IntroductionWelcome| 00:04 | Hi everyone! I'm Eran Stern, independent content
creator and motion graphics artist.
| | 00:11 | I'm using Adobe tools
for more than 20 years now.
| | 00:15 | Over the past decade, I've created
promos and advertising for T.V., and
| | 00:19 | commercial product for local clients
around Tel Aviv where I live, and also for
| | 00:26 | international companies worldwide.
| | 00:28 | In this course, I'll show you how to create
an appealing visual effect for a sci-fi movie.
| | 00:36 | We'll start with a homemade video shot,
| | 00:40 | Choose the best take, clean it, and
prepare it for high-end, post-production work.
| | 00:47 | Then, using a combination of tools
inside After Effects, such as Tracking
| | 00:52 | effects, Paint, particles, and much more,
we'll be able to achieve a realistic
| | 00:58 | effect of a personal wormhole, which can be used
for transporting people from places to places.
| | 01:07 | This course should be easy to follow,
because I promise to explain everything.
| | 01:13 | This means that when I ask you to do
something, I'll tell you why you are
| | 01:19 | doing it, and in some cases, I'll show you the
right way and the wrong way of doing things.
| | 01:25 | So, I will show you an
alternative path to the same goal.
| | 01:30 | This way, when you create these
kinds of effects, you'll have plenty of
| | 01:36 | options to choose from.
| | 01:38 | By bringing my real world experience to
this training, I can assure you that each
| | 01:43 | movie is choked with
full and useful information.
| | 01:48 | I've had great fun creating these
video tutorials, and hopefully you will find
| | 01:53 | them to be both educational and inspirational.
| | 01:57 | So, if you're ready to create your
own personal transporter, I invite you
| | 02:02 | to join this course.
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1. Preparation WorkReviewing, choosing, and preparing footage| 00:01 | In this movie, we will review and
choose the best footage file to use, and we
| | 00:08 | will also go in to adjust its volume control.
| | 00:13 | I'm starting here, inside Adobe Bridge,
and I can see all the eight takes of the
| | 00:19 | footage that I took the same day.
| | 00:22 | The actor in this case is my brother,
Yuval. And, I'm going to switch from the
| | 00:27 | Essentials to the Filmstrip View.
| | 00:30 | This way, when I'm choosing something,
I can lower the volume all the way down,
| | 00:36 | and play it for you.
| | 00:37 | We can see the result.
| | 00:41 | Now, the first thing, which is the
most important, is to plan your shot.
| | 00:46 | In this case, we can see that I'm just
explaining to my brother what I want him
| | 00:52 | to do. And, my plan was for him to
get inside the frame, and then draw an
| | 00:59 | imaginary circle in the air.
| | 01:02 | After that, he should duck, and stay
on the floor a couple of moments, and
| | 01:07 | then leave the screen.
| | 01:11 | And, you see that we've got a couple of
takes here that Yuval is doing the same
| | 01:15 | action all over again.
| | 01:17 | And, the most important thing, if you are
going to shoot something like this, is, of
| | 01:22 | course, to leave the camera rolling
after Yuval, or your actor, is actually
| | 01:29 | leaving the screen.
| | 01:30 | This will become more clear
why we need it in the later movies.
| | 01:35 | Anyhow, I'm not going to
bore you with all the takes.
| | 01:38 | I watched them all and already decided
that this shoot MVI_7884 is the one that
| | 01:46 | we are going to shoot.
| | 01:47 | So, I'm going to raise the volume here. And,
let's just watch this take from the beginning.
| | 01:52 | (video playing)xxxxxxxxxxxxxxxxxxxxx
| | 02:12 | We can see that the core of settings is
a little bit different from the previous
| | 02:17 | one. And also, we've got a couple of
issues that we should take care of in terms
| | 02:23 | of video noise and grain.
| | 02:25 | However, the first stage is just to
take this Raw footage, and import it
| | 02:31 | inside After Effect.
| | 02:32 | In order to do so, you can right-click
on the footage, and then just ask it from
| | 02:38 | the Open With menu to open
with Adobe After Effects.
| | 02:42 | In my case, I'm going to import
it to my already opened project.
| | 02:46 | If I have access to the footage
files, you can work along with me;
| | 02:50 | otherwise you can work with your own footage.
| | 02:54 | Inside After Effects, I'm going to
press on the Create New Composition button.
| | 02:59 | I'm going to name my composition "01
Master Clip," and choose this Preset of
| | 03:04 | HDTV/72025 which
corresponds to the video that I shot.
| | 03:11 | I'm going to leave the Duration
for now to 30 seconds, and press OK.
| | 03:17 | Now, let's drag the clip into this
Master Clip Composition, and you can see that
| | 03:22 | it is obviously bigger than what we need.
| | 03:25 | The reason is that I've used the higher
settings on my 7D camera, which capture
| | 03:31 | this frame at 1920x1080.
| | 03:36 | So, we can press S, and basically
let's start by scaling it to 80%.
| | 03:41 | This is actually a good thing, because
it will allow us to reformat and reframe
| | 03:48 | this footage in the new canvas.
| | 03:48 | Basically, I'm going to drag the
footage in my comp viewer, and just place it
| | 03:59 | basically in the center here,
more or less in this point.
| | 04:04 | You can also use the arrow keys on
the keyboard just to nudge it, few
| | 04:09 | pixels here and there.
| | 04:10 | I think that this is a good beginning.
| | 04:13 | Now, we obviously got a couple of things
that we need to cut away from the beginning
| | 04:18 | and the end of the frame.
| | 04:20 | So, let's go to the start of this clip.
| | 04:24 | I'm going to right-click on the word
Duration here, and just choose To Hide it.
| | 04:28 | Same for the Parent column, which,
in this case, I'm not going to use.
| | 04:33 | So, now that I have more room to work with, I'm
going to close, and open up. And, under the Audio,
| | 04:41 | I just want to make sure that
I can see the Waveform monitor.
| | 04:46 | I'm going to press on the Period key on
my Num Lock to generate an audio preview
| | 04:51 | only. And, you can hear me calling the
action for the beginning of the shot.
| | 04:59 | So, of course, we need to trim this. So,
let's just move here, and just make sure
| | 05:05 | that we don't see Yuval gets into the
frame. So, maybe around here this is a
| | 05:11 | good place to start.
| | 05:14 | I'm going to also give it few more
seconds here, and basically just going to
| | 05:20 | trim the start of the clip, and then
just drag it all the way to the beginning
| | 05:24 | of the composition.
| | 05:26 | Now, I want to leave the ambient sound
that I have here, because I think that it
| | 05:31 | will generate to the
atmosphere of the final shot.
| | 05:35 | So, let's just scrub the timeline here.
| | 05:39 | We can see that Yuval is jumping. And,
let's continue a little bit more. And,
| | 05:44 | just before he is leaving the screen, so
somewhere around here, I'm going to split this clip.
| | 05:53 | So, let's close it, go to the
Edit menu, and choose Split Layer.
| | 05:58 | And now, I can just scrub my current time
indicator, until he is clear out of the
| | 06:05 | scene, trim this footage, and then, just
nudge it into place. And, from here, we
| | 06:12 | have couple of seconds where we just have an
empty, clean plate, which we can then work with.
| | 06:20 | So, I'm going to drag my end work area
over here, right-click on this bar, and
| | 06:28 | choose Trim Comp to Work Area.
| | 06:31 | I also may want to go to the
beginning of this clip, and I want to
| | 06:37 | actually fade-in the Audio.
| | 06:40 | Now, don't be tempted to use the
Audio levels here in order to do it.
| | 06:47 | The reason is that using this slider
of the Audio levels will give you an
| | 06:52 | abrupt sound change. And, just to
demonstrate the result of this, I'm going to
| | 06:59 | create a keyframe here, and lower the
Audio levels to its minimum of -48dB.
| | 07:07 | Then, let's move forward maybe a
second or so, and just bring it back to 0.
| | 07:13 | Now, if you're going to go back and listen
to the result, you will hear what I mean.
| | 07:23 | You can hear that the sound was changing
dramatically from nothing to a very loud volume.
| | 07:29 | Instead, if you want to do such changes, I
recommend to leave these audio levels alone.
| | 07:36 | So, I'm actually going to park my cursor
here, and then, delete these keyframes, so it
| | 07:42 | will leave the 0 volume in place.
| | 07:45 | Then, let's go to the beginning. And,
instead of working with the Audio levels
| | 07:50 | parameter, I'm going to select the
clip. And then, under the Effects from the
| | 07:56 | Audio category, I'm going to
choose the Stereo Mixer Effect.
| | 08:02 | And this effect will allow you to
change the levels of your left and right
| | 08:07 | channels using a percentage value, which
will give you a much better and smooth result.
| | 08:14 | So, let's do the same thing basically.
| | 08:17 | Let's create keyframes for the left
and right levels, change them to 0 at the
| | 08:23 | beginning, then move forward a minute
or so where the actor is almost entering
| | 08:29 | the scene, and just raise it back to 100%.
| | 08:34 | Now, let's go to the beginning.
| | 08:36 | We can also watch their way from Audio
display. And, you can see that, indeed, it
| | 08:41 | created a milder transition.
| | 08:44 | Once again, I'm going to press 0,
so you can get to the impression.
| | 08:52 | This, to me, sounds much more natural
than the Audio levels effect on their own.
| | 08:58 | One more thing I like to do here is,
basically, dismiss the speaker icon for the
| | 09:05 | second part. And, this is because, at
the end of this clip, you can hear me
| | 09:10 | basically analyzing the shoots on the scene.
| | 09:13 | One more thing that we might want to do
is just make sure that we are doing the
| | 09:18 | same thing at the end. So, maybe around
here, just after his ducking, we will open,
| | 09:27 | once again, the Stereo Mixer Effect, and
then just create the same keyframes over
| | 09:33 | here. And then, let's press O to get to
the Out Point of this clip. And, once again,
| | 09:38 | we can 0 this, or basically
just copy and paste those value.
| | 09:47 | This is how you choose the best take,
import it to After Effects, clean up the
| | 09:52 | Volume control, and of
course, trim your composition.
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| Removing noise| 00:02 | In this movie, we will prepare a
noise-free master clip, on which we will
| | 00:07 | continue to work on.
| | 00:09 | I'll explore two methods of noise
removal, and I will show you what you can
| | 00:15 | achieve with the built-in tools that
live inside After Effect, and also with a
| | 00:20 | third party plug-in.
| | 00:23 | If you have access to the project files,
which I've supplied, you can work along with me.
| | 00:28 | Just open up the Personal Transporter
8EP project, and let's continue from the
| | 00:35 | point that we left off.
| | 00:38 | We have a Master Clip_01
composition, and our original file.
| | 00:45 | Let's just do a quick housekeeping
here by placing this file into the Source
| | 00:50 | files footage, and also dragging the
first composition to the first section, the
| | 00:57 | first chapter here, 01 Preparation Work.
| | 01:01 | I'm going to open the folder, so we can
take a look on all the compositions that
| | 01:07 | we need to work with during this
chapter. And, let's double-click on 02 Air
| | 01:12 | Circle Noise Removal, and drag our
first Master Clip into this composition.
| | 01:18 | So, we are working on the pixels
that came out from the last chapter.
| | 01:24 | Now, in order to identify that noise,
let's just scroll the mouse, or you can also
| | 01:31 | use Command++ or Ctrl++ just
to zoom inside this composition.
| | 01:36 | I'm going to leave it in 200%. And then,
let's just find a point where we can see
| | 01:44 | our actor with its background.
| | 01:46 | So, somewhere over here should be
a nice point to examine the noise.
| | 01:51 | Now, noise is usually an unwanted phenomenon.
| | 01:56 | You will see it if your footage was
shot in an uneven lighting condition, or if
| | 02:02 | you use the shallow-depth-of-field.
| | 02:05 | So, this tells us that any time that we
want to make our shot pretty, using all
| | 02:11 | kinds of shooting tricks, usually
we have to deal with noise as well.
| | 02:16 | So, Noise and Grain are usually living
in the Luminance information, and also in
| | 02:24 | the Colors themselves.
| | 02:27 | Meaning that in order to identify it,
you first must visit each and every
| | 02:33 | channel from your pull-down menu
here, and then just try to identify where
| | 02:38 | it's most apparent.
| | 02:40 | So, this is the Red Channel; this is the
Green Channel. And by the way, you can
| | 02:46 | also use a nice keyboard shortcut if you
want to work your way between those channels.
| | 02:52 | So, you can press Alt on the PC, Option
on the Mac, and then one of the numbers
| | 02:58 | in the main keyboard.
| | 02:59 | So, Alt+1 will be the Red Channel, Alt+
2 is the Green, and Alt+3 is the Blue.
| | 03:07 | And, we can see that, in this case, most of
the noise is appearing in the Blue Channel.
| | 03:12 | If you want to return to the full
composite, you can press Alt and the same
| | 03:17 | number that you just used,
so Alt+3 in my case. Okay.
| | 03:22 | What are our options?
| | 03:25 | The first one is a Built-In
Effect that comes with After Effects.
| | 03:30 | So, make sure the clip is selected, and
let's go under Effect>Noise & Grain, and
| | 03:39 | choose this fellow here, Remove Grain.
| | 03:40 | First, I'm going to press Alt+?
| | 03:44 | just to fit our view once again, so
we can see everything that's going on.
| | 03:50 | You can see that the viewing
mode here is set to Preview.
| | 03:54 | So, my first recommendation is just to
change this one to Final Output, so you can
| | 03:59 | see the final result.
| | 04:02 | Now, this effect really does a very
nice work of removing the grain, and in our
| | 04:08 | case, the noise itself, but it leaves
us with a very glow and shallow look.
| | 04:16 | Once again, I'm going to zoom into
the picture somewhere around here, so we
| | 04:21 | can see the result. And, we can see that the
noise is almost gone, but the details as well.
| | 04:28 | So, we can actually go and open the Noise
Reduction settings, and just play with the
| | 04:35 | noise reduction over here.
| | 04:37 | So, you can just start to scrub it, or I just
recommend to try a couple of values, so
| | 04:44 | let's say 0.5, and I think that we need
to go even below, so maybe 0.2, and this
| | 04:53 | starts to give us a decent result.
| | 04:57 | Once again, just verify it
in the different channels.
| | 05:01 | So, in this case, this is the result after
the effect, and if I'm going to switch it
| | 05:08 | off, this is the result before the effect.
| | 05:10 | If you want to make it a little bit
more pronounced, you can add to the Passes
| | 05:15 | here, maybe 5 Passes instead of just 3.
| | 05:19 | And, just to show you what this effect is
actually doing behind the scenes, I'm going
| | 05:24 | to select the Remove Grain Effect, and
change its mode here to Noise Samples.
| | 05:31 | And, this will actually show us the first
frame of the video. And, you can see that
| | 05:35 | this effect placed a couple of
samples around this picture. And, it tries to
| | 05:41 | analyze whatever information it
finds inside, and apply its setting.
| | 05:48 | If you wish to change this, you can
always go to the Sampling settings, and
| | 05:53 | change the Sample Selection from
Automatic to Manual. And, this will allow you to
| | 05:58 | place those trackers or samples'
regions in the place that you think most
| | 06:06 | relevant to this, or to your shot.
| | 06:09 | However, I'm just going to leave it in
the Automatic settings here, and I just
| | 06:14 | want to show you another option.
| | 06:16 | Before doing so, let's return this
Viewing mode to Final Output. And once
| | 06:22 | again, let's just zoom inside, so we
can see actually the picture in 100%,
| | 06:27 | maybe even 200%, and this will allow us to
analyze their result a little bit more convenient.
| | 06:34 | So, I'm going to turn off the fx for the
Remove Grain Effect. And instead, I'm going
| | 06:42 | to go to the Effect menu once again,
and I'm going to apply, under the Effect,
| | 06:47 | Magic Bullet Denoiser II.
| | 06:50 | This effect is part of a collection
named Magic Bullet Looks from Red Giant.
| | 06:56 | You can also buy it separately, and
from my experience, this is the best and
| | 07:03 | fastest effect to work with.
| | 07:04 | So, first, let's apply it. And, here we have,
once again, a couple of settings that we
| | 07:11 | can work with. But actually, I'm not
going to bother you with all the information
| | 07:17 | and the options that you have here.
| | 07:19 | I just find out that using this one
and only slider named Noise Reduction,
| | 07:26 | you can get around this effect
fairly quickly, and you will find that the
| | 07:30 | result is quite amazing.
| | 07:32 | I'm going to change the Noise Reduction
here from 100% to 200%; you can go up to 300%.
| | 07:39 | And, once again, let's visit the Blue Channel,
just in order to verify and check what we did.
| | 07:46 | So, this is the before. You can see that there
is a pronounced amount of noise in the screen.
| | 07:54 | And, this is after. Much smoother. And, we
got to keep all the details around our actor.
| | 08:01 | Once again, the before and after.
| | 08:03 | So, let's do a quick comparison.
| | 08:06 | I'm going to switch back to my RGB
composite, take a snapshot, then I'm going to
| | 08:12 | turn off the Denoiser, and
turn on the Remove Grain Effect.
| | 08:18 | The result is much cleaner, and we still
get to preserve most of the contrast details.
| | 08:25 | So, I'm going to turn off the Remove Grain
Effect, and turn back on the Denoiser.
| | 08:32 | Now, don't worry if you don't
have access to this plug-in.
| | 08:35 | I've rendered the final clip, which I'm
going to show you in a moment as a Master
| | 08:40 | one, so you can use this.
| | 08:43 | Don't be alarmed if you open the project, and
it gives you a message about a missing plug-in.
| | 08:48 | This is what it refers to -- the Denoiser.
| | 08:52 | Anyhow, let's zoom back to Fits to View.
And, just before rendering this clip as a
| | 08:59 | Master Clip for later use, I also want
to desaturate it a little bit, and maybe
| | 09:06 | play with the Vibrance as well.
| | 09:08 | For that, I'm going to apply, under
Color Correction, the Vibrance Effect.
| | 09:15 | I'm going to change the Saturation
here to -20, and compensate by raising
| | 09:22 | the Vibrance to 65.
| | 09:24 | Now, I also want to take this effect,
and move it on top of the stack, so it will
| | 09:30 | do its calculations before
applying the noise pause.
| | 09:35 | Now we are ready to render this clip
as a Master. And, I highly recommend that
| | 09:41 | every time that you are using one of
those Remove Grain or Denoiser Effect, you
| | 09:47 | should render your clip
as an intermediate result.
| | 09:52 | Otherwise, all the things that you will
do with this comp will become very, very
| | 09:57 | slow, and After Effects will not
be as responsive as you are used to.
| | 10:02 | In order to render this as a final clip,
I'm going to select this Composition,
| | 10:08 | and Add it To The Render Queue.
| | 10:11 | I'm going to quickly change the output
model settings, leaving the format here to
| | 10:16 | QuickTime. But just for the sake of
compatibility, I'm going to choose the PNG Codec.
| | 10:25 | Press OK here. We can leave the Audio
Output as is. And, once again, press OK.
| | 10:31 | I'm going to change this output name
to just Air Circle, and I'm going to save
| | 10:37 | this, and press Render in
order to render our final master.
| | 10:43 | And, this is how you identify Grain and
Noise, and remove them from your Master Clip.
