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12.2 How to Use After Effects Intro Templates

Learn how to use After Effects intro templates and give your videos the professional polish they deserve.

In this tutorial you'll learn how to quickly and easily install and customize the Short Intro template. Elevate your project with a stunning video opener!

Related Links

1 lesson, 00:49


2.Getting Started
5 lessons, 42:55

What Is After Effects?

Main Panels


After Effects Tools

More AE Tools

3.Compositions and Layers
3 lessons, 26:35

After Effects Composition


After Effects Layer Properties

3 lessons, 25:21

After Effects Keyframe Basics

After Effects Keyframe Easing

Spatial Interpolation

5.Masks, Shape Layers, and Text
5 lessons, 45:36

Learn How to Mask in After Effects

After Effects Shape Layers: Part 1

After Effects Shape Layers: Part 2

Text in After Effects

Text Animation and More

2 lessons, 13:42

What Is 2.5D?

More 2.5D

7.Motion Tracking
4 lessons, 34:04

Motion Tracking, Camera Tracking, and 3D Text

More Motion Tracking

Camera Tracking in After Effects

3D Text in After Effects

8.Mattes and Cool Effects
4 lessons, 43:43




Mind-Blowing Third-Party Effects

9.Build a Lower Third
2 lessons, 21:35

How to Make a Lower Third in After Effects

Final Touches on the Lower Third

1 lesson, 09:11

Exporting From After Effects

1 lesson, 01:16


12.Bonus Lessons
4 lessons, 2:14:00

How to Make an After Effects Text Animation

How to Use After Effects Intro Templates

How to Create Handwriting Animation in After Effects

How to Create Brush Effects in After Effects

13.Frequently Asked Questions
8 lessons, 1:34:42

FAQ Introduction

How to Export Video From After Effects

How to Export Video From After Effects Using PreRendering

How to Mask in After Effects

How to Animate Text in After Effects

How to Make a GIF in After Effects

How to Duplicate Layer in After Effects

FAQ Conclusion

12.2 How to Use After Effects Intro Templates

Hi, my name is Dave Bode, for Envato. And in this video, I'm gonna show you how to customize and make this video template that you can find on Envato Elements super usable for your projects. [MUSIC] You can see this is a pretty quick geometric video template for After Effects, and it's pretty short. In fact, this demo here actually, it just runs the template twice. So it looks like it's 20-seconds long, but it's actually only 10-seconds long. And one of the issues you can run into when you're looking at video templates online is that you see something that looks pretty cool, but it's just way too short. And you think, well, I'd love to use that, but I don't know how to make that longer. Well, that's what I'm gonna show you how to do in this video. Now if you don't know, Envato Elements is a subscription-based digital library. Where you can find things like stock video, video templates, music, sound effects, graphics, graphic templates, photos, 3D assets, and more. And I thought this project looks pretty cool, but I wanted to show you how you can customize it for your projects. So let's jump on in to After Effects and check it out. So when you download this project, you're gonna unzip it, and you're gonna find two files in the folder. A readme and a short intro.aep. We're just gonna double-click on that open it up in After Effects. It will pop up a warning that says this project must be converted. Just click OK, it means that it was created in an older version of After Effects and it needs to be converted to a newer version. So if you want to use this template just as it is, it's actually pretty easy to do. You'll find over here in the Project panel, you have a folder called 01 Edit Here. So this is where you're going to work if you wanna customize it and use it as is. You'll find in here a folder called Media Placeholders. And inside this folder, you'll see 12 different compositions. And you can double-click on these to open them, and you'll find there's nothing in here. This project doesn't come pre-loaded with photos and assets for you. It comes empty so that you can just chuck your own stuff in here. And you can put anything you want in here. You can put video photos, multiple photos, graphics, text, really, anything that you can stuff inside this. And you do the same thing for each one of these placeholders. And then they will populate in this main composition here called Edit Color. Now, it doesn't look like there's a whole lot going on in this composition, and that's because this Shy switch is enabled right here. And that's hiding all these other magical layers here that's actually doing all of the business of the cool looking geometric transitions. There is a control layer right here. I'll just click the Shy switch again. It says Control Option. And if you come up here to the Effects Controls panel, you'll see that there are a bunch of different options for this project. You can set the Outline Color, the Arrow Overlay Color, the Outline Width, the Shadow Opacity and so forth. So if you wanna use this just as it is, pretty easy, throw your photos and videos into each one of these placeholders and you will see them populate in this Edit Color composition. And then you can just render it out from there. But what if you want to make this longer? Like I said before, this is only ten seconds long. And I don't know about you, but a lot of times I need something a little bit more juicy, a little bit longer than ten seconds. So I'm gonna show you how to do that. To start, I wanna put something in each one of these