🔥This is how you Edit VIRAL Reels! [Full Editing Guide]

You have asked me to do it, and I do it. Life is not a speed race, but a marathon where endurance is worth more than haste. Don't run to arrive first, walk with purpose, enjoy each landscape, and learn from each step. In the end, it is not whoever arrives faster who wins, but whoever treasures the most moments along the way.

Hi there! In this course tutorial, I'm going to teach you how to edit a reel in a professional way. I will explain everything step by step and from scratch, so that you can implement these techniques in your own projects and you can get clients who will pay you very well for your edits. At the end of the tutorial, I've left an extra bonus.

By the way, if you want to support the channel, in addition to your likes, you can also do it for my Patreon page. There I share with you all the projects I use in the tutorials, so you can keep practicing and learning. I leave the link in the description if you want to take a look.

Okay, so let's get started. As always, the first thing is to import the files. I'm going to import all of them, except these two folders, which contain the project and the text I'm going to use in the reel. Here I have Illustrator vector files, PNG images, sound effects, and Photoshop files. Well, these two here correspond to the last scene, but I don't know if I'm going to use them yet, since I'm not entirely convinced by how it ends. Maybe along the way, I'll invent another ending. But anyway, for now, I'm going to import all the files.

By the way, if you like documentary-style editing, my course is now available. But it's not just a course in which I show you how to animate a sequence in After Effects and that's it, but I show you the entire procedure that I followed to create this animation from the initial idea to the final render, going through each and every phase of the creative process. I'll leave the link in the description in case you want to take a [Music] look.

And to keep everything well organized from the start, I'm going to open this incredible script from our friend Zabat called "Order". With all the files selected, I'm going to click on "Organize Files and Pre-comps" and with a single click, it'll organize them all into folders. Here we have the Illustrator files, Photoshop files, sound effects, MP3 files, and images. Well, inside, he's also created a folder for the PNGs. Imagine if I also had JPG files, well, I would have created another folder to save those files. It's an incredible script, really.

I'm going to select all of them and save them in a folder called "Assets". I'm going to create another folder for the compositions and with that selected, I'm going to create the first one, which will be called, for example, "Main". 1080x1920, vertical format, 30 frames, and 20 seconds is enough. And here in this composition, using the text tool, I'm going to type "Speed Race". The font I'm using is called Helvetica, in its bold variant. I've also made some adjustments to this text. For example, I've set the kerning to 58 and the line spacing to 140.

Now, for this word "Race", I'm going to place the cursor in front of it and using the spacebar, I'm going to move it forward, leaving it roughly here, at the same height as where the word "Speed" ends. Well, to be more precise, I'm going to do the following: hold down the Alt key and keep the cursor here in front of me, press the arrow keys on the keyboard. I'm going to leave it roughly there. Okay, now I'm going to convert this text to 3D. You know, if the cube icon doesn't appear, press F4. And to center the anchor point, press Ctrl + Alt + Home, and again Ctrl + Home, and leave the text there, centered in the view.

Now I'm going to create a 50mm camera with a null. Again, right-click, create a new null object. I'm also going to convert it to 3D, and I'm going to parent the camera to it. And before animating the null, I'm going to do a little animation on the camera. I'm going to position myself here at the beginning of the timeline, press P, and mark a keyframe at the position. With two views, I'll see what's happening better. Here at the beginning, I'm going to move the camera back a little. I'm going to set a value of -800 on the Z-axis. And now I'm going to move it to second 117. I repeat this many times, but I always like to say it: I set these values in this timing because after some testing, they're the ones that have worked best for me.

Okay, now at this point, I'm going to move the camera forward. You can see it's a very simple animation. Here I'm going to set a value of -1,000, and I'm going to smooth these two keyframes with F9, and I'm going to leave them as is. Okay, right-click, I'm going to create a solid, which will serve as the background, the size of the composition, and white. And I'm going to place it below.

Now, at this point where the last keyframe is, we're going to create another animation with this null. Press P, and with Shift + R, we'll also display the rotation options. I'm going to mark a keyframe in position and another in Z rotation. This animation is going to start a little earlier, here at frame 15. From this point, I'm going to move to the second number three, and now in Z rotation, I'm going to set it to 180 degrees, so the camera turns around.

Well, I've also explained this in a tutorial. If you're having trouble seeing the camera structure when you don't have it selected, you have to go here to this hamburger menu or here in "View", "View Options". Well, it appears grayed out here because we have to have this viewfinder selected. Now go to "View", "View Options", and here in "Camera Wireframes", we'll set it to "On". Click OK, and now we'll always be able to see the camera structure.

Okay, here in the second three, I'm going to move the camera back. I'm going to set the Z value to -300, and I'm going to smooth all these keyframes with F9. What I always do is, so that the camera doesn't freeze when it reaches these keyframes here, what I do is the following: I'm going to select these two and move them a little to the right, around there. And without moving the head, I'm going to mark two more keyframes. Now I can place these two wherever I want, and I'm going to leave them here below the fifth second. Again, I'm going to select them all, smooth them with F9, and start with the position ones.

Here in the graph editor, I'm going to give the curve this shape. If it doesn't appear like this, you need to have "Edit Velocity Graph" activated, because you probably have "Edit Value Graph" activated. Okay, at this point, I'm going to double-click and lock the "Continuous" box. I'm also going to set the influence to 65%, and I'm going to move this handle up a little, around there. In this one, double-click, and I'm going to set the influence to 65%. This means that instead of the camera stopping at this point, it's still going to continue moving backward, but increasingly slower. Look at the text there, it's still moving throughout this area, but very slowly. Okay, and with this, we're going to achieve very smooth movements.

I'm going to do the same with the rotation. Double-click, I'm going to lock the "Continuous" box, and I'm going to set the influence to 65%. I'm going to move this handle up a little. Be careful not to go too far, because if this blue curve goes over this boulder line you see here, which is the value of zero, when it goes below zero, it's going to give us a kind of bounce, and the animation will look a little strange, unless that's what we want. But this time, I don't want it to go below zero, so I'm going to leave this handle here. Okay, double-click on this one, and I'm going to set the influence to 65%. [Music] [Music]

Okay, let's continue. I'm going to copy this part of the text now. I think it's up to here. Ctrl + C. I'll go back to After Effects and I'm going to duplicate this text. Ctrl + D, and Ctrl + Home to center it in the view. Now I'm going to rotate it to 180 degrees, so it stays correctly oriented. In this text, with Ctrl + V, I'm going to paste the other part. Again, Ctrl + A, and the Home key to center the anchor point, and Ctrl + Home to center it in the view. Here in these text settings, they're the same as the one that appears at the beginning. What happens is that this one here, I'm going to move it a little bit down on the Y axis. I'm going to set it, for example, to 350, so it fits like this. Look how cool it looks. [Music]

Okay, let's continue. Here in this part, what I'm going to do now is add the silhouette of the runner we saw in the example. I'm going to go to "Assets", "Images", "PNG", and it's this one called "runner". I'm going to place it on top. Later, I'll organize all these layers. For now, I'll leave it like this. I'm also going to convert this corridor layer to 3D. Ctrl + Alt + Home to center it in the view, and I also need to adjust the rotation to 180 degrees. I'm going to activate two viewports to see it better. What I want is for this corridor layer and the text to create a small parallax effect, so I need to move this one to the front a little. Press P, and here in Z, I'm going to set a value of -300. If this text is at -2,500, I'm going to set this one to -3,000. With this, we'll create the parallax effect. Press S, and I'm going to adjust the scale to 85%. But I need to position this corridor layer correctly here on the Y axis. I'm going to move it down, and on the X-axis to the right. As I always do, I'm going to set the exact values. For X, I'm going to set it to 270, and for Y, I'm going to lower it much further with a value of 20. It's been half hidden there, but now when we make the next movement, it's going to look perfect. In fact, we're going to do it now.

