we are easing at the beginning of the animation, and Ease Low is easing at the end of the animation. Look.
The same thing, this curve, how it changes.
Well, and if you want to make a standard explosive animation, you can set 50 at the beginning, 50 at the end, so you have a smooth start and a smooth stop, and the peak speed of this appearance will be somewhere in the middle.
And now let's check. Yep.
This is a completely different animation, you'd agree.
Of course, you can press F9 here as well, but I'll repeat that this will only affect the overall motion, not the animation of each character individually.
Let's make it bigger.
Alright, now that we've familiarized ourselves with easing inside text animators, let's return to our example with the text. We can just temporarily hide this one so you still have it.
We go here. We see there's no easing.
We go into 'Scale In'.
Start and End, as we've understood, we don't touch, we remove them.
We go to Offset, animate it. -100 at the beginning.
Let's set a keyframe.
Oh, by the way, let's immediately set it to Ramp Up here, instead of Square.
We keyframe Offset at -100, and, for example, over one second, we move it, and everything appears.
And you see how they follow one another, really, as if we used the Shift Layers script to give them an offset of a few frames.
Let's watch.
Okay, not bad.
Next, you can play with the boundary. If you don't want to make it so wide, right, so that you see the letter 'V' and then almost to the end of the word, you can, again, set End here not to 100, but, for example, to 75. The boundary will be a little shorter.
And then we go down and work with the Ease High and Ease Low parameters.
Let's make it 50, probably, at the start. Let's check.
Yep, you see, they ease in a little at the beginning and then hit hard at the end, because there's no easing there.
And if you really want to create an impact, you can take this Ease Low parameter, the end of the animation, and not smooth it, because when you go into the positive...
...direction with this percentage slider, they ease, but you can do it in the negative. See, you can set it to -100.
Then look what happens. They really hit hard.
So you can have this preparation for the animation, and then an explosion. Well, -100 is probably overkill, maybe I'd leave it at -50 here.
So again, it all depends on what kind of mood you want to breathe into this animation.
Let's also make it 50, like we had in the example with the balls.
Yep, this looks much better.
If you set it to 100, meaning maximum easing everywhere, it might also look not entirely natural. You see, with a lot of easing, we don't have these intermediate forms; we see very small letters, then almost immediately large ones. Yes, they continue to scale for a long time, see, over this whole section they continue to stretch a bit, but honestly, I think it's so-so.
So let's set it to 50-50.
And now look how easily you can change the character of this animation. We go into Shape again, we have Ramp Up set here, let's set it to Ramp Down.
What happens? Look, it's all the same, the same animation, only now it's for disappearance. There, it works.
So, what does this mean? If we leave Ramp Up here...
...we can say: okay, this is our 'Scale In'.
We know it's already set up, everything works well.
We can quickly duplicate it, press Enter, and say that this will be 'Scale', for example, 'Out'.
Okay, we go into it. I can temporarily disable 'Scale In', let's see how it works.
Okay, we go into the Range Selector, Advanced, and say: you will go in the opposite direction, not Ramp Up, but Ramp Down.
So at the beginning you exist, at the end you don't. That's it.
And now if we enable both the first and the second, we'll have a conflict, right, because the first one starts the animation from left to right, the second from right to left, they meet in the middle, and, well, it's just some nonsense happening on the screen.
What do we need to do? We just need to move the keyframes in this second animator.
Let's press 'U' to see the whole animation. We select this Offset on the second selector and move it.
And so it turns out that we first animate the first letters, right, with all sorts of easing, with boundaries, everything is good.
And then the disappearance. One, two.
And you see how it works out, from one animator we quickly made both the appearance and the disappearance.
Moreover, later you might get the idea that you don't want the disappearance to be based on scale. For example, you want them to rise or fall and dissolve with opacity. Nothing could be simpler.
Look, we go into 'Scale Out', select Scale, and say: Delete. This rule no longer exists.
And then we add here, let's see, Property, Position, for example, downwards. Okay, it needs to be a positive number, let's make it 100.
And I also want to add here, Add Property, Opacity, just the same, because with position we can't make it disappear completely. We set Opacity to zero.
Let's watch.
The appearance is by scale, and then the disappearance is by position and opacity.
Well, I probably overdid the position, let's make it 50 somewhere here.
And maybe for the appearance, such a narrow boundary was fine for me, but for the disappearance, I can make it a little wider.
So for that, we go into the Range Selector of the second animator and here we expand this End parameter, the boundary.
Yep. That's right.
And I can probably make this all a bit faster. And F9 just in case.
I just have this, you know, a little quirk, where I see linear keyframes, and my hand automatically reaches for the keyboard, wanting to press F9.
I can't help myself.
Here, I'd probably make the appearance a little longer, and this one too, up to about two seconds.
There, and it's done.