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| Separating the actor from the background| 00:01 | In this movie, we will separate the actor
from its background using a couple of masks.
| | 00:09 | I've saved my progress. And, I'm working
the same project. I already opened up the
| | 00:16 | third composition, Separate Actor.
| | 00:19 | Now, let's populate this composition
with the final movie that we've rendered in
| | 00:26 | the previous exercise.
| | 00:27 | So, I'm going to double-click
here, choose the file, and open it.
| | 00:32 | I'm going to drag a copy to this
timeline, and place this in the Source Files, so
| | 00:41 | I don't need to see it all the time.
| | 00:43 | Now, if we're going to scrub here, we
can see that now we have a noise-free clip.
| | 00:49 | And, the actor is doing its action, and actually,
we want to divide the action to three parts.
| | 00:57 | The first part will be the actual action.
| | 01:00 | So, from the beginning, basically around,
I think, 12 seconds, and maybe 23 frames here, I'm
| | 01:11 | going to split this.
| | 01:12 | So, this is the end of the first part.
| | 01:15 | Let's choose Edit>Split Layer. And,
we're also going to name them as we are
| | 01:21 | doing this separation.
| | 01:22 | So select it, and press Return on your
keyboard, and let's just call this section, Action.
| | 01:30 | And now, let's find where this
action is finishing over here.
| | 01:36 | You can also use the Page Up or Page
Down arrows in the keyboard, just to make
| | 01:41 | sure that you are, indeed,
including the last frame.
| | 01:45 | And once again, let's use Split
Layer under the Edit command.
| | 01:51 | Now, let's name this one, Actor. And, the
third slice is going to be named, Background.
| | 02:02 | I want to change the order here, just
so it will be a little bit more obvious.
| | 02:08 | So, we are starting from the first
section. Then, this is only the actor and
| | 02:13 | this is the background.
| | 02:15 | I'm going to park my cursor here, and
then, just drag the Background Layer
| | 02:20 | underneath my actor.
| | 02:23 | Now, I want to actually isolate
the actor from its background.
| | 02:28 | So, this way, later in this course, we
will be able to add some effects, and
| | 02:34 | remove the actor from the scene,
but keeping the background intact.
| | 02:39 | So, the easiest way, in this case, is to
actually draw mask around the actor, since our
| | 02:47 | actor is not moving so much.
| | 02:49 | This litho scope mask work shouldn't be so difficult.
| | 02:54 | So, let's go to the beginning of this clip.
| | 02:57 | Let's zoom inside, so we can take 100%
of the actor here, and select the Pen Tool,
| | 03:06 | and start to draw masks, just
around the shape of his body.
| | 03:12 | I'm going to zoom in a little bit
closer, and just start to draw my Mask.
| | 03:19 | Now, in this case, you don't have to be
super precise, but it does help if you can
| | 03:24 | match it as close as possible.
| | 03:28 | When the time comes, we will also
feather the mask, and make it a little bit more
| | 03:35 | integrated into the scene.
| | 03:37 | But, for now, I'm just going to continue
my way down, until I have a decent cutout
| | 03:45 | of my actor from its background.
| | 03:48 | Once this task is done, you can check
the result by turning it on and off.
| | 03:55 | And, in this case, let's press F as well, and
maybe give it, maybe, two or three pixels,
| | 04:02 | just to make sure that we are
not losing anything in the edges.
| | 04:07 | I'm not going to worry about the hole
here, between his legs, because it doesn't
| | 04:13 | really matter for this case.
| | 04:16 | What I do want to include
is, actually, the shadow here.
| | 04:21 | So, when we transition from this frame to
this frame, you see we are losing, actually,
| | 04:26 | the shadow, and, actually, a couple
of details in the cloth as well.
| | 04:31 | If it says that this is the case for
you as well, and you want to expand your
| | 04:35 | mask, you can close, and open it,
once again, and maybe play with the Mask
| | 04:41 | Expansion value as well.
| | 04:43 | Just in order to see the result, I'm
going to hide my Mask Visibility, and then
| | 04:50 | just give it, maybe, a couple of
pixels to grow from my original path.
| | 04:58 | And, I think that this looks quite good.
| | 05:00 | Once again, I'm going to do a
comparison between this frame, which is the last
| | 05:06 | frame of the action, and
the first frame of the actor.
| | 05:10 | And, I do wish to include the shadow as well.
| | 05:13 | So, for this case, I'm going to just
select my Ellipse Tool, and draw an ellipse; a
| | 05:22 | second mask around this area.
And, let's feather it as well.
| | 05:28 | Maybe around 20 pixels should do the trick.
| | 05:31 | Now, I want to change the opacity of this mask,
or maybe even record keyframes for the Mask Path.
| | 05:39 | So, in both cases, let's select Mask 1, and
Mask 2, open them, and create keyframes
| | 05:47 | for the Mask Path value.
| | 05:50 | Now, let's move a little bit here into the
shot. And first, let's deal with the shadow.
| | 05:57 | I just want to fade it, as I don't
really need it when the action will happen.
| | 06:03 | So, I'm going to select one of the points,
double-click on it, and, basically, just
| | 06:09 | scale it until it will be inside the first mask.
| | 06:15 | Now, it may look like a harsh
transition, but I promise you that it won't be
| | 06:20 | noticeable when we finish with it.
| | 06:23 | Then, let's go to the start, and just
verify that all of the information that we
| | 06:30 | have is still relevant, meaning that
you might need to select the first mask,
| | 06:36 | and just touch it, here and there, in terms of
where those points are landing in the other frames.
| | 06:44 | So, from here onward, I'm going
to do this fairly quickly.
| | 06:49 | And, I'm also going to speed up the
recording, just so you will have a chance to see
| | 06:55 | me working, recording keyframes for
the Mask Path, just finishing this quick
| | 07:02 | animation of describing
the actor inside his shape.
| | 07:16 | So, this is it. You can see that we have
a nice representation of the actor. And,
| | 07:24 | just with couple of key frames in the
Mask Path value, I was able to isolate it
| | 07:31 | from its scene. And now, we have each and
every element ready for the next stage.
| | 07:38 | Once done, you can go to the end of
this frame, or maybe even before, let's say,
| | 07:45 | around 17 seconds, just drag the work
area. And basically, we are going to go to
| | 07:52 | the composition, and trim the comp to
the work area that we just defined.
| | 07:59 | And, this is how you use masks in order to
isolate the actor from its background.
| | Collapse this transcript |
| Organizing the layer in 3D space and relighting the scene| 00:02 | In this movie, we will organize our layers
in 3D space, and then relight this scene.
| | 00:08 | Now, we are not going to apply any 3D
moves here, nor we will add any 3D camera.
[00:00:1.71]
But we do need a 3D quality of the
layers in order to use it in a later stage.
| | 00:23 | So, the first step is to
convert all the layers to a 3D layer.
| | 00:28 | This will allow us to place elements
that will interact with the layers.
| | 00:33 | For that, we need to work on
the arrangement a little bit.
| | 00:39 | So,let's move our Time Ruler over here,
and then let's select the actor, and
| | 00:45 | press P in order to see its position.
| | 00:48 | Now, I want to bring my actor closer to
my camera, or my virtual camera, I should
| | 00:54 | say, because I'm not going to add any camera.
| | 00:57 | So, I'm going to choose a
value of -250 for the Z axis.
| | 01:04 | Doing so, of course, will throw the layer
from its current position, and of course,
| | 01:09 | will ruin the illusion.
| | 01:11 | So, we'll need to compensate by
pressing Shift+S, and then, scale it back to
| | 01:17 | the place that it was.
| | 01:19 | So, a value of 86% should do the trick here.
| | 01:24 | So, let's just check that everything is working.
| | 01:27 | I'm going to, once again, hide the
visibility of my mask, and we see that, indeed,
| | 01:32 | we have a successful separation.
| | 01:35 | Just in order to demonstrate what I did,
I'm going to switch my Views from the
| | 01:40 | Active Camera to Custom View1.
| | 01:42 | And so, I'm going to orbit around the
scene, and you will see that our actor is
| | 01:46 | actually jumping to a new location, but
we have a space that we can use between
| | 01:54 | him and the background.
| | 01:56 | So, this is quite simple.
| | 01:58 | I'm going to press Esc in order to return to
my previous mode, which is the Active Camera.
| | 02:04 | And, once again, this will make
more sense as we are moving along.
| | 02:09 | So, let's add a couple of lights, just
to give the scene a little bit more of
| | 02:14 | a Sci-Fi atmosphere.
| | 02:16 | I'm going to the Layer Menu, and from
there, I'm going to choose a new Light.
| | 02:20 | My first Light will be a Point light.
| | 02:22 | I like to name my Lights. And,
let's choose a white color for it with
| | 02:27 | an intensity of 95%.
| | 02:30 | I'm going to hit OK, and then, just
press P in order to move my light to
| | 02:36 | the upper-right corner.
| | 02:38 | So, the X should be around 790; the
Y should be a little bit more up. So,
| | 02:47 | somewhere around here; 240 should work nice.
| | 02:52 | And, for the Z, I really want this
light to be quite closer to the camera. So,
| | 02:57 | maybe, somewhere around . . . should do the trick.
| | 03:01 | So, the light is currently on the
upper-right corner closer to us.
| | 03:07 | Now, let's add an ambient light,
just so we'll fill a little bit of the
| | 03:13 | darker part of the shot.
| | 03:16 | So, once again, I'm going to go to the
Layer>New, and ask it to create a new light.
| | 03:22 | This time, I'm going to choose Ambient, and
as always, I'm going to name this one Ambient.
| | 03:30 | Now, the Ambient Light will
have a very low intensity.
| | 03:35 | I will start with 30%, and I also want
to give it some color in order to use the
| | 03:41 | light to color the scene.
| | 03:43 | So, I'm going to press on this. And, once again,
I know the values that I wish to enter here.
| | 03:50 | So, for the Hue, I'm going to say 175, and then,
I'm going to press Tab to move to the Saturation.
| | 03:58 | Here, it's going to be 75.
| | 04:01 | And for the Brightness, I'm going to choose 50.
| | 04:04 | Now, I'm going to press OK here, and also here.
| | 04:08 | And, we see that we actually have a nice
cooler atmosphere to the shot, just by using
| | 04:14 | this method of relighting the scene.
| | 04:17 | And now, I want to add the main light,
which will actually be on top of the actor.
| | 04:24 | And, this will tell us that something is
happening from above, which means that it
| | 04:29 | will prepare the ground for
the effect that we will do later.
| | 04:34 | For that, I'm going to
choose a different kind of light.
| | 04:37 | So, once again, let's create a new light.
| | 04:41 | This time, we are going to use the
Spot type. And, I'm going to, once again,
| | 04:45 | change the name to Spot, so I know what
every light is doing, just by glimpsing
| | 04:51 | in the Timeline here.
| | 04:53 | Once again, I know the color
values that I wish to enter here.
| | 04:57 | So, I'm going to press on the Color
icon, and type 180 for the Hue, and then 55
| | 05:05 | for the Saturation, and 85 for the Brightness.
| | 05:10 | Now, the Intensity will be animated across time.
| | 05:14 | So, let's start with a value of 100%,
and let's also change the Cone Angle to
| | 05:20 | 70%, and the Cone Feather to 40%.
| | 05:24 | I'm going to press OK here,
and this is my Spotlight.
| | 05:29 | Now, in its basic form, it's a
little bit complicated to animate a
| | 05:34 | Spotlight, because it has a point of
interest, and also, properties for the
| | 05:42 | location, or position in space.
| | 05:44 | I like to simplify it by going to the
Layer Menu, and under Transform, I'm going
| | 05:52 | to choose Auto-Orient, and
switch off the Auto-Orientation.
| | 05:57 | This will dismiss the point of
interest, and leave me just with the regular
| | 06:03 | attributes for controlling
the transform of this light.
| | 06:07 | So, let's open it in the Timeline, and
change the X orientation to -90 degrees.
| | 06:15 | Doing so will actually place this
Spotlight just on top of our actor.
| | 06:21 | Now, we can use the Z value in
order to move it up or down in the scene
| | 06:28 | giving us this effect.
| | 06:30 | Just in order to verify that this
light is, indeed, in the correct point, I'm
| | 06:35 | going to switch once more to the Custom
View 1, then press C in order to get to
| | 06:41 | the Orbit Tool, and drag it with
my left cursor, just to see a better
| | 06:48 | representation, a better view.
| | 06:50 | And now, we can move the
Spotlight to its new position.
| | 06:54 | However, since we rotate it on its X axis,
its local axes are no longer helpful for us.
| | 07:02 | So, you can turn them off, and switch to
World Axis Mode, where everything is back
| | 07:09 | to normal, meaning the Z axis is
represented by this blue arrow, the X with the
| | 07:15 | red, and the Y with the green.
| | 07:18 | So, I'm going to press V, and this will
give me my Move Tool, and then, just move
| | 07:24 | this light just on top of my actor, so
somewhere around this. And, I'm switching
| | 07:31 | tools between my camera and my Move Tool,
until I can visually see that the light
| | 07:40 | is in its final destination. So,
somewhere around here should do the trick.
| | 07:47 | Now that we have a decent location of
the light, we can switch back to the
| | 07:52 | Active Camera Mode, and then
just animate it over time.
| | 07:57 | Before doing so, I just feel that the
light should be a little bit higher in the
| | 08:02 | scene, so we can see its effect.
| | 08:05 | So, I'm just going to drag it to
somewhere around -360, so somewhere like this.
| | 08:13 | Now, I want to animate the
position and intensity of the light.
| | 08:17 | This will present a couple of
problems, because we have different layers
| | 08:23 | in different 3D space.
| | 08:26 | So, let me show you what I mean.
| | 08:28 | First, I'm going to drag my cursor to
around, maybe, 12 seconds and 23. And, this
| | 08:35 | is the area between changing of the
shot, between the action and the actor.
| | 08:42 | So, I want to make sure that I'm
recording a keyframe for the position of
| | 08:45 | the light over here.
| | 08:48 | And then, let's move backwards, maybe one
second or so, and just reset its Z position.
| | 08:56 | So now, you can see that the light is
traveling, and it's reaching its final
| | 09:00 | destination exactly at the point
that we are switching between this layer
| | 09:05 | and the other layer.
| | 09:06 | And, the reason that we are seeing shift in
the light is because those layers have
| | 09:11 | different Z position.
| | 09:12 | Remember, if I'm going to show you,
once again, the Custom View, you can see
| | 09:16 | actually what's happening.
| | 09:18 | The light is moving, and
suddenly this layer is appearing.
| | 09:22 | Don't worry about it now;
| | 09:23 | there will be a lot of
information here that will cover this.
| | 09:28 | But, we are going to make the best that
we can here in order for the transition
| | 09:33 | to be as smooth as possible.
| | 09:35 | First, I like to emphasize
the Intensity a little bit.
| | 09:39 | So, moving back to this point, I'm going
to open up the Light Options, and create
| | 09:44 | a keyframe for the
Intensity with a value of 65%.
| | 09:49 | Just to clear a little bit what we are
doing here, I'm going to press U just to
| | 09:54 | see the keyframes all by themselves.
| | 09:58 | And then, let's move forward to this point,
where the light should be as vivid as
| | 10:02 | possible, and just raise the
Intensity to a value of around, maybe, 250.
| | 10:11 | Move a second or so, and then record a
keyframe here, and then just find the exit
| | 10:18 | point, where we no longer see our actor
here, and return this Intensity to 65%.
| | 10:27 | So actually, we created some
interesting light, but we do have a difference in
| | 10:33 | terms of how the light is
affecting the actor here.
| | 10:37 | Once again, I want to calm
you, so don't worry about it.
| | 10:41 | You can actually work on this a little
bit first by going to the actor, open up
| | 10:48 | the Masks, and under Mask number one,
you can actually raise the Feather to
| | 10:54 | something higher, which
might obstruct it a little bit.
| | 10:59 | And, you can also go under Effect, and
add to this actor a Levels Adjustment.
| | 11:07 | So, this is what I'm going to do here.
| | 11:09 | And, I just want to match these
settings to the settings that I can see here.
| | 11:14 | So, let's just go one frame before, one
frame after, and see how much we can use
| | 11:22 | the Level Effect, just to make sure
that we will compensate between those two.
| | 11:28 | I can see that we have a little bit of
red here, so we might want to go to the
| | 11:35 | Red channel, and just play a little bit
with the gamma of the Red, just in order
| | 11:41 | to match it, actually, to the shot before.
| | 11:45 | So, maybe a value of
around 0.85 will do the trick.
| | 11:51 | And I'm using Page Up to go one frame before.
| | 11:54 | This way, I can see the Action layer,
and then Page Down to see my Actor layer.
| | 12:00 | Now, if I'm going to park my cursor
over here, and just press Spacebar, we can
| | 12:09 | see what we've been able to
achieve using this kind of method.
| | 12:14 | And, this is exactly what we need.
| | 12:15 | It doesn't need to be super precise.
| | 12:18 | It just have to deliver the message
that we have some kind of mystic God rays,
| | 12:25 | or a light coming from above the actor.
| | 12:29 | So, this is how you convert your
layers to 3D, arrange them in 3D space, add
| | 12:35 | some light to relight the scene, and
also fix some of the light problem due to
| | 12:43 | the 3D space positioning of those layers.
| | Collapse this transcript |
|
|
2. TrackingTracking the left hand| 00:02 | After finishing with the preparation
work, we actually have one more step, which
| | 00:07 | is a very important one, and
this is to track the information.
| | 00:13 | Now, in this part, we're going to track
both of the actor's hands in separate movies.
| | 00:21 | We'll start, in this movie,
by tracking the left hand.
| | 00:25 | This will be partially automatic. And,
we'll have to do some manual fix to create
| | 00:32 | the perfect circle
movement of the actor's left hand.
| | 00:36 | At this stage, we are just going to
collect raw tracking data. And, later in this
| | 00:42 | course, we are going to marry it to
some effects, and position movements.
| | 00:49 | If you have access to the project
file, I am still working in the same
| | 00:52 | project, which is Personal Transporter.