I'm going to select this null, Ctrl + D, and press U. I'm going to delete all these keyframes. I'm going to mark one in position, and this animation is going to start here at second 220, right there. So I'm going to set this keyframe. Let's not forget to parent the previous null to the new one. And from second 220, I'm going to move to second five, just above these keyframes. Here on the Y axis, I'm going to move the entire scene up. I'm going to use the safety margins to keep everything more or less centered. I'm going to set a value of 160 pixels here, and I'm going to smooth these two keyframes with F9. I'm going to do the same as before: I'm going to move this one a little to the right so the camera animation doesn't suddenly stop when it reaches this point. So I'm going to move it slightly to the right, and around there, without moving the head, I'm going to set another keyframe. Now I'm going to set this one to the seventh second. I'll select them all, smooth them again, and give the curve this shape. Double-click, activate the "Continuous" option, and set the influence to 65%, and this handle slightly upwards, around there. Double-click, and set the influence to 65% as well. Okay, perfect. So instead of the camera stopping at this point, notice that it's still moving, but very slowly.

In this part here, I'm going to preview what we're doing. Okay, this looks great. Then at the end, I'll do a little animation to the text so it appears as the audio says. So here, at this point, in this last keyframe, I'm going to duplicate the null again. Press U, and I'm going to delete these keyframes. I'm going to mark another one in position, and I'm going to position myself here at second 420. I'm linking the previous null to the new one, and now from second 420, I'm going to position myself here at second 7. What I want to do now is leave this corridor layer more or less centered in the composition, so I'm going to set these values: 280 for X, 60 for Y, and here I'm going to zoom in a little bit. I'm going to set it to -2,900, right there. I'll soften these keyframes with F9, and I'll set the influence to 65%. Let's see how it looks now. Okay, perfect.

Now here in this part, in this last animation of this null, I'm going to set it to the first keyframe and right-click to create an adjustment layer. I'm going to call this one "Invert" and I'm going to add that effect on this layer. With the P key, I'm going to expand the position. I'm going to mark a keyframe, and right on top of these, I'm going to mark another one. Now, on the first one, I'm going to move the layer up. I'm not going to make this one 3D or anything, I'm going to leave it like that. For Y, I'm going to set it to 960, so that it stays right there on top of the composition. And these two keyframes, the same F9, and I'll give them the same influence as these. Right-click, "Keyframe Velocity", and set them to 65% for both, so I have a curve like this. Okay, this looks great.

Again, right-click, new solid, and I'll call this one "Mat". The color black. I also want this solid to move up and down, just like the adjustment layer, but instead of animating it, what I'm going to do is position myself here on this last keyframe of the adjustment layer, and with P whip, I'm going to parent it to this layer. That way, I don't need to add keyframes. I'm going to cut these two layers right at this point. Now I need to make some adjustments so the runner layer shows. So I'm going to move this matte solid underneath. Let's see. Well, of course, what happens is that since we have this invert layer and the solid is black, it turns it white. So I'm going to go to "Layer", "Solid Adjustments", and I'm going to paint it white. There it is, perfect. Okay, and now the text disappears here, and the white runner appears. Later on, we're going to add a medal around his neck and the typical ribbon you see when you reach the finish line.

Okay, perfect. This text here shouldn't be visible here anymore, so I'm going to select it, press T to display the opacity. I'll mark a keyframe there, and a little further on, more or less around there, I'll lower it to zero. Here I just need to adjust the timing. Let's see how it looks. Okay, I like it there. Maybe I'll move the keyframes a little more to the left. Let's see.

Now, with the pen tool, I'm going to create the ribbon I was talking about before, the one you see when you reach the finish line. I'm going to click more or less here, another one here, and that's how I'm forming this kind of wave. I'm going to remove the fill, add a red stroke like the letters there, and I'm going to leave the thickness at 100. Well, no, a little less, 90, 80. Okay, that seems pretty good to me. I'm also going to change the name and convert it to a 3D layer. On the last keyframe, Ctrl + Alt + Home to center the anchor point, and again Ctrl + Home to center this shape layer in the view. Now I'm going to move the Y axis down a little. Okay, but look what happens here. I'm going to activate two views, and with the P key, I'm going to move it to the front, more or less there, a little further in front of the runner layer. Okay, but I have to move this layer underneath now. Yes, on the Z axis, I'm going to move it to the front. Notice it's already past the runner's position, so I'm going to leave it there more or less. The only thing is that being closer to the camera, the thickness seems a bit too much, so I'm going to lower it a bit. Okay, I'll leave it at 50. Another thing I'm going to do so it doesn't cover these parts of the text is right-click, "Flip Horizontal". Okay, that's much better, and notice that it also changes color with the adjustment layer, and it really looks [Music] [Music] great.

Okay, perfect. What I'm going to do now is create the transition we saw in the example with the smoke from the Formula 1 car. So I'll go back to the beginning and bring it over, which I have here in "Assets", "Formula 1". I'm going to place it on top, and I'm also going to convert it to 3D. Press S, and I'm going to scale it to 90%. The car's Z position has to be at zero. Now we're going to do a little animation. I'm going to mark a keyframe here at the beginning of the timeline, and I'm going to place it more or less around this point, there. Now at 115, I'm going to move it up. Well, not that much. Instead of placing it at 115, it's better at 1 second. This point here, which corresponds to the first keyframe, I'll place it more or less around this point, and this one here, which corresponds to the second, I'll place it up there. To give the path a bit of a curve, I use the pen tool. When I move the cursor over this node, a sort of inverted V-shape appears. I'll move the handle like this to give it a bit of a curve. Okay, and so that the car is always oriented along the path, I right-click on the layer and in "Transform", I select "Auto-Orient". From the options, I choose the one that says "Orient Along Path". The thing is, now I have to adjust the rotation. R key, I set it to 90 for Z and also 90 for Y. Now it's perfectly oriented, it follows the curve of the path. You can't see it very well because it barely has any curve, but if I select the car layer and move it here and accentuate the curve more, look. Okay, I press Ctrl + Z to leave it as it was.

Now I have to create the smoke. To do this, I'm going to create a point light with an intensity of 100, which is fine, and you can disable the cast shadows if you want. And now, with the right-click, I'm going to create a solid, and I'm going to call this "Smoke". It'll be the size of the composition, and the color doesn't matter because I'm going to apply the particle effect. This particular effect is a paid Trapcode plugin, and it's truly amazing. Well, I'm going to apply it here to the solid. This layer here, the background, I'm going to deactivate for now, and the text too, so I can see the particles better. Look where we have them. What I want is for them to come out from here, from the back of the car, as if it were real smoke. [Music] [Music]

Now everything looks dark because the light is right above the car, but you can deactivate it if you want. Although if I deactivate it, I can't see the controllers, so I'm going to leave it on again. I'm also going to deactivate this icon, the black background, and I'm going to place this light more or less around this part here. I'm only going to move it along the X and Y axis. I'm not going to move it along the Z axis because if I change that value, it'll generate a parallax effect with the car layer, and in this case, I don't want that effect. I want both layers to be at the same depth in Z, so as we said, only in X and Y. I'm going to leave it more or less in that direction, and to keep it moving with the car, we just have to parent the lights pick whip to the Formula 1 layer. That way, where the car goes, the light goes. Look. Okay, perfect.

All that's left is to parent the particles, which we have here, to the movement of this car. Now I'm going to disable the eye on the light. Here in the particular effect layer, I'm going to expand the emitter, and where it says "Point", I'm going to select the light. Okay, here it's telling me that I need to change the name of the light to "Emitter". No problem. I select the light and change the name to "Emitter", and look, we now have the particles reacting to the car's movement, which is exactly what I want. Just like before, if I move this point here, which corresponds to the second keyframe, to this part, and give the trajectory a larger arc, look how cool the particles look. Okay, but I'll press Ctrl + Z to leave it where it was.

I already have the particles following the car's position. Now I need to make some adjustments. I'm going to go here where it says "Particles". I'm not going to change any of these values, I'll leave them as they are. I'm going to leave the particles at 100. I'm going to change the "ESur" to "Cloud Lit", and I'm going to increase the size quite a bit, for example, between 120 and 125, somewhere around there. What else is there? The "Feather". Notice that they're now completely sharp and quite blurred. I'm going to set this value to 30. I'm also going to set the "Opacity Random" to 100. This means that not all of them will have the same opacity, but rather randomly, some will have more than others. I'm going to do the same with the "Size Random", so that not all of them have the same size. This way, some will be larger than others.

