IntroductionWelcome| 00:00 |
(MUSIC). Hi.
| | 00:05 |
I'm Ian Robinson and welcome to Mograph
Techniques Retiming and Tracking Footage.
| | 00:09 |
In this course, we'll explore a real world
workflow where we'll be creating several
| | 00:13 |
different graphic builds used to create a
finished commercial.
| | 00:18 |
To build these graphics, we'll look at
several different ways to track footage so
| | 00:21 |
you can make your graphics move with the
elements in the scene.
| | 00:25 |
We'll explore how and when to use Mocha AE
for plainer tracking, as well as how to
| | 00:29 |
turn a simple single point track into 3D data.
| | 00:33 |
So you can later create 3D graphics using
Trapcode Particular.
| | 00:38 |
Then we'll look at some color correction
and compositing techniques using
| | 00:41 |
everything from the roto brush to isolate
elements from their background to trap
| | 00:45 |
glow star glow to give your graphics that
bright shiny look.
| | 00:50 |
Finally, we'll apply some retiming effects
so our finished clips can be edited back
| | 00:54 |
into our commercial.
So let's get started with Mograph
| | 00:58 |
Techniques Retiming and Tracking Footage.
| | 01:00 |
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| Using the exercise files| 00:00 |
If you're a premium member of the
lynda.com library, you have access to the
| | 00:04 |
exercise files used throughout this course.
| | 00:07 |
Once downloaded, open the Exercise Files
folder and you'll see that we have five
| | 00:11 |
different folders.
Each one of these folders pertain to the
| | 00:15 |
chapter that we'll be working in.
While there are multiple videos within
| | 00:20 |
each chapter, there may not be an exercise
file directly associated with each video.
| | 00:25 |
So use the ones that are available for
that specific task.
| | 00:29 |
Now all of these After Effects files
reference footage in our Footage folder.
| | 00:34 |
In here, you'll find Video, Reference
Edits, Reference Graphics, Logo Graphics
| | 00:39 |
and we have a Pre-renders folder.
So anytime you open up an After Effects
| | 00:44 |
project, if it's missing something,
chances are it's in your Footage folder.
| | 00:49 |
Whenever you're working with your exercise
files, if you need to move these to an
| | 00:53 |
external drive or a different system
drive, you want to go ahead and make sure
| | 00:56 |
to copy the entire folder as one cohesive unit.
| | 01:01 |
That way, After Effects won't lose any
links between the project files and their
| | 01:04 |
Footage.
If you don't have access to the Exercise
| | 01:08 |
Files, you can follow along from scratch
or with your own assets.
| | 01:13 |
So let's get started.
| | 01:15 |
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| Overview of the project| 00:00 |
Before we get started, I want to take a
little time to talk about what we're going
| | 00:03 |
to create.
We're going to pull three hero shots from
| | 00:06 |
a commercial.
Then, we'll track those shots and create
| | 00:09 |
different graphics that'll move with the
different elements in the scene.
| | 00:15 |
That'll give us a little bit more pop when
these shots get edited back into our
| | 00:18 |
finished commercial.
| | 00:20 |
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| Working with keyboard shortcuts| 00:00 |
In this course we'll definitely be
covering a lot of keyboard shortcuts.
| | 00:04 |
Now, everybody's keyboards are slightly different.
| | 00:07 |
If you have, say, a laptop or a full sized
keyboard or if you are on Windows or Mac,
| | 00:11 |
or if your F keys are mapped to other
functions in your operating system.
| | 00:17 |
So there are all things you need to
consider when I'm calling out these
| | 00:19 |
different keyboard shortcuts.
If you ever find yourself stumped and you
| | 00:23 |
want to try and find a new keyboard
shortcut, you should go to the Help menu.
| | 00:28 |
Under Help, there's a great reference for
keyboard shortcuts.
| | 00:32 |
If you go ahead and choose that, notice it
will take you to a website.
| | 00:35 |
This is always continuously updated.
But let's jump to a specific section like
| | 00:39 |
Time navigation.
(SOUND) If I click on there, notice a lot
| | 00:43 |
of the key commands are listed.
But I want you to pay attention to the
| | 00:47 |
alternate key commands.
For example, some keyboards don't have the
| | 00:52 |
Home key, so you could also press
Command+Option +Left Arrow.
| | 00:56 |
There are a number of different key
commands that function this way,
| | 00:59 |
especially, if you have a full size
keyboard or a laptop keyboard.
| | 01:03 |
For example, 0 on the numeric keypad will
lit up a RAM Preview.
| | 01:08 |
Or you can press Ctrl+0 on your main keyboard.
| | 01:11 |
After you've jumped to a section and found
your shortcut, if you ever are going to go
| | 01:14 |
back to your reference, just click to the top.
| | 01:17 |
Everything is organized according to groups.
| | 01:19 |
And that way you'll never be lost when
looking for your keyboard shortcuts.
| | 01:22 |
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|
1. Isolating the Base Layer VideoAnalyzing the rough cut| 00:00 |
If you navigate to your Exercise Files
folder, in there you'll find a Footage
| | 00:03 |
folder.
And in the Footage folder you have a
| | 00:06 |
Reference Edit folder.
In there we can find Hplus Roughcut MP4
| | 00:11 |
file.
I'm going to go ahead and double-click
| | 00:14 |
that and open the file.
Usually, whenever you start a motion
| | 00:17 |
graphics project, if you're trying to
recreate graphics to fit into an edit, you
| | 00:21 |
need to actually analyze that edit and
figure out exactly what elements you
| | 00:24 |
want to be working with.
So, I'm just going to go ahead and press
| | 00:30 |
Play and we can watch this 30 second promo.
| | 00:33 |
(SOUND) (MUSIC)
>> You work hard and play harder.
| | 00:37 |
Water can't give you back what you lose.
H+ Sport has what you need.
| | 00:41 |
Natural electrolytes from plants not chemicals.
| | 00:43 |
H+ Sport isn't made in a lab.
Too much sugar dehydrates you and robs
| | 00:49 |
your energy when you need it most.
H+ Sport only has 5 grams.
| | 00:57 |
Everything you need, nothing you don't.
(MUSIC) H+ Sport, natural rehydration.
| | 01:03 |
>> That's a pretty decent rough cut.
So, if I go ahead and scrub through, there
| | 01:07 |
are certain shots that we'll be using to
create our graphics.
| | 01:11 |
We'll refer to these as our hero shots.
Now, this is our first shot that we'll be
| | 01:16 |
working with, this soccer kick.
So that’s definitely one clip that we want
| | 01:20 |
to have.
And then, of course, this jumper here is
| | 01:23 |
going to be another shot.
And then we have a third shot that’s
| | 01:27 |
coming up here at the end with this pass.
When I request these shots, I want to make
| | 01:32 |
sure that I have these shots clean, at
full resolution, and without any of the
| | 01:36 |
re-timing effects.
It’s really important because a lot of
| | 01:40 |
times when you’re adding graphics and then
you add re-timing, you want to make sure
| | 01:44 |
that the graphics and the re-time all
happen together in one individual motion.
| | 01:49 |
So, we'll recreate a lot of these
re-timing effects inside of After Effects.
| | 01:54 |
Usually you won't be able to extract these
clips from a rough cut.
| | 01:58 |
If you created the edit yourself, you'll
want to go back to the original footage
| | 02:01 |
and make sure to select just the frames
that you need for your individual
| | 02:04 |
graphics.
| | 02:06 |
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| Building the base compositions| 00:00 |
Before you start on any project, you
should go ahead and create the
| | 00:03 |
compositions that you'll need to create
all of the different graphics.
| | 00:07 |
So we'll do this relatively quickly and
painlessly just by utilizing some
| | 00:11 |
excellent features inside of After Effects.
| | 00:14 |
Let's get started by double-clicking in
the Project panel.
| | 00:18 |
In your file browser, navigate to your
Exercise Files folder.
| | 00:22 |
And there, go to the Footage folder and
navigate to your Video folder.
| | 00:27 |
Let's select all three video clips by
clicking one and then Shift+clicking on
| | 00:30 |
the last one.