placeholders. Because if we just start working on it like it is now, it's gonna be very difficult to figure out what section we're working on. Everything's gonna start blending together because this goes so fast. So what I thought would be easy to do is just throw a quick background in here and throw some text that identifies this as basically placeholder number one. So I'm gonna come here to the Solids folder, I'm gonna drag in this white solid. I'm gonna hop over here to the Effects & Presets. I'll type in Fill. And then I'll grab this Fill effect and just throw that on there. And I'll pick just kind of a light gray here. Then I'll grab this horizontal type tool, or what I refer to as the text tool, I'll deselect my white solid there, then I'm just gonna click and drag to draw a text box. And I'm gonna fill this with the number 1. Now you see my 1s are pretty far spaced apart. And that's because, you see down here in my Character panel, well, if your interface looks a little bit weird, you can jump up here to the window. Go to Workspace and then set this to Standard. That's a good place to start. It's got a lot of things that you'll need here. If you look over here in the Character panel, you see that I have the text tracking here set to 850. And that spaces these really far apart, which I like. And I'm just gonna hit Delete here just to clean up the rest of those, perfect. All right, so that's what I have for this first placeholder here. I'm gonna switch back to my selection tool. I'm gonna recenter this, so I'm gonna use a shortcut Ctrl+Alt+Home, repositions this anchor point in the center of the layer. And then Ctrl+Home centers the layer in the comp. I'm gonna name this White Solid, here, BG for background. And I'm gonna select both of these, copy them, I'm gonna double-click Placeholder, and I'm gonna paste them inside here. Now I need to just update this text. But rather than retype all those 1s, I'm gonna twirl down this layer, and then there's an Animate option right here, and I'm just going to say, Character Value. Now, this is really complex stuff, and you can get in here and do all kinds of crazy text animations. But all I really wanna use this for is to change the character value. So I'm just gonna click on the Character Value here and press up until this gets to 2. And in fact, if we jump over here to the Edit color, you'll see that this is all ready doing something. And now it's very easy to see, That this is Placeholder 1 and this is Placeholder 2. It would have been really tricky to basically figure out what were doing if we hadn't done this. So now, we can just go on and do the rest of these. I'm gonna jump in to Placeholder 3 here, I'm gonna paste. Actually, you know what, I'm gonna jump back in to Placeholder 2, I'm gonna copy this, jump in to Placeholder 3 and I'll paste this. Then I'm gonna select my text layer here, and I'm gonna press uu on the keyboard, and that'll bring up all the parameters here that we have changed. And I'm gonna click on this Character Value. And I'm just gonna press the up arrow once, and that's gonna change it to 3. And you can very quickly move along here. I'm gonna copy this. Double-click Placeholder 4. Select my text layer, press uu. Select the Character Value, press up. And now I have 4s. So I'm gonna go ahead and do all of these. All right, when you get to Placeholder 10, You're gonna notice that we can't actually go up to 10. So really easy to fix that. We'll go down to 1, and then we'll duplicate this layer with Ctrl+D, can also come up here and go to Edit > Duplicate. And I'll press uu on that layer, and then I will just set this to 0. And I'll grab this layer, and I'll just move it over with the arrow keys. I'll hold Shift and then right arrow. And that'll just bump it over a little bit. And then I'll use left arrow just to reposition it, then I can grab both of these and just kina center them up here. And then I will select all of these. Copy them, jump into 11, and do the same thing. And I'll just set this to 1. There you go, now all of these have the right numbers in them, and they'll be very easy to keep track. I'm gonna jump back over here to the Edit color. I'm gonna click on this fly out and choose Close Other panels in Group and then I'll just close all of those other ones. We don't really need to see those right now. And now if you scrub through your composition here, you're going to see, look at this, we can tell what is actually happening. See on this last frame here, we're actually looking at 10, 11, and 12. So this whole thing moves really, really quickly. So let's talk about how to jump in here, and really start customizing this, and making some of these sections a little bit longer. So I'm gonna click this shy switch again, I'm gonna make a little bit more room here. Now all of these layers are locked, so I'm gonna go ahead and unlock all those, and there's a keyboard shortcut to do that, it's Ctrl+Shift+L. Now it's not always the case, but this is laid out pretty well. And you can see the individual sections here, because these layers have been trimmed up. You can see all this stuff that happens at the beginning is basically this stuff, right here. It's from this shadow two layer, up to this arrow layer right here. If you look at the names of the layers, they're not all named in a helpful way, but we have PlaceHolder 2 Comp 2, Placeholder 1 Comp 2, PlaceHolder 2 Comp 1, PlaceHolder 1 Comp 2. So basically we have the first two placeholders, there in the section. And then if you scroll up, you