I still have a few more adjustments to make. I'm going to display "Size over Life" here, which means something like the size of the particle throughout its life. Look at this graph, which is completely flat. This means that the particles have the same size from birth until they disappear. Of all these presets, I'm going to choose this one, which makes the particles start out smaller and gradually get larger. Even here in this graphic, if we want, we can redraw it. I'm going to make this adjustment and then click "Smooth". Okay, well, it looks great there. Look how cool it looks. It looks like the car is actually emitting smoke. Although here at the beginning, you can see a little bit of the nose, so I'll lower it a little more. That might be fine. Okay, that's perfect.

What I want to do now is have this smoke reveal the first text, which I have down here. If the trackmats aren't showing, press F4 to unfold them. And now, using P whip, I'm going to parent this text layer to the smoke layer. Now I need to invert the mat alpha, but first I need to make the text visible again. Well, not the inverted mat alpha, sorry. I'm going to leave it as it is by default. I also need to activate the smoke layer and place it below the text. I know this can be a bit confusing, so if you have any problems or get stuck on any step, write to me in the comments, and we'll fix it. Okay, now it's perfect. Look, now with the smoke, we reveal the text, just like we saw in the example.

But in this part here, we need to make an adjustment so that the smoke occupies the entire space of the composition and we can move on to the next scene. So I go to the particle layer and scroll down to where it says "Physics". In the part where it says "Air", I'm going to animate "Wind Z". This "Wind Z" means that if I set a positive value, it's as if we're blowing on the smoke. If the value is negative, it's as if we're pulling it in. And "Wind Y", it's as if we're releasing it downward. "Wind X" makes it blow from the left or right. Okay, I'll go to frame 20 and set a keyframe on "Wind Z". From that point, I'll move to 115, right there, and now I'll increase this value quite a bit until the entire composition looks white. I'll set a value around minus 3,500, around there. I'll press the U key on the layer, and if we want, these two keyframes, we'll soften it with F9. Okay, and with this, we'll create the transition to the next scene. You see some strange things here, but it's not a problem because we're going to cut the layer right at this point. We go here in this keyframe to "Edit", "Split Layer", and delete this part. Finally, we reactivate the background we had here and place it right there. But here we have another problem, since this text is an alpha mat of the smoke and we cut the smoke layer here, the text is no longer visible. So, right here above this keyframe, I'm going to cut the text layer as well. Ctrl + Shift + D, and we'll cut the layer there. But I'm not going to delete this layer, all I'm going to do is remove the alpha mat so it's visible again. There's a frame here where we lose the text. Notice you can't see it there, it's just one frame. Okay, to fix this, I'm going to select the smoke layer and extend it one more frame. It's perfect there.

I'm going to preview everything I have. See how it looks. Okay, this looks great. But the car layer doesn't have to be visible in this part. So, right here at the beginning, when it's no longer visible in the composition, we select the car layer, right on this keyframe, and I cut it there. I don't know if there was anything else there, no, it seems to be all right.

Okay, let's continue. Now, with a few shape layers, I'm going to create the circuit track. I select the pen tool and mark a point here and another one more or less on this side. I'm going to give it a little shape so that it doesn't touch the car, a little more to the right. Okay, I think that's perfect. I'm going to increase the thickness of this path a little. I'm going to leave it at 100 points. I'm going to call this layer "Chan". This will be white. With Ctrl + D, I'm going to duplicate it, and this will be red, the same shade as the text. Here in "Contents", I expand "Stroke", and in "Details", I click the plus sign. I'm going to increase this value quite a bit, somewhere between 90 and 100. I'm also going to lower the thickness a little, for example, to 85 pixels. Okay, it looks great there. I'm going to place these two layers here below, below layer 1.

Now, with a right-click, I'm going to create another solid. This one's going to be called "Track". I'm going to use a gray color, somewhere between black and white, with a brightness of about 40%. This layer goes all the way down. Now I'm going to duplicate the layer called "Chicane 2" with Ctrl + D, and this one is going to be called "Ground". I don't know what to name it, but it's going to be the part outside the circuit. Here in "Contents", I expand it, and in "Stroke", where it says "Details", I click the minus sign. I also click on this point and create a shape like this. I remove the stroke and I make the fill a fairly dark gray, right there. Now I move this layer to the bottom. With this, we've created this sort of Formula 1 track, which of course needs to be cut right here at this point where we have the white solid. So I select it, and with Ctrl + Shift + D, I cut it there.

What I'm going to do now is organize these layers a bit so I don't get stuck in the reel later and lose sight of where I'm going. I'll also cut the track layer at this point. I'll place the background layer above it. I'll paint all of these the same color, for example, cyan. I'll also cut the second text layer, which appears in this part, right here. I'll also change its color, for example, to orange. I'll place the camera nulls below it. I'll place the invert layer above the matte solid, and I'll also change its color. I'll place the ribbon layer also orange. Here in this scene, I'll move the Formula 1 layer below it. With the cyan layers, I'll put the runners in the orange group, and I'll also cut it at that point. And the emitter, which is the car smoke, I'll put it here. No, I'll put it in the cyan group because it belongs to the first scene, so I'll also change its color and cut it right there. That way, as I progress through the reel, I'll have everything perfectly organized.

Well, I still have to make some adjustments here, and that is, I have to make this text an alpha mat of this solid. So with P whip, I'll parent it to this layer, but I have to invert the alpha mat. With Ctrl + D, I'll duplicate this null to make another movement. I'll delete these two keyframes, then I'll mark one in position and the other in Z rotation. This animation starts here at 610, so I'll put those two keyframes here. Let's not forget to parent the previous null to the new one. I fast forward to 815 and create this animation. I set the Z rotation value to zero. On the Z-axis of the position, I send the camera backward. I'll set it to -6,000 pixels. I'll smooth all of these with F9, and now, as I always do, so that the camera doesn't stop when it reaches that point, so that it slows down more gradually, I move these two a little to the right, more or less around there. Without moving the head, I set two more new keyframes. Now I place these below 1020. I smooth them again with F9. Now I go into the graphics editor to give the curve some shape. I start with the position keys. I double-click and activate the "Continuous" box with an influence of 65%. I move this handle up a little, that's fine. Same here, double-click, influence at 65%. I do the same with the rotation keyframes. I activate the "Continuous" option, give it 65% influence, and move this handle there. Same here, 65%. This way, we get this movement. I really like doing this with the three keyframes because if you notice, when it reaches this point, instead of staying still, it continues moving, but very slow. With this, we get very smooth camera movements.

I'm going to focus here on these last two keyframes, and in the PNG folder, I'm going to bring in this one called "tree". I'm going to put it at the very top, and I'm also going to change its color since it belongs to a different scene. This layer is going to start right here at this point. You can't see it because it's black, so I'm going to add the effect called "Fill". I'm going to set the color to the same as the text, so I select the eyedropper and click here on the ribbon. Now, on the last keyframe, I'm going to convert the tree to 3D, and with Ctrl + Home, I'm going to center it in view. On this layer, I right-click, "Transform", and flip it horizontally. Now all that's left is to position it correctly. As always, I'm going to set the exact values. On the Z axis, I'm going to put 5,000, at X -540, and on the Y axis 500. That will be its final position.

The following text should appear here, so I'm going to duplicate, for example, this one. Ctrl + D, put the layer on top, and also color it blue. With Ctrl + Home, I center it in view. This text had an opacity animation, so I'm going to set it back to 100, and I'm going to delete the keyframes. Okay, there I have it. In this one, I'm going to type "Enjoy each landscape". Copy it, and here with Ctrl + V, paste it. I want this text to be right-justified, so I click on that option. If the paragraph options don't appear, you need to open the paragraph window. I'll center the anchor point and center it in view. This text will be white.

