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After Effects Compositing Essentials: Advanced Matching and Looks
Illustration by John Hersey

After Effects Compositing Essentials: Advanced Matching and Looks

with Mark Christiansen

Video: Welcome

In this course we're going to keep going with fundamentals of compositing, which is
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  1. 54s
    1. Welcome
      54s
  2. 28m 32s
    1. Understand what Curves can do like no other color corrector
      5m 41s
    2. Advanced adjustment with multiple objects and Curves
      4m 51s
    3. Set guide layers to solve workflow problems
      5m 59s
    4. Set guide layers to freely add a nonrendering reference
      4m 26s
    5. Create a color look with Curves
      7m 35s
  3. 11m 34s
    1. Add a light-wrap effect to composite into a backlit scene
      4m 56s
    2. Study a reference; then bend the rules of lighting
      3m 54s
    3. Automate the light-wrap process with rd_LightWrap
      2m 44s
  4. 15m 47s
    1. Understand lens distortion
      4m 29s
    2. Composite into lens distortion
      4m 31s
    3. Recognize and fix rolling shutter distortion
      3m 17s
    4. Match the softness of natural edges
      3m 30s
  5. 26m 8s
    1. Shutter speed vs. frame rate
      3m 8s
    2. Match motion blur: Animated keyframes
      4m 5s
    3. Set up the retime shot
      4m 18s
    4. Match motion blur: No keyframes
      3m 34s
    5. Use Time Remap
      7m 27s
    6. Fix sloppy precomps with the Preserve frame rate when nested option
      3m 36s
  6. 22m 45s
    1. Understand why After Effects has three bit depths
      3m 38s
    2. Know the fundamental differences between HDR and LDR
      3m 40s
    3. Work in HDR, even when beginning in LDR
      2m 26s
    4. Be deliberate when establishing and breaking the 32-bit-per-channel pipeline
      2m 49s
    5. Freely work in HDR and render in LDR
      3m 34s
    6. Avoid the 32-bit-per-channel slowdown
      2m 10s
    7. A brief word on color spaces and linear light
      4m 28s
  7. 23m 39s
    1. Determine a starting point: Make it flat
      6m 2s
    2. Know your color-grading options and approach
      5m 39s
    3. Create cinematic color contrasts with Mojo
      3m 27s
    4. Customize a film look with Looks
      5m 27s
    5. Create a film look with common lens "flaws"
      3m 4s

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After Effects Compositing Essentials: Advanced Matching and Looks
2h 9m Intermediate Jun 16, 2014

Viewers: in countries Watching now:

Compositing is all about matching, and in this course we go beyond the fundamentals of matching foreground and background, into the realm of the truly cinematic. Learn how to use the Curves control to surpass what is possible with any other color-adjustment tool in After Effects. Discover how to match the full conditions of the shot as the camera sees it, including back lighting, lens distortion, and other lens and frame-rate artifacts. To make a shot or sequence that belongs in your movie, you need to know how to flatten the shot so that you can use tools such as Magic Bullet Mojo or Looks to make it look truly cinematic. But even beyond making it flat, it's best for it to have the full depth and response of color as we see it in the natural world, and that requires the use of 32-bit-per-channel HDR. And for maximum drama, you want to be able to play with time itself, and motion blur as well. In this course, Mark Christiansen takes you through all these scenarios and the next step in After Effects compositing: matching a shot and making it look not only realistic, but cinematic.

Topics include:
  • Advanced color correction with multiple objects and Curves
  • Adding a light-wrap effect to composite into a backlit scene
  • Compositing into lens distortion
  • Recognizing and fixing rolling shutter
  • Matching motion
  • Working in HDR
  • Create cinematic color contrasts with Mojo
  • Customizing a film look with Looks
Subjects:
Video Visual Effects
Software:
After Effects
Author:
Mark Christiansen

Welcome

In this course we're going to keep going with fundamentals of compositing, which is matching and adjusting a shot to make it look the way you want. We're going to take it more into the cinematic realm.

Now when I say that, I mean a couple of things. One, is we're going to look specifically at the camera, and what it does to the shot and how it sees the world. We're going to look at how you recreate what the camera does in your shot. We're also going to take that to the level of making any shot look more cinematic.

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