We can import our video files as footage,
| | 00:34 |
and then go ahead and click Open.
Now, since we imported all three of these
| | 00:39 |
video files at once, After Effects is
automatically going to have all three
| | 00:42 |
selected in the Project panel.
So it's easy enough to create three
| | 00:46 |
compositions.
Just click and drag directly on a
| | 00:49 |
QuickTime file down to your Composition button.
| | 00:52 |
When you let go, you'll get a new comp
window that pops up.
| | 00:56 |
Make sure to choose Multiple Compositions
and then click OK.
| | 01:01 |
Now we have our three base comps that
we'll use to create our different graphic
| | 01:04 |
elements.
To better organize our project, let's go
| | 01:08 |
and click on one of these comps and drag
them all down to a new folder.
| | 01:12 |
Let's rename this folder AAA_Output_Comps.
And just to be really tidy, let's go ahead
| | 01:19 |
and select all of our video files and drag
those down to the New Folder icon as well.
| | 01:28 |
Let's call this video, Sources.
(SOUND) Now, I want you to open the
| | 01:32 |
AAA_Output_Comps folder and then just
double-click on 02_Jump.
| | 01:37 |
Now, let's change our magnification to fit
up to 100%, so we can more clearly see
| | 01:41 |
what's going on.
The very first frame of this clip is 19
| | 01:45 |
frames in and if you notice, as I scrub
through, my composition starts at 23
| | 01:49 |
seconds.
That's because this QuickTime clip was
| | 01:54 |
rendered out from the master clip of all
the different takes of this jumper
| | 01:58 |
jumping.
So sometimes what you have to do is go
| | 02:02 |
into your Composition Settings.
I'm going to go up under Comp and go to
| | 02:06 |
Comp settings.
And just make sure that my Start Time code
| | 02:09 |
is set to 0.
Now, I can quickly go 19 frames down my
| | 02:14 |
comp just by clicking in my time and
adding 19.
| | 02:18 |
Now let's press B to change the beginning
of our work area.
| | 02:22 |
Now these extra 19 frames were created, so
we can have particles starting to emit
| | 02:27 |
from his feet.
So when we actually cut to this frame at
| | 02:30 |
the beginning of the edit, we already have
some particles streaming off the bottom of
| | 02:33 |
his feet.
Now we're actually ready to go ahead and
| | 02:37 |
save our project, and use this as the
basis for the rest of this course.
| | 02:42 |
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|
|
2. Tracking FootageTracking with mocha AE| 00:00 |
In order to build our graphics, we need to
track elements in the scene.
| | 00:04 |
That way, we can use that tracking data to
determine where the graphics will appear.
| | 00:08 |
Now, to start with our project I want to
go ahead and focus on the 01 kick
| | 00:12 |
composition.
So if its not already open, go ahead and
| | 00:16 |
double-click that in your Project panel.
Let's click and drag on the current time
| | 00:20 |
indicator to scrub through the scene.
And as you can see, our DP has stuck his
| | 00:24 |
hand out in front of the lens and that's
kind of distracting in our project.
| | 00:30 |
We'll deal with that a little later.
Right now, I just want to focus on
| | 00:33 |
actually tracking the ball moving through
the scene.
| | 00:37 |
Now, in an instance like this when the
ball has high amount of blur on it, you
| | 00:41 |
couldn't really use a point tracker.
There wouldn't be one single point to
| | 00:45 |
track, and since there's so much blur
happening, it would be really hard to
| | 00:48 |
follow what's going on in the scene.
This is the perfect kind of shot to use a
| | 00:53 |
planar tracker.
And of course, we have an excellent planar
| | 00:57 |
tracker in After Effects, and that's Mocha.
| | 01:00 |
So we're going to use Mocha to create a
quick and dirty track of the ball moving
| | 01:03 |
through the scene.
To actually load up a clip in Mocha, all
| | 01:08 |
you have to do is position your current
time indicator where you want your track
| | 01:11 |
to start and then select the layer you'd
like to track in Mocha.
| | 01:16 |
Now, I can go up under the Animation menu
and choose Track In Mocha AE.
| | 01:21 |
You should get this new project panel that
pops up.
| | 01:25 |
When this comes up, it'll allow you to
specify exactly what clip you're going to
| | 01:29 |
import into Mocha.
Now, since we had Layer 1 selected, that's
| | 01:33 |
the clip that's loading.
It'll also choose that layer for the name
| | 01:37 |
of the project.
And it will try and save the project right
| | 01:40 |
next to the piece of footage that you're
bringing in.
| | 01:43 |
Since we have a folder hierarchy, I'm
going to go to the location area and click
| | 01:46 |
the Change button.
In here, I'm going to change the folder
| | 01:51 |
that it's going to save the file to.
Let's go to Exercise Files, and in Chapter
| | 01:56 |
2, I've created a folder called Mocha Track.
| | 02:00 |
Let's specify the Mocha track folder by
clicking Choose.
| | 02:03 |
Now, the frame range will just
automatically load all the frames from
| | 02:07 |
that click.
You'll always want to make sure to pay
| | 02:11 |
attention to the frame rate of the
project, and our project looks pretty
| | 02:15 |
good, so we can go ahead and click OK.
Now, when you're tracking in Mocha, one of
| | 02:20 |
the things to remember, it's always better
to track progressive footage.
| | 02:24 |
So, the shot that we're working on
actually is progressive.
| | 02:27 |
If it's interlaced sometimes you can have
a little bit of a headache so, I recommend
| | 02:31 |
deinterlacing any footage before you try
and track in Mocha.
| | 02:36 |
Now, even though I position my current
time indicator in After Effects, Mocha
| | 02:40 |
will automatically default at the start of
our composition.
| | 02:44 |
So I'm going to click on the current time
indicator or the play head here inside of
| | 02:47 |
Mocha.
Now, if we click and drag, let's position
| | 02:51 |
our play head to around frame 13.
You can see what frame you're on by this
| | 02:56 |
field right here.
The left field shows you the start of the
| | 03:00 |
clip.
And the right field, shows you the last
| | 03:03 |
frame in that clip.
Now, since we're on frame 13, we can
| | 03:07 |
specify the pixels that we want to track
by adding an x line.
| | 03:11 |
If you move up to the top of the
interface, notice we have a pen with an x
| | 03:14 |
next to it.
If we go ahead and click that pen, we can
| | 03:18 |
draw a spline around the shape of our ball.
| | 03:21 |
I'm going to go ahead and click and drag.
I'm just clicking and repositioning my
| | 03:26 |
mouse.
I'll create five points around the ball
| | 03:28 |
and just right-click when I'm done
selecting that shape.
| | 03:33 |
Now, it's important to understand when
you're tracking in Mocha, dependent upon
| | 03:37 |
where you draw the shape specifically in
the scene, you'll get a slightly different
| | 03:40 |
track every time.
So when I track this, your track may look
| | 03:45 |
slightly different.
So I'll show you how to make adjustments
| | 03:48 |
as we click through the scene.
Once you have your spline shape drawn into
| | 03:52 |
the scene, you want to look down at the
bottom of your interface.
| | 03:57 |
Down here, this is the Track panel.
Now, let's start on the left side.
| | 04:01 |
I want to choose the input channel, Auto Channel.
| | 04:04 |
That setting will allow Mocha to look
through the red, green, and blue channels.
| | 04:09 |
And actually choose which channel is going
to be the best one to track the shape.
| | 04:14 |
Luminance works extraordinarily well in
most cases.
| | 04:17 |
But since our clip is a little dark, Auto
Channel is going to work well for us..
| | 04:22 |
Now, the minimum percentage of pixels used
will allow you to specify the number of
| | 04:26 |
pixels within that shape to determine how
to actually move through the scene.
| | 04:32 |
So, the lower number of pixels defined by
that shape will allow for a little bit
| | 04:36 |
more variance in your track.
So you want to try and set this at a
| | 04:41 |
relatively high number when you're
creating your first track if you want it
| | 04:44 |
to really stick to the object.