Now I'll add the audio layer that accompanies this reel as a guide. I have it in the MP3 files. I'll place it at the very bottom. "Walk with purpose, enjoy each landscape, and learn." Purpose, enjoy each landscape, and learn. Enjoy each landscape. And I'll add a small animation to this text, although I could also do it at the end. In the "Animate" options, I'll add the opacity and set it to zero. In the "Range Selector", I mark a keyframe on "Start" and a little further ahead, I set it to 100. To avoid having it appear letter by letter, I open "Advanced" and change from "Characters" to "Words". I just need to adjust the timing. Purpose, enjoy. Enjoy each landscape, and purpose, enjoy each landscape. Purpose, enjoy each landscape, and learn. With purpose, enjoy each landscape, and purpose, enjoy each landscape. Purpose, enjoy. I like it there, although I'm going to move this text up a bit more, more or less around there. With purpose, enjoy each landscape, and look, perfect.

I'm going to make another move. I position myself on the last keyframes, press T, Ctrl + D, and the U key to delete the previous ones. I mark one in position, and this animation will start at 725, right there. I'm going to parent the previous null to the new one, and advance to 11:15. Now in Y, I'm going to move the entire scene down. I set a value of -2,000 pixels. Just like before, F9, right-click, "Keyframe Velocity", and the influence at 65%. "Walk with purpose, enjoy each landscape, and learn from each." Walk with purpose, enjoy each landscape, and. Walk with purpose, enjoy each landscape, and learn from. Walk with purpose, enjoy each landscape, and learn from each step. I position myself above these keyframes and cut this layer as well, although I'll get everything organized later. Each landscape, and learn from each step. Now in this last one, I'm going to duplicate this text, Ctrl + D, and with Ctrl + Home, I'm going to center it in view. Here I'm going to write "Learn from each step". I'm going to justify this text to the left. I'm going to center the anchor point and also center it in view. I'm going to make a small modification to this text using the axes. I'm going to leave it more or less there, centered, helping me with the safety margins. Cape and learn from each step. Here we also have to adjust the timing, although as I said, this can be done at the end. From each step. Step. Landscape and learn from each step. Landscape and learn from each step. Scape and learn from each step. In. Okay, I like it there.

I'm going to bring in the file called "footprint". I'm also going to put it at the very top. I have to do the same thing as with the tree: change the color, cut the layer here, and convert it to 3D. With Ctrl + Home, I center it. I copy the fill effect from the tree with Ctrl + C and paste it onto the footprint. Now I set the exact values for the position: -2,000 in Z, -5,000, that'll be its position. "Each landscape and learn from each step." In. Preview everything to see how it looks.

Life is not a speed race, but a marathon where endurance is worth more than haste. Don't run to arrive first, walk with purpose, enjoy each landscape, and learn from each step. In the end, it is not whoever since I have the audio on, I'll take the opportunity to create a small animation for this text. I'll also add the opacity property and set it to zero. I'll deploy the range selector, mark a keyframe on "Start", and place it right at the beginning where I've cut the layer. But a marathon where endurance is worth more than haste, and when it says "haste", "haste", I set it to 100, just like before, so that it doesn't show up letter by letter. In "Advanced", I change the characters to words. Let's see how it looks. But a marathon where endurance is worth more than haste. A little earlier, where endurance is worth more than haste. That's perfect. Race, but a marathon where endurance is worth more than haste. Don't run to arrive first, walk with purpose, enjoy each landscape, and learn from each step. In the end.

Okay, let's continue. This runner layer and the ribbon layer should no longer be visible in this part. So I'll place myself right on the tree layer and right-click, add a solid that I'll call "Transition", colored black. I'll place it below the tree layer, cut it here, and change its color to blue. With the T key, I expand the opacity and set it to zero. I set a keyframe, and now I just have to adjust the timing. "Walk with purpose, enjoy each". Around here, I'll set the opacity back to 100. Let's see how it looks. "Walk with purpose, enjoy faster." "Walk with purpose, enjoy each." "Walk with purpose, enjoy each." Okay, that's perfect. "Walk with purpose, enjoy each landscape, and learn from each step. In the end, it is."

Let's make another move. Ctrl + D to duplicate this null. I delete the keyframes. I set a new one for position and another for orientation, and this animation is going to start at second 1005. I link the previous null to the new one, and advance to 1210. This move might be a little more complicated, but since I'm giving you the exact values, we won't have any problems. Note: if we position ourselves in the center of the null, we can move the entire scene. I'll leave it around there. I'll set the orientation to 300. I keep moving until no elements are visible in the composition, around there. As I said, I set the exact values: 1110 in X, -2970 in Y, and -4555 in Z. I smooth all these keyframes with F9. The handle's influence, as always, is at 65%. For orientation, it's the same: right-click, "Keyframe Velocity", and 65% influence. Let's see how this looks. "Each landscape and learn from each step. In the end." Scape and learn from each step. In. Okay, look how cool this movement looks. "Learn from each step. In the end." Landscape and learn from each step. Although I'm going to adjust this keyframe a bit more. Let's see. "And learn from each step. In the landscape and learn from each step." Okay, it's perfect. Maybe I'll move it a little more to the right, as it seems a bit off-center. "Learn from each step. In the end." "Learn from each step. In the end." I like it there.

While I'm on these last two keyframes, I'm going to duplicate this text again, and with Ctrl + Home, I'll center it again in the view. But look at the position it's in. If we want to make it completely straight, I'll show you a trick: select those two keyframes, Ctrl + C, and on this text layer, Ctrl + V, paste it, so the text is completely straight. Now we remove those two keyframes. Here I'm going to write "In the end". I'll center the anchor point again and center it in view. "From each step. In the end, it is not." I'm also going to change the orientation. This depends on your taste. I'm going to leave it more or less there. Let's see how it looks. "From each step. In the end, it is not whoever." Okay, it looks great there. Stab. In the end, it is not who. But I need to adjust the timing again. Step. In the end. I'm going to move these two keyframes to the right. "In the end, it is not." A little faster. "In the end, it is not." So much. "In the end, it is." In the end, it is not. What's happening here with the audio is that it's a little bit silent. I'm going to unfold the waves with the L key twice, and look at what I'm talking about. Right here in this part, there's a silence that lasts at least a second. So I'm going to cut the audio layer there. I'm going to unfold the audio waves again, and I'm going to move this one forward a little bit so that silence doesn't last so long. "In the end, it is not who." "In the end, it is not whoever." "In the end, it is not whoever." Okay, I like it much better there. "In the end, it is." Each step. "In the end, it is not whoever." It's perfect.

One more move. I'm going to position myself here on these last two keyframes. I'm going to duplicate the null and I'm going to delete these. Now I'm going to mark one in position, and this animation is going to start here at second 1110. I'm going to parent the previous null to the new one, and I'm going to advance to 1325. I'm going to run the following animation. I'm going to activate two views to see it better. I have this viewfinder here in top view, and look here where the camera is, and here the text, which we're seeing a little bit in profile. You can see it more graphically here. I'm going to select the null value and move the camera on the Z-axis toward the text. I'm going to leave it roughly there, when in Z we're close to the value minus 4,200. In fact, I'm going to set it to exactly that. On the X-axis, I'm going to set it to 495 to have all the values rounded. Now I'm going to smooth these two as well with F9. Right-click, "Keyframe Velocity", and give them an influence of 75%. Here we're going to change them a bit so we have this movement. "In the end, it is not whoever arrives faster who wins." "In the end, it is not whoever arrives faster who wins." "In the end, it is not whoever arrives faster who wins." Okay, perfect.