can see this next chunk right here. This is PlaceHolder 3, and the next chunk has PlaceHolder 4. And then it actually gets a lot simpler, as you move up in this composition. So what I'm gonna do is I'm just going to select all of these and I'm gonna group these together in a comp. I'm gonna create a pre-comp out of these layers right here. You can come up to Layer > Pre-compose, or you can use the shortcut Ctrl+Shift+C. And when you do there's a pop-up, and I'll just call this part 1. Expressions in them that say, okay, this layer has a color in it and this layer is controlling them. So when we precompose these, these layers all jump into a new composition and they no longer have this control layer in them. So there's a really easy fix for this, I'm just gonna copy this control layer and I'm gonna double-click this part one composition which will open up. And you'll see all those layers are now right inside here, and I'm gonna paste that control layer back inside. Super, super easy. Now as you see this whole part one section here is barely over three seconds long. And what I wanna do is I wanna make this a good bit longer, let say eight seconds. So first what I need to do is extend the composition. So you can come up here to composition, composition settings, or use the keyboard shortcut Ctrl+K. And we can leave all these stuff as it is, if you wanna change the frame rate you can. But for now I'm just gonna leave it at 24 frames a second. The main thing I'm concerned about is the duration, and I'm gonna set this to eight seconds. What I like to do is make it a little bit longer than I think I'm going to need. So maybe I'll make it nine seconds, because it's much easier to make these shorter, and it takes a lot more work to make these longer. So I'm gonna click OK, And then I can just extend out my view here. And you can see that now I have all this blank stuff right here. So I'm just gonna select all my layers. I'm gonna press end on the keyboard and then I'm gonna use a shortcut Alt end bracket. And that will set the end point for the layers at the CTI. So now everything is going to be the right length. You'll see that the movement isn't quite right, but we're gonna fix that here in a second. The next thing I wanna do is make sense of this layers. Now, this is the only set of these transitions that uses two different versions of the placeholders. You can see we have PlaceHolder Comp 1, and we have PlaceHolder 1 Comp 2m right? It's basically the same thing in each one of these that has PlaceHolder 1 in them, but they have kind of different little bits and bobs and highlight things. If you double-click this, you'll see that this one has some arrows and has some this highlight thing that sweeps across. And if we look at PlaceHolder 1 Comp 1, it still has PlaceHolder 1 in it, but it has a different highlight and some different arrows here that pop up. So we have to kind of sort out what's going on in here, and rename some things. And if you don't see the track mattes here, you can press F4 on your keyboard and that should reveal the track matte controls, or the track matte settings. And you'll see that PlaceHolder Comp 1 has an alpha map. So this shape layer that's directly above is the matte for this layer, it means wherever this has opacity that's showing us where PlaceHolder 1 is. In fact, we can solo that and you can see that the shape of this shape layer here is exactly the same shape here that's being revealed on this PlaceHolder 1 Comp. If that doesn't totally make sense right now, don't worry about it just follow along and hopefully it should make sense by the end. So instead of Shape Layer 1, what I wanna do is I wanna rename this. So I'm gonna press Enter with the layer selected. I'm just gonna name it Matte 1. And I'm gonna go along to these other shape layers here, and I'm going to rename those as well. Now I can figure out what is actually going on. We also have this shadow layers in here, and by default if you look at the Control options here, there is a shadow opacity control. And when you open it u there is no shadow opacity set, and personally, I don't think that's required. So I'm going to just go ahead and delete this shadow layers because it's gonna be one last thing that I have to worry about. Then I can actually delete this shadow opacity in the control layer. And if I wanna go back and add some kind of shadowing, I can. But I think it looks fine without it and it makes it a little bit clearer to figure out what's going on. The next thing I'd like to do is with all the layers deselected, press U on the keyboard which will reveal all the key frames and try and sort out what's actually going on. Now at fist glance, this can be really confusing. You can see, man, on every layer we have something happening. But if you look at the values of the properties that are being animated over time with these key frames, you'll see that we have some things that are the same. For example, this matte 1, we have at this key frame right here, we have a position of negative 1150 by 50. So that's negative 1150 and the x, and 50 in the y. And then we look up here, we see that matte 3 also has the same key frame right there. Line2 also has the same key frame. And so essentially we have the shapes and if you look at line2 and you look at matte 3, You can't actually see it, because it's it's over here but we can extend this out. You can see these are the same shape layers with the same key frames, and that is redundant and also confusing. So what we can do, is we