So a click and drag to the right, and I'm
| | 04:49 |
dragging in a circular motion to increase
my percentage up to 100%.
| | 04:54 |
If I did a circular motion to the left it
would decrease.
| | 04:58 |
This is how you make adjustments to
parameters inside of Mocha.
| | 05:02 |
Now, I'll use 100%.
I know that this is going to take a fair
| | 05:05 |
amount of processing power but, I know
this is also going to give us an excellent
| | 05:08 |
track.
Now, in the next field, let's deselect
| | 05:12 |
Rotation and Sheer.
I just want to track Translation and
| | 05:15 |
Scale.
Since the ball is moving quickly through
| | 05:18 |
the scene we can leave it set to large
motion and then we can track frame by
| | 05:22 |
frame by going up to the track area here.
This inner key, with the T and the line
| | 05:28 |
next to it.
That will allow me to track frame by
| | 05:32 |
frame.
I like tracking frame by frame on short
| | 05:35 |
clips like this just so I can see exactly
what's happening during my track.
| | 05:40 |
So each time you click that button, it'll
move a frame down the timeline.
| | 05:44 |
And notice that this spline is sticking
right around the outside of our soccer
| | 05:47 |
ball.
Now, every time I click down, it's
| | 05:51 |
actually snapping right on that track even
though the ball is nice and blurry.
| | 05:57 |
Now, on occasion as you go through you may
see something like this happen where the
| | 06:01 |
track points kind of jump off the side of
the screen.
| | 06:04 |
If you need to reposition you path, you
can go ahead and click on one of the
| | 06:07 |
points.
And then press Cmd+A on the Mac or Ctrl+A
| | 06:11 |
on Windows.
That will select all the points and then I
| | 06:15 |
can go ahead and reposition my mask.
Notice when I reposition, I have a new
| | 06:20 |
keyframe that's been created here.
So I can now move on to the next frame,
| | 06:24 |
and keep clicking through to actually make
sure that my track is moving off the page.
| | 06:32 |
Now, if we click and drag and scrub
through the scene.
| | 06:35 |
You can see our track is actually set up
around our ball.
| | 06:40 |
Now, I can reposition this a little bit
more just by clicking and dragging and
| | 06:43 |
repositioning the points as I scrub
through the timeline.
| | 06:47 |
Notice here, its drifted way off from my
shape so I'm going to go ahead and just
| | 06:50 |
drag this over to this side.
So you may have to kind of make
| | 06:55 |
adjustments to your individual clip to
make sure that it's moved nice and
| | 06:58 |
smoothly through the scene.
Don't panic and make everything exactly
| | 07:02 |
precise, because we can always make
adjustments to the keyframes later after
| | 07:07 |
we get this data out of Mocha.
So as I scrub through, I think this looks
| | 07:12 |
pretty good for me.
So I'll export this data.
| | 07:16 |
If we go down to the Export Data options,
we want to export the tracking data.
| | 07:21 |
So click that button.
And under the Format pull-down, let's make
| | 07:24 |
sure we choose Transform Data.
This will give us the anchor point
| | 07:28 |
position and scale as well as the rotation.
| | 07:31 |
Now, since we didn't have any rotation,
we're just getting the anchor point
| | 07:34 |
position in scale.
I'll go ahead and click Copy to Clipboard.
| | 07:39 |
This is going to copy all the information
that we need.
| | 07:42 |
Now, I can press Cmd+Tab on the Mac or
Ctrl+Tab on Windows to jump back to After
| | 07:46 |
Effects.
I want to apply that motion to a null
| | 07:50 |
object, so I'll go up under Layer and
choose New > Null Object.
| | 07:56 |
Now, all you have to do is press Cmd+V or
Ctrl+V on Windows to paste.
| | 08:01 |
Notice the key frames are stuck on the
ball but if we look on the left side of
| | 08:05 |
our interface we have a null object.
Go ahead and press A to open up the anchor
| | 08:11 |
point for that null object.
If you go ahead and click the stopwatch,
| | 08:16 |
it'll automatically delete all the key frames.
| | 08:19 |
Now, this isn't exactly what we want to do
so I'll just Cmd+Z to undo.
| | 08:24 |
If you press the U key more than once, you
can see all the key frames are
| | 08:27 |
automatically selected.
That's why everything deleted when I went
| | 08:31 |
to delete the key frames off my anchor point.
| | 08:34 |
So I'm going to click underneath Layer 2
to deselect all my keyframes.
| | 08:38 |
Now, when I want to go back up under my
anchor point I can delete all those
| | 08:41 |
keyframes while still keeping my main
keyframes for my position and scale and
| | 08:44 |
rotation.
Since I don't need the rotation, we'll go
| | 08:49 |
ahead and just delete that as well.
And if you zero out your anchor point
| | 08:54 |
values.
Notice, now, my null object is stuck to
| | 08:58 |
the keyframes we've actually created.
Now, if you notice when we scrub through
| | 09:03 |
the timeline here, the move isn't
happening when the ball is moving.
| | 09:08 |
And that's because the current time
indicator was further down the timeline
| | 09:11 |
when we went to actually pace the keyframes.
| | 09:15 |
So, what I'll do is select the position
and the scale and then click-and-drag to
| | 09:20 |
the left.
Notice as I drag to the left, I'm
| | 09:23 |
repositioning all the position and scale
keyframes for that clip.
| | 09:28 |
Now, if I scrub down the timeline, you'll
notice my null object and all the
| | 09:32 |
keyframes are moving in perfect unison.
Now, I know I have that weird little dip
| | 09:37 |
at the end, but we will definitely address
that as we continue moving through the
| | 09:41 |
rest of this course.
| | 09:43 |
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| Point tracking| 00:00 |
If you've worked in motion graphics for
any amount of time, I'm sure you've come
| | 00:04 |
to the realization that not all projects
are created with a beautiful pristine
| | 00:07 |
seamless workflow.
Many times you have to massage the results
| | 00:11 |
of the different tools you have access to,
to create the exact look you're going for.
| | 00:17 |
And that's what we're going to do in this
specific example.
| | 00:21 |
We're going to track the motion of our
jumper's feet as he jumps through the
| | 00:24 |
scene using a simple Point Tracker inside
of After Effects.
| | 00:28 |
Rather than jumping into a true 3D
environment and trying to create 3D point
| | 00:32 |
clouds and all kinds of other advanced
tools, we're going to go ahead and create
| | 00:36 |
similar results using an old school technique.
| | 00:41 |
So I want to start by moving my current
time indicator to around frame 10.
| | 00:47 |
This is where we'll start our track.
Now in order to apply a point tracker, all
| | 00:51 |
you have to do is just double-click on the
layer to open up your Layer panel.
| | 00:55 |
Now with a Layer panel active, we can go
up under Animation > Track Motion.
| | 01:02 |
With our track point in the scene let's
reposition our view.
| | 01:06 |
I'm going to press the Spacebar to grab my
Hand tool and just move down in the scene.
| | 01:10 |
Now a point tracker has two main squares.
The outer square allows you to define the
| | 01:15 |
search region.
And the inner square allows you to define
| | 01:18 |
the precise shape that you're going to be tracking.
| | 01:22 |
I want to position my little crosshairs
here on the back part of our jumper's
| | 01:26 |
heel.
So let's go ahead and position our mouse
| | 01:30 |
over top of the inner square here and just
reposition our point tracker down into the
| | 01:35 |
scene until it's right about the midpoint
of our jumper's heel.
| | 01:40 |
Now, I'll refer to his feet as left and right.
| | 01:43 |
And I'll refer to the exact feet of our runner.
| | 01:46 |
So this is, literally, his left foot and,
literally, his right foot.
| | 01:50 |
Now, in order to track this scene, we need
to go down to the Tracker panel.
| | 01:54 |
Let's make our Tracker panel a little
larger and go down to the Analyze section.
| | 02:01 |
In here, I want to click this Analyze 1
frame forward button.
| | 02:05 |
Let's analyze frame by frame, so we can
massage the track as it's tracking through
| | 02:09 |
the scene.