I'm going to go back into the graph editor, and here at this point, right at the highest peak of the animation, I'm going to come up. I'm going to cut all these layers there, the orange one and those in the blue group. Ctrl + Shift and the D key. We cut them all there. Although I'm going to stretch this text a little more. I'm also going to cut it at that point. Instead of deleting this part, I'm going to put it on top. With a right-click, I'm going to create a solid, which will serve as my background. This will be white. I'm going to place it below this text, and I'm also going to cut the layer right at that point. I'm going to change the color of these two, which already belong to the next scene. "It is not whoever arrives faster who." Okay, the same goes for the text. You can't see it now because it's also white, so I'm going to paint it a fairly dark gray. In this text, I'm going to copy these words. Right-click, copy, and paste. I'm going to center the anchor point and also center it in view. What happens is that I'm going to make this text a little smaller, since it's too big, and I'm also going to move it a little to the left. Let's see how it looks there. "Is not whoever arrives faster who wins." And it is not whoever arrives faster who wins. Okay, here in this last keyframe, I'm also going to animate the camera up a little bit. I'm going to set the value to -2,800. "In the end, it is not whoever arrives faster who wins." That's perfect. I'm just going to scale it a little bit more, and that's it. "In the end, it is not whoever arrives faster who wins." I also need to adjust the timing. Press U, and these two keyframes, I'm going to move them a little to the right until they match the audio layer. "Drives faster who wins." "Drives faster who wins." Here where it says "faster", right there. "Arrives faster who wins." Okay, but in this first keyframe, I'm going to change the value just a little before the word "arrives" appears, more or less around there. "Not whoever arrives faster who wins." "Arrives faster who wins." "It is not whoever arrives faster who wins, but whoever." I'm going to preview everything to see how it looks.

Life is not a speed race, but a marathon where endurance is worth more than haste. Don't run to arrive first, walk with purpose, enjoy each landscape, and learn from each step. In the end, it is not whoever arrives faster who wins, but whoever treasures the most moments along the way. Life is not a speed race, but a marathon where endurance is worth more than haste. Don't run to arrive first, walk with purpose, enjoy each landscape, and learn from each step. In the end, it is not whoever arrives faster who wins, but whoever treasures the most moments along the way.

Okay, this looks great. I'm seeing something here at first that I don't like.

Very much, and that's the curve. Look there, the car almost passes over it. So I'm going to adjust the path to these two layers, which I have here. But to avoid having to do one after the other, I'm going to type "path." And now I'm going to parent this shape layer to this one here. If I move this one, look, both the red and the white ones move. Okay, so I'm going to put this more or less on that side, more or less there. That's where I like it best.

This shape layer, which is called Earth, also needs to be adjusted so it's not visible on that side. I select the pen tool and click, for example, on this node and hide it. There, perfect.

Life is not a speed race, but a marathon where endurance is worth more than haste. Don't run to arrive first, walk with purpose. Enjoy each landscape and learn from each step. In the end, it is not whoever arrives faster who wins, but whoever treasures the most moments along the way.

Before animating the Formula 1 car passing through this part of the reel, I'm going to duplicate this null to make one last movement. I'm going to position myself here on the last key frame, Ctrl + D to duplicate it, and I'm going to delete these two. I'm now going to position myself at 13:15. I'm going to mark a key frame in position and I'm going to parent the previous null to the new one. From 13:15, I'll move to 17:15, which is exactly where the animation will end. I'm going to activate two views to better see what I'm doing. Now, with the null selected, I'm going to move the camera here on the Z axis backward to create this kind of zoom. I'm going to use this value here as a guide. When I set it to roughly minus 7,000 pixels, I'm going to leave the camera there. Well, there's no need to be so precise with this, but since I don't like decimals, I'm going to set the exact value: minus 7,000. And here in X, 5,345. I'm going to smooth these two key frames with F9. Right-click, key frame velocity, and set the influence to 65%.

Now, here on the last key frame, with the text tool, I'm going to type "but," which is the word that begins the last sentence. I'm also going to convert this text to 3D. Ctrl + Alt + Home to center the anchor point, and Ctrl + Home to center it there in the view. The thing is, we need to adjust the 300 degrees to the orientation we've been dragging with the nulls. Okay, so here I'm going to set it to 300. I'm going to add this red color to this text, which is the one I used for the tree and footprint layers. I'm going to activate two views again. And now, the last sentence has nine words, so I'm going to duplicate this text eight more times. One, two, three, four, five, six, seven, and eight.

Now I need to set a different position for each one on the Z axis. I'm going to unfold it, and this, which is the first word, I'm going to send it to the back. When I put minus 4,500 here, more or less, I'm going to leave the text there. Okay, there. As I said before, you don't need to be so precise with this. And now, one word from the other, we'll have a separation of 300 pixels, more or less. So if this one is at -4,500, I'm going to put the next word at -4,800, more or less. I'm going to put 5,100 for this one, 5,400 for this one. As I said, it has to be an approximate value. The idea is that they have more or less the same separation between them. Okay, so here we have them all positioned.

The next thing I'm going to do is create a shape layer, and I'm going to call it "final square," for example. I'm going to add a rectangle and a fill to this shape layer. Here in the rectangle options, I'm going to deactivate this string so I can modify the values separately. Look where I have the rectangle. Okay, so here I'm going to put 2,225 in X and 3,950 in Y. Now, I'm also going to convert this shape to 3D. And while I'm here, in the last key frame, I'm going to center it in the view, just like before. I have to offset the 300 degrees in the orientation so that it's completely straight. I'm going to activate two views again. And look here where I have the rectangle. Now, on the Z axis, I'm going to move it back. And if this is the first text, then I'm going to place this rectangle behind. I'm also going to round the corners a little. Okay, I like it that way.

Now I'm going to place this shape layer at the very bottom, and I'm going to change its color to black. I'm going back to the texts, and I already have them positioned on the Z axis. Now I'm going to position them on the Y axis. And since I have this rectangle here, it's going to serve as a reference. I'm going to start with the first word. I'm going to place it at the top. And well, this is also up to each individual. The idea here is to distribute these texts around this shape. Okay, I think this is pretty good.

The next thing I have to do is write the corresponding text in each text. Once I've written the entire sentence, I'm going to assign different positions to each word randomly. I'm going to preview this to see how it looks. Not whoever arrives faster who wins, but whoever treasures the most moments along the way. Whoever treasures the most moments along the way. Whoever treasures the most moments along the way. Okay, so this is starting to take shape.

I'm going to cut all these layers, the ones from the last scene, at that point. Arrives faster who wins, but whoever treasures. And here on the shape layer, I'm going to animate the opacity. Press T, and I'm going to go to the 15-second mark. There, I'm going to mark a key frame and the opacity to zero. And 13 frames later, I'm going to set it back to 100. I'm going to leave these two linear, not smooth them or anything. So, but whoever treasures the most moments along the way, we have this really cool transition. Wins, but whoever treasures the most moments along the way, and it really looks great. But whoever treasures the most moments along the way. But whoever treasures the most moments along the way.

I'm going to make a few more adjustments here to make it look even better. I'm going to go to the last key frame, and all these texts, with Ctrl + D, I'm going to duplicate them, and I'm going to put them on top. I'm also going to change their color, for example, green, to differentiate them from the others. Now I'm going to make the color of all these copies white. And look what I'm going to do now. I'm going to duplicate the shape layer, Ctrl + D, and I'm going to put it right here below the copies I just made. And now all these... Well, I'm going to stick with just these layers to get a better look at what's going on. I said I'm going to make all these texts an alpha mat of this rectangle. If the track mats don't appear, use F4 to unfold them. And now, using the pick whip, I'm going to parent them to the shape layer. And look at the effect we get.

But that's not all. Now I'm going to select the red texts and I'm going to make them an alpha mat of this shape. The thing is, in this case, I have to invert the alpha mat by clicking on this icon. And I have to make this shape visible again. There it is. Look at this cool effect. Most moments along the way. Who wins, but whoever treasures the most moments along the way. It really looks spectacular. I'm going to preview everything to see how it looks.