And, I'm going to open up the second
| | 00:58 | folder here named, Tracking.
| | 01:00 | I've prepared two compositions for you.
| | 01:03 | The first one is 05-Left Hand Track.
| | 01:07 | Let's double-click on this one; and
this is the state that we left the
| | 01:10 | composition at the previous movie.
| | 01:14 | Just to make sure that everyone is on
the same point, I'm going to create a
| | 01:18 | quick RAM preview to show you what we've got.
| | 01:20 | (video playing)xxxxxxxxxxxxxxxxxxxxx
| | 01:38 | All right! It is very important for you to
take a closer look every time you're about
| | 01:44 | to track some footage.
| | 01:46 | This is the reason why I wish to show you this.
| | 01:50 | See, the first action is that Yuval,
our actor, is drawing what looks like
| | 01:56 | almost a perfect circle in the air.
And then, the second action is over here,
| | 02:01 | when he is trying to reach out, and
grab the imaginary circle, lifting and
| | 02:08 | throwing it to the air above. All right!
| | 02:12 | So, let's begin by tracking the brush
action here. And, I'm just trying to
| | 02:19 | identify the first frame.
| | 02:21 | So, I think this is it, 3 seconds and 23 frames.
| | 02:25 | Now, tracking inside After Effects is
going to happen inside the Layer Viewer.
| | 02:30 | So, I'm going to double-click here,
and I need to see my Tracking tools.
| | 02:36 | Your first option is to change your
workspace to the Motion Tracking workspace.
| | 02:43 | However, in this case, I'm just going to
go to the Window section, and ask it to
| | 02:50 | show me my Tracker Tool.
| | 02:53 | I'm going to raise it a little bit, so
we can see all the information inside
| | 02:57 | this panel, and I'm going
to choose here Track Motion.
| | 03:02 | Now, as I mentioned, in this step, we
are only going to track the raw data.
| | 03:08 | So, if you want, you can
change the Track Type to Raw.
| | 03:11 | However, it doesn't really matter for now.
| | 03:14 | So, I'm going to leave it as is.
| | 03:16 | The next step is to make sure that
you're getting the double arrows icon
| | 03:22 | here, and then, move the whole group to
approximately the middle, or the tip of the brush here.
| | 03:30 | I'm going to expand my search area here.
| | 03:35 | And here, the basic idea is that
everything that we are seeing inside this
| | 03:40 | picture frame is going to be
searched using the Tracker.
| | 03:45 | And, the little cross that we see here,
this will be actually the attach point.
| | 03:51 | So, all the information that we are
collecting will be attached, finally, to this point.
| | 03:58 | Now, I want to change a couple of the
settings, before I'm going to start to
| | 04:02 | track automatically.
| | 04:04 | So, let's press on the Options button
here, and make sure that you set the
| | 04:11 | behavior to Stop Tracking,
if Confidence is below 80%.
| | 04:17 | There are a couple of different
methods. And, if you didn't change anything,
| | 04:23 | yours might be set to Continue Tracking.
| | 04:27 | So, from my experience, Stop Tracking, in
this case, will give us a better result.
| | 04:33 | And, we will be able to
enhance it, or fix it manually.
| | 04:38 | So, I'm going to press OK here, and
I'm going to zoom out a little bit by
| | 04:45 | pressing Command+Minus or Ctrl+Minus,
if you are working on the PC. And then,
| | 04:50 | let's try to start analyzing it forward.
| | 04:55 | You see that, immediately, it just starts and
stops, because, actually, it loses the tracking.
| | 05:03 | So, in this case, I will recommend to
pressing Page Up in the keyboard, until you
| | 05:09 | find the last point of
good tracking information.
| | 05:14 | I'm also going to open up Tracker number
1 here, and also open up Tracker Point 1.
| | 05:20 | And, I'm going to marquee around all this
data, and basically delete it, so it won't
| | 05:26 | confuse us, or actually the Tracker.
| | 05:30 | If you wish to try again, you can,
once again, press and hold, wait for the
| | 05:36 | double-arrows here, and just
move to define a new location.
| | 05:42 | So, this is our new location now, and
we can try to see if the Tracker will
| | 05:47 | respond as expected.
| | 05:50 | In this case, I'm just going to analyze one
frame forward, because I know it will fail.
| | 05:55 | If something like this is happening to
you as well, there is no alternative, but
| | 06:00 | to have the Tracker, and just
point it to the new location.
| | 06:06 | So, I'm going to do this actually manually.
| | 06:08 | I'm going to press Page Down, and then,
drag the whole thing to the new location.
| | 06:16 | And, if I think that I got a chance
that the Tracker will succeed, I can try,
| | 06:22 | from time to time, to place on a step forward,
or even try to analyze forward the whole thing.
| | 06:31 | Because we set it to Stop Tracking, when
Confidence is below 80%, we can see that
| | 06:37 | now, where the Confidence is less
than 80 -- in this case 77.2%, -- the Tracker
| | 06:45 | actually stopped tracking.
| | 06:47 | And, this is the fastest way
to get around this problem.
| | 06:50 | So, if you see that the Tracker has
stopped, you just press on Page Down, and
| | 06:56 | then help it with its new location.
| | 06:59 | So, each time I'm pressing Page Down, I
basically move the Tracker, and track it
| | 07:05 | using a manual method.
| | 07:08 | Now, this is a little tedious, and I know
it's not something that most of us enjoy.
| | 07:15 | But, in these scenarios, it's not
going to be any better, unless you will help
| | 07:20 | the Tracker to identify and
achieve an accurate result.
| | 07:26 | Since I don't want to bore you sitting
here, and watching me do all this labor
| | 07:31 | work, I will pause now the recording, and I
will meet you when this task is done.
| | 07:38 | Okay. So, I almost reach the
end of the movement here.
| | 07:43 | And, if I zoom out, you
can see what I did so far.
| | 07:48 | I have to say that it is quite
amazing that Yuval is able to draw almost a
| | 07:54 | perfect circle in the air,
without any help. All right!
| | 07:59 | So, let's move a little bit closer
here. And, the reason that I want to take
| | 08:05 | another moment to show you this angle
is because, when he reaches the first
| | 08:12 | point, we should cheat a little bit, and
make sure that the circle is actually closing.
| | 08:20 | In reality, if I'm going to zoom in
even further, and just continue to track,
| | 08:26 | doing it manually, as I showed you before,
we can see that, actually, this is not
| | 08:31 | going to end at the same location.
| | 08:34 | So, what we need to do is, basically,
cheat a little bit, and just make sure that
| | 08:41 | at the last point here, the first and last
track points will be more or less in the same place.
| | 08:49 | So, this is what I'm trying to do now.
| | 08:51 | I'm just trying to match it until
he reaches his final place over here.
| | 08:58 | For now, this is all we need to do.
| | 09:01 | Another step that you might want to
take is, maybe, to rename your Tracker Point,
| | 09:07 | just to make it easier later to
know what each Tracker is doing.
| | 09:12 | So, I'm going to select Track Point 1,
press Return, and name this one, Left Hand Track.
| | 09:19 | If you like, you can also
name the Tracker itself.
| | 09:23 | So, this is just me doing
my regular housekeeping.
| | 09:27 | For now, we can collapse this track,
and we're actually done with it.
| | 09:32 | So, this is how you automatically track
something in this scene, and of course,
| | 09:37 | manually fix it when there's a need.
| | Collapse this transcript |
| Tracking the right hand| 00:02 | In this movie, we'll add second tracker
to the right hand of the actor, and then
| | 00:08 | connect the tracking data to
a null object for later use.
| | 00:14 | I have saved my progress, and I've opened
up the 06 - Right Hand Track composition.
| | 00:22 | This is exactly where we've
left off from the earlier movie.
| | 00:26 | So, if I'm going to select the Action
layer, and open it up, we can see that we
| | 00:32 | already have a layer named, Motion Tracker.
| | 00:37 | If we'll open it up, then we see that this
is the left-hand track that we did earlier.
| | 00:43 | I could just scribe it all the way
here. And, in order to watch the tracker in
| | 00:48 | action, we actually need to double-
click on this layer, and make sure that we
| | 00:54 | select the tracker itself.
| | 00:57 | So, this is what his right hand doing.
| | 01:01 | Actually, from our
perspective, it's the Left Hand.
| | 01:03 | And, this describes the movement from here.
| | 01:08 | Now, at the end point here, at nine
seconds and one frame, we want to add an
| | 01:15 | additional tracking information for
the right hand, and then we will connect
| | 01:21 | it to a null object.
| | 01:23 | Later on, we will use this data, after
creating the air particles, to connect it
| | 01:31 | from one point to the other.
| | 01:34 | But for now, let's
concentrate on the tracking itself.
| | 01:39 | This will be a little of a
rehearsal of what we did earlier.
| | 01:44 | So for that, I'm going to select my
Motion Tracker here on the timeline. And
| | 01:49 | then, I'm going to click on the track motion
to actually add a new tracker to the scene.
| | 01:57 | Once again, let's zoom inside, and wait
for the double arrows here, and just drag
| | 02:04 | it and move it, basically, to
the middle of the hand here.
| | 02:10 | Now, the movement is quite erratic, so
we can try and expand the search area,
| | 02:17 | but it won't do us any good,
and you will see what I mean.
| | 02:21 | Before starting to analyzing and
tracking, I just want to verify here, in the
| | 02:26 | Options, that I have this option
turned on, which means Stop Tracking, which
| | 02:32 | means stop tracking if confidence is below 80%.
| | 02:37 | Let's choose OK, and let's try to
first analyze it automatically.
| | 02:42 | So, I'm going to press on the Analyze
Forward, and we see that we have some
| | 02:47 | decent movement, and then it comes to a stop.
| | 02:51 | First, I just want to make sure that,
indeed, we succeeded in tracking the
| | 02:55 | movements. So, I'm just going to press
Page Up couple of times, and maybe even get
| | 03:01 | a closer look, just to see that it is
sticking in the position that I wanted to.
| | 03:08 | And, as you can see, it doesn't match
the criteria of the first definition.
| | 03:14 | And this, of course, is because the
hand is changing its position.
| | 03:18 | So, After Effects doesn't really know
what to search for, and what to track.
| | 03:22 | So, we need to help him.
| | 03:24 | Once again, I'm going to open up the
Tracker. And, under Tracker Point 1, I'm just
| | 03:29 | going to select all of these keyframes
and delete them, and maybe even zoom a
| | 03:35 | little bit, so I can easily see the
ones that I haven't selected, and then get
| | 03:41 | rid off them as well.
| | 03:43 | Now, it is a manual procedure here, but
it doesn't take too much time, because we
| | 03:50 | only have maybe a second or so to do it.
| | 03:53 | So, instead of talking, let's just move
ahead one frame, pressing Page Down. And
| | 03:59 | then, just make sure that you keep the
middle of the Tracker area around the
| | 04:06 | place that you wanted to track.
| | 04:09 | So, this is what I'm doing.
| | 04:11 | I'm basically helping the tracker,
just pointing it, every and each
| | 04:16 | frame, to the correct position. And, you
see that After Effects is doing a nice
| | 04:22 | work of interpolating between the
keyframes that you are giving it.
| | 04:28 | So, once again, I'm pressing Page Down each
time, and then, just moving the Tracker to
| | 04:35 | the new location based on what I
see in the screen. And, we're almost done.
| | 04:40 | So, you see, this is not so
bad as you might have thought.
| | 04:46 | If you want to move around the canvas,
you can press and hold the Spacebar. And,
| | 04:51 | basically, this is it.
| | 04:53 | I think that we are in good shape
now, so I'm going to press Alt+?
| | 04:57 | to fit my Viewer up to 100%.
| | 05:01 | Let's zoom out a little bit, and
let's just check what we have.
| | 05:07 | So, let's name this one same as we
did before by selecting the tracker, and
| | 05:12 | pressing Return in the keyboard.
| | 05:14 | I'm going to call this one Right Hand Track.
| | 05:19 | I'm actually going to select it all,
copy it to memory, and just rename the
| | 05:25 | Tracker, itself, as well, the same name.
| | 05:28 | So now, we can actually see on screen
that it says here Right Hand Track. And, if
| | 05:34 | we're going to move to the other
one, we could see Left Hand Track.
| | 05:37 | This is a little bit of a helper
for us to identity which is which.
| | 05:42 | And now, for the last stage, we need to
connect this information to a null
| | 05:48 | object for later use.
| | 05:51 | So, let's go to the Layer menu, and
from there, create a new null object.
| | 05:57 | Immediately, I'm going to name this one
Right Hand TD for tracking data, and I'm
| | 06:04 | going to lower its position
just above the Action layer.
| | 06:08 | Now, while I'm still in the Layer
viewer, and the Tracker panel is open, and I'm
| | 06:15 | selecting the relevant tracker,
I can choose, here, Edit Target.
| | 06:20 | This will allow you to choose
any layer that is present in the
| | 06:24 | current composition.
| | 06:26 | In our case, I'm going to choose the
Right Hand TD, and press OK. And then, I'm
| | 06:32 | going to say Apply; and the dimensions
should be X and Y. And, once again, I'm
| | 06:38 | going to say OK to this, as well.
| | 06:41 | Now, we can see that we have a tracking
object, which is actually a null object,
| | 06:46 | and null object doesn't render in After Effects.
| | 06:49 | They are just helpers,
layers that holds information.
| | 06:54 | This layer holds the
information of the hand that we have here.
| | 06:58 | And, just so we can see it a little bit
better, I'm going to hold, and click on the
| | 07:03 | color, and change it from red to yellow,
just so it would be a little bit more
| | 07:08 | apparent of what it does.
| | 07:11 | I also may want to mark, myself, where
the keyframes are starting. So, by pressing
| | 07:18 | U, I can see the first keyframe, maybe
zoom in a little bit, and pressing J, I
| | 07:24 | can move between the keyframe.
| | 07:26 | So, J is for the previous
keyframe, K is for the next one.
| | 07:30 | So, by pressing J, I can see where I am.
| | 07:33 | And then, let's just drag this marker here,
double-click, and name this one, Track Split.
| | 07:42 | This will help us in a later movie. All right!
| | 07:46 | So, we can zoom out now.
| | 07:48 | We have all the data that we need in
order to proceed to the next stage.
| | Collapse this transcript |
|
|
3. Paint and Particle EffectsAdding the write-on effect| 00:02 | Now that we've finished all of the
preparation work and the tracking, it's time
| | 00:08 | to start the creative process.
| | 00:12 | In this movie, I'll show you how to
edit the Write-On effect, and apply the Motion
| | 00:19 | Tracking Data to the brush position value.
| | 00:22 | And, we'll also start to designing the
look of the Write-On effect itself.
| | 00:30 | If you're working with me, and you have
access to the project files, I'm still
| | 00:35 | working on the same project. And, I'm
going to open up the first composition under
| | 00:40 | the 03 - Paint and Particles Effects folder.
| | 00:45 | And, I'm going to start with this
composition 07 - Write-On Effect.
| | 00:50 | Let's double-click on it, and this
is where we left off after finishing
| | 00:55 | the tracking process.
| | 00:57 | Now, just to be a little bit more tidy,
I want to trim the null object here, my
| | 01:04 | right hand tracking data, just so it will
be a little bit easier in the future to
| | 01:11 | see exactly where we'd start and end.
| | 01:14 | So, I have this marker. I can go
directly to this marker, and also select this
| | 01:20 | layer, press U in order to see the keyframes.
| | 01:23 | Let's zoom in a little bit, just to
make sure that we are not missing
| | 01:27 | any information here.
| | 01:28 | And, while the layer is still selected, I'm
going to press Alt or Option and the open, right
| | 01:32 | bracket (Alt+] or Option+]), just to trim the
endpoints to this keyframe.
| | 01:38 | Now, let's slide it all the way over
here, make sure that we are over the
| | 01:43 | last keyframe, and do the same thing again,
this time, Alt+} or Option+} with the
| | 01:50 | closing right bracket.
| | 01:52 | And so, we have a visual idea of where
the tracking begin and end. Okay.
| | 01:57 | We'll use these right-hand tracking data
later, but for now, let's return to the
| | 02:03 | action layer. And actually, let's open
it up, and just identify what we need to
| | 02:08 | work with, which is this
one, the left-hand track.
| | 02:12 | Now, I'm going to double-click on it. And,
this will open the layer viewer. And, it
| | 02:19 | will also allow me to attach this
information to, as you saw before, null object,
| | 02:26 | but also to a feature point,
or feature center of effects.
| | 02:32 | In order to do so, I will first apply my
desired effect. So, let's just make sure
| | 02:39 | the layer is selected, and then go
under Effect>Generate, and let's choose the
| | 02:46 | last one on the list, the Write-On effect.
| | 02:49 | Now, the Write-On effect, will allow you
to actually record brush position, and
| | 02:55 | animate it over time.
| | 02:57 | But for now, what we want to do is
actually attach the feature center data here
| | 03:03 | that we collected from the circle movement.
| | 03:07 | This, of course, will be the left-hand
track to the brush position feature center.
| | 03:13 | For that, you need to make sure
that the tracker panel is visible.
| | 03:18 | I've left it open since we first
initiated, but if you don't see it on your
| | 03:24 | screen, just go to the Window
menu, and choose it from here.
| | 03:29 | Now, in our case, the Track Type is Raw,
since we didn't select any motion target for it.
| | 03:37 | We just left it as is as a preparation stage.
| | 03:40 | But now, we can actually return to this
menu, and convert it to a transformed data.
| | 03:47 | This will immediately light
the option to edit the target.
| | 03:53 | So, any effects that has an X and Y
coordinates will appear in this pull-down menu.
| | 04:01 | In our case, of course, we can only
attach it to the brush position of
| | 04:05 | the Write-On effect.
| | 04:07 | So, let's choose OK, and let's also apply
the X and Y dimensions to the effect.
| | 04:14 | This will copy the keyframe, and it doesn't
really matter where you are in the timeline.
| | 04:19 | And, if we are going to open the effect, we
can see the Write-On effect, and all the
| | 04:25 | keyframe data is attached to the brush position.
| | 04:30 | This also brings us back
to the composition panel.
| | 04:33 | And, after doing so, we can actually
close the tracker window, because we are done
| | 04:39 | with it at this stage.
| | 04:41 | Now, the default parameters of the Write-
On effect are not exactly what we need.
| | 04:47 | So first, I'm just going to raise the
brush size. So, I can say it's something,
| | 04:53 | maybe, around 12 pixels
should do the trick. At this case,
| | 04:57 | it will match the diameter of the brush,
and it will give us the right impression.
| | 05:04 | So, it almost work. Of course, we
will improve it, and make it look much better.
| | 05:11 | For now, I just want to define some
of the brush properties over time.
| | 05:16 | So, here, instead of none, I'm going
to choose size, and this will allow us to
| | 05:21 | animate the size across time.
| | 05:24 | It will also create some kind of
taper in the beginning, and the end of the
| | 05:30 | brush, giving a much more natural
look to the effect at this stage.
| | 05:35 | So, once again, let's go to the beginning here.
| | 05:38 | I'm going to zoom in inside my timeline,
just to verify that, indeed, I'm on
| | 05:42 | the first frame. And, I'm going to create
a keyframe for the brush size, and start
| | 05:47 | it with a value of zero.
| | 05:49 | And then, I'm going to press Shift+Page
Down twice. So actually, I'm moving my
| | 05:55 | play head 20 frames from this point, and
I'm going to bring it back to 12 pixels.
| | 06:02 | So, we have kind of a tapering
at the beginning of the move.
| | 06:06 | Now, let's scroll our way to the
end of the keyframe data. And, I think
| | 06:12 | that just before it reaches this
endpoint, somewhere around here, or maybe
| | 06:18 | even one frame before,
| | 06:20 | I'm going to stick with this value.
| | 06:22 | So, I'm going to press on this diamond
shape to add the same value to this point
| | 06:27 | in time. And then, let's go to the end
of this tracking information, the end of
| | 06:33 | the brush position, of
course, and reset it back to zero.
| | 06:37 | Now, we can zoom back again. And, once
again, let's press Spacebar, or create
| | 06:44 | a quick RAM preview using the zero on the
num lock, just to check the current stage.
| | 06:53 | Okay, so once again, from the beginning.
| | 06:57 | Now, obviously, this is not perfect.
| | 07:00 | As I promised, we will continue to work
and design this. But at this stage, if
| | 07:05 | you want to make it a little bit better,
you can actually take the first keyframe,
| | 07:09 | where the brush size is set to zero,
and, basically, just nudge it a couple of
| | 07:16 | frames, just so the start and
the end of the circle will match.
| | 07:21 | And, once again, let's just check it from
this stage onward. And, we can see that this
| | 07:26 | is working perfectly as it is now.
| | 07:30 | So, I'm going to let it finish render.