Each time you click, a new key frame is
| | 02:13 |
going to be added to the point tracker.
And on occasion, you may want to go back
| | 02:18 |
up over your center square and just
reposition your track, so it stays in the
| | 02:21 |
center of our jumper's heel.
Now it doesn't have to be extraordinarily
| | 02:27 |
precise, because we are going to be
generating particles from this point
| | 02:30 |
track.
So it is okay, when you have these
| | 02:33 |
different jumps as you reposition the scene.
| | 02:37 |
So I'm going to keep analyzing one frame
forward, clicking through my projects.
| | 02:41 |
Just, again, on occasion, you want to go
ahead and reposition your tracker, just to
| | 02:45 |
make sure that it's not drifting too far
off your object.
| | 02:50 |
In many scenes, the point tracker will
work perfectly well tracking frame by
| | 02:53 |
frame.
Whenever you feel like you're having a
| | 02:57 |
successful track, you can go ahead and
click this next button to the left to have
| | 03:00 |
the tracker automatically load up all the
frames and track through the scene.
| | 03:05 |
Before I click that button, I'm going to
go ahead and reposition my view here a
| | 03:09 |
little bit.
So, when the runner gets close to the
| | 03:12 |
sand, I can stop the trackpoint.
So let's go ahead and click that Analyze
| | 03:17 |
forward button, and it's going to switch
to a Stop button.
| | 03:20 |
So you can leave your mouse hovered over
that area and just click it again to stop
| | 03:23 |
the track.
Now, I'll click through the last few
| | 03:27 |
frames here.
And then, since I tracked an extra frame,
| | 03:31 |
I'll just Command+Z or Control+Z on
Windows to undo.
| | 03:35 |
Now in order to apply this tracking data
to another layer, I need to create that
| | 03:39 |
other layer.
So I'm going to go up under Layer > New >
| | 03:43 |
Null Object.
Let's rename this Null.
| | 03:46 |
Make sure Layer 1 is selected in your time
line by clicking on it and press Return.
| | 03:52 |
Let's call this XY LF for left foot.
Now, in order to apply this track data to
| | 03:58 |
our new null object we need to edit the target.
| | 04:02 |
So, click on Edit Target and make sure the
layer that's chosen is XY LF when we click
| | 04:06 |
OK.
Now, let's specify the target for the
| | 04:10 |
tracker.
We need to actually click the Apply button
| | 04:13 |
to apply those key frames.
Notice we'll get one more menu that pops
| | 04:18 |
up that allows us to choose whether want
to apply each individual dimension or both
| | 04:22 |
together.
So let's choose X and Y and click OK.
| | 04:26 |
Now, if we press and U key, we can see
that we have all of our position keyframes
| | 04:31 |
set up for our null object.
Now as we scrub through the scene, you can
| | 04:36 |
see our null is tracked right along the
bottom of our jumper's foot.
| | 04:41 |
With the tracking process fresh in our
brain, I want you to go ahead and track
| | 04:44 |
the jumper's right foot using the same
techniques that we've just learned.
| | 04:49 |
We'll use both of these tracks to create
particle animations later on in the course
| | 04:55 |
| | Collapse this transcript |
| Creating 3D space from a 2D track| 00:00 |
We've successfully created a 2D track
using the single point tracker in After
| | 00:04 |
Effects.
If you scrub through the project you'll
| | 00:07 |
notice that we have a null object that's
moving right through the scene.
| | 00:12 |
Now I want to add z depth to this track.
In order to do that, we need to create a
| | 00:17 |
new null object.
So I'm going to go up under the layer menu
| | 00:21 |
and choose New null object.
Now to reposition this null to follow
| | 00:25 |
along with the track, let's hold down
Shift on our keyboard and then click with
| | 00:28 |
the Parent pick whip, and point it at
layer 2.
| | 00:32 |
Now I want to draw a delineation between
both of these null objects.
| | 00:35 |
To do that, lets press S and change the
scale of our child null to be
| | 00:39 |
significantly smaller.
I'll scale it down to around 40%.
| | 00:45 |
Now this is going to be the null where
we'll add 3D data.
| | 00:48 |
So let's enable 3D for that layer.
Now if we press P, we can open up our
| | 00:53 |
position keyframes, and we'll go ahead and
add a keyframe at the beginning and the
| | 00:57 |
end of our track.
I'm going to change the magnification of
| | 01:02 |
my layer here, and move my current time
indicator down towards the end of my
| | 01:05 |
timeline.
I'll just make sure I'm on my last
| | 01:09 |
keyframe here, and go ahead and add a
keyframe for my position data.
| | 01:15 |
Now we'll do the same thing back up at the
start of our track just by moving down to
| | 01:18 |
the Start, and we can click our Diamond
button here.
| | 01:22 |
Now I know both of these keyframes have
the same values, so let's go ahead and
| | 01:26 |
move back down to the end of our track and
just click and drag on the z parameter.
| | 01:32 |
I want you to drag to the left because I
want this to move forwards in the scene.
| | 01:36 |
Now, in addition to moving forwards, we do
need to have it move a little bit back
| | 01:40 |
towards the left, so it follows along with
the track.
| | 01:45 |
But I want to stop for a second here and
show you something.
| | 01:49 |
The particle emitter that we're going to
use is particular, which is a Trapcode
| | 01:53 |
plugin.
If we turn off shy, notice we have layer
| | 01:57 |
3, our particular layer.
If we select that layer, and open up our
| | 02:02 |
effect control panel, under here notice we
have position x, y, and position z, and
| | 02:08 |
they're all separate.
What this is going to allow us to do is
| | 02:14 |
tie an expression from position z to the z
position of this null.
| | 02:19 |
So if I try and adjust this null on its x
and y parameters to actually have it
| | 02:23 |
follow along with this foot, it's not
going to line up because this position xy
| | 02:27 |
is going to be tied to the xy of this layer.
| | 02:33 |
So we kind of need to massage both
together to get our final results.
| | 02:38 |
Let's turn on shy, just so we don't have
to look back at that layer again, and make
| | 02:42 |
sure we select layer 1.
Now with layer one selected, I want to go
| | 02:47 |
ahead and rename that layer.
Let's rename is ZLF for Z-axis on the Left
| | 02:52 |
Foot.
Now, in order to reposition multiple
| | 02:56 |
keyframes at once, what we should do is
look for where the track actually starts
| | 03:00 |
to drift off the foot of our jumper.
So, I'm going to ahead and scroll through
| | 03:07 |
the scene here, and right about frame 208
if we zoom into 100% magnification you can
| | 03:11 |
see its drifted off to the right side of
his foot here.
| | 03:16 |
So, if we scrub through the timeline a
little further you can see maybe further
| | 03:20 |
back here this looks relatively acceptable.
| | 03:24 |
So actually, let's change the keyframes
starting at 201.
| | 03:30 |
I'm going to draw a lasso around all the
remaining position keyframes, making sure
| | 03:36 |
to select 201.
Now I can reposition these keyframes just
| | 03:40 |
by using my keyboard commands.
I'm going to hold down the Shift key and
| | 03:44 |
use the up arrow to move up ten whole
pixels, and I'll use the left arrow to
| | 03:48 |
move to the left ten pixels.
Now, what I'm doing is lining up the upper
| | 03:54 |
left corner of our z layer.
This way, when I scrub through the scene,
| | 04:00 |
you can see there is a little bit of a
pop, but his foot is moving forwards.
| | 04:05 |
And as we scrub through, you can see that
the position of our new z null is right in
| | 04:09 |
the middle of his foot, which works
beautifully to the effect that we'll be
| | 04:12 |
creating.
Now towards the end here it starts to
| | 04:17 |
drift off again, so all we have to do is
just draw a lasso around those remaining
| | 04:20 |
key frames, and again holding down Shift,
I can press the up arrow, and just sort of
| | 04:24 |
drift these keyframes up a little bit.