Okay, life is not a speed race, but a marathon where endurance is worth more than haste. Don't run to arrive first, walk with purpose, enjoy each landscape, and learn from each step. In the end, it is not whoever arrives faster who wins, but whoever treasures the most moments along the way. Life is not a speed race, but... This looks super professional. But I see a camera movement here that I'm not entirely convinced by. It's this rotation here. Okay, I'm going to fix it very easily. I think it's this one here. Let's see. Okay, yes, it is this null. I'm not really convinced by this turn. Well, the turn is fine, but I don't really like the timing. So I'm going to make some adjustments here. I'm going to delete these key frames here in the middle, and I'm going to move to the second six. I'm going to put these here, and I'm going to move to the second nine now. And right there, I'm going to put these. I'm going to do the same as before. I'm going to move these here a little to the right, more or less around there. And without moving the head, I'm going to mark two new ones. Now I'm going to put these here below the 102 mark, right there. I'm going to smooth them again, and I'm going to adjust the animation curve again. I'm going to start with the position ones. I come here to the graph editor. Here I'm going to double-click, activate the continuous box, and I'm going to set the influence to 70%. And I'm going to move this handle up a little. And in this one, the same. Double-click and the influence to 70%. I'm going to do the same with the rotation ones. Double-click, activate the continuous box, and the influence to 70%. And I'm going to move this handle like this, more or less around there, so that the camera breaking is very gradual. In this one here, the same. Double-click, and the influence is set to 70%.

And now I'm going to preview everything to see how it looks. Life is not a speed race, but a marathon where endurance is worth more than haste. Don't run to arrive first, walk with purpose, enjoy each landscape. Okay, now it looks much better. The thing is, I need to make this text a little smaller over there, and I'm also going to move it a little to the left. And learn from each step. Let's see. To arrive first, walk with purpose, enjoy each landscape. And I'm also going to move it up a little. As I always say, this is trial and error. The idea is to modify the timing of the animation until you find a result you like. Purpose, enjoy each landscape, and learn from each step. Life is not a speed race, but a marathon where endurance is worth more than haste. Don't run to arrive first, walk with purpose, enjoy each landscape, and learn from each step. In the end, it is not whoever arrives faster who wins, but whoever treasures the most moments along the way.

Hey, now I'm going to animate the Formula 1 car that passed through this part. Since I'm not going to use all these text layers for the moment, what I'm going to do is hide them. I'm going to click on this icon called "shy," and I'm also going to activate it in this part. And what this does is hide the layers, not delete them, just hide them. If I click again, they reappear, and so our timeline is much cleaner. Okay, here in the assets folder, I have a vector of a Formula 1 car. I'm going to place it above this text. Later, I'll organize the layers. For now, I'm going to place it here, and I'm going to scale this car to 60%. And I'm also going to convert it to 3D. Now, to place it here in front of this text, what I'm going to do is press the P key and copy the position properties, Ctrl + C, and I'm going to paste them over the car layer, Ctrl + V. There we have it. The thing is, we have to compensate for the 300 degrees in the orientation we've been dragging with the nulls. It's completely straight there. Okay, and this car, I'm going to leave it more or less there. It doesn't matter if it's centered or not, because we're going to animate it right away. For now, I'm going to deactivate this background layer.

And now, with the car layer selected, I'm going to right-click here on this part where there's nothing, and I'm going to create a null object. For the first animation of the Formula 1 car, I used a light as the emitter, but for this part, I'm going to use a null object, so we do it both ways. Okay, I also need to convert this null object to 3D. Now I'm going to copy the position of this car with Ctrl + C and paste it to the null, Ctrl + V, and there we have it. Just like I did before, I have to offset the 300 degrees in the orientation here on the Y-axis. Then I'll organize the layers. For now, I'm going to leave them like this. Okay, so there we have the null, which will serve as our emitter. So I want these smoke particles to come out more or less from this part, from the rear of the car, more or less there. Now I'm going to parent the car layer to the null, and in it, I'm going to create an animation. Press P, and I'm going to go to 12:25. Right there, I'm going to mark a key frame, and I'm going to move the car to the left until it can't be seen in the composition, more or less around there. Now, from 12:25, I'm going to advance to 13:27, and I'm going to move it to the right. I'm going to leave these two key frames linear. Whoever arrives faster who wins. Whoever arrives faster who wins. Whoever arrives faster who wins. Whoever arrives faster who wins. Okay, notice how fast the car is going.

I'm now going to select this text layer and, right-clicking here, I'm going to create a solid. This one is going to be called "car smoke 2." The color doesn't matter because I'm going to give it the particle effect, Trapcode Particular. These particles by default go to the point of origin 540, 960, 0, which according to the calculations should be here at the beginning. Notice where they appear. Okay, so now what I want is to use this null as the emitter. So I'm going to go here to emitter type and from point, I'm going to change it to layer. And now, in this option that was just enabled, I'm going to expand and here I'm going to choose that null, which in this case is called "null 2," but I'm going to change the name so I don't get confused. Back to the effect, and here in layer emitter, I'm going to choose the one called "car controller," which is this one here. Notice we already have the particles there, using this null as the emitter. Whoever arrives faster who wins, but whoever treasures.

Now I need to make some adjustments to the particles. Here in particles per second, I'm going to set it to 500. I'm not going to change any of these parameters. Now I'm going to go to particle, and here I'm going to change it to "cloud lit." I'm going to set the life to three. I'm going to increase the size quite a bit, for example, to 110. I'm going to set the cloudlet feather to 30. I'm also going to set the opacity random to 100, so that the opacity between each particle is different. I'm going to do the same with the size random. I'm going to set it to 100, so that some particles will be larger than others. Arrives faster who wins, but whoever treasure. Arrives faster who wins. Arrives faster who wins, but whoever.

Well, I still have to continue tweaking some parameters. Faster who wins, to prevent these particles from moving so quickly to the right, I'm going to go to physics, here deploy air, and in wind Y, I'm going to set the value to -400. Although they'll continue moving to the right due to the car's inertia, they'll remain suspended a little. Whoever arrives faster who wins, but whoever treasures the most. Whoever arrives faster who wins, but who. To prevent the particles from being the same size when they emerge as when they disappear, I'm going to go to the particles section here, and in size over life, from all these presets, I'm going to choose, for example, this one. With a left mouse click, I'm going to paint this entire area, and I'm also going to make a small adjustment to this one, more or less around there, and I'm going to click smooth. Now look here: at first, when they emerge, they're smaller, and little by little their scale increases, which is exactly what this graph shows. Faster who wins, but whoever treasures the most. Faster who wins, but whoever treasures the most moments.

I'm going to reactivate this background, and to make the particles visible, I'm going to add an effect called "tint." I'm going to darken the white color a bit. Here in brightness, I'm going to set it to 35%. Faster who wins, but whoever treasures. Arrives faster who wins, but whoever treasures. Arrives faster who wins. Okay, so this looks great.

With the smoke layer selected, I'm going to right-click here and create a solid called "base." I'm going to make this one wider and taller. I think that might work. I'm also going to convert it to 3D, and I'm going to copy the position of the car, Ctrl + C, and paste it to this solid called "base," Ctrl + V. The thing is, I'm going to remove the animation key frames. Just like we did with the other layers, we need to adjust the 300-degree orientation. To better see what's happening, I'm going to change the color of this solid, then I'll leave it white again as it was. So, basically, I'm going to use this solid as a floor so that this car doesn't look like it's floating there. And to position it, I'm only going to move it along the X and Y axis, not along the Z axis, because in this case, I don't want a parallax effect. So I'm going to place it more or less there, and I'm going to move it up a little. I'm going to place it right here below the car's wheels. Okay, there it is. Perfect. Now I can add the white color I had. Faster who wins, but. And look how cool this scene looks. Arrives faster who wins, but whoever treasures the most moments. Arrives faster who wins, but whoever treasures the most moments along. Arrives faster who wins, but whoever.

Okay, all these car layers, the base layer, and the smoke layer, I'm going to cut them right at this point when this solid has 100% opacity. So I'm going to select them and I'm going to go to Edit > Split Layer or press Ctrl + Shift + D, and I'm going to cut them there. Arrives faster who wins, but whoever treasures the most moments along the way. Arrives faster who wins, but whoever treasures the most moments. It is not whoever arrives faster who wins, but whoever treasures the most moments.

I still need to add the last text here. So I'm going to write "who wins." For now, I'm going to make it red so it's clear. I'm also going to center the anchor point, and I'm also going to convert this text to 3D. I'm going to place this text layer just below the car layer, and I'm also going to cut it at this point. Now I'm going to select, for example, this solid called "base," copy its position, Ctrl + C, and paste it to the text I just created, Ctrl + V, and there we have it. Just like before, I have to set the orientation to 300 so that it stays completely straight. Now I'm going to move it up on the Y axis. Notice where I have it. Okay, so I'm going to position this text more or less on that side, and I'm going to use the smoke layer as the alpha mat. If the track mats don't appear, display them with F4. And now, using the pick whip, I'm going to parent it to the car smoke layer. There it is. The thing is, I have to make this layer visible again. And look how cool the animation looks.