can take line two here. We can click on this stopwatch which will remove all the key frames. And then we can take this layer and we can parent it to Matt one and that'll make things a little bit clearer. So anything Matt one does, this line to layer will now do as well, which was already happening because they have the same exact key frames. But now it's less key frames for us to have to work with. We can do the same thing here with matte three. I'll click the stopwatch to remove the key frames and then parent that with this little pick whip right here to matte one. And you can see right here underneath the parent link column, this matte three is now linked to 14 matte one. So anything we do with matte one, which we're not gonna do anything with it, Is going to be the same here but now we have a lot less key franks. Similarly we have marc two here, you can see 12, 50, and 50. We have the same thing here from marc four. So I can go ahead and link that marc and line one. So I'll give the key frames And I'll link that here I'll parent that to Matte 2. And now we've just gotten rid of a ton of keyframes. We also have this Null right here and this Null right here. These are essentially acting as rotation controllers and you can see that we have some layers that are parented to The Null, but with two layers named Null that can be a little bit confusing. So I'm going to. Press Enter with another layer selected and rename this rotator. Then I have this other no here and in fact these have the same rotation value. So it's essentially doing the same thing. And so anything that is currently parented to no one, which if we look here nothing is anymore. If I delete this, no one, nothing will happen. But my composition here will get a lot cleaner. And so now everything is essentially linked in one way or another, to this rotator, everything that was linked to. This other null, is now either, tied to mat one or mat two. And, those are all linked to this rotator. So, everything just got a heck of a lot cleaner. So now, if you look at our key frames here, it's starting to become a little bit easier to manage. So, what I wanna do is, I wanna kinda stretch these key frames out a little bit. I'm going to take these key frames here, and I'm going to shift them all the way down to the end of the timeline and I'll hold shift and they will snap right here to the end. And then I'm going to take these guys right here, and I'm going to shift these down. These are less critical for where they are positioned, because these key frames here Saying because these don't actually need that. So I'm going to come here with all these key frames selected, and by the way, I selected those by clicking on the position here and then control clicking the position here and that selects both of the layers position key frames, right click on a key frame, come to key frame interpolation and set spatial interpolation. Watch, watch the paths here. going to set that to linear, and I'll click OK And you see how that cleaned up those lines, now we are not taking these weird curving shapes here which I can guarantee was not the right thing to begin with. It probably looked fine when this was like you only saw those for one second. But now that they are gonna be hanging out for a little bit longer, we are just gonna make those behave a little bit better. Now we also have these scale keyframes. Right here with our placeholder comps. And basically what this is doing is we're scaling this layer down, and scaling this layer up. And the same thing is happening here to these placeholder comps as well. So we can just take these key frames, and we can slide these down. Here. There's also the matter of this cut that happens between the layers, because right now these bottom two here and we can we can kind of even recover these. You can select these two placeholders here and change the colored orange. So these are the two placeholders that We are seeing first, but right when these two matte layers show up,watch what happens. It's very hard to detect but you see those highlights change and that's when we are basically cutting Over to these layers, these layers here should actually be trimmed up to start with the map layer to make that a little bit clear. So if we want to make this a little bit longer we can actually cut to these in about a half way point so what I'm going to do So I'm going to select all these and just move this over. So basically we're looking at the first part of these layers right here. And then we cut over to these layers right here. And in fact, to make it a little bit clearer, I can just select these layers and hit alt, end bracket to trim them up. To about the same spot. So now it's a lot clearer what's going on, we're seeing these layers first and then we cut over to these layers. That's basically what you do in a video editor, just doing a simple edit there. So now we have this a little bit longer, what I'd probably do is modify this rotator Null here, so that it doesn't do all the sweeping and maybe holds here for a little bit, kind of in the center position. So you can see at the beginning here we go from negative 90 and it kind of swings in like this. In fact, I can see when it does that that I probably want to move these arrows here up a little bit. So that they come on after these come together like that and that looks great and even kind of just slide this guys out just a little bit that looked pretty cool but let's check out what happen here with this line which is basically the dividing line between