I could also just use the arrow keys
| | 04:31 |
directly, to reposition accordingly.
Now if we scrub through, you can see that
| | 04:38 |
our z-null is tied to the bottom of our
jumper's foot, and it moves through the
| | 04:42 |
scene.
Now, obviously you can continue tweaking
| | 04:46 |
this to get the exact motion you'd like to create.
| | 04:50 |
For now, I think this looks great for his
left foot.
| | 04:54 |
Now since this tracking process is fresh
in your mind I'm going to encourage you to
| | 04:58 |
take what we've learned over the last two
videos, and go ahead and apply those same
| | 05:01 |
techniques and track the runner's right
foot.
| | 05:06 |
| | Collapse this transcript |
| Tracking a spiral| 00:00 |
I was very happy when I first saw this
clip because I knew we could create some
| | 00:03 |
pretty dynamic particle animations flowing
off the back of the football.
| | 00:08 |
But before we begin the process of
tracking the football, I want to show you
| | 00:11 |
some technical considerations we need to
look at.
| | 00:14 |
Move the current time indicator to frame
10, and you can see the football is
| | 00:17 |
extraordinarily blurry.
Also, I don't have much separation between
| | 00:22 |
the football and its background.
This alone is going to make this rather
| | 00:26 |
problematic to track.
Now, usually, I would use a planar tracker
| | 00:29 |
like Mocha to try and track an abstract
shape like this.
| | 00:33 |
But I've already gone through that
process, and just like I thought, it was
| | 00:36 |
very problematic.
So, instead, I'm going to show you a real
| | 00:40 |
world workflow.
See, when you're working on a deadline,
| | 00:43 |
you need to kind of balance whether it
makes more sense to optimize a tracker or
| | 00:47 |
optimize the footage for a tracker or just
manually track the footage.
| | 00:52 |
And if we look at our clip, you can see
that I've only got 23 frames of tracking
| | 00:56 |
to do.
So rather than trying to waste time
| | 00:59 |
optimizing this footage for a tracker,
we're just going to go ahead and manually
| | 01:02 |
track the object through the scene.
So make sure your current time indicator
| | 01:08 |
is at the start of the project, and let's
go up under Layer and create a new Null
| | 01:11 |
Object.
We'll animate keyframes for the position
| | 01:15 |
of this null to create our track.
So let's position the null right in the
| | 01:20 |
center of our football, and press Option+P
on the Mac or Alt+P on Windows to set our
| | 01:24 |
first keyframe.
Now, we can just move frame by frame down
| | 01:29 |
the project to see how we can adjust our track.
| | 01:33 |
Usually, when I do this, I try and move a
couple frames at a time, so as we scrub
| | 01:36 |
back through, we can see whether or not
the tracks working and we don't
| | 01:39 |
necessarily have to keyframe every single frame.
| | 01:44 |
Now, notice as I move through, I have
these handles that are popping out here.
| | 01:49 |
If I zoom in on em my magnification, you
can see this handle is actually
| | 01:53 |
controlling the bezier path.
Now, I don't want this when I'm creating a
| | 01:57 |
manual track.
So, let's draw a lasso around all these
| | 02:01 |
keyframes, right-click and change the
Keyframe Interpolation.
| | 02:05 |
We can change the Spatial from Current
Settings to Linear.
| | 02:09 |
Now, when I click OK, we'll have a very
clear defined linear path between our key
| | 02:13 |
frames.
This is going to give us a really nice
| | 02:16 |
clean track as we move throughout the rest
of our clip.
| | 02:19 |
Now, rather than making you sit through
the tedious process of clicking and moving
| | 02:23 |
frame by frame throughout the scene, I'm
going to go ahead and finish this process.
| | 02:28 |
And we'll cross dissolve and pickup where
we left off here in just a quick second.
| | 02:34 |
Now that we've created this track, let's
scrub back through the scene and see how
| | 02:37 |
the null is actually applied over top of
the football.
| | 02:40 |
To see the whole scene, I'll change my
magnification to fit up to 100%.
| | 02:46 |
Now as we scrub through, we've created a
successful manual track.
| | 02:51 |
Now, even though we've created these
initial keyframes, we could always go back
| | 02:54 |
and make adjustments to this track later
on once we actually start creating our
| | 02:57 |
graphics.
| | 02:59 |
| | Collapse this transcript |
|
|
3. Adding GraphicsAdding spheres with Form| 00:00 |
In this video, we're going to create a
graphic using Trapcode Form.
| | 00:04 |
Now, form is very much like particular in
that you're animating particles.
| | 00:09 |
But form allows you to actually create
shapes from these particles.
| | 00:13 |
Make sure you have the 01_Kick composition
open and select Layer 1, our null layer.
| | 00:20 |
As we scrub through the scene, notice this
null tracks right along with the soccer
| | 00:23 |
ball.
Now in the upper right corner, notice some
| | 00:26 |
of the key frames are kind of out of position.
| | 00:29 |
I want to fix these, so I'm going to press
the Spacebar and just reposition myself in
| | 00:33 |
the scene.
So I'll go ahead and reposition this one
| | 00:36 |
keyframe up and to the right.
I can do that for the next key frame as
| | 00:40 |
well.
Let's go ahead and drag it a little
| | 00:42 |
further to the rate.
We want to make sure it gets all the way
| | 00:45 |
off the page.
Now notice if I try and click and drag on
| | 00:48 |
that last key frame, I have many other key
frames that are all right on top of each
| | 00:51 |
other.
I'm going to change the magnification of
| | 00:55 |
my time line here and just draw a lasso
around these last couple key frames...
| | 01:00 |
Notice they are automatically selected
here in my Project panel.
| | 01:03 |
So I want to go ahead and just make sure
that I have these last three ones
| | 01:06 |
selected.
So drawing a lasso around these last
| | 01:11 |
keyframes, I can go ahead and press Delete.
| | 01:14 |
Now we've got our base track moving
through the scene.
| | 01:16 |
If you scroll back towards the beginning
of the comp, notice our null doesn't
| | 01:20 |
actually move until around frame 13.
So we can delete all these other keyframes
| | 01:25 |
before that as well.
I'm going to click and draw a lasso around
| | 01:29 |
those keyframes and delete.
Now, as we scrub through, we've got a nice
| | 01:34 |
solid track.
So we're ready to actually create our
| | 01:37 |
graphic element.
I'm going to to reframe our composition by
| | 01:39 |
pressing Shift+Forward Slash.
And now we can create a new solid.
| | 01:45 |
Lets go up under Layer > New > Solid.
You want to make sure the solid is your
| | 01:49 |
comp size, so make sure to click Make Comp Size.
| | 01:53 |
You don't have to worry about the color
because that will end up being transparent
| | 01:56 |
when we create our different graphics.
So let go ahead and click OK.
| | 02:01 |
Now we can go up under Effect > Trap Code.
In here, we're going to use a plugin named
| | 02:06 |
Form to actually generate those Sphere
elements, so let's go to Form.
| | 02:11 |
Form is a plug in that comes as a part of
the Trapcode Suite.
| | 02:15 |
They are available form Red Giant and,
personally, I think they are pretty great.
| | 02:19 |
Notice we have a grid that's popped up in
the center of our project.
| | 02:23 |
That's known as the base form.
If we open up the options for Base Form in
| | 02:27 |
our Effects Control panel, you'll notice
the base form is set to a box grid.
| | 02:32 |
So, let's change that pull down to Sphere
- Layered.
| | 02:36 |
Now, since we only had two spheres in our
reference, let's change the sphere layers
| | 02:40 |
value from 3 to 2.
Now, in order to have this travel along
| | 02:45 |
the position of our null object, what we
want to do is tie this Center XY value to
| | 02:49 |
the Position value of Null 1.
Now, as I'm looking at this, let's make
| | 02:55 |
sure to rename Layer 2.
So I'm going to go ahead and select Layer
| | 02:59 |
2 and call this Track.
That way, we just know we have our track
| | 03:02 |
layer.