Moreover, you can also save this animation for future projects. Let's say you've made this appearance with a disappearance...
...and now you want to use it somewhere in all your compositions, in all future projects. You like it.
You can go inside the text layer. Look, I just select the two animators. We can go back to the first moment in time. I select 'Scale In' and 'Scale Out' with Shift.
I go up to Animation and say: Save Animation Preset.
It takes me to the corresponding folders.
And I name it something like, for example, 'Scale In' and then 'Pos Out'.
Save.
That's it, now you can... Yes, it complained there, you say: yes, yes, yes, yes, yes, everything is fine, I'm okay with it.
Now, even if I create an empty composition, take the text tool, and write something here...
Okay, let's center it, make it bigger.
Now I can go to Animation, or here, Browse Presets, and you search in the folder,
or you can select Recent Animation Presets, that is, recent animation presets.
And I'm selecting ours: Scale In, Pose Out.
I click it, and it's all done.
So, this thing is cross-project and also cross-version.
Meaning, theoretically, you can open this in any version of After Effects and check that it will work.
Now, let's return to our composition. We've created the appearance animation.
Let's temporarily disable the disappearance. Now I want to add an animation in the middle.
Well, that is, to once again draw the viewer's attention, to attract them, to say: look here, something is written here.
For this, let's create a new animator. We'll also do scale.
I think maybe just scale, or maybe we'll add position as well. For now, let's select scale first and see.
Okay, let's set the scale to, for example, 120. So we're inflating them a little.
And let's add another property here. Again, don't get confused about which animator it is, you see there are a lot of 'Add' buttons here now.
Select the one where you want to place the new... new property. And we'll select position here.
And let's raise it a little more. Like this, well, let's make it about minus 15.
We select Range Selector, immediately go to Advanced, and say that we want to use the Ramp Up shape.
Although here, you know what we'll do? Because with Ramp Up, we'd have to make two animators. One would raise them up, the other would lower them down, and that's more complicated.
Specifically for these kinds of wavy animations, the developers have provided a few more options, for example, Triangle.
Look what happens. You get a wave, a triangle like this. You can really see it.
And now we can animate the offset, and you get this kind of wave running across all the letters.
And if the width of this wave seems too large, again, you can bring the Start and End values closer together, and that will fix it.
Let's set the offset to minus 100. We'll press U and take a look.
So, it has animated, we wait a bit, and now, starting from, for example, the 10th frame... let's actually do this over one second.
Okay, and now from the 10th frame to the second second, we have this animation. You see, they inflate a little and also rise up.
And then they return to their final state. Let's watch. Yeah, it looks fun.
Maybe it could be made even a little slower.
Okay, now let's go into the Range Selector. We just need to adjust those graphs that are set by these percentage sliders.
Let's set it to something like 25 at the beginning of the animation and 50 towards the end. That is, I want them to start faster but finish slower.
Yeah, that's really great.
There. And then you are only responsible for the duration.
So if you want it slower, you can make a very smooth wave.
If we now stretch all this out to the third second...
But now I don't like the beginning. Let's make the beginning slower after all.
Okay, and let's swap them. I just don't want these keyframes from Scale Out to keep getting in the way.
Let me temporarily delete it. I have it in the preset anyway. Yes, if needed, I can pull it out.
Plus, for this example, I wanted to create a different disappearance animation.
So, this is Scale In, let's have this be Wave, we'll call it 'wave'.
I probably overdid it with the timing. Let's make it shorter.
So you need to find a golden mean here, because if it's too slow compared to the appearance animation, it will also look strange.
And then you can also add to this property. Let's expand it.
Okay, we have position and scale. What else can we theoretically do? We can add rotation property.
Since we're looking at all the transformations, let's add rotation here.
And we can rotate them a little, for example, by 20 degrees.
So it turns out that they also slightly, you see, rise up, as if they are turning, and then return to their original position. Op.
Well, maybe not in the positive direction, I would do it in the negative, maybe minus 30.
Let's check. Yeah, something like that.
So here, of course, you can come up with your own animations. I would generally recommend...
...using different transformations, you can even play with Character Offset, with Character Value.
Although no, let's try Character Offset, but I think it will look a bit too glitchy.
Yes, so look, what we get is they rise up and also change their value. It really draws a lot of attention to itself.
This isn't some kind of wave anymore, it's reminiscent of The Matrix, as if you have a glitch in the matrix.
Okay, let's select all this, delete it, and leave it as is. I'm fine with this.
And now we just need to create the disappearance. We'll also do this with a separate animator.
Let's take Blur. We haven't used it yet.
And let's add opacity to it as well. Blur and Opacity.
So, what's the rule? We increase the Blur, so you see, it's like we're going out of focus. I think about 20 pixels is enough.
And our Opacity goes to zero. This is our general rule, and now for the Range Selector.