And, once again, just verify that we have
| | 07:37 | the expected result. And, I think that
we are in good shape to continue onwards.
| | 07:44 | So, just to summarize what we did here,
we edited the Write-On effect, and then
| | 07:49 | applied the Motion Tracking Data to
the brush position value, and also defined
| | 07:55 | the brush properties size over time.
| | Collapse this transcript |
| Designing the write-on look| 00:01 | In this movie, we'll continue
to design the Write-On effect.
| | 00:05 | We'll give it a unique look.
| | 00:08 | We'll extract the effect to a
solid layer, and then define the effect
| | 00:13 | parameters over time.
| | 00:16 | I'm inside 08 - Design the Write-On Look,
and this is the same project that we are
| | 00:21 | working until now.
| | 00:23 | I've already opened this composition,
and I'm going to open up the Action Layer,
| | 00:28 | so we can see what we have.
| | 00:31 | These are the previous
settings of the Write-On effect.
| | 00:34 | I'm going to zoom in a little bit, and
basically, I'm just going to highlight
| | 00:39 | those keyframes, which we
decided that we are not going to use.
| | 00:43 | This is the point where our actor is
actually starting to draw the shape.
| | 00:49 | But the first move is basically going
down, and then up. And, we started to do our
| | 00:57 | animation of the Write-On
effect from this point onwards.
| | 01:02 | So, just in order to clean up the
interface, I've highlight these keyframes.
| | 01:07 | And, I'm going to press delete on
the keyboard to get rid of them.
| | 01:12 | Now, I want to extract the
Write-On effect to its own layer.
| | 01:16 | This will give us a little bit more of a
freedom when we are designing this in a later stage.
| | 01:22 | So, I'm going to zoom out, just to see
my whole timeline. And then, I'm going to
| | 01:27 | select the Effect, and go under
Edit, and Copy all the parameters.
| | 01:34 | Now, I'm going to turn off the FXI for
this layer, because we don't want to see
| | 01:40 | it in the Action Layer.
| | 01:42 | I'm actually going to go to the Layer Menu,
and from here, I'm going to create a New>Solid.
| | 01:49 | I'm going to name this layer "Write-On;"
make sure that it is set to comp size.
| | 01:55 | The color doesn't really matter.
| | 01:57 | I'm going to stick with white for
this case, and I'm going to say OK here.
| | 02:02 | Now, the next stage before we are
pasting the information is very important.
| | 02:06 | You must make sure that your current
time indicator is hovering on top of
| | 02:11 | the first keyframe.
| | 02:13 | Now, while the layer is still
selected, you can paste the information.
| | 02:17 | If we are going to press U, in order to
verify and check, we can see that the values
| | 02:23 | are in the same location, and this
is, once again, a very important step.
| | 02:28 | I'm going to select this layer, and just
move it on top of my Action Layer, and we
| | 02:34 | can also collapse the triangle over here.
| | 02:37 | Currently, we can see the outcome of the
Write-On effect. And, this is because the
| | 02:43 | mode here, under the Paint
Style, is set On Original Image.
| | 02:47 | I'm going to change it to On
Transparent, and just scrub my timeline to verify
| | 02:53 | that everything is in order; and I think it is.
| | 02:56 | All right, so let's go somewhere over
here, and let's make this Write-On effect a
| | 03:01 | little bit, more richer.
| | 03:04 | Actually, I want to duplicate it twice,
and define different color values;
| | 03:09 | maybe different brush size values over time.
| | 03:12 | At the same time, I will show you
couple of other options for working with
| | 03:16 | this Write-On effect.
| | 03:18 | One option is to actually
change the brush spacing.
| | 03:22 | Currently, it is set to 0.01, but if I'm
going to raise this value -- and you can
| | 03:27 | also hold on shift to make it a
little bit faster, -- we can see that actually
| | 03:32 | those brush tips are little circles, and
you can modify it to taste, and if you
| | 03:39 | take a look, this is the outcome.
| | 03:41 | However, we are going to take another
approach in the upcoming movie, and I will
| | 03:46 | show you how to generate
something which is even more interesting.
| | 03:50 | But you do have a couple of options to
design the look and feel of this effect,
| | 03:54 | and I really encourage you to explore them.
| | 03:56 | For example, we can also change the
stroke length, which means that if I'm
| | 04:01 | going to change it from zero to one -- and,
in this case, let's just make those dots
| | 04:07 | a little bit closer to each other, -- we
can see that what we are gaining is some
| | 04:14 | kind of a caterpillar effect, or
something along those lines, which follows the
| | 04:20 | direction of our tracking data. And, this
can be very useful in some circumstances.
| | 04:28 | If you want to quickly reset the
values to what they were, you can actually
| | 04:32 | right-click on one of them, and click reset.
| | 04:35 | So, I'm going to do it for both of them --
for the length and for the spacing, -- and
| | 04:40 | this will bring us back to
the point where we started.
| | 04:43 | All right. First, let's change the color,
for this instance, of that Write-On effect.
| | 04:48 | I'm going to press, and set a Hue value,
which I know exactly what it is, so 200
| | 04:54 | for the Hue, 75 for the
Saturation. For the Brightness.
| | 04:59 | I'm going to go with, maybe, 90%.
| | 05:03 | I'm going to press OK. And, the next
stage is to make sure the effect itself is
| | 05:09 | selected, and go under Edit, and
Duplicate another copy of it.
| | 05:14 | And now, let's play with some of the
parameters for the second instance.
| | 05:18 | First, I'm going to change the
color of it. So, I'm just going to select
| | 05:23 | something, which is a little bit
brighter at more or less the same U area. And
| | 05:30 | then, I'm going to change the brush
size, in terms of its maximum values.
| | 05:36 | In order to see those values, I'm
going to press U. And then, I'm just going to
| | 05:40 | park the cursor over here, and control
the settings for the second Write-On
| | 05:46 | effect in the timeline.
| | 05:48 | So, instead of 12, let's go with, maybe,
eight for this keyframe. Then, let's move
| | 05:54 | to the next one, and make sure to
set it to eight over here, as well.
| | 05:59 | Now, we can't really see both of them
in action, since the paint style here is
| | 06:05 | also set to "on transparent," meaning
that it is cancelling the first instance.
| | 06:10 | Instead, what we want to do is return it to
its original state, which is On Original Image.
| | 06:16 | This way, we'll have our original,
and on top of it, the second one. Okay.
| | 06:22 | Let's do another one.
| | 06:24 | So, once again, make sure that effect
itself is selected, and go under the Edit
| | 06:29 | menu, and choose Duplicate.
| | 06:30 | You can also use the keyboard shortcut
Command+D, or Ctrl+D if you're working on the PC.
| | 06:36 | This time, I'm going to change the color
to almost white, something very bright.
| | 06:41 | And, once again, I'm going to press U. So, I
can see the new keyframe is over the
| | 06:47 | Write-On number 3 effect.
| | 06:49 | I'm currently just before the end
keyframe here. So, I'm going to select Write-On 3,
| | 06:54 | change the Brush Size this
time to, maybe, four, then press on the "Go
| | 06:59 | to previous keyframes for this
value," and once again, change it to four.
| | 07:05 | Now, if I'm going to create, once again,
a RAM preview, we can see that we have a
| | 07:12 | nicer definition, so the stroke is
actually not just one stroke, but it consist
| | 07:17 | a couple of colors.
| | 07:21 | So, let's just zoom in actually a little
bit, so we can see it in its full glory.
| | 07:26 | I'm going to press on the Tilde key, and
I'm just going to press on the Spacebar
| | 07:31 | to create a RAM preview.
| | 07:34 | Now, we do have couple of places
where those dots are not holding so well,
| | 07:40 | especially in the last white Write
-On effect that we've generated.
| | 07:47 | This is an easy fix;
| | 07:48 | just press Tilde to return to the
full interface, and change the brush
| | 07:52 | spacing all the way to its minimum
value, and then we can see that this
| | 07:56 | problem is resolved.
| | 07:59 | And, this is how you extract
the effect to a solid layer;
| | 08:03 | define the parameters over time;
and giving it some special, unique,
| | 08:09 | colorful look.
| | Collapse this transcript |
| Creating energy particles| 00:02 | In this movie, we will
create an Energy Particles.
| | 00:06 | We will transform our Write-On effect
using two effects, and merge them together,
| | 00:12 | so we'll have a nice, continuous look.
| | 00:15 | I have saved my progress, and
opened up the 09 - Create Energy
| | 00:21 | Particles Composition.
| | 00:23 | If you're working with me, and you have
access to the project file, go ahead and
| | 00:27 | select the Write-On layer.
| | 00:28 | On top of this layer, we already added
three Write-On effects, and these are
| | 00:35 | copies of the same effects
with couple of modifications.
| | 00:39 | I'm going to quickly create RAM preview
from this point onward, just so you can
| | 00:45 | see what is the current
state of this composition.
| | 00:49 | So, three light cyan strokes at
different brightness values.
| | 00:54 | Let's also zoom in a little bit, so we can
get a closer look, and see exactly what happens.
| | 01:00 | There is an obvious problem where
the stroke starts and ends. And, you see it
| | 01:06 | doesn't really adds up to a full circle.
| | 01:09 | We can see the beginning and end of this.
| | 01:11 | I'm going to solve this problem, and
actually give it a much more interesting
| | 01:16 | look by adding two effects.
| | 01:19 | The first effect is going to be a
simulation one, so make sure to select
| | 01:24 | the layer, and go under Effect>Simulation. And
from here, let's choose the CC Ball Action.
| | 01:31 | CC Ball Action will actually take
whatever layer you are fitting in, whatever
| | 01:36 | pixels, and convert it to small balls.
| | 01:40 | And then, you can actually
modify them in 3D Space.
| | 01:43 | So, see, that actually have depth.
| | 01:47 | However, we are not going to settle
with this, and I'm not sure if we are going
| | 01:53 | to use the depth of the effect itself.
| | 01:56 | I actually want to use the
parameters here to give it a unique look.
| | 02:01 | So, first, let's just reduce the grid
spacing to its minimum of zero. And then, we
| | 02:08 | can see that we have a lot of tiny
dots that's actually defining the same
| | 02:13 | animation as before.
| | 02:14 | In order to bring some energy and
physics to these balls, you can actually
| | 02:19 | scatter them in 3D space.
| | 02:21 | Now, be careful here, because small values
are actually going to take you a long way.
| | 02:27 | So, if I'm going to something along
these lines, let's say eight, we can see
| | 02:32 | that we have a nice separation of all those
dots, but it is too much for this instance.
| | 02:38 | So, I'm going to settle with
something more modest, like maybe 2.0.
| | 02:43 | And this, of course, gives us this very
unique look, and also fix the problem
| | 02:50 | between the beginning and
the end of the animation.
| | 02:54 | Now, it does look very promising, but
if we're going to play it for a couple of
| | 02:59 | frames, we can see that
those points are hanging there.
| | 03:02 | They are not animating except for the Write-
On effect, which actually helps to reveal them.
| | 03:10 | I want to give them some kind of energy,
some kind of move, and you can achieve
| | 03:15 | this by enabling keyframes
for the instability state.
| | 03:20 | So, the instability state actually
takes those little balls, and gives them
| | 03:25 | some kind of movements around their location.
| | 03:29 | You can see this is
exactly what I was looking for.
| | 03:33 | So, one option is to
create keyframes for this value.
| | 03:37 | Another one which will be a little bit
quicker, and will help us in the upcoming
| | 03:42 | movie, is to the define it using an expression.
| | 03:46 | So, I'm going to hold down Alt or
Option, and click on this stopwatch, and this
| | 03:50 | will reveal this property in the timeline.
| | 03:53 | And, I'm going to write a very
simple expression time*500.
| | 03:59 | And this will take the time value, and
multiply it by 500, and the result is that
| | 04:07 | it will always animate that
value of the instability state.
| | 04:13 | So, just in order to show you what we
have, I'm going to back up a little bit,
| | 04:18 | maybe zoom, or even fit it to the screen,
and create a quick RAM preview, so we can
| | 04:25 | see the outcome of this one.
| | 04:29 | Okay, it starts to look very exciting.
| | 04:31 | I'm going to once again zoom inside, just
to check that it is working at 100%, as well.
| | 04:39 | Let's do a quick RAM preview, just to verify
that everything is in order, and I think it does.
| | 04:46 | Now, you can leave it like this, but I
think that we need to merge these little
| | 04:50 | balls a little bit into each other,
giving them also the illusion of some kind
| | 04:57 | of a motion blur, due to the
effect of the drawing itself.
| | 05:03 | This effect doesn't support motion blur,
but we can find a way around it just by
| | 05:09 | going to the Effect menu, once again,
and from the Blur & Sharpen category,
| | 05:14 | let's choose one of my favorite
effects, which is CC Vector Blur.
| | 05:20 | Okay, I'm going to choose from the pull
down menu a perpendicular type, and of
| | 05:25 | course, you can experiment with the
other types as well, but I think that this
| | 05:29 | will work pretty nice here, and I'm just
going to touch the amount a little bit.
| | 05:34 | Now, once again, small values will take
you a long way here, so in this case, an
| | 05:41 | amount of five really smear those
little balls, and give us the impression that
| | 05:47 | they are actually forming some
kind of a gate or a passway.
| | 05:53 | Once again, let's go to the start of
this animation, and create a quick RAM
| | 05:57 | preview, so we can get a sense of how
the Vector Blur, combined with all the
| | 06:04 | Write-On and CC Ball Action
Effect, is working together.
| | 06:12 | At this stage, it looks very promising, but we
will enhance it even further in the next movie.
| | 06:19 | For now, this is how you add energy to
your animation using a Ball Action Effect
| | 06:26 | and also merge them together with
the help of the Vector Blur Effect.
| | Collapse this transcript |
| Adding depth to the circle of particles| 00:02 | In this movie, we will take our current
creation, which is the Write-On Circle Effect,
| | 00:10 | and, after giving it some energy,
we will also add some depth to the
| | 00:15 | particle circles themselves.
| | 00:17 | We will create it using a couple of
duplicates from the same instance, and
| | 00:22 | changing the Z position, and couple
of the values in the effects that
| | 00:29 | we've already created.
| | 00:31 | Just to quickly catch up, and make sure
that everyone is on the same page, I've
| | 00:36 | opened up the last composition under
the 03 - Paint and Particles Effect folder,
| | 00:42 | so we can get a chance to see
what we've manage to create so far.
| | 00:46 | (video playing)xxxxxxxxxxxxxxxxxxxxx
| | 01:04 | Okay. So, we have our initial set-up of the
circle, the air circle here. And, we want to
| | 01:12 | make it a little bit more interesting
and fancy, and also to actually correlate
| | 01:17 | to the atmosphere of the
scene that is leaving it.
| | 01:22 | For that, I'm going to select the Write
-On layer, go under the Layer menu, and
| | 01:27 | choose to Pre-compose it.
| | 01:28 | I'm going to move all my attributes
to the new composition, and name this
| | 01:34 | composition, Particles Circle.
| | 01:38 | Let's choose OK here, and let's double-
click in order to open the composition.
| | 01:43 | Now, here we have the Write-On with its
five effects, three copy of the Write-On
| | 01:50 | effects, with the CC Ball
Action and CC Vector Blur.
| | 01:55 | In order to give it a little bit more of a
depth, I'm going to convert it to a 3D layer.
| | 02:00 | And then, from this one, I'm
going to duplicate two more copies.
| | 02:05 | So, Command+D or Ctrl+D to duplicate two
instances. And, let's make sure to select
| | 02:11 | both of them, and press P. And, I want
to separate those layers using different
| | 02:17 | values for the Z position.
| | 02:20 | For the second copy, I'm going to
type down 100, and for the first one, 200.
| | 02:26 | This way, we are getting some kind of a tunnel.
| | 02:30 | Now, I don't really want the tunnel
filling; I just want to make it a little
| | 02:36 | bit more richer.
| | 02:38 | So, I might want to compensate by
pressing S, after both of them are selected. And
| | 02:45 | then, nudge it, more or less, to the
original position, not exactly one on top of
| | 02:51 | the other, but something which will
just make this animation a little bit more
| | 02:57 | richer, a little more thick.
| | 02:59 | So, this is what we are gaining here.
| | 03:02 | However, since we are duplicating from
the same source, everything in terms of
| | 03:07 | the animation looks the same.
| | 03:09 | So, a good idea is to select both
copies here, press E in order to show the
| | 03:15 | effect, and change couple of the
settings for the Ball Action, and for the Vector
| | 03:21 | Blur effect for that first and the second one.
| | 03:25 | Let's start with the first one.
| | 03:27 | I'm going to go to the effect panels here;
| | 03:29 | it will be a little bit more easy to see.
| | 03:32 | And, I'm just going to change the scatter
value to something different, maybe three.
| | 03:37 | Now, don't be alarmed if you see this icon.
| | 03:39 | This tells you that the effect, itself,
has a 3D capability, and we've changed the
| | 03:44 | layer to be a 3D layer.