Let's reselect Layer 1, so we can get our
| | 03:06 |
Form options back up in our Effect Controls.
| | 03:10 |
Now, on the Mac, you want to hold down Option.
| | 03:12 |
On Windows, hold down Alt, and then click
on the stopwatch next to Center XY.
| | 03:16 |
This will automatically generate an expression.
| | 03:19 |
Now, we need to tell the expression what
parameter we'd like Center XY to follow.
| | 03:24 |
We can do that by clicking on the pick
whip down here in the timeline.
| | 03:28 |
If you click on the pick whip and hold
down your mouse button and drag down to
| | 03:31 |
the bottom of the scene, you can point it
directly over top of the position
| | 03:34 |
parameter for our track layer.
Once there, just let go and that will go
| | 03:39 |
ahead to set that expression.
So to actually apply the expression you
| | 03:43 |
just want to click outside of this box anywhere.
| | 03:46 |
I'm just going to click down here.
And now, notice our base form has actually
| | 03:50 |
snapped down to the proper position.
Now if we scrub though, you notice the
| | 03:55 |
form is moving perfectly with the soccer ball.
| | 03:58 |
The only settings we need to adjust are
the Scale settings for this form.
| | 04:02 |
Now even though we have some scale
perimeters for our null object, I want to
| | 04:06 |
be very precise in how this object is built.
| | 04:10 |
And we'll do that by making adjustments to
the Size X, Y, Z values for the base form.
| | 04:16 |
Let's start by positioning our current
time indicator on Frame 13.
| | 04:20 |
This is the last frame before the ball
starts to move.
| | 04:23 |
So at Frame 13, let's add a keyframe for
Size X, Y, and Z.
| | 04:28 |
Now, I've already gone through and marked
exactly what size settings I'd like.
| | 04:32 |
So let's go and change the size from 200
to 165.
| | 04:35 |
You can press Tab to move between the
different fields.
| | 04:44 |
(SOUND) Now if we scrub down the timeline
by dragging our current time indicator, we
| | 04:48 |
can reposition to around Frame 18.
That's where I'm noticing the ball is
| | 04:53 |
getting a little bit larger than my sphere shape.
| | 04:56 |
So on Frame 18, let's go ahead and change
the size one more time.
| | 05:01 |
We can change this up to 200.
(SOUND) Now, to finish this process we'll
| | 05:08 |
add a couple more keyframes.
Let's move down to Frame 23.
| | 05:11 |
In here, we can change the size to 240.
(SOUND) And now for our last set of
| | 05:22 |
keyframes, let's move down the timeline to
just before the sphere moves off the page.
| | 05:27 |
That'll be frame 30 or 106.
So here, let's change the size to
| | 05:33 |
something really large like 450.
(SOUND) Now, notice it's lined up.
| | 05:41 |
If we scrub through the scene, you can see
now we've created our base move and it's
| | 05:44 |
actually scaling with the ball.
Now we'll continue to make adjustments to
| | 05:49 |
this object as we move throughout the rest
of the course, but for now we have our
| | 05:53 |
base move.
All we really need to do is just tweak the
| | 05:58 |
position of this very first keyframe.
So let's go ahead and move our current
| | 06:02 |
time indicator to Frame 13.
And go down to our position for our track
| | 06:07 |
object, and just click and drag on the Y.
Then, I'll just move that one frame down.
| | 06:12 |
Now everything's lined up beautifully.
Then we're ready to move on and create
| | 06:16 |
some more graphics.
| | 06:17 |
| | Collapse this transcript |
| Animating the sphere| 00:00 |
At this point in our project, we need to
animate the appearance of these particles
| | 00:04 |
around our soccer ball.
If we scrub through the scene, notice
| | 00:07 |
there's no animation just yet.
We just have the particles moving with the
| | 00:12 |
soccer ball.
So I just want to focus on the first
| | 00:15 |
couple frames.
Let's move our current time indicator to
| | 00:18 |
around frame 16 and press N to end our
work area.
| | 00:22 |
And I'll go ahead and change the
magnification of our timeline as well just
| | 00:25 |
so we can see things a little more clearly.
| | 00:29 |
Now to start building this animation, I
want to start on frame 2.
| | 00:32 |
This is where I'll change the overall size
of our particles themselves.
| | 00:36 |
Let's change the size on X, Y, and Z to
around 20.
| | 00:42 |
Now I have to say, as I'm making these
adjustments, in order to create a kind of
| | 00:46 |
flowing organic animation, a lot of times
you'll need to just make adjustments to
| | 00:49 |
your base form, and sort of fiddle around
until you get something that you actually
| | 00:53 |
like.
I happened to have already gone through
| | 00:58 |
this process, so I'm just sort of sharing
the highlights and telling you the
| | 01:00 |
settings that I've said.
But I definitely encourage you to go
| | 01:03 |
through and kind of play around, and see
if you can create an animation that you
| | 01:06 |
love.
We've created our initial size, set at 20
| | 01:10 |
for frame two.
Let's move down to around frame six.
| | 01:15 |
This is where I want the particles to
actually start to appear on the lower
| | 01:18 |
right corner of the ball.
Now in order to offset the position of
| | 01:21 |
these particles, we're going to animate a
distortion field.
| | 01:25 |
We can do that in the Form effect.
So since we have layer one selected, I'm
| | 01:29 |
going to go up under Window and just make
sure that I have my Effect Control panel
| | 01:32 |
up and active in the upper left corner of
my interface.
| | 01:36 |
Now since we've already changed the
overall size of our base form, I want to
| | 01:39 |
go down to the Spherical Field option here.
| | 01:43 |
Let's open up those options, and we'll
open up sphere one.
| | 01:46 |
Under sphere 1, notice we have an option
for position X, Y.
| | 01:50 |
If you click on the crosshairs, we can
reposition this right over top the center
| | 01:54 |
of our ball.
I'll go ahead and click to repostion
| | 01:58 |
there.
Now in order to see the distortion lets
| | 02:01 |
increase the strength amount.
Notice as I increase the strength the
| | 02:05 |
particles will get offset it looks
everythings just kind of scaling but it's
| | 02:09 |
phsyically moving the particles thoughout
the scene.
| | 02:13 |
Lets re-position our sphere off to the left.
| | 02:16 |
I'm going to go ahead and click and drag
right on the crosshairs, and notice
| | 02:19 |
sometimes when graphics are over lapping
like this, it's kind of hard to reposition
| | 02:22 |
things.
Occasionally, you may want to increase the
| | 02:26 |
magnification just by scrolling up on your
mouse, and then using your Spacebar to
| | 02:29 |
grab the hand tool and reposition.
So since I'm still having a hard time, I'm
| | 02:34 |
going to go ahead and click and drag on
the xy parameters for the position for my
| | 02:38 |
sphere.
Now, this is exactly where I want these
| | 02:41 |
particles to start to appear, so I'll go
ahead and add a keyframe for position x,
| | 02:45 |
y.
Now let's move a couple frames down the
| | 02:48 |
timeline here, and I want these particles
to appear as though they're wrapping, kind
| | 02:52 |
of around the sphere.
So let's click on the crosshairs, and just
| | 02:56 |
move it up in the scene.
Now we can move down to frame 10 and
| | 03:01 |
continue that motion up over to the right
finally moving down to around frame 12,
| | 03:05 |
making sure that we've moved our spherical
distortion field all the way off the right
| | 03:09 |
side of the scene.
Now as I scrub through you can see the
| | 03:14 |
particles are starting to appear...
And then they wrap around our object.
| | 03:20 |
Now this isn't quite as organic as I would
like, but we can tweak this animation by
| | 03:24 |
animating some of the Glow parameters, as
well as making some fine tuning
| | 03:27 |
adjustments using the Opacity.
So we'll just animate the opacity of this
| | 03:33 |
right now.
Move the current time indicator to around
| | 03:36 |
frame two.
Now we can press Option on the Mac or Alt
| | 03:39 |
on Windows, and press T to create a
keyframe for the opacity.
| | 03:45 |
I'll just press T two more times to
isolate the Opacity parameter.
| | 03:48 |
Let's change that opacity down to zero and
just move down to frame four, and then
| | 03:52 |
we'll crank that opacity up to 100.