I'm still going to do a little animation for this text. I'm going to unfold the position and mark a key frame. This will be its final position. I'm going to place it more or less around this point, although we'll adjust the timing later. For now, I'll leave it there. And without moving the mouse, I'm going to shift the text to the left until it's no longer visible in the composition. I'm going to smooth these two key frames with F9. In the graphics editor, I'm going to give this shape to the curve, that it starts very fast and that little by little it loses speed. Faster who wins, but whoever treasure. As I was saying, now I have to adjust the timing, and this text will appear more or less when the car is in this part. So I'm going to put these two key frames here. Who wins, but whoever treasures. Faster who wins, but whoever. Faster who wins, but whoever treasure. Who wins, but. Perfect.

Now I can change the text to white. I'm going to cut all the layers in this scene right here where it transitions from the black background to white. I'm going to select and cut them at that point, and I'm also going to paint them the same color, for example, green. Whoever arrives faster who wins, but whoever treasures. Arrives faster who wins, but whoever treasure.

I'm going to preview everything to see how it looks. Life is not a speed race, but a marathon where endurance is worth more than haste. Don't run to arrive first, walk with purpose, enjoy each landscape, and learn from each step. In the end, it is not whoever arrives faster who wins, but whoever treasures the most moments along the way. Life is not. Not whoever arrives faster who wins, but. Not whoever arrives faster who wins, but who.

Here below the car, there's something I don't like, and that's the smoke showing through. But I'm going to fix this very easily. I'm going to select the layer called "base," duplicate it, and make it narrower, more or less around that point. I'll leave it right there so the smoke isn't visible underneath. Now I have to parent this layer to the car layer so it can follow its movement. Pay close attention to where it is, and that way you can't see the smoke underneath. Although it's a scene that goes by very quickly, all these details make it look much more professional. Life is not a speed race, but a marathon where endurance is worth more than haste. Don't run to arrive first, walk with purpose, enjoy each landscape, and learn from each step. In the end, it is not whoever arrives faster who wins, but whoever treasures the most moments along the way.

I've practically finished the camera animation, and all the elements are properly positioned. But to make this reel look even more professional, I still have a few adjustments left. For example, here in this section, when the car passes by, I want to add a kind of shake. Drives faster who wins, so the scene doesn't look so flat. So, right-click, I'm going to create an adjustment layer and call it "shake." I'm going to apply the transform effect to it, and also a slider control. Holding down the Alt key, I'm going to click on the clock at the effects position and type "wiggle" inside the parentheses. I'm going to type 10. Without leaving the parenthesis, I'm going to parent this pick whip to the slider. This means that if I increase that value, I'll have the shake effect for the duration of the adjustment layer. But whoever treasures the most moments along the way. But that's precisely why I added the slider to have full control over the shake. So I go to the car controller, press U, and just above that key frame, I'm going to set another key frame on the slider with a value of zero. Then I advance roughly to the part where the car is centered in the composition, and there I set a value of 20. A little further on, for example, at second 14:08, I return the slider to zero. Press U and soften these key frames with F9 and give the curve a bit of shape in the graphics editor. I want the shaking to start very smoothly, with this peak where it's most noticeable. I'll also move the handle to the left, and this other one to the fullest, also to the left, so that the shaking ends smoothly. Arrives faster who wins, but whoever. Arrives faster who wins.

One thing happens here: having modified the position of the transform effect and applying a wiggle to it, all the layers below it shift, so these empty pixels are visible. But this is very easily solved. I select the background layer and make it a little wider and taller. The same thing happens with the smoke, since it doesn't reach the end, you can see what's behind it. So I'll add the CC repeat effect to this layer. I'll change repeat to unfold, and just increasing it a few pixels to the left is enough to match the effect. I'll set it to 50 on the right. You can also see empty pixels, so I'll set it to 50 there as well. Solved.

I'm going to preview the shake effect and see how it looks. Not whoever arrives faster who wins, but whoever treasures the most. Is not whoever. Whoever arrives faster who wins, but whoever treasures the most. Is not whoever arrives faster who wins, but whoever. Okay, it looks great. I don't want it to be too exaggerated, a little bit is enough.

In this scene, I want to add some floating particles to give it some volume and prevent it from looking so flat. But first, I'm going to add an effect to this solid called "gradient ramp." I'll change it to radial ramp, move this handle down, and the other to the left, around there. I'll invert the colors, and in the white, I'll make it a fairly dark red, not too much, around there, although I can always come back and tweak it later. Now I'll duplicate this solid with Ctrl + D and call it "particles." I'll remove the gradient effect and add the Particular plugin, which is the one I've been using in the tutorial. By default, the particles go to the origin point 540, 960, and zero in Z. What I want is to place them more or less where this scene takes place. So I'll select the footprint layer, press P, and also the particle layer. I'll paste all the position values from the footprint layer to the particles. I'll copy the X value with Ctrl + C and paste it with Ctrl + V. I'll do the same with this one, Ctrl + C, and here Ctrl + V. And here the Z value is the same. I'll paste it to the Z position with Ctrl + V. Now we have the particles right where the footprint layer is. I'll make some adjustments. I'll change the point to box here. I'll set the velocity to zero. What does this mean? If, for example, I set it to 1,000, the particles will exit the emitter at 1,000 pixels per second. Step in the end, it is not whoever arrives. And learn from each step. In the end, it. But since I want them to remain static, I leave the speed at zero. Now I modify the axis. I set Z to 3,700, Y to 3,810, and X to 970. In the end, it is not whoever arrives faster. Escape and learn from each step. In the end, it is not whoever arrives. As you can see, there are too many particles, so instead of 100, I set two. I only want a few. Each step. In the end, it is not whoever arrives fast. I'll expand the particles option, and I want the particles life to last 10 seconds. From each step. In the end, it is not whoever arrive. Although I recommend not copying these values, but rather tweaking all the parameters to understand what each one does. And learn from each step. In the end, it is not whoever arrives far.

Here's another thing I want to fix. A particle appears suddenly. To avoid this, in size over life, I choose a preset where the particle starts small, increases in size, and just before disappearing, I scale it down. This way, they don't appear and disappear suddenly.

Before making color adjustments to the overall animation, I'm going to animate the depth of field, as it gives a cooler touch to the final result. To do this, I go to the camera and in camera options, I set the depth of field, which is disabled, to "on," and I set the aperture to 300. And I activate two views to get a better look. I'm going to set this viewfinder here to the left view. In focus distance, I set it to 1500, so that the camera's focal length matches the viewfinder. I'll set a key frame on focus distance, and now I'm going to move a little further forward. There is the layer of the car in perfect focus. Since I have the focal length of the camera right here in this part, and this layer here is the car layer, notice the car is perfectly in focus. If I modify this value, look, the car is already out of focus, because what the camera is focusing on is everything within this line. I'm going to press Ctrl + Z to leave it as it was. As I said, the camera focuses on the car. I'm going to move forward a little. At this point, we're focusing on this text, so for now, I'm not going to set any key frames. Look how cool these two texts look with the depth of field. Here, at this point, the camera focuses on this text, more or less around here. At this point, when this transition is about to begin, notice that the runner is out of focus. Well, more or less around this point, when the transition is about to begin, I'm going to set a key frame on focus distance, and I'm going to move forward a little, and right here I want the corridor to be in focus, which is this layer here. So I'm going to move the camera focus to that point. It's perfect there. Notice now it looks super sharp. I'm continuing. These layers here are the ones for the next scene, and more or less here at this point, I want this text to be in focus, which is this one here. So I'm going to move the focal length to that point. Notice how it looks super sharp. Now, to focus on this text here, whose orientation I changed, I'm going to set it back to 1500. This may be one of the most complex steps in the tutorial, but it's true that the camera's depth of field gives our reel a more professional finish.