| | 03:46 | Hence, the 3D capabilities of
the effects are not going to work.
| | 03:51 | But since we don't have any camera
action in this scene, it doesn't really
| | 03:54 | matter for this example.
| | 03:57 | Let's also raise the amount of the
Vector Blur to, maybe, 10, and we are getting
| | 04:02 | a different variance here.
| | 04:04 | I'm going to do the same
for the second layer here.
| | 04:07 | So, let's quickly change its Ball
Action Scatter value to, maybe, something a
| | 04:13 | little different; 2.5 should do the trick here.
| | 04:17 | And, for the amount of the Vector
Blur, let's give it a value of six.
| | 04:22 | Now, this does help, but it
still looks like more of the same.
| | 04:28 | I really want it to feel
like three different streams.
| | 04:32 | So, for that, we can change actually
the instability state expression that we
| | 04:37 | gave to each one of them.
| | 04:40 | To get a fast access to the expression,
just select both of the layers, and press
| | 04:46 | EE in sequence, so double-tap
the letter E in the keyboard.
| | 04:51 | I'm going to change the first one
from 500 to 800, and I'm going to change
| | 04:58 | the next one to 300.
| | 05:01 | Now, these are arbitrary values.
| | 05:03 | I just came up with those
numbers now. It doesn't matter.
| | 05:07 | You can change it to whatever you want.
| | 05:09 | Now, let's go back in time to the
point that it starts to generate.
| | 05:13 | I'm going press Tilde to give ourselves
a full view. And, let's generate a quick
| | 05:20 | RAM preview so we can see
how everything is forming.
| | 05:23 | Once the preview is almost finished,
I think over here, we can press the
| | 05:28 | Spacebar, once again, and then you can
press Shift+Page Up a couple of times, just
| | 05:35 | to nudge the play head backwards, even if
you don't see it. And then, we can press,
| | 05:40 | once again, Spacebar to play it in real time.
| | 05:46 | And, this one looks much more promising and
much more richer in terms of details, but
| | 05:52 | we can even enhance it further
by adding an adjustment layer.
| | 05:59 | And, to this adjustment layer, I'm going to add,
from the Stylize category, the Glow Effect.
| | 06:06 | This effect, working on all three
copies, will merge them even better together.
| | 06:12 | Let's play with the values here a
little bit; maybe raise the Glow Radius to 30.
| | 06:18 | And, I think that we can lower
the glow intensity to, maybe, 0.7.
| | 06:24 | Once again, I'm going to zoom inside,
just to check how this looks over here.
| | 06:29 | And, in order to see it in context, let's
just click here on the top bar to return to
| | 06:35 | the main composition. And, once again, we
can drag our current time indicator, or
| | 06:42 | even create quick RAM preview
to check the intermediate result.
| | 06:46 | And, this is how you add depth and definition
to the particles, modify the animation a
| | 06:53 | little bit, and also add a Glow
Effect to tie everything together.
| | Collapse this transcript |
|
|
4. Matching and TransportingParenting the tracking data| 00:02 | We've reached the halt of the project.
And now, it's time to place and combine all
| | 00:08 | the elements that we've prepared,
and see how they can work in concert.
| | 00:14 | In this movie, we'll parent the
tracking data to the video footage, and apply
| | 00:20 | some manual collection to complete the
throwing of the particles circle in
| | 00:26 | the air by our actor.
| | 00:28 | If you're following along, I'm
inside the Personal Transporter Project.
| | 00:34 | I'm going to open now the fourth
folder here, Match and Transport, and let's
| | 00:41 | open up number 11 - Parent
the tracking composition.
| | 00:47 | First, just that we will be on the
same page, as usual, I'm going to create a
| | 00:52 | short RAM preview for you, so you can
get a sense of where we are at this point.
| | 00:58 | (audio playing)xxxxxxxxxxxxxxxxxxxxx
| | 01:16 | So, as you saw, we've got a nice
description, where all of the beginning action is
| | 01:23 | happening over here.
| | 01:24 | However, at this point where Yuval is
reaching for the air-circle that he just
| | 01:30 | drew, trying to actually grab it, we
need to match the element to the action.
| | 01:37 | If you remember at an earlier movie,
we've prepared the Right Hand Tracking data,
| | 01:45 | which is represented here
by this yellow null object.
| | 01:50 | And, this actually describes the place
where Yuval is actually moving his left
| | 01:57 | hand, but from our point of view, this
is the right hand, just grabbing the
| | 02:02 | element and throwing it away.
| | 02:05 | So basically, we need to jump
this circle from here to the hand.
| | 02:12 | And, this is quite an easy task as long
as you are prepared for it like we did.
| | 02:18 | In order to do this, the first move
that we need to take is actually to parent
| | 02:25 | the Particle Circle composition to this
element, to the Right Hand tracking data null.
| | 02:30 | In order to do so, we need to see the
Parent Column in the Composition panel.
| | 02:36 | I'm going to press Tilde just for one
second, so I can show you where it is.
| | 02:42 | You don't really have to do it when
you are working, but since I have a
| | 02:46 | limited working area here, in terms of
resolution, we just want you to see the whole menu.
| | 02:52 | So, anywhere on this top bar, just
right-click, and from the Columns list, just
| | 02:59 | select this guy, the Parent column.
| | 03:02 | Now, I'm going to press on the Tilde key,
once again, to bring back the whole interface.
| | 03:07 | The next step is to select the
Particles Circle composition, and either use the
| | 03:13 | Pull-Down menu, or just use the pick whip
to point it to the Right-Hand tracking data.
[00:03:2.59]
If I'm going to press Page Down. And, by
the way, if you don't have an extended
| | 03:25 | keyboard, or you don't have this Page Up
or Page Down keys on your keyboard, you
| | 03:30 | can also press Ctrl+Right Arrow, if
you're working on the PC, or Command+Right
| | 03:37 | Arrow. And, this will do the same thing;
it will step one frame forward.
| | 03:41 | So Commandt+Right Arrow, and you can
see that our circle is jumping to the
| | 03:46 | place of the tracker.
| | 03:48 | Now, this may look like an abrupt change,
but if we're going to park our cursor --
| | 03:55 | let's say, here, at six seconds, --
| | 03:57 | press on the Spacebar, just so we can
see a quick RAM preview. And, I'm also going
| | 04:02 | to press F2, just in
order to deselect everything.
| | 04:06 | So, we won't see the border of this layer.
| | 04:08 | And, once again, I'm going to play this.
| | 04:10 | You will see that
actually this works quite well.
| | 04:14 | And, the only thing missing here is
just a little bit of manual keyframing, so
| | 04:21 | it will appear as Yuval is actually
holding this, and throwing it on top of his head.
| | 04:28 | Unfortunately, there isn't any automatic
way to actually marry those two elements.
| | 04:35 | So, we need to take a little
bit of a manual step here.
| | 04:38 | But don't worry. It's not going to be
too hard, because we only have a couple of
| | 04:43 | frames, or maybe a second or so to complete this.
| | 04:48 | The good thing is that, when we parent
the Particle Circle layer -- or composition,
| | 04:55 | I should say, -- to the null object, we
actually inherit the anchor point of the
| | 05:01 | null object, meaning that all the
adjustment, the geometry transformation that
| | 05:06 | we are about to create here, will actually
be anchored to the point of the null object.
| | 05:14 | This will make our task a little
bit more easy to complete. Okay.
| | 05:19 | So, let's select the Particle Circle
composition, and let's press P, and Shift+S,
| | 05:26 | and also Shift+R. And, the reason is
that we need to worry about the Position,
| | 05:32 | Scale, and Rotation for this layer.
| | 05:35 | These are the values that we need
create keyframes, in order to match this move.
| | 05:40 | But when I pressed R, or Shift+R in my
case, I got to see all the elements for
| | 05:47 | the Orientation and the Rotation.
| | 05:50 | Just to make things a little bit more
easy on the eye, and simple in terms of
| | 05:54 | what we actually need to see, I'm
going to hide couple of the things here.
| | 05:59 | In order to hide elements from your Timeline,
you need to press Alt or Option and Shift
(Alt+Shift or Option+Shift)
| | 06:06 | and then click on the value
that you don't wish to see.
| | 06:09 | So, in my case, I'm pressing Alt+Shift,
and I'm going to click on the Orientation,
| | 06:15 | and the Y Rotation, since in this
case, I don't need to change those values.
| | 06:23 | So, let's step to the place where
we need to start the modification.
| | 06:30 | And, I think that, until this point, when
Yuval is reaching to grab the circle, the
| | 06:38 | scale of the circle, itself, should be 100%.
| | 06:42 | I'm going to create a keyframe for the scale.
| | 06:45 | Now, let's zoom a little bit to our Timeline,
so we can get a sense of what we are doing.
| | 06:50 | And, once press Page Down, or Command+
Right arrow, or Ctrl+Right arrow, in order to
| | 06:57 | move forward. And, in this case,
I moved two frames ahead.
| | 07:01 | Now, I'm going to scrub the Scale value, and
just place this circle on top of his right hand.
| | 07:09 | So, this is a nice example for
planning ahead in the present, in order to
| | 07:14 | save time in the future.
| | 07:17 | But, we are doing some futuristic thing
here, so I'm going to stick with future.
| | 07:22 | Now, let's go with Keyframes for the Z Rotation.
| | 07:26 | Let's start here, and then let's move
forward a couple of frames, and I'm going
| | 07:31 | to eyeball it, more or less, to the
place that I think it should be.
| | 07:36 | I'm also going to compensate by
reducing the scale, just in order for the circle
| | 07:42 | to be between both of his hands.
| | 07:45 | So, once again, I need to compensate
by giving it a little bit more in terms
| | 07:51 | of an angles, and once again, I'm going to make
sure that it sticks in the area of the hand.
| | 07:59 | So, I'm working my way, changing both
scale and Z position, until it looks good.
| | 08:08 | Don't worry about just mimicking me,
and getting the exact same values.
| | 08:14 | For each and every one of you, if
you are following along, it will be a
| | 08:17 | little bit different.
| | 08:19 | Just try to imagine where this circle
would be in each and every frame, and
| | 08:25 | basically, work through this composition,
and just match it, so it will look like
| | 08:31 | Yuval is actually holding it,
and then throwing it up and above.
| | 08:37 | I'm going to stop here, and just scrub
back and forth to see if we basically have
| | 08:44 | the illusion of what we need.
| | 08:46 | And, I think that we are in good state, so
this is basically all we need to do here.
| | 08:51 | Let's say that, at this point in time,
we are going to record our first keyframe
| | 08:56 | for the position Value. And also, let's
record the keyframe for the X Rotation.
| | 09:02 | Now, once again, I'm going to zoom in a
little bit, so I can see my way here, and
| | 09:06 | move forward one frame. And then, I'm
going to scrub the Y value for the position,
| | 09:13 | so the circle will start climbing up.
| | 09:16 | At the same time, I'm going
to change the X Rotation.
| | 09:20 | So, we'll start to get this kind of
move, so it will basically change the
| | 09:27 | Orientation or the Rotation.
| | 09:29 | And then, as before, I'm going to press
on Page Down, and I'm going to zoom a
| | 09:34 | little bit out. And, once again, I'm
going to make sure that the circle is
| | 09:38 | climbing up. And also, maybe give it a
little bit of an angle, maybe something
| | 09:44 | around -53 degrees.
| | 09:47 | And, I think that maybe I'm going to even
raise it a little bit higher. All right.
| | 09:56 | Let's zoom back, and also fit it in the
screen, so we can test the result. And, this
| | 10:02 | is what we've managed to achieve with
Parent tracking data to the circle. And, we
| | 10:09 | also applied some manual corrections, so
it seems like Yuval is actually grabbing
| | 10:14 | this, and throwing it up in
the air on top of himself.
| | Collapse this transcript |
| Bringing back the hands| 00:01 | In this movie, we will bring
back the hand of the actor.
| | 00:06 | We will use a technique with the
Paint Tool. And, we'll actually paint on the
| | 00:12 | Alpha channel to reveal the
hands on top of the circle.
| | 00:16 | If you are working with me, and you have
access to the Project File, you can open
| | 00:21 | up composition number 12 - Bring back the hands.
| | 00:25 | What we did earlier is actually
connected the Particle Circle composition to the
| | 00:32 | Right-Hand Tracking Data.
| | 00:35 | So, the minute that our actor is going
to finish to draw the circle, and move his
| | 00:43 | left-hand -- right-hand from our
perspective, -- and grab it, we actually connected
| | 00:48 | it using the Parenting Options in After Effects.
| | 00:53 | And then, if I'm going to select layer
number five, which is the Particles Circle
| | 00:57 | layer, and press U, we also generated
manual keyframes for the Position, Scale
| | 01:04 | and Rotation. And so, it seems that if we
will scrub the Timeline, Yuval, our actor,
| | 01:09 | is holding this circle,
and throwing it on top of himself.
| | 01:14 | But if you look closely, you can see
that the circle is all the time on top of
| | 01:19 | the video, and this ruined the illusion
that Yuval is not actually holding it.
| | 01:24 | We need to reveal his fingers here and
there at some places over time, so it
| | 01:30 | will actually looks like he is holding this.
| | 01:33 | To achieve this, I'm going to take a different
approach from what you might have suspected.
| | 01:40 | Of course, we can use the Masks, as we
did in earlier movie, in order to mask
| | 01:45 | away those fingers.
| | 01:48 | But this would take us a little bit more
effort, because we will need to animate the mask.
| | 01:54 | Let's use the fact that we already
parented this. And, the anchor point of this
| | 02:00 | layer is actually remaining in place,
meaning that it will basically stick to
| | 02:05 | the position of the right hand of our actor.
| | 02:09 | This way you can use this
information, and just paint those pixels away.
| | 02:15 | So, to do this, you might have guessed I'm
going to use the paint inside After Effects.
| | 02:20 | Now, if you select the layer, and press
on the Brush in order to activate the
| | 02:24 | paint, you will see the Brushes and the
Paint panels, and that's if you left the
| | 02:30 | Auto-Open Panels options enabled here.
| | 02:34 | Now, there is some kind of a gotcha
here, because if we are going to try and
| | 02:39 | paint on this layer, it will not work.
And, you may also get the warning from
| | 02:43 | After Effects saying that you cannot
use the Paint or the Auto Brush Tools on
| | 02:49 | the composition itself.
| | 02:50 | You must paint your strokes on
the layer inside the Layer panel.
| | 02:56 | To get to the Layer panel, you need to
double-click on one of the layers. And then,
| | 03:01 | if I'm just going to draw
something on the screen . . . . There we have it.
| | 03:04 | We can see our paint stroke.
| | 03:07 | Paint inside After
Effects is basically an effect.
| | 03:10 | Let's go to the Effect, and ask it to
show its Effect Controls. And, we can see
| | 03:15 | that we have just one option,
which is Paint on Transparent.
| | 03:19 | If I'm going to Enable this, it will
dismiss all the pixels of the layer, and
| | 03:25 | just show us the paint on
a transparent background.
| | 03:29 | To check the result, we need to go back
to the Composition panel, and there we
| | 03:34 | can see the new paint.
| | 03:36 | Now, this is not exactly what we need.
| | 03:38 | We actually want to modify
those transparent pixels.
| | 03:43 | So, I'm not going to use this Paint on
Transparent option. And, I'm also going to
| | 03:48 | open the Paint effect in the
Timeline, where I can see all my brushes.
| | 03:54 | Every time you're using a Paintbrush
inside After Effects, you are actually
| | 03:58 | defining vectors with the definitions
of the brush's tip, and the options of the
| | 04:05 | Paint window over here.
| | 04:07 | So, I'm going to select my
Brush number 1, and delete it.
| | 04:11 | And, instead of just drawing on the RGB
channels, I'm going to switch to just
| | 04:17 | draw on the Alpha Channel.
| | 04:19 | And, this means that if I'm going to
stick with the default color, which is black,
| | 04:24 | and draw something over here, I'm
going to remove the pixels from the layer,
| | 04:31 | because I'm modifying the Alpha Channel.
| | 04:34 | And, just so you can see I'm going to
switch to the Alpha Channel, which you
| | 04:38 | can quickly access using the keyboard command
Alt+4; so Alt+4 will show you the Alpha Channel.
| | 04:45 | There are also couple of options here where
you can see different views of the Alpha Overlay.
| | 04:52 | Let's stick with this one, and once
again, let's come back to the composition,
| | 04:57 | and see where we are.
| | 04:59 | And, we can see that we almost got it. We
actually removed some of the pixels over here.
| | 05:05 | So, this is the result that we are
after, but using this system of bouncing
| | 05:10 | between the Layer panel and the
Composition panel is not the best way to work.
| | 05:15 | What I recommend is to simply change
your workspace from Standard to Paint.
| | 05:23 | This will keep all the Paint tools over
here, and in the left side, it will open
| | 05:28 | up our Composition View, so we can actually
see what we are doing almost in real time.
| | 05:34 | I'm going to zoom inside a little bit
using Ctrl+Close or Command+Close, and
| | 05:39 | then pressing and holding the Spacebar,
I'm going to just drag the viewer to
| | 05:45 | the area that I need.
| | 05:46 | You can also rearrange the panels just
so you will have a little bit more room
| | 05:52 | over here to see the actual result.
| | 05:54 | Now, I'm going to select my Layer panel,
press Alt+4, so I can see the full RGBA
| | 06:00 | composite, and of course I'm going to
select this brush, once again, and remove it.
| | 06:05 | Let's try now from the beginning.
| | 06:07 | Now, if you want to change the Diameter
of the brush -- if you feel that you need
| | 06:11 | to paint a little bit more pixels on
every stroke, -- just hold down Command and
| | 06:17 | drag up and down, and this will
increase the Diameter pixels.
| | 06:23 | And, you can also see a
preview here in the Brushes panel.
| | 06:27 | So, I'm just going to press, once again,
a Command or Ctrl, reduce it to maybe
| | 06:32 | around 30 pixels, and try to
basically guess where this is.
| | 06:38 | Once again, before you start to paint,
just verify that you are painting only on
| | 06:43 | the Alpha Channel. And then, let's try it
once again, maybe over here, and we can
| | 06:49 | see that, indeed, we are revealing his hand.
| | 06:53 | Now, don't worry if you take it a little
bit too far. We will be able to fix it
| | 06:58 | in a moment using actually the
Brush Properties in the Timeline.
| | 07:03 | For now, I just want to make sure that
I've got one Brush for the upper hand,
| | 07:09 | which we defined as the right one, the
right hand. And then, let's scroll down, and
| | 07:14 | try to find a place for the left hand.
| | 07:18 | So, you see this is where I think it was,
but I need to move my cursor a little
| | 07:24 | bit to the right. So, let's undo the
last operation, and let's try to do it over
| | 07:29 | here. And, there we have it; we got it.
| | 07:31 | So, this frame is actually done, but we
need to make sure that it will hold for
| | 07:38 | the rest of the composition.
| | 07:40 | So now, basically you have two options.