Now as we move through, you can see that
| | 03:57 |
the particles are kind of appearing as a
blob and then starting to animate around
| | 04:00 |
the scene.
Again, we'll continue tweaking this as we
| | 04:04 |
move throughout the rest of the course.
For now, we've created our base animation
| | 04:08 |
for the appearance of the particles in the scene.
| | 04:12 |
Let's go ahead and load up a RAM preview
and see what we've created.
| | 04:16 |
That looks pretty good for now.
| | 04:18 |
| | Collapse this transcript |
| Animating the shock wave| 00:00 |
Now we all know one of the fundamental
basics for creating animation is
| | 00:04 |
exaggeration.
And that's what we're going to do in this
| | 00:07 |
specific video.
We're going to create a shockwave blast
| | 00:10 |
that shoots off the soccer ball once our
player kicks the ball.
| | 00:15 |
So if we scrub through the scene, you'll
notice we have the particles wrapping
| | 00:18 |
around the ball but no shockwave.
So, let's start by positioning our current
| | 00:23 |
time indicator to around Frame 12.
Now, we need to do a little housekeeping
| | 00:28 |
before we create our shockwave.
Let's select Layer 1 and rename that layer
| | 00:33 |
Base Particles.
Now we'll create our shockwave based off
| | 00:38 |
of these particles.
So with Layer 1 selected, lets press
| | 00:42 |
Command+D to duplicate.
Control+D on Windows.
| | 00:46 |
Now since we don't need the shockwave to
appear until our soccer player kicks the
| | 00:49 |
ball, let's trim the inpoint of our layer
by pressing Option+Left Bracket or
| | 00:52 |
Alt+Left Bracket on Windows.
To further focus our attention, let's
| | 00:58 |
enable Solo for Layer 1 and Layer 4.
That way those are the only two layers
| | 01:03 |
that we'll be dealing with.
Now, in order to create the distortion
| | 01:07 |
field we want to go to the Effect Controls
for Layer 1.
| | 01:11 |
In here, let's go down under the Spherical
Field options.
| | 01:14 |
In the previous video, we animated Sphere 1.
| | 01:18 |
We don't need that sphere adjustment
anymore, so let's go ahead and change that
| | 01:21 |
Strength down to a value of 0.
Now, collapse Sphere 1 and open up Sphere
| | 01:26 |
2.
Let's click the target for Position XY and
| | 01:29 |
make sure to position it right in the
center of our particles.
| | 01:33 |
Now that we have our shockwave set up for
distortion, let's go ahead and rename
| | 01:37 |
Layer 1.
I'll select the layer, and name it
| | 01:39 |
Shockwave.
(SOUND) Now, there are a couple different
| | 01:43 |
parameters we'll end up animating.
Let's add keyframes for Strength,
| | 01:47 |
Position, Radius, Scale on the X, and
Scale on the Y.
| | 01:52 |
Now, let's move a couple frames down in
the time line to when she actually kicks
| | 01:55 |
the ball.
Let's say Frame 14.
| | 01:58 |
On Frame 14, let's increase the Strength
up to 100%.
| | 02:02 |
Now that looks pretty cool.
But to accentuate what's happening, lets
| | 02:06 |
increase the size on the Y axis.
Now, just so we can better see what's
| | 02:10 |
going on in the scene, let's push
Shift+Forward Slash to reframe our scene.
| | 02:16 |
Now since she's kicking off to the right,
let's change the position on the x axis
| | 02:21 |
off to the left.
This way, it'll look like these particles
| | 02:25 |
are kind of blowing off over towards the right.
| | 02:28 |
Now if we scrub through the scene, we've
already created a base animation for our
| | 02:32 |
shockwave.
But as we continue moving, notice the
| | 02:35 |
particles will wrap back around the ball.
I think that's created kind of a cool
| | 02:39 |
effect.
But we'll further accentuate this
| | 02:42 |
explosion here by tweaking some other settings.
| | 02:45 |
I want to press the U key on the keyboard
to open up all of our keyframes.
| | 02:50 |
Since we've already animated the scale of
the Y axis let's go ahead and add some key
| | 02:55 |
frames for the scale on X.
Now I like the scale on X at the
| | 03:00 |
beginning, so I'll just go ahead and
reposition my scale X keyframe to be on
| | 03:05 |
Frame 14.
Now, if we move down to Frame 16, we can
| | 03:10 |
increase the scale on X, and that will go
ahead and allow us to blow out the sides
| | 03:14 |
of this animation.
So as we scrub through when she kicks,
| | 03:19 |
it's going to burst up on the Y and then
blow out on the X.
| | 03:24 |
Now, notice the field actually wraps back
around the ball.
| | 03:29 |
As I scrub through, I actually think that
looks pretty cool.
| | 03:32 |
But I'll accentuate this explosion by
animating the Radius parameter.
| | 03:37 |
Since we already had a start radius key
framed at 100%, let's just move down to
| | 03:41 |
around Frame 18 and increase the Radius
here a little bit to around 240.
| | 03:47 |
Now as we scrub through, the particles
won't start to wrap around the ball till
| | 03:51 |
it reaches right around the end, which is
exactly what we want.
| | 03:55 |
We want these particles to burst off of
the ball and shoot off to the upper right
| | 03:58 |
hand corner.
But since we want to accentuate that sort
| | 04:02 |
of undulating feeling, we'll let those
particles sort of hang out there by
| | 04:05 |
leaving the parameters set the way that
they are.
| | 04:10 |
Now in order to get a good preview as to
what we've just created, let's go ahead
| | 04:14 |
and reset our work area to end around 104.
Now we can load up a RAM preview and you
| | 04:20 |
can see our shockwaves blown off the side
of our page.
| | 04:24 |
To better see what's going on, let's stop
our RAM preview and just disable solo for
| | 04:29 |
Layer 1 and Layer 4.
Now, when we scrub through the scene, you
| | 04:34 |
see we have our particles and our explosion.
| | 04:37 |
Now, of course, much like everything else,
we'll continue tweaking this.
| | 04:41 |
A lot of excellent particle animation is
actually created by making adjustments in
| | 04:46 |
the color correction process.
| | 04:48 |
| | Collapse this transcript |
| Creating logo particles| 00:00 |
Now for this part in our project, we're
going to create a custom particle emitter
| | 00:04 |
based off of the logo for our sports drink.
| | 00:07 |
Now, in order to actually create the
custom particles, we'll need to use the
| | 00:11 |
particular effect from Trapcode.
If you scrub through our timeline, you'll
| | 00:16 |
see that we have our jumper, and the
jumper already has some null objects tied
| | 00:19 |
to the bottom of his feet.
We'll use the position data of these null
| | 00:24 |
objects to determine exactly where the
particles are going to be emitted from.
| | 00:28 |
Now, I've already added a layer into this
composition for particular, so let's go
| | 00:33 |
ahead and just disable shy and then that
will reveal our layer five.
| | 00:38 |
This is just a black layer solid that's
the same size as the comp with the
| | 00:42 |
particular effect applied.
So, in order to see the particles, let's
| | 00:47 |
just turn on the visibility for layer 5.
Obviously, the spheres that are the
| | 00:52 |
default setting are not what we're going for.
| | 00:54 |
We need to specify a custom particle.
To do that, we need to add a custom
| | 00:58 |
particle layer to our composition.
If you look in our project panel, I have a
| | 01:03 |
graphics folder and a precomps folder.
If you don't click on the logo particle
| | 01:09 |
precomp, notice our graphic has been
loaded, and it's masked.
| | 01:14 |
Our graphic just shows the h plus logo,
and if we invert the mask, you can see
| | 01:17 |
we've just cropped off the word sport.
This way this layer is going to be the
| | 01:22 |
particle that's emitted from our custom
particle emitter.
| | 01:27 |
And since it's in a pre comp, if we ever
wanted to change that particle, we could
| | 01:30 |
easily update the precomp, and that would,
in turn, propagate back into our particle
| | 01:34 |
emitter.