these two sections. So we're at zero here And then we go all the way over here and we are at one full rotation. What I wanna have this do is basically hang out in the middle a little bit more. So I'm gonna take this key frame, copy it, and paste it right here and just maybe move it to 11 degrees. So it kind of Comes in here, and then it just slowly rotates to a about 11 degrees. And then I don't want it to do this whip until the end, so I might have it right here. I might have it whip around to, About 180 or so. Yeah, maybe I'll have it wimp around about that far. What I wanna have happen here, is I want this line to kind of do a little wimp around to kind of rotate to hide this cut here between these two layers. So you can see if I tighten this up around that transition, right, when these layers pop on It's a little bit more subtle. [SOUND] I think I'd like to have them switch sides. So I think I am going to, I am going to go to like 190, something like that. [SOUND] And then I'm gonna have that hold around there for this key frame, right here. So I want to take this key frame and just paste it over right here and I might have it just swing back a little bit. So now let's look at what we have going on. And then I can probably delete this last keyframe here. I just want a little bit of a whip. So we go from 167 degrees, and then let's just whip around that much. Great. Then I'll select all those key frames by clicking on the Rotation and press F9. And that'll just smooth out the movement a little bit more. And I think that'll be great. Everything else looks pretty decent. We have this one, yeah, I forgot to move these around. I missed this one, arrow layer right here. In fact, I think I can delete these keyframes and just have them kinda move along here. Yeah, I don't know what these keyframes are doing at the end here. But basically, these are coming into the middle. And then I want these to just move back and forth a little bit, so they move to the opposite side. And we'll move those over there, you can see. Just move it along there. And then over here, basically we can just move them back. So I can take this key frame, copy it over here. This key frame, copy it over there. And then maybe just adjust where they are here with the y position. And they just kind of move back and forth which is great. Then we can do a big move down like this and a big move will up like that. So we're just kind of moving things along there, just kind of adjusting the position of those. You're gonna select all those key frames and hit F9 just to smooth that out a little bit. And I think this one overshoots by a heck of a lot here so I'm just going to bring that back a little bit. And then this one right here, they don't need to go that far, so I'll just move them back a little bit, make that movement a little more subtle. [SOUND] Perfect, now I'll just move these guys down to here, and align them with the rest of this movement. So we have this nice whip that happens at the end. All right, that's looking great so far. Let's check out what that looks like in this edit color composition here. Now we're not gonna see what's happening because we have these other layers here that are basically blocking our new long layer here. So we have to kind of do the same procedure here. First thing is I want to extend this out. I'm going to make this like 60 seconds long. So I'm going to press Ctrl + K, which is the shortcut for Composition Settings and I'm gonna make this 60 seconds long. Now I don't wanna make any these layers longer because that's gonna happen when we this. But I do wanna move them down, so we can see what's going on. So now we have All that stuff we just did. Now we can actually see what's happening here, with these layers, right? They're on for a little bit more time, can actually take it in visually, right? And then we transition here to the second section. So just like before, we can select these layers here. We can pre-compose these with the keyboard shortcut Ctrl+shift+C, and we'll call this part two. Again, it will throw that error at us, but it's not a problem. We'll just copy this control option layer here. Double click to jump into the part two composition, and we'll paste that and those errors will go away. Now we can make this composition longer. So I'm going to hit Ctrl+K, and we'll make this, let's say seven seconds long. Again, we can make this shorter, but this one's going to be a lot easier to manipulate here. And I don't want these shadow layers, so I'm gonna go ahead and delete them. I'm gonna click on this control layer. And I'm gonna get rid of that shadow opacity, as well. I also don't need the background color control, here, because there is no background. And then I just have the matter of kind of smoothing out this movement. Just like before, just rename some of these layers. [SOUND] Matte1, Matte2. This line three with matte1, cuz they have the same values. Now the only thing that's not going to translate is this size parameter right here. Because when you parent layers, the only things that are really parented are the basic transform controls. Which are anchor point, position, rotation, scale and opacity, those five things. And this size property is something internal to the shape layer. But that's really easy to fix. I can just take this pick whip here on the size property itself and just pick whip that down to the size and now that is perfectly linked. I can do the same thing here with line four, that matches matte number two here, so I can just get