You can either continue to work in this
| | 07:45 | environment, which means in the Paint Workspace,
or you can actually return to the Standard one.
| | 07:53 | You can also hide the Paint tools, so we
can see more pixels, and then select one
| | 07:59 | of the Brushes. Let's start with Brush number
1. I remind you that this is Brush number 1.
| | 08:04 | We cannot actually see it;
| | 08:05 | we can only see the result of it.
| | 08:07 | But if we will open Brush number 1, and
open its transform properties, we can see
| | 08:14 | that we can record
keyframes for the Position, Scale,
| | 08:17 | Rotation, and even change the Anchor Point.
| | 08:20 | If you feel that you went too far when
selecting a diameter, you can also open
| | 08:26 | up the Stroke Options here, and actually
play with the diameter after the effects.
| | 08:32 | And, this will reduce the Brush to
something a little bit more modest.
| | 08:37 | So, maybe we will start with 15 for this
one. And, let's go to the Transform of the
| | 08:44 | brush, and set the keyframes for the position.
| | 08:46 | I think that position is all we need to worry here.
| | 08:50 | And then, let's just move forward. So,
pressing Page Down, we can see that the pixels
| | 08:57 | are more or less staying in the desired
position, since they are all locked to this point.
| | 09:04 | If not, you can always use those
Position values to nudge them across time.
| | 09:10 | So, this is actually what I'm trying to
do it here, just playing with the X and
| | 09:15 | Y position, making sure that his fingers
are all the time on top of the circle here.
| | 09:24 | So, here and there, you might
need to do some modification.
| | 09:28 | And, by the way, if these arrows are
bugging you -- if you can't really see what's
| | 09:32 | happening, -- you can always go to the
View menu here, and select this option, Show
| | 09:38 | Layer Controls, and this will hide all the
boundaries, and the little axis that we are seeing.
| | 09:45 | So, I might want to pull it a
little bit back, and then move forward.
| | 09:51 | And, I think that this is it for the left hand.
| | 09:54 | Now, let's work on the other one, which
should be a little bit more challenging.
| | 10:00 | So, let's open up Brush number 2. Go back
to the place that we started the brush.
| | 10:08 | So, just move the playhead over here.
| | 10:11 | Then, let's modify the
transformation for this one.
| | 10:15 | So, I just want to make sure
that I can see it in context.
| | 10:20 | Okay. So, let's record a Keyframe for the position.
| | 10:24 | And, once again, repeat the same step,
so press Page Down, move forward a
| | 10:28 | frame, and then just move this each
time, just so it will look like Yuval is
| | 10:35 | actually holding this.
| | 10:38 | Okay, let's check what we have.
| | 10:40 | I think it's holding out quite nice.
| | 10:42 | Let's move one frame forward, press
Spacebar to drag the Composition Viewer,
| | 10:48 | and, once again, let's play with this little
patch here, just so it would seem perfect.
| | 10:56 | And, I think that we might have just
one more frame to do. So, once again, I'm
| | 11:02 | pressing Page Down, and I think that this is it.
| | 11:04 | So, it wasn't too bad.
| | 11:06 | Let's check this in motion. So,
let's move a little bit before the Paint
| | 11:12 | operation, press Spacebar or Zero on the
num lock in order to create a quick RAM
| | 11:17 | preview, and examine their result.
| | 11:23 | It all happens very quickly, and I
think that it sells the illusion.
| | 11:28 | I think that we managed to deliver the message.
| | 11:32 | Remember that at the end step, we will
also enable Motion Blur for this layer.
| | 11:38 | I already enabled the Motion Blur
switch for the layer in the timeline.
| | 11:41 | Let's enable the Motion Blur switch for
the composition, itself. And, you see that
| | 11:46 | it all happens very quickly. And,
I think this is quite convincing.
| | 11:52 | So, this is how you use the Paint tool
inside After Effects to paint on the
| | 11:58 | Alpha Channel, and therefore reveal
the hands of our actor on top of the
| | 12:04 | particles circle.
| | Collapse this transcript |
| Particle circle motion control| 00:02 | In this movie, we'll create a motion
control for the particle circles, which
| | 00:07 | means we will set the landing animation
for the particle circle, add more copies,
| | 00:14 | and enhance the effect.
| | 00:16 | For those of you who have access to the
project files, and working with me, I've
| | 00:21 | opened up the third composition in
the fourth folder, Match and Transport.
| | 00:26 | The name of the composition is Particle
Circle motion control. And, I've already
| | 00:31 | took the liberty to create a quick
RAM preview of the last stage, just so you
| | 00:37 | remember what we did until this point.
| | 00:39 | So, our actor is drawing the circle;
it jumps to his hand, and then he's
| | 00:45 | throwing it up and above.
| | 00:48 | We also took the time to paint the
fingers back to the screen, so we can see that
| | 00:54 | he is actually holding the imaginary circle.
| | 00:58 | Now, in order to save some rendering time
while I'm working, I'm going to disable
| | 01:03 | the Motion Blur for the composition.
| | 01:06 | We will enable it in a later stage, but
for now, it's just going to slow us down.
| | 01:12 | Okay, so let's select the Particle Circle layer,
and press U in order to see what we have here.
| | 01:20 | We have keyframes for the paintbrushes.
| | 01:23 | I'm going to close them, and we also
have our previous keyframes in terms
| | 01:28 | of Position, Scale and Rotation, and this
what makes the circle to stick in its place.
| | 01:36 | Now, I want to return the circle, and
make sure that, while it's landing back on
| | 01:43 | our actor, it will actually be around him.
| | 01:46 | We set the stage on an earlier movie, and
separated all our layers into 3D space.
| | 01:54 | So, if I'm going to take a look at
Custom View 1, and orbit my camera a little
| | 02:00 | bit, we can see that here in this point,
actually, our actor here is jumping. And,
| | 02:08 | see the circle over here
is currently on top of him.
| | 02:13 | We just want to make sure that when this
circle lands, it will actually be around him.
| | 02:20 | So, let's deal with it now.
| | 02:22 | Let's go back to our Active Camera
View, and make sure that the current time
| | 02:27 | indicator is right on the cut itself.
| | 02:31 | So, at this stage, we can actually make the
particle circle land back to its place.
| | 02:39 | This means that we need to play with
the Y position, and also, we need to make
| | 02:47 | sure that the X position
is correct, and the Z one.
| | 02:51 | First, I'm going to just make sure that
we can see more of this circle; so I'm
| | 02:57 | just going to drag it over here.
| | 03:00 | This way, I can return to the Custom
View 1, and just make sure that, indeed, we
| | 03:07 | have a nice separation between the layers.
| | 03:09 | I think that I might need to make it a
little bit more apparent, so maybe -230,
| | 03:16 | or such, in the Z axis.
| | 03:20 | I'm going to press Escape to return to
my previous view, and then maybe fix it a
| | 03:25 | little bit in terms of its X
Position. And, you can also play with the X
| | 03:32 | Rotation, so it will look like it is just at
the correct perspective in terms of the camera.
| | 03:39 | If I'm going to continue to scrub the
Y value, I can see that, indeed, it is
| | 03:46 | circling the person here.
| | 03:49 | Once again, I might want to
change the X Rotation a little bit.
| | 03:54 | Okay, so this is the final position basically.
| | 03:57 | We can set it to land over here. So, say
something like this. And, we need to time
| | 04:05 | it, of course, and obviously we
need to fix the area here, in between.
| | 04:11 | So, let's just make sure that the
timing is correct. I think that it should
| | 04:16 | land a little bit more later in
time, so I'm just going to drag these
| | 04:20 | keyframes over here.
| | 04:23 | We might need to play with them a
little bit more later. Let's once again
| | 04:26 | zoom inside our Timeline, and then
let's see if the movement is all right.
| | 04:32 | I think that we have a consistent
animation. We want to get the feeling that
| | 04:37 | is really throwing it up in the air, and then,
after a couple of seconds, it lands back.
| | 04:43 | So, I'm going to create a quick RAM
preview just to see it in real time.
| | 04:50 | And, it all looks nice, but the timing is not right.
| | 04:54 | I think that it should land much more
quicker, so we need to make sure that, at
| | 04:59 | this point, maybe somewhere over here,
it still stay on top of him, or maybe
| | 05:05 | gaining more energy, just to
create this kind of portal.
| | 05:09 | So, I'm just going to modify this
keyframe a little bit for the X value. And
| | 05:15 | then, I'm just going to compensate in terms of Y,
just raising it even higher on top of Yuval.
| | 05:22 | Now, let's test it once
more, and see how this goes.
| | 05:27 | Once again, you need to play it in real time.
| | 05:30 | This is much better, but I think that
we do need a little bit more energy, so
| | 05:35 | maybe even raise it higher.
| | 05:38 | So, you can either drag this keyframe
to a higher value, or create another
| | 05:42 | keyframe later in time. It's up to you.
| | 05:45 | I'm also going to select the last two
keyframes, and press F9 in order to convert
| | 05:52 | them to an easy eased keyframes.
| | 05:55 | And once again, let's just do a quick
check to see if this works, in a sense that
| | 06:00 | now we have a decent movement.
| | 06:03 | Now, I want to improve the effect
itself by adding a couple of more circles.
| | 06:08 | So, it will actually create
some kind of a tunnel around him.
| | 06:13 | In order to do so, we will split this
layer, and then duplicate five or six
| | 06:19 | copies, and then create a cascade
animation to time it to the video.
| | 06:25 | But before we'll attend to this task,
we need to clean this kind of an
| | 06:29 | arrow that we have here.
| | 06:32 | And, this is a leftover from the
paint effect that we used earlier.
| | 06:36 | I'm going to open the Paint, and we
can see that both brushes are basically keep
| | 06:43 | holding their values until
the end of the composition.
| | 06:45 | This is the default behavior of
the Paint tool inside After Effects.
| | 06:51 | However, not all is lost;
| | 06:52 | we can always trim them to the point
that we actually need them on screen.
| | 06:59 | So, if I'm going to do it, we can see
that now we've managed to solve this problem.
| | 07:05 | I'm actually going to trim those
paintbrushes all the way over here, because
| | 07:11 | after the circle is climbing up
into the air, we don't need to see our
| | 07:17 | paint modification.
| | 07:18 | This circle should be nice and full as before.
| | 07:23 | So, you can always come back to that
Paint. This is the obvious advantage of
| | 07:28 | using a Vector Paint. And,
just modify your brush strokes.
| | 07:32 | All right, let's close it up. And now,
let's find the place that we want to split
| | 07:37 | and duplicate. And, I think that we need
to take it from here until the end of
| | 07:44 | the move. So, let's maybe find the place, then go
under the Edit menu, and choose Split Layer.
| | 07:52 | Now we can close the layer here.
| | 07:54 | Let's leave this copy as is, and
duplicate another one on top of it.
| | 08:00 | So, from this point, I'm going to press
Command+D. Now, for the last circle I've
| | 08:06 | duplicated, I'm going to press P just
to show the position values of him.
| | 08:12 | And actually, I'm going to create a new
keyframe for the position here, meaning that
| | 08:18 | I'm basically keeping the same value as before.
| | 08:22 | I just don't want to be confused
with the previous keyframes, which
| | 08:26 | doesn't belong here.
| | 08:27 | So, I'm just going to highlight them, and press
Delete or Backspace to remove that information.
| | 08:34 | And now, I'm going to take this layer, and
nudge it few frames forward in time. And,
| | 08:39 | this will basically bring two
copies, one on top of the other.
| | 08:44 | Now, we need to modify the speed of the
second copy in terms of the landing position.
| | 08:51 | So, I think that something like this
might work. Let's do once more Page Up and
| | 08:57 | Page Down, just to check it.
| | 08:59 | And, if you're happy like I am, I'm going to
record a keyframe with this value. Once
| | 09:05 | again, delete the last keyframe.
| | 09:08 | Just to show you what we have until
this point, I'm going to press Spacebar,
| | 09:12 | and we can see both copies are landing one
on top of the other, and just waiting there.
| | 09:19 | Okay, let's add a few more. So, once
again, I'm going to select the Particle
| | 09:23 | Circle layer, the upper layer.
Duplicate another copy, then move it once again.
| | 09:30 | Press P to show the position values.
And, we need to, once again, play with the Y
| | 09:36 | value of the position, just to
place it in the correct space.
| | 09:42 | Once again, I'm going to check if it
looks good, and I think it does, so we
| | 09:47 | have, now, three copies.
| | 09:49 | Let's do the same thing a couple of
times more. So, I'm duplicating the layer.
| | 09:54 | Nudge it to the right, then press P in
order to show the position, and then just
| | 10:01 | land on the last keyframe, and
basically raise it maybe a little bit higher.
| | 10:07 | It doesn't need to be perfect and
symmetrical, but I think that even spaces
| | 10:12 | between those circles will
generate through the complete look.
| | 10:16 | And, let's do one more, so Command+D to
duplicate, move it a little bit forward
| | 10:22 | in time, press P to show the position
in keyframes. And, I almost feel like a
| | 10:27 | broken record, but this is the last
time, so maybe something like this.
| | 10:32 | Now, an optional step you might want
to take is maybe to change the Rotation
| | 10:37 | value, so they won't look exactly the same.
| | 10:40 | Maybe also change the Scale values. So,
pressing Shift+S, you can modify the Scale,
| | 10:47 | so this one may look a
little bit closer to the hand.
| | 10:51 | Of course, you need to compensate with
the last value of the position, because
| | 10:57 | remember the Anchor Point for this layer
is actually here at the right side of it.
| | 11:02 | You can, of course, work on this design
as much as you desire, but I'm basically
| | 11:07 | going to leave it more or less like this.
| | 11:11 | Okay, let's go backward;
| | 11:14 | make sure to press F2, so nothing is selected.
| | 11:16 | This will make it a little bit more
easier on the eye to see the final result.
| | 11:21 | And, I think that we have
something that we can be proud of.
| | 11:25 | So, this is how you set the landing
animation for the particle circle, and also
| | 11:31 | add more copies to enhance the effect.
| | Collapse this transcript |
| Creating the transporter effect| 00:02 | Are you ready to being transported?
[00:00:0.77]
Great, because in this movie, we will
create a data transporter effect itself.
| | 00:10 | We'll use couple of After Effects
basic effects to disassemble the actor to
| | 00:16 | some tiny particles. Then we'll need to time
it with the animation that we already have.
[00:00:2.46]
I'm working in the same project.
| | 00:25 | I've open up Composition number 14,
the Transporter effect, under the folder
| | 00:31 | Match and Transport.
| | 00:32 | Let's place our timeline indicator over
here. Press Spacebar, so we can see what
| | 00:38 | we've been able to achieve until this point.
| | 00:42 | So, Yuval is grabbing the ring,
throwing it. And then, a couple of them are
| | 00:48 | landing back on top of him.
| | 00:51 | Now, you can see that the actor,
himself, is actually disappearing, and we do
| | 00:56 | get a nice effect from the light.
| | 01:01 | If you want to keep this effect longer,
you can always select the spotlight,
| | 01:06 | press U, and just drag the last keyframe,
so we will get a little bit more maybe
| | 01:14 | of a glowing atmosphere
before they will fade away.
| | 01:19 | But for now, don't worry about it.
| | 01:20 | We will also create a particle
ending transition in the next movie.
| | 01:26 | So, I'm just going to maybe
drag it a little bit backward.
| | 01:30 | But I do want to fix the issue here,
where the actor is actually disappearing.
| | 01:36 | The easiest way to achieve this in After
Effects is to select the layer, and then
| | 01:41 | go under Layer, Time, and Enable
Time Remapping for this layer.
| | 01:46 | Now, we want to keep the
last frame of him as is.
| | 01:51 | We don't wish to actually change the
timing of the layer, just to freeze this frame.
| | 01:56 | So, just make sure that your playhead
is on top of this frame, and record a
| | 02:01 | keyframe that will hold this
information in place. Then, go to the Edit menu, and
| | 02:08 | copy this, bcause After Effects
already selected the last value. And then, just
| | 02:14 | grab the end of the clip all the way
until the end of the composition. Go ahead
| | 02:21 | and place the current time indicator
here, at the end, and press Command+V in
| | 02:26 | order to paste the same keyframe data.
| | 02:29 | And this way, we basically froze the
time, just for the end frame of this video.
| | 02:36 | This will give us a lot more freedom, now
that we want to add some effects to this shot.
| | 02:42 | So, let's go the beginning of this
shot, and let's add a bunch of effects.
| | 02:48 | I first want to turn off the
visibility for the Motion blur to the composition,
| | 02:53 | just so this will speed up the render
time. And, since I want to apply several
| | 02:59 | effects, I will press Command+5 or
Ctrl+5, and this will call the Effects &
| | 03:06 | Presets panel, and will allow me a
quick search using the index method here,
| | 03:12 | inside After Effects.
| | 03:13 | The first effect that I want to apply
is actually a Transformation effect.
| | 03:17 | So, you can either drag it on the
layer, or if the layer is selected, just
| | 03:21 | double-click on it, and it
will apply itself to the stack.
| | 03:25 | Now, we have the Levels effect from
before, where we did the matching of the color.
| | 03:31 | And now, under the Transform effect, I
want to dismiss the uniform scale, and just
| | 03:37 | scale this layer on its height.
| | 03:41 | But the anchor point that is used in
order to scale this is not correct.
| | 03:46 | In this case, I want to make sure that
the scale will start actually from the
| | 03:50 | bottom of the composition.
| | 03:51 | Now, I know the dimension of my
composition is 1280x720, so I just need to plug
| | 03:58 | the vertical number to both the
Anchor Point and the Position.
| | 04:03 | So, let's change this one to 720, and tap our way
to the Position, and change it as well, to 720.
| | 04:11 | This will actually place this little
point, and this is the Anchor Point of the
| | 04:16 | effect itself, so it would appear like
we change the gravity holes inside those
| | 04:21 | circles, and squish the person,
and basically make him disappear.
| | 04:27 | Okay, so let's find out more or
less where this is starting to happen.
| | 04:32 | A good place, I think, is maybe around
this area, where we want to maybe start
| | 04:38 | to squish him, so maybe
around 14 frames, in this case.
| | 04:43 | I'm going to record a keyframe for the
Scale Height, and move forward, maybe
| | 04:49 | just 15 frames or so, and change
the scale height to a higher value.
| | 04:56 | Now, at the same time that this happens, we want
to actually scatter him all over the place.
| | 05:03 | For that, we actually have
an effect named Scatterize.
| | 05:07 | So, let's just start to type the
beginning of the word, and this is the effect
| | 05:11 | that I was referring this.