I'm now going to switch to a top view. I'm not going to set any key frames here either, because we have this text in perfect focus. Notice, to make it more visible, I'm going to increase this value quite a bit. Everything will be blurred except for the central part of the text. I'm going to set it back to 300, as it was, and continue moving forward. Here we've switched to the next scene, and I want to put the camera focus right here on the Formula 1 car. So, more or less when it's there in the center of the composition, I'm going to move the focal length. It doesn't need to be perfectly aligned with the object we want to focus on, but the more precise we are with this, the sharper and more focused that object will look. I'm going to keep moving forward, and here at this point, when the camera is already moving back toward the last scene, I'm going to come here to the last null and I'm going to display the key frames. In the last one, I'm going to set the focal length back to 1500. What happens here in the last scene is that I don't want any blurring, because I don't really like how the edges of this shape look. So here too, I'm going to do a little animation to the aperture. I'm going to go to the shape with which I transitioned to the last scene, and I'm going to display the key frames. Right here, in the last one, I'm going to go back to the camera and I'm going to mark a key frame at the aperture. A little further ahead, more or less around here, I'm going to set it to zero. Now I'm going to soften all these key frames with F9, and this way I've animated the depth of field for this reel.

Another thing I'm going to do is select all the layers, well, the hidden ones too, so I'm going to show them again by clicking on the shy icon. With Ctrl + A, I'm going to select all the layers and I'm going to activate motion blur for all of them. It's not necessary to activate motion blur for the null and some other layers, but that's fine too. We're almost at the end of the tutorial, but before that, I'm going to use a couple of plugins that are widely used for this type of reel. Some of them are paid, and others come by default with After Effects. They're not essential for creating the animation, but they really give it a much more professional finish and look.

Before continuing, I'm going to hide all these layers again to have a much cleaner timeline. Now, right-click, I'm going to create an adjustment layer and I'm going to call it "effects." The first one I'm going to add is Deep Glow. Here I'm going to lower the exposure quite a bit. I'm going to set it to, for example, 0.04. Another effect I'm going to add is Vignette, and I'm not going to touch anything here, I'm going to leave it as it is by default. This plugin I'm going to add now is from Boris FX, and it's called BCC Halftone. I'm not going to go into too much detail about how plugins work, I'm simply going to apply them with some of the settings I have configured, but as I said before, I encourage you to tweak all these parameters until you find a result you like. Here, from black and white, I'm going to change it to RGB. Here in post blur, I'm going to put 1.10. Here in HT scale, I'm going to set it to three.

The next effect I'm going to add is called Prism, also from Boris FX, and here in starting depth, I'm going to change it from 1.02 to 1.0. I'm also going to check this box. What this effect does is generate chromatic aberration and distortion around the edges of the image. Notice if I increase this value. That's why I sometimes tell you to play with the different parameters and don't be afraid to exaggerate them. That way, you'll discover what each one is good for. I'm going to leave it at one, as it was again.

With a right-click, I'm going to create another adjustment layer, and this one will be called "curves," and I'm going to add that effect here. I'm just going to give it a little bit of contrast, maybe not that much. I think it's pretty good. And I'm also going to add a Deep Glow effect to this particle layer to make them stand out a little more.

Before finishing, I want to make a small adjustment here. I think this first scene looks a little dark, and that's because of the vignette effect. But if I disable it, it stops working for the entire reel. However, I only want to disable it here in the first scene. So I'm going to re-enable the effect, and I'm going to put this layer on top. Now I'm going to position myself right here where these layers are cut, and without moving the head, I'm going to cut in that part of the adjustment layer. Now I have to make this part I cut an alpha mat of the car smoke so that it doesn't affect the first scene, but it will affect the next one. Then, with the pick whip, I'm going to parent it to that layer, the smoke layer. There it is. Now this first scene looks much cleaner, but I also don't want to lose all the effects. I just wanted to disable the vignette. So I'm going to duplicate the same adjustment layer, and I'm going to place this copy right here on top of the first scene. All I have to do is invert the alpha mat. Now it looks the same as the beginning, but if I disable the vignette effect, I still have all the other effects, which is exactly the result I wanted to achieve.

I'm going to add one last effect, and with this, I'm done with the tutorial. Right-click, I'm going to create another adjustment layer, and I'm going to call this one "flicker." I'm going to add the effect called exposure. Here in the exposure, holding down the Alt key, I'm going to click on the clock, and here I'm going to type "wiggle" and inside the parenthesis 10, 0.2.

Life is not a speed race, but a marathon where endurance is worth more than haste. Don't run to arrive first, walk with purpose, enjoy each landscape, and learn from each step. In the end, it is not whoever arrives faster who wins, but whoever treasures the most moments along the way.

Although it's very short, there aren't many sound effects. I'm going to briefly explain how I created the sound design for this reel. First, let's listen to it once with all the audio tracks. Life is not a speed race, but a marathon where. All I've done is increase the levels by three points. Life is not a speed race, but a marathon where endurance is worth more than haste. Don't run. In the end, it is not whoever arrives. Then, here on this track below, I have the whoosh sound effects. Let's listen to them and see how they sound. This one here and this one are the same sound effect, and these three are too. The thing is, I've made some modifications, and they sound totally different. Well, this one here, I haven't done anything to it, I've left it as it is by default. Then, on this one, I have made some adjustments, but I'm going to leave it as it was so you can hear how the original sounds. This is what the original sound sounds like, which for my taste is a bit harsh for this reel. So, with a left click, I set the speed to 60%, so this sound effect lasts a little longer. Then I set the levels to minus 5, and I also added the band pass effect. Notice the difference between the two. It sounds much cleaner and more pleasant. For this one here, I've also set the band pass effect and the levels to minus two, and the speed also to 60%. For this one here, I've set the decibel to minus 3. This one here has it at zero, and this one too. So there's a slight difference between them. Here on this track, I have the Formula 1 car sound effect. I've also set the band pass effect and the levels to minus 2, but I'm going to leave it as it was by default to hear the original, which for my taste sounds too loud. So, with this band pass effect, it already improves quite a bit, and the levels are at minus two. This one here is called "gleam effect." I used it for this transition where I added an adjustment layer with the invert effect, and I really like how it turned out. I left this as it is by default, I didn't make any adjustments.

For this Formula 1 car sound effect, in addition to animating the levels, I also added the band pass effect, and I also made a small animation here in the balance. So here I set it to -100, so it's only heard in the left earphone, since the car passes from left to right. So over here, in this part, it's only heard in the left channel. Then here I set it to zero, so that both channels sound, and I really like how it turned out. This one here is basically the effect of a person running. In this sound effect, I put it when the voiceover says, "Don't run to arrive first." Don't run to arrive first, walk. Don't run to arrive first, walk. All I did was animate the levels.

Finally, I have this track, which is the song I used called "Distrust the System" by The Soundlings, and you can download it for free from the YouTube library. I set the levels to -20, but I'm going to leave it at zero to explain an effect I added here at the end. Well, I'm going to delete this part here and do it again. What I did was cut the song here, and for this part, I added one of the presets that Fran Rodrigo gave us in his accelerated editing course, and basically, what it does is, instead of the song ending with a cut or abruptly, it ends as if it were an echo, which gradually fades away. But here, in this first key frame, I set the levels to minus 10, and for this part of the song, to minus 20. So everything together sounds like this: Life is not a speed race, but a marathon where endurance is worth more than haste. Don't run to arrive first, walk with purpose, enjoy each landscape, and learn from each step. In the end, it is not whoever arrives faster who wins, but whoever treasures the most moments along the way. The important thing is that this graph that appears here never reaches the red colors, because otherwise the sound is a bit annoying, but that it doesn't stay too low either, because otherwise it will sound very weak. I always try to keep it between -12 and -9, somewhere around there. In the end, it is not whoever arrives faster who wins, but whoever treasures the most moments.

And now we've reached the end of this tutorial. I hope it helps you. And if you liked it, leave me a big like so I know. If you get stuck at any step or there's something you don't understand, write to me in the comments, and we'll fix it. See you in the next video.