rid of those key frames. I can parent line four to Matte2 and I'll pick whip the size of line four to Matte number two, and now those are linked and I just removed all those extra key frames. And we're looking pretty great. Now for this particular layer, I think the initial animation is fine. The speed that it kinda whips out here is great. The only thing that I want to change is I want to change what's happening with these scale layers here. And so all I'm gonna do is I'm gonna move these scale layers here where this kinda scales up to 130%. I'm just gonna move those so that they align here when our circles kinda blow out. And then I'm gonna go to the end and I'm just gonna set those back to 100%. So basically, we kinda scale up at the beginning here. And then as soon as those circles fly out, we kind of scale down from there. And I think that looks great. So that's a really easy way to do that here. They also see that the timing in this layer looks a little bit weird, if we jump back to the composition settings time code is set to eight seconds. So we can just set that to zero, and now we can see that things look a little bit more intelligible. Here we can see that we're about eight seconds long and this initial transition here happens over about one and a half-ish seconds, all right? Pretty simple. Now the other thing that we have to do to all of these placeholders Is, you'll notice that these are not the same placeholders that you see up here. Like you saw before when you jump inside here, this is a kind of intermediary composition where you can see here is our source placeholder. But there's this other stuff happening here. We have these highlight layers going, but they all set to, basically, N really, really short. So if we want everything to be extended, like we had it before, we press U here, we can just ground the position of this and we can extend this out. Now this composition is 26 or 25 seconds long, but we only need is for about eight seconds. So we can set the CTI to eight seconds, press N on the keyboard which will shorten up the work area here. We can right click in the work area and choose Trim Comp to Work Area. We can select these position keyframes and just pull them down a timeline. And now, that movement of those highlight layers there will be extended, and they'll be nice and slow. You can also, if you want, take these shape layers here which are all these little blippity triangles here that are happening. You can duplicate those, select them all and then Ctrl+D. And you can kind of move them up by clicking and dragging. And then we can drag these down the timeline, so basically we have these happening twice. And I think that looks a little bit better for this longer composition here. Now if we jump back to part one, you'll notice this same sort of thing happens, where when we go here, in the second section here, the movement of these highlight bars here just kind of stop. So if we jump into these comps here, you'll see again, this is 25 seconds long so we can shorten these up to, I don't know, about nine seconds. We could select these white solids here, which are the layers doing the highlighting, press U, we can just extend these position keyframes to the end. We'll take these little arrow guys here, duplicate them, drag them up to the top and then pull them down to the timeline. And that will look a lot nicer. You may have to do that for each one of these, kind of intermediate compositions here. So now if we jump back into our edit composition, we can realign where these layers kind of transition. So maybe just slide this part two layer over, And just kind of align that so that The circle kind of covers up by the time we do this nice whip here. Yeah, perfect. It's not exactly how it looked in the original, but I think it's close enough that it works. All right, so the same procedure, you're gonna go ahead and do on all these other layers to extend this out and make this nice and long. And you can do whatever you want. You can make this a little bit shorter, you can make it a little bit longer. And it's basically the same idea. Get rid of the stuff that you don't want, kind of precompose things. So for example this last section here, actually, has quite a bit of stuff going on, all the way down from this logo placeholder here, up to the top of these arrows. So when you precompose those, we'll just call that logo. It's actually has more in it than a logo. We'll copy the control option layer, jump inside here, paste that, and those will go away. Once you get this precompt, it's gonna be the same procedure that we did in part one and part two. You're gonna get rid of the stuff you don't need, like the shadow layers here. You're gonna rename things. And you're going to link up properties that are similar to reduce the number of keyframes, extend things out, make this a little bit longer and just modify it exactly in the same way that you did in part one. This section has a little bit more going on inside of it. But if you jump in there, and you look at what's actually going on, and you reduce the number of keyframes it isn't that hard. So you can go ahead and continue to modify this to fit your projects. I hope that what you learned in this video can help you with all kinds of video templates to get in there, and make them a little bit longer, and make them more usable for your projects. Thanks so much for watching. Again, my name is Dave Bode for Envato, and I'll see you around. [MUSIC]

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