| | 05:13 | I'm going to drag it over here. And, this
basically will allow you to scatter the
| | 05:19 | person to pieces, or actually any given
pixels that you will give this layer.
| | 05:25 | And by the way, a nice way to know
what each and every effect does in After
| | 05:29 | Effects is just to press on the About button.
| | 05:32 | This will tell you that this
effect scatters layer pixels with
| | 05:37 | streaks. Wonderful!
| | 05:39 | Okay, so let's just time it more or
less to the same keyframes that we already
| | 05:43 | have. I'm going to select my layer, maybe
open up the Transform, or just . . .
| | 05:49 | You know what? We can
| | 05:50 | also press U, in order to see the
keyframes, and close the masks, so we can just
| | 05:59 | see what we already have.
| | 06:01 | So, let's go to the beginning here, maybe
around 14 seconds, record a keyframe
| | 06:06 | for the Scatter value at 0, and then,
we'll forward to the same location. And, once
| | 06:13 | again, you just have to scrub it, and
see how much of this you want to give.
| | 06:18 | So, I'm going to maybe end it around 65;
| | 06:22 | I think that this is a good value.
| | 06:24 | Of course, you can always return to
those values later, and just modify them.
| | 06:32 | So, I zoomed in, just to see how this
looks right now. And, in order to merge those
| | 06:37 | tiny pixels those particles, we are
going to use the same trick as before, which
| | 06:42 | means we are going to apply
an instance of Vector Blur.
| | 06:47 | So, at the first point here, I'm going
to set the Amount value to 0. And then,
| | 06:53 | let's move forward, and maybe change it to 5.
| | 06:58 | Now, in order to sell the illusion that
it is really a transition, we actually
| | 07:03 | need to wipe away our actor during
all of those action that we've created.
| | 07:10 | Let's go back to the Effects & Preset.
| | 07:12 | And this time, I'm going to start to
type linear, just in order to isolate the
| | 07:17 | Linear Wipe effect, which
is actually a transition.
| | 07:22 | Okay, I'm just going to grab it, and
make sure that the layer is selected, and
| | 07:28 | drag it at the bottom of this stack.
| | 07:31 | Let's just collapse the ones that we
ended with. And, I'm just going to scroll
| | 07:38 | down to see where I should start the transition.
| | 07:42 | So, I think that basically over here,
where everything is starting to take its
| | 07:47 | shape, let's change first the Wipe Angle
to 0. And, this will allow us actually to
| | 07:54 | wipe away the image.
| | 07:56 | Now, we do need to give it a
generous amount of feather.
| | 08:01 | So, I would suggest at least 200 pixels,
just to make the transition a little bit
| | 08:07 | more easy on the eye.
| | 08:09 | Okay, let's start over here. Create a
keyframe, move forward -- maybe over there,
| | 08:16 | just before the end action of the
scatter effect, -- and just slide this value.
| | 08:23 | You can basically go up to 100.
| | 08:26 | Let's go back and press Spacebar,
just so we can see everything in action.
| | 08:32 | Okay, it looks kind of nice, but there
is still work to do in terms of timing.
| | 08:38 | And also, I think that we are missing
some element that will help to merge all
| | 08:44 | the effects that we've added, just
together, one on top of the other. And also,
| | 08:49 | create some kind of a high-energy
feel and light inside those rings.
| | 08:55 | The best candidate for this work, or
for this task, will be the Glow effect.
| | 09:01 | It helped us before;
| | 09:03 | there is no reason why we
shouldn't ask it to help us again.
| | 09:06 | So, let's drag the Glow effect.
Let's first design the glow itself.
| | 09:12 | I think that we are actually going to walk
with the threshold here, in terms of key framing.
| | 09:18 | So, the animation will be driven
from the thresholds of the pixels.
| | 09:22 | But I want to change the colors of the glow.
| | 09:25 | So, instead of using the original colors,
let's set it to A and B, and let's just
| | 09:30 | try to sample the bright
tint of cyan that we have here.
| | 09:36 | And so, this to me looks much more
natural, and I'll remind you that this is how
| | 09:41 | it's going to look over time.
| | 09:43 | So let's animate this.
| | 09:45 | Let's go from 100, and this time, let's start
the glow even before the rings are landing.
| | 09:53 | So, maybe around 12 seconds, or even a
little bit later. So, just as the first
| | 09:59 | ring is starting to appear, I'm
going to record a keyframe for the Glow
| | 10:04 | Threshold, after changing its value to 100%.
| | 10:08 | So now, the glow
basically have no impact whatsoever.
| | 10:12 | And then, over time -- around 14
seconds and maybe three frames, where the
| | 10:18 | action is in its full glory, -- I'm going to
reduce the Glow Threshold to its minimum of 0.
| | 10:27 | So, this will create a burning effect.
And then, everything will disappear.
| | 10:34 | Now, as I told you before, I suggest
that you press U in order to see all the
| | 10:39 | keyframes. And then, just basically
play with the timing. And also, maybe with
| | 10:45 | the end of the animation in terms
of how linear you want it to be.
| | 10:51 | So, a good approach is actually to
lasso around all the last keyframes that
| | 10:57 | we've created -- maybe also the glow as well, --
and press F9 in order to easy ease the animation.
| | 11:04 | Now, at this point, you need to play
with the keyframes and the timing; just
| | 11:09 | nudge them to the places
that you think might work.
| | 11:15 | Go back in time, create quick RAM previews,
and see that it is working as you planned.
| | 11:24 | And so, this is how you combine
several effects in order to disassemble the
| | 11:29 | actor into tiny particles, and
then, wipe it away from the shot.
| | Collapse this transcript |
| Creating the end transition| 00:02 | In this movie, we will create
the particles' end transition.
| | 00:06 | We will scatterize them to vanish into thin air.
| | 00:11 | Just to remind you where we are, I've
opened up Composition number 15, Particles
| | 00:17 | end transition, and
already cached up a RAM preview.
| | 00:21 | Video playing.
| | 00:40 | So, we can definitely improve the end
of this composition by creating some kind
| | 00:46 | of a transition after the
transportation effect has taken place.
| | 00:52 | In order to do so, we can double-
click on each one of the Particle
| | 00:57 | Circle composition --
| | 00:59 | they are all pointing to the same
composition -- and change the behavior of the CC
| | 01:07 | Ball Action, on each one
of the three copies here.
| | 01:12 | So, this is what I suggest you to do.
| | 01:15 | Now, I'm not going to do the same, just
because I want you to get a chance to use
| | 01:21 | the same project as I'm using.
| | 01:24 | So, if I'm going to change this
composition, it will obviously reflect once you
| | 01:28 | will open the project file.
| | 01:31 | So, in my case, I'm just
going to take an extra step.
| | 01:35 | I'm going to open up the Pre Comps
folder; locate the composition. This is it.
| | 01:41 | This is the same composition that
we are seeing, and I'm just going to
| | 01:44 | duplicate a copy of it.
| | 01:47 | I'm going to press Return on the
keyboard, and rename this copy Particles Circle
| | 01:53 | End Transition. And now, I'm
going to double-click and open it.
| | 01:58 | This way, if you are using my project
file, and working along with me, until this
| | 02:04 | point in time, you will actually refer
to the Particles Circle composition. And,
| | 02:11 | from this point onward, we
will refer to this composition.
| | 02:15 | I will show in a minute what I mean,
but for now, let's just select one of the
| | 02:20 | Write-On effect, and make sure to
place the cursor at the last section.
| | 02:25 | It doesn't need to be precise, maybe
somewhere around here, like 13 seconds and 15 frames.
| | 02:32 | Now, we want to change actually the value of
the Scatter and the value of the Ball Size.
| | 02:40 | So, we need to record
keyframes for these values over time.
| | 02:44 | Let's start by recording a
keyframe to the Scatter value.
| | 02:49 | And, if you also see this warning, which
tells you that effects that uses camera
| | 02:54 | or light should be applied to
the layers, just dismiss it.
| | 02:59 | We already know. We can see the warning
here, but we do want to control it like
| | 03:04 | this, and we do want to keep it as a 3D Layer.
| | 03:09 | So, record a keyframe for the Scatter,
and then, record a keyframe for the Ball
| | 03:13 | Size. And then, let's move forward in
time, say around maybe one second or so, and
| | 03:21 | change the Scatter value to somewhere around
maybe 24, in this case, and the Ball Size to 0.
| | 03:29 | So basically, the first
circle here will disappear.
| | 03:34 | I'm going to enable the solo switch,
just so we can see only this layer. Maybe
| | 03:41 | also turn on the adjustment layer with the
glow, so it will be a little bit more obvious.
| | 03:48 | Now, let's do the same for the other
two layers, but not exactly the same.
| | 03:54 | So, we will maybe start the
transition a little bit later in time, just so
| | 04:00 | we'll get an interesting effect.
| | 04:02 | If you want to know exactly where are
those keyframes, just select the first
| | 04:08 | layer; press U. I'm going to close the
Write-On's effect. And, here this is the
| | 04:15 | keyframe for the CC Ball Action, so
maybe the second instance we'll start
| | 04:20 | somewhere over here.
| | 04:22 | I'm going to select the
second layer here named Write On.
| | 04:26 | Once again, you can do it from here, or
you can do it directly from the timeline.
| | 04:32 | So, let's record keyframes for this
Scatter, and for the Ball Size. Move a little
| | 04:38 | bit away from it, so maybe one second,
and I'll repeat basically the same step.
| | 04:44 | So 25. And, let's reset the Ball Size to 0.
And then, let's do it one more time for
| | 04:51 | the third copy this time.
| | 04:53 | Let's do it from the timeline here.
| | 04:56 | Once again, just want to make sure
that we are starting, let's say, over here --
| | 05:01 | so not everything will be the same, --
and work our way down the timeline.
| | 05:07 | Record a keyframe for the Scatter,
and also keyframe for the Ball Size.
| | 05:14 | Move forward maybe one second or so,
reset the Ball Size to zero, and maybe raise
| | 05:23 | this to, let's say, 20.
| | 05:26 | Once again, I'm not choosing the
exact same numbers, just so we will have
| | 05:31 | some kind of a variance.
| | 05:33 | I'm going to create a quick RAM preview,
so we can see everything in action. And,
| | 05:40 | let's once again check it. And, we can see
that we have a nice definition of those
| | 05:46 | three circles just wiping away to nothing.
| | 05:52 | Okay. Now, we need to return to this
composition, and basically swap those
| | 05:58 | compositions with the new
one that we've just prepared.
| | 06:02 | So, let's select the top one, hold down
Shift, scroll down, and select the first one.
| | 06:11 | And now, while everything is selected,
both in the timeline and in the Project
| | 06:16 | panel, you can either drag it from the
Project panel, holding down Option on the
| | 06:22 | Mac, Alt on the PC, or you can use a
nice keyboard shortcut, Command+Option+?
| | 06:29 | on the Mac or Ctrl+Alt+?
| | 06:32 | on the PC. And, this will replace this
composition with the contents of all of
| | 06:39 | them, which you've selected in the
timeline, giving us the end result that all
| | 06:45 | those circles are basically
dissolving away in a very nice way.
| | 06:52 | So, let's just back up, and create a
quick RAM preview to see the end result.
| | 07:00 | And, this is how you scatterize the
particles circle to vanish into thin air.
| | Collapse this transcript |
| Adding invisible airwaves| 00:02 | In this movie, we'll add some invisible
air waves using the Displacement Map Effect.
| | 00:10 | Now, it's almost the rule of thumb
that every sci-fi shot need some kind of a
| | 00:16 | displacement in order to sell the effect.
| | 00:19 | This will improve the look and feel
of things like air tunnels, personal
| | 00:26 | transportation, and basically every
matter that travels through a different
| | 00:32 | matter, in our case air,
should push it somewhat.
| | 00:37 | In this case, we are going to exaggerate the
look and feel, just so it will be a cool effect.
| | 00:45 | I'm inside the last composition at chapter
4, 16 - the Invisible air waves composition.
| | 00:53 | I've already opened it up. And, if we are
going to scrub the timeline ruler, this
| | 00:59 | is the area which I want to emphasize:
| | 01:03 | all the pixels around the circle air that
our actor is drawing using his magical brush.
| | 01:13 | The Displacement Map Effect is what's
known as a Compound Effect, meaning that,
| | 01:20 | in order to work, it needs to relate
to some pixels from another layer. And, we
| | 01:27 | should create those pixels
before applying the effect.
| | 01:32 | So, think about what you want to emphasize,
What you want actually to displace.
| | 01:38 | And, according to this, you
should create your displace source.
| | 01:44 | In our case, the thing that stands out
most is, of course, the particle ring, and
| | 01:51 | also the rings at the end of the session here.
| | 01:55 | So, let's create a composition that
hosts these elements, and use it as
| | 02:00 | a displacement map.
| | 02:02 | For that, I'm going to actually select
the current composition in the project
| | 02:07 | panel, and duplicate another copy.
| | 02:11 | I'm going to rename this one, Displace Source.
And, let's double-click in order to open it.
| | 02:20 | Now, I'm going to press on the Tilde
key (~), just in order for us to see
| | 02:24 | everything that we have here.
| | 02:27 | So, the thing that we wish to leave
here are all the synthetic elements
| | 02:32 | that we've created.
| | 02:33 | Let's turn off the eyes and
the speaker for the video layers.
| | 02:39 | Let's also turn off the lights in the
scene, and just so it will be easy to see,
| | 02:45 | we'll also turn off the null object.
| | 02:47 | This way, when we return to the full
interface, we could see we have isolated
| | 02:53 | the rings themselves, and of course, also the
Particles Circle that we worked so hard to create.
| | 03:02 | So, we can close the Displace comp.
And, make sure to drag a copy to your
| | 03:09 | current composition.
| | 03:11 | Now, in my case, I'm going to drag this
Displace composition just on top of my video layers.
| | 03:19 | I'm going to turn off the eye and the
speaker for it, because we don't need to
| | 03:23 | see the pixels of it.
| | 03:25 | It just need to be there
in order for us to use it.
| | 03:29 | Now, I'm going to go to the Layer
menu, and create an adjustment layer.
| | 03:36 | I'm going to rename this one
Displacement Map. And, while it's still
| | 03:40 | selected, let's go to the Effect
menu, and under Distort, choose the
| | 03:46 | Displacement Map effect.
| | 03:50 | Now, in order to see that's going on,
let's place the current time indicator
| | 03:55 | maybe somewhere over here, and then
return to the Effects Controls, and define the
| | 04:02 | Displacement Map Layer that we wish to use.
| | 04:05 | In our case, of course, it
will be the Displace Source.
| | 04:09 | So, this will take the pixels from it,
and we can define a Maximum Horizontal
| | 04:15 | Displacement and Maximum Vertical Displacement.
| | 04:19 | Before doing so, let's just change
the mode here to Luminance, so it will
| | 04:24 | actually use a grayscale image of
the composition that we've selected.
| | 04:29 | Now, in order to see the effect, I'm
going to exaggerate it for both the
| | 04:34 | horizontal and vertical displacement.
| | 04:36 | So, let's start with a value of 100 for both cases.
| | 04:40 | Now, this is what I call displacement.
| | 04:43 | Once again, I'm going to zoom
inside, so you can see what we have here.
| | 04:48 | Now, of course, the order of the
layers is not correct, so let's drag the
| | 04:55 | Displacement Map Layer down, and
place it just above our actor here.
| | 05:02 | We can see that it is doing something
to the background, but I don't think that
| | 05:07 | we have enough
displacement here, enough distortion.
| | 05:11 | So, in order to improve it, let's
come back to the Displacement Source by
| | 05:16 | double-clicking on it. And, let's go
back to the Project panel. And, from the
| | 05:22 | Solids folder, I'm just going to drag
down one of the adjustment layers that
| | 05:27 | already live there.
| | 05:29 | Let's convert it to an adjustment
layer, and on top of all the elements here,
| | 05:38 | let's add a Fast Blur effect.
| | 05:38 | It is always a good idea to blur your
Displacement Source in order to get a
| | 05:44 | finer and better result.
| | 05:46 | I'm going to start with a value of 15
here, and just to be on the safe side, I'm
| | 05:52 | also going to tick the Repeat Edge Pixels.
| | 05:55 | Now, let's come back to the main
composition, and now we can actually see that it
| | 06:01 | is working as expected.
| | 06:03 | Maybe, let's take the whole
composition from this point onward, just so we can
| | 06:10 | see the effect itself.
| | 06:13 | So, I think that it's
working quite nice over here.
| | 06:16 | I may revisit the Displace Source
composition, and lower it to maybe 10
| | 06:22 | values for the blurriness.
| | 06:25 | Let's once again check it.
| | 06:26 | I think this is enough, and just before
he reach and touch, I think that we need
| | 06:33 | to lower the Displacement Map itself.
| | 06:36 | So, let's come back to the Displacement
Map Adjustment layer, record keyframes
| | 06:42 | for both the horizontal and vertical
displacement, move forward maybe a second
| | 06:48 | or so, and basically, we
will reset them both to 0.
| | 06:53 | So, at this point, when he reach and
touch, we don't need any distortion.
| | 06:59 | It is already in place.
| | 07:02 | Once again, I'm going press U, and
maybe drag those keyframes just a little
| | 07:07 | bit more. Just want that dissolve
to be as smooth as possible, so maybe
| | 07:14 | something like this.
| | 07:16 | I think this is working quite nicely.
| | 07:19 | However, I want to see the displacement
once again over here, and we can see also
| | 07:25 | that since we placed this adjustment
layer on top of all the layers here, it's
| | 07:31 | actually changing the render order of
After Effects, and basically destroy
| | 07:37 | the 3D effect that we've created.
| | 07:39 | So, if you want to keep the effect that
we've created, we need to split this layer.
| | 07:45 | So, just before we can see those rings
coming back to the screen, I'm going to
| | 07:51 | select the Displacement Map Adjustment
Layer. And once again, I'm going to split it.
| | 07:56 | Now, let's take the second copy of
the Displacement Map, and just drag it
| | 08:01 | above our background.
| | 08:03 | We can also trim it to start just over here.
| | 08:08 | This way, we keep the 3D render order,
and we have another copy of Displacement
| | 08:15 | Map Effect, so we can
displace basically those rings.
| | 08:19 | Now, since this is a copy of the first
instance, it also inherits the keyframes.
| | 08:27 | So, let's press U, and basically dismiss
those keyframes; just delete them. And,
| | 08:33 | let's give it a modest value here.
| | 08:36 | So, instead of 100, let's just try 50. And, I
think that this will work for the end scenario here.
| | 08:43 | So now, we are getting nice distortions for
this wave at the end section of the composition.
| | 08:51 | Okay. So, let's go to the beginning, and
take a look at the final result so far.
| | 09:15 | I think this really generates to the
atmosphere, and really enhance the look and
| | 09:21 | feel of the whole composition.