Let's go to Advanced. Here we'll make... we can do Ramp Up, or Ramp Down, it doesn't matter.
Okay, let's turn off all these previous modifiers.
And again, let's animate the offset parameter, our favorite.
So, you see, as soon as we change, once again, the Shape here to something other than Square, we always animate the offset.
And in general, try to animate the offset, it's really easier with it.
Okay, we move forward and to the maximum. Op.
Okay, well we see that something went wrong. At the beginning, we see everything, or rather, the opposite, we see nothing, and at the end, we see everything.
It should be the other way around. Let's try to fix this. We'll make the offset at the beginning plus 100...
...and at the end, minus 100.
And don't pay attention to the fact that the animation is going from right to left now, we'll make it chaotic anyway.
That is, I want the letters to dissolve in a random order like this. Although, of course, this also looks fun, like a magical effect.
As if... I don't know, someone waved a magic wand and made all these letters disappear.
Anyway, let's go down to the bottom of the Range Selector.
If you want, you can also set Ease High and Ease Low, for example, to 25% each, just a little.
And most importantly, I want to add Randomize Order here, so that it's as chaotic as possible.
Okay, let's check, turn everything on together, press U. Let's shift this to later, after the wave.
And let's watch. Well, let's also press F9 just in case.
Okay, they appear, the wave, and then the random disappearance.
And we can make this random disappearance longer.
Moreover, theoretically, you could separate... Well, this is a very advanced technique, but I'll show you just in case.
You see, in this animator, you have both Blur and Opacity.
But what if you want them to first go into blur and only then, after some time, affect the Opacity?
If I were you, I would then split this animator into two animators. That is, I would duplicate it, yes.
For the first animator, for example, I would remove Opacity, so it will first blur them, and for the second one, I would remove... only... actually, Opacity too. No, wait a second. There's no Opacity here. Here I would remove Blur, yes. That's right.
There. And now we press U and simply create a time lag for the second animator.
So first they should, you see, not fade out immediately, first they blur, stay on the screen for a bit...
...and only then does this second Range Selector grab them and start to make them disappear.
And you can, depending on how much you've shifted this pair of keyframes, adjust the timing of this disappearance.
Well, for a more dramatic effect, let's say, if you want to keep them on the screen a bit longer.
Yeah, in my opinion, it turned out pretty cool.
I'm still not a huge fan of the beginning, maybe. Let's shift the beginning.
Well, these are just micro-adjustments.
Maybe at the beginning, this border is too large, I can make it bigger.
Okay, and they disappeared.
Yeah. Look at what complex systems we've started to set up.
Again, still all within a single text layer.
And at any moment, you can also select all of this and save it as a text preset.
By the way, speaking of text presets, you can also, well, purely from a practice and memorization standpoint, you can analyze some of the animation presets that we have here in After Effects.
If you go to the Effects & Presets tab, go to the Text tab, scroll down here, you see there are very, very many different presets.
And all you need to do, for example, is just take and duplicate the text layer. Let me turn this one off for now.
You go into the text, I'll delete everything here, there's nothing at all.
And you go. The category is Animate In, meaning appearance.
I don't know, the first one I see. Fade Up... no, Fade Up Characters, yes, let's do that. We select it, apply it, and see what happens.
Well, you have to agree, it's too boring, so let's undo that. Let's do Random Fade Up.
Op, apply it, let's see. Oh, it appears. Well, we've already done this, right?
And then you go further and just analyze it, you try to deconstruct it, so to speak, to understand, you do a kind of reverse engineering, right, to understand how it all works.
So we see a Range Selector, we look at what Shape they have here - Square, so it's boring, understandable, right? And they just turned on Randomize Order, and the rule is Opacity zero. That's it.
So you can even, you know, do a challenge: you apply, for example, some text animator, watch it, and try to replicate it without going inside here.
If you can handle five or six animators like this, then consider yourself to have understood the whole thing.
Let me try to show you a few more. So, that was Random Fade Up.
There's Typewriter, our classic one, which we've already built, yes, it's also here as a preset. Well, maybe at some point you'll be too lazy to build it with animators, and you can just take it and drop it in here.
There's also, I think, Decoder Fade In, which is also cool. The password cracking, what we talked about.
Here it is, you see, it takes it and scrolls through everything.
If you expand it, the same rules: Opacity and Character Offset.
You see, he just set a larger Character Offset so that there would be... well, more of these scrolls, and the effect would look better.
And as I said, there are a lot of these animators here. I'm not going to go through all of them now because, well, it would take too long.
I'm saying, the main thing is just to practice with something. For example, I don't know, Bullet Train, I've never even used this one. Let's check what it is.
Oh! It's like this.
You watch it and, without going in here, you try to replicate it.
I think it will be quite interesting.