So let's go back to our jump composition,
| | 01:39 |
and open the effect controls.
Again, make sure layer five is selected if
| | 01:43 |
you don't already have it selected, and
let's scroll down to our Particle options.
| | 01:50 |
Click on the triangle next to the word
Particle and let's change the particle
| | 01:54 |
type from Sphere to Sprite.
With Sprite selected, we can now specify a
| | 02:00 |
texture.
If we open up the Texture options, we have
| | 02:03 |
a Layer pull down.
Let's change that for None to specify a
| | 02:07 |
layer in our composition.
Well, as I showed you before, we had our
| | 02:12 |
precomp in the Project panel, but we
haven't added it to our comp yet.
| | 02:17 |
So let's go ahead and click on that
precomp and drag and drop it right down as
| | 02:21 |
layer one in our project.
Now when we select layer six, our
| | 02:26 |
particular layer, we can go to the Effect
Control panel, and if we scroll back down,
| | 02:30 |
we can go to the Layer section, and now
we'll specify layer 1 as the particle.
| | 02:37 |
If I change the magnification, here you
can see that h pluses are now emitting
| | 02:40 |
from our particle emitter.
Since we don't want this large h+ in the
| | 02:45 |
center of the scene, let's turn of the
visibility for layer 1.
| | 02:50 |
Now all we have to do is specify that the
emitter is going to move with the position
| | 02:53 |
data of our different null objects.
We'll start by creating an animation based
| | 02:59 |
off the of position from layer 5 and layer 4.
| | 03:03 |
So lets select layer 4 and 5 just by
clicking on one and shift clicking on the
| | 03:07 |
other now if you press P to open up it's
position parameter.
| | 03:12 |
We can easily select layer six.
Now, if we go to the position x, y
| | 03:16 |
settings for the emitter, we can hold down
option on the Mac or alt on Windows and
| | 03:20 |
click on the stopwatch.
That'll automatically apply an expression
| | 03:25 |
and we can click on the pick let and point
it up towards the position data for layer
| | 03:29 |
five.
When we let go all we have to is click in
| | 03:33 |
this blank area to go ahead and set the
position expression.
| | 03:38 |
Now we want to repeat the same effect with
the position z parameter.
| | 03:43 |
So again Option on the Mac Alt on Windows
and click on the stopwatch.
| | 03:47 |
Now with this pick whip let's click it and
point it directly up at layer four.
| | 03:53 |
And if we look at layer four, I don't want
to apply to the overall position.
| | 03:57 |
I want to apply it only to the z parameter
so let's make sure we're hovered over z.
| | 04:02 |
And then we can let go and then just click
outside of this box to make sure that
| | 04:07 |
we've set z for that new null object.
Now as we scrub through the scene, you can
| | 04:13 |
see the particles are custom.
And they're emitting from the null objects
| | 04:17 |
tied to the lower left foot of our jumper.
The beautiful thing about creating
| | 04:22 |
particle emitters like this is the fact
that I can customize this particle
| | 04:26 |
emitter, and then once I have a setting
that I actually like I could quickly
| | 04:29 |
duplicate the particular layer and then
just tie the position data to our other
| | 04:33 |
null objects.
That way once we process the particle
| | 04:39 |
animations for one, we can easily just
duplicate those animations to the other
| | 04:43 |
foot.
Now obviously, we need to polish this
| | 04:48 |
animation a little bit more, but we'll
definitely do that as we continue on.
| | 04:53 |
| | Collapse this transcript |
| Stylizing particle animation| 00:00 |
It's important to know that the process of
creating a custom stylized particle
| | 00:04 |
animation is just that, a process.
Now in this video, I'm going to save you a
| | 00:09 |
lot of that process by giving you the
specific settings I used to create our
| | 00:12 |
particle animation.
But usually, what you'd have to do to
| | 00:17 |
create a particle animation from scratch
is set your settings, preview the
| | 00:21 |
animation, reset your settings, re-preview
your animation, and repeat that process
| | 00:25 |
about 100 times before you actually figure
out exactly what you like in your particle
| | 00:29 |
animation.
Now of course like I said I'm going to
| | 00:35 |
save these out process.
So, let's get started by selecting layer
| | 00:38 |
six, our particular layer.
I want to go ahead and move our current
| | 00:42 |
time indicator to the beginning of the
project and press shift forward slash to
| | 00:46 |
reframe the magnification of our comp panel.
| | 00:51 |
Now, let's load up a RAM preview so we can
see what we're dealing with.
| | 00:55 |
Notice the particles are moving rather
quickly, and our jumper is moving slowly
| | 00:59 |
because it's slow-motion footage.
So the majority of the adjustments that
| | 01:04 |
went ahead and started to make were to try
and alleviate that difference between the
| | 01:08 |
2 motions.
The obviously I'd love the motion of our
| | 01:12 |
particles to be more closely tied to the
movement of our jumper.
| | 01:17 |
So you'll see the different settings that
I'll make adjustments to to kind of
| | 01:20 |
accentuate that movement.
So, to get started, let's go to the effect
| | 01:25 |
control panel.
Since we already have layer six selected,
| | 01:28 |
particular is already in our effect controls.
| | 01:32 |
Let's press home on our keyboard to move
our current time indicator to the start of
| | 01:35 |
our timeline.
Let's keyframe the appearance of our
| | 01:38 |
particles.
By changing our particle per second value
| | 01:42 |
to zero, an adding a keyframe.
Let's move four or five frames down the
| | 01:47 |
timeline, an just change the particles per
second, up to a value of around 140.
| | 01:53 |
Now, if we scrub through the scene, you
can see, the particles are actually
| | 01:56 |
starting to be emitted.
Now, in order to better see the scene, I'm
| | 02:00 |
going to press Shift Command h to hide all
the edges of our null objects.
| | 02:04 |
Now, let's continue making some adjustments.
| | 02:09 |
I'm going to work from the top down in our
particular setting but, I want you to
| | 02:11 |
understand that a lot of times you'll have
to bounce back and forth between the
| | 02:14 |
different settings.
So, let's get started by adjusting the
| | 02:19 |
velocity random percentage.
I don't want all these particles to move
| | 02:24 |
out at the same percentage so, let's
change the randomness from a value of 20.
| | 02:29 |
To about 62%.
That way the movement will be a little
| | 02:33 |
more random.
For the distribution, let's change that
| | 02:37 |
setting to 2.3, and the velocity for
motion, let's increase that.
| | 02:42 |
I'm going to press tab to move to the next field.
| | 02:44 |
And we'll increase that way up to a value
of 106%.
| | 02:49 |
Now if I scrub through the scene, you can
see as my jumper is kicking its foot, the
| | 02:53 |
particles are shooting up in the air.
Let's actually preview this as a ram
| | 02:58 |
preview.
You can see now since velocity for motion
| | 03:03 |
was increased.
As the movement moves, the particles are
| | 03:06 |
moving.
They're still moving way too quickly, so
| | 03:09 |
I'll go ahead and stop playback here for a second.
| | 03:12 |
In order to create a more defined movement
for our particles, let's go to the
| | 03:16 |
direction pull down.
We'll change that from uniform to
| | 03:21 |
directional.
Now we have a much more solid stream to
| | 03:24 |
the movement of our particles.
Let's move down to the next major section
| | 03:29 |
in particular.
Our particle settings, currently all our
| | 03:33 |
particles will disappear after three seconds.
| | 03:37 |
I want to shorten their lifespan since our
clip is so quick.
| | 03:40 |
Let's change that setting to 2.3, let's go
ahead and press tab to move to the next
| | 03:45 |
field Let's change the life random
percentage to a value of about 31.
| | 03:51 |
This way there'll be about 31% variance in
how long each particle lives.
| | 03:56 |
Let's change the size setting up to around 12.
| | 04:00 |
This will make your particles a little bit
larger, so we can actually see the h plus
| | 04:03 |
logo.
Now of course we want