| | 09:24 | So, this is how you add invisible air
waves using the Displacement Map Effect.
| | Collapse this transcript |
|
|
5. Final TouchesSound| 00:02 | We've reached the final chapter in this
course. And, in this chapter, we have two
| | 00:07 | more things that we need to do. And,
this will actually be the final touches.
| | 00:12 | We will add some sounds effects. And, we will
create an overall color correction giving
| | 00:17 | the whole scene a cinema look.
| | 00:20 | In this movie, we'll start by adding
some sound effect and ambient music, just
| | 00:26 | to emphasize the impact actions.
| | 00:29 | We'll also use the sound in order to
tell the story, actually give the audience
| | 00:35 | a reason why our actor is running
away, and creating himself a personal
| | 00:42 | transporter wormhole (and, of
course, vanish into thin air).
| | 00:48 | I'm going to start by opening the 17th
composition, Sound Effect, under the fifth
| | 00:56 | folder, Final Touches.
| | 00:59 | This is the state that we
left at the previous part.
| | 01:03 | I'm just going to press zero to
show you what we have until this point.
| | 01:08 | (video playing)xxxxxxxxxxxxxxxxxxxxx
| | 01:25 | Of course, it's looking not too bad.
| | 01:27 | With an additional sound effect and
some ambient music, it will really help to
| | 01:33 | merge everything together.
| | 01:35 | Now, I have to admit After Effects is
not the perfect tool for this kind of task.
| | 01:41 | If you have access to other software,
such as Adobe Premiere or Adobe Audition,
| | 01:47 | these will be much better options
in order to generate your final mix.
| | 01:53 | I'm just going to walk you through the
steps I've used. And, my weapon of choice to
| | 01:59 | create such mixes is, of course, Adobe Audition.
| | 02:03 | So, if you want to create the final output
using Adobe Audition, and you have the
| | 02:10 | full Creative Suite, you can actually
take advantage of the dynamic link option,
| | 02:16 | which means it will allow you to drag
your timeline without even rendering it,
| | 02:21 | place it inside Adobe Audition, and
then start to compose your final score.
| | 02:27 | However, in this case, I just want to
show you another trick in After Effects.
| | 02:32 | And, this will help you to actually
render a reference movie for generating final
| | 02:38 | mix. And, this is, of course, if you don't
have access to dynamic link, or you want
| | 02:43 | to create this mix in a different work station.
| | 02:46 | For this, we need to create
some kind of a reference clip.
| | 02:50 | Since I already have a pre-cached RAM
preview represented by this green bar, I
| | 02:57 | can actually save it to
file without re-rendering.
| | 03:01 | Before doing so, you might want to
take a minute to actually modify your
| | 03:08 | RAM preview settings.
| | 03:10 | You can find them under the Edit menu
if you go to Template>Output Module.
| | 03:17 | Here, from the Setting Name, you can
actually load your RAM preview settings.
| | 03:23 | Let's visit those settings and edit them.
| | 03:27 | I'm going to change the Post-Render
Action to None, because I don't need to see
| | 03:32 | the video after the file is being rendered.
| | 03:36 | I'm also going to change the format from
animation to something more convenient.
| | 03:42 | On my system, I'm going
to choose Apple ProRes 422.
| | 03:45 | You can go with anything you like.
| | 03:48 | I'm going to press OK here. And, once
again, I'm going to press OK over here.
| | 03:53 | Now, every time I'm going to save my RAM
Preview, After Effects will use these settings.
| | 04:00 | Let's choose OK here.
| | 04:02 | Make sure the composition is still
selected, and then go under the Composition
| | 04:07 | menu, and just ask it to save your RAM Preview.
| | 04:11 | Since we have three dots here, we will
be presented with an additional dialog
| | 04:16 | here, but this additional dialog will
only give you the option of where you want
| | 04:22 | to save your output movie.
| | 04:24 | I'm going to save it to my Desktop
here; ask it to save, and the render
| | 04:29 | will start immediately.
| | 04:30 | There's nothing you can do here.
| | 04:32 | You must change those settings ahead of time.
| | 04:36 | Now, we have a reference clip that we've
created, and we can use it in our audio session.
| | 04:43 | I've already created the
audio final score for this shot.
| | 04:49 | In this case, I'm not going to share
with you my source files, but I will render
| | 04:54 | the final mix, which you can then, of
course, use in this composition, and in every
| | 04:59 | work that you are doing.
| | 05:01 | As I told you before, I chose Adobe
Audition in order to create it, so I'm going
| | 05:06 | to launch Adobe Audition now, and then
go to the File menu, and I'm going to open
| | 05:12 | my recent sound session.
| | 05:16 | Everything is being loaded to the Multi
-Track Editor. And, we can see that our
| | 05:23 | 17 Sound Effect RAM composition is already in
place. And, I've used it as a video reference.
| | 05:32 | I also solo of this clip. And,
if we're going to play this, this is the
| | 05:38 | render that we've just
created from After Effects.
| | 05:47 | Okay, I'm going to stop it for now, and just
show you the things that I've edit.
| | 05:53 | I've sensed that we need to tell the
audience why Yuval is actually running here.
| | 06:00 | Okay, it's just entering the
screen quite dramatically.
| | 06:04 | And, I think that the reason for him to
enter the screen is because somebody is
| | 06:09 | chasing him, of course. And, in order
to give the audience some hint for
| | 06:14 | this, I already placed here a audio
file for guns that we can hear in the background.
| | 06:22 | So, I'm going to solo
this one as well, and play it for you.
| | 06:25 | (video playing)xxxxxxxxxxxxxxxxxxxxx
| | 06:32 | Fantastic!Now, let's add some ambient music,
just so we'll have some kind of atmosphere.
| | 06:39 | I'm going to solo the 8th
track, and this is an ambient audio that will
| | 06:45 | help to actually move the story.
| | 06:49 | So, from the beginning,
let's play it once again.
| | 06:51 | (video playing)xxxxxxxxxxxxxxxxxxxxx
| | 07:01 | Okay. Can you feel the drama? I sure can.
| | 07:05 | Now, let's add something to describe
the main effect, the air circle, and let's
| | 07:11 | hear it from the beginning,
once again, with this effect.
| | 07:15 | (video playing)xxxxxxxxxxxxxxxxxxxxx
| | 07:26 | Of course, we need to also add some sounds,
or whooshes, when those rings are coming down.
| | 07:35 | For that, I'm just going to dismiss
all my solo buttons, so we can hear
| | 07:39 | everything in concert.
| | 07:41 | Let's go to the
beginning, and play the final mix.
| | 07:45 | (video playing)xxxxxxxxxxxxxxxxxxxxx
| | 08:02 | Hopefully, you got the chance to
hear how much the audio is actually
| | 08:06 | contributing to the whole story.
| | 08:09 | Now, we wish to render the
final mix to After Effects.
| | 08:13 | I want to remind you that, in After
Effects, we already have the main audio.
| | 08:18 | We might need to control its volume over there.
| | 08:22 | So, I'm going to mute this track, and then
go to the File menu, and here we can use
| | 08:29 | the Export, Multitrack
mixdown for the entire session.
| | 08:35 | So, from the list here, I'm just
going to go to the place where I've saved all my
| | 08:41 | project files, and then press OK in
order for Audition to create the mixdown for
| | 08:48 | the ambient music and the sound effect.
| | 08:52 | Now, I can return to After Effects and
highlight the Source Files folder, and
| | 09:00 | import the final mix that we've just created.
| | 09:04 | So, Command+I on the Mac, Ctrl+I on
the PC, to invoke the Import dialog, and
| | 09:10 | then select the File, and choose Open.
| | 09:14 | Now, I'm going to drag this file to my
Sound Effects composition, and just place
| | 09:19 | it underneath all the layers.
| | 09:20 | This is just a personal preference.
| | 09:22 | And, let's play the mix inside After
Effects to see if we have to change anything.
| | 09:29 | (video playing)xxxxxxxxxxxxxxxxxxxxx
[00:09:.4734]
To me, it sounds almost perfect.
| | 09:49 | I just sensed that the recorded audio
from the camera was a little bit louder.
| | 09:56 | So, in this case, you can do
quick fixes inside After Effects.
| | 10:00 | For example, you can select the
layer that you what to change.
| | 10:03 | In my case, this was the action layer
over here. And then, from the Window, I'm
| | 10:08 | going to choose the Audio meters.
| | 10:12 | And now, I can basically drag the audio
meters a little bit lower, as long as
| | 10:20 | the layer is selected.
| | 10:21 | This will actually, if I am going to
open up the audio for the layer, this will
| | 10:27 | actually control the layer, and it will
change the volume in terms of decibels
| | 10:33 | for the whole layer.
| | 10:34 | This is much easier instead of
working your way inside the timeline. Okay.
| | 10:39 | Once again, let's go to the beginning, and
let's play it to hear if there's a difference.
| | 10:44 | (video playing)xxxxxxxxxxxxxxxxxxxxx
| | 11:01 | And, it sure did. It sounded a little bit
more balanced now. And, I think that this is where
| | 11:07 | I'm going to leave it.
| | 11:09 | And so, this is how you add some sound
effects and ambient music to emphasize the
| | 11:15 | impact actions, and also help to tell the story.
| | Collapse this transcript |
| The cinema look| 00:01 | In this last movie, we will create the
cinema look to the final composition.
| | 00:08 | We'll do it by adding some blur
definition and cinema-like contrast.
| | 00:15 | Both of them will be applied to an
adjustment layer, so you can actually turn it
| | 00:19 | on and off, or mix it as much as you like.
| | 00:24 | For that, let's open the last
composition, number 18 - Cinema Look.
| | 00:29 | In this current state, it is similar to
the previous composition and result, so
| | 00:34 | I'm going to press on the Spacebar.
| | 00:37 | We can actually see the RAM Preview, but
Spacebar will not play the audio for us,
| | 00:42 | so I can speak during this playback.
| | 00:45 | So, this is the current state. Okay.
| | 00:48 | Let's park our cursor, maybe over
here, and try to give it some kind of
| | 00:54 | an interesting look.
| | 00:56 | For that, I'm going to close the Source
files folder, open up my solids, and I'm
| | 01:02 | just going to use one of the
adjustment layers that we've prepared earlier.
| | 01:07 | So, let's just drag it on top of everything,
and convert it to an adjustment layer.
| | 01:13 | As you probably guessed, I'm going
to name this layer, so I will know what
| | 01:17 | everything is doing.
| | 01:20 | So, by pressing Return, I'm
going to name this one, Blur Edges.
| | 01:27 | Now, I'm going to go and select the
Ellipse Tool, and basically draw, or even
| | 01:35 | double-click on it, to draw a
circle around all my composition.
| | 01:39 | I'm going to double-click on one of
these points, and I'm going to hold down
| | 01:45 | Command or Control on the PC, and this
will allow me to fully transform on both
| | 01:51 | end at the same time.
| | 01:52 | So, maybe something like this.
| | 01:55 | Now, in order to create the soft blur
on the edges, let's go to the Effect menu.
| | 02:02 | And, we can actually use the last effect
that we've created, the Fast Blur, or you
| | 02:07 | can go to the Blur & Sharpen
category, and choose it from here.
| | 02:12 | Now, I'm going to add maybe 5 pixels here.
| | 02:17 | Not too much; we just need to really give
the audience a hint of what we're about to do.
| | 02:25 | Since we've created a mask, this effect
will only work inside the border of the mask.
| | 02:31 | So, we need to invert the mask.
| | 02:33 | You can either click on the inverted
button over here, or just change the
| | 02:37 | mode here to Subtrack.
| | 02:39 | And now, to help mixing the effect the
blur with the background, let's open up
| | 02:45 | Mask 1, and just give it a
generous amount of fader.
| | 02:51 | So, maybe around 300 pixels will do the work.
| | 02:55 | In order to get rid of the art effect
and the edges, make sure to repeat the
| | 03:00 | edge pixels, so the blur can render
outside of the composition boundaries.
| | 03:06 | Now, we can always double-click on the
points. And, using Command+Shift, I'm just
| | 03:12 | going to scale it a little bit
more in order not to blur it too much.
| | 03:18 | You have to be very delicate when
you are using these kinds of effect.
| | 03:23 | We don't really want or can simulate
depth of field without masking layers.
| | 03:28 | So, we just want to give the audience their focus
over here by enabling blur. And, this is great!
| | 03:37 | By adding blur, we're actually making the
viewer focus on the area that we like.
| | 03:44 | Okay, let's do another color correction.
| | 03:46 | This time we are going to change the
colors and the contrast of the shot.
| | 03:52 | So, once again, I'm going to head back
to the Project panel, drag myself another
| | 03:56 | Adjustment Layer, convert it to an
adjustment layer, and as usual, I'm going to
| | 04:02 | name this one Cinema Contrast.
| | 04:08 | Now, I'm going to apply two effects.
| | 04:10 | The first one is under the Color Correction
category, and this is basically the Curves effect.
| | 04:18 | And now, of course, we can create an S-shape
curve in order to improve the contrast.
| | 04:24 | And, we can also visit the channels
themselves, and control how much we want in
| | 04:30 | terms of red, green, and blue. This is great!
| | 04:34 | You can actually work with this effect.
| | 04:37 | It has a lot of power,
| | 04:38 | a lot of controls. And, you can modify it
to your needs until you find the correct
| | 04:44 | atmosphere that you wish to convey.
| | 04:48 | In this case, instead of playing with
the curves, I will actually load the
| | 04:53 | preset date I've saved earlier.
| | 04:55 | So here, let's press on the Folder icon, and
locate the Cinema Curve I've saved for you.
| | 05:03 | I'm going to press Open here, and if
we going to check what this is doing,
| | 05:10 | we can see that in the RGB, we have a
similar, if not a little bit more
| | 05:15 | pronounced S curve.
| | 05:17 | In the red channel, we have something
a little bit different. And then, I've
| | 05:23 | played with the green and the blue as well.
| | 05:26 | Mixing all of these together create
what I call a nice cinematic contrast.
| | 05:31 | Now, of course, you need to check it
in some other places. And, if this is a
| | 05:36 | little bit too harsh, you can always press T,
and reduce the opacity of the adjustment layer.
| | 05:43 | This way, you can mix it with
the rest of the layers underneath.
| | 05:48 | But before doing so, I just want to
reduce some of the colors here by going
| | 05:55 | to the Effect once again. And, from the Color
Correction menu, let's choose Hue and Saturation.
| | 06:01 | And I'm going to reduce the Master
Saturation, just a touch, until I sense that
| | 06:07 | these colors works good together.
| | 06:10 | So, maybe -35, in this case, looks well.
| | 06:14 | Once again, you can play with the
opacity of the whole thing just by lowering
| | 06:20 | it. And then, bring back some of the
original colors, so maybe around 75% in this case.
| | 06:27 | Of course, colors are perceived
subjectively by every one of us.
| | 06:32 | So, each one of you can play with this kind
of color correction and grading as much
| | 06:37 | as he likes until he finds
something which suits him. Okay.
| | 06:42 | I think that we are almost done.
| | 06:44 | There are few more minor things that
I want to take care of before we will
| | 06:50 | initiate our final RAM Preview.
| | 06:53 | The first is actually to
bright up the circle itself.
| | 06:58 | It kind of look cool, but I think it
needs to convey a little bit more energy.
| | 07:05 | For that, I'm just going to
choose a different blending mode.
| | 07:09 | For the main circle over here, let's go
with Screen. And, just by changing it, it
| | 07:16 | gives this circle much more energy, but also
keeps the bright cyan colors in the details.
| | 07:27 | However, for all the duplicates over
here, we are going to choose a different
| | 07:32 | one, because they are affected by
the lights, the spotlights from above.
| | 07:38 | So, let's select the first and the last
by Shift+Clicking on them, and choose the
| | 07:45 | Lighten blending mode.
| | 07:47 | This is a little bit less harsh than
using the screen, and it will create the
| | 07:54 | result that I'm after.
| | 07:56 | A very last treatment here is to
actually modify the displacement source.
| | 08:02 | See, it affects the bottom of the
frame here, which I think is not correct.
| | 08:10 | In order to solve this, let's double-
click on the Displace Source composition,
| | 08:15 | and actually I'm going to use a Shape layer.
| | 08:18 | So, make sure that nothing is selected.
| | 08:21 | Then select one of the shapes.
| | 08:23 | It can be anything.
| | 08:25 | I'm going to go with Rectangle Tool.
And, I'm just going to draw a rectangle on
| | 08:32 | top of everything here.
| | 08:34 | Now, let's go and set the field to be
exactly 50% in terms of its brightness.
| | 08:41 | In terms of displacement map, neutral
gray will not generate any displacement.
| | 08:47 | Remember, just white and the
black colors will display it.
| | 08:51 | So, in this area, nothing
is going to be affected.
| | 08:55 | However, we don't want to screw the
transition, so let's go to the Effect, and
| | 09:01 | apply a Fast Blur to the shape layer.
| | 09:05 | Give it a decent amount of fader,
maybe around 70 or 80, just make sure that
| | 09:11 | over here it stays completely gray.
| | 09:15 | So, let's maybe dial it a little bit down.
| | 09:18 | I also don't want it to be on top of everything.
| | 09:21 | It should start just where
those rings are beginning to appear.
| | 09:26 | So, I'm just going to basically to
trim this layer to be over here.
| | 09:31 | And now, if we're going to visit our
main composition, and check the result
| | 09:36 | over here, we can see that there is no
displacement in the area near his legs
| | 09:43 | and around the floor.
| | 09:45 | And, this give more clean and
consistent look to the whole spot.
| | 09:50 | Okay. So, we are ready to
generate our final RAM Preview.
| | 09:54 | Let's go to the beginning.
| | 09:55 | Make sure to switch the resolution to Full.
| | 09:59 | I'm going to press on Ctrl+3 or Command
+3 in order to call the Preview panel.
| | 10:05 | Then, I'm going to take the Full Screen
over here, make sure I'm at the first
| | 10:10 | frame, and create our final RAM Preview.
| | 10:14 | (video playing)xxxxxxxxxxxxxxxxxxxxx
| | 10:31 | And this is it. We've
reached the end of this training.
| | 10:36 | I hope it was helpful,
educational, and also enjoyable as well.
| | 10:42 | By using the tools and the techniques
that I've showed you, you should be able
| | 10:47 | to take this show to similar videos
that you are capturing, and turn them into
| | 10:53 | wonderful, sci-fi futuristic shots.
| | 10:57 | Now that you have the technology and
knowledge, you may be even able to put it
| | 11:03 | in use in real life as well. Who knows?
| | 11:06 | Until next time, we will meet
in another course, or in person.
| | 11:11 | This is Eran Stern from SternFx
wishing you a great and creative day.
| | 11:17 | Thank you for choosing
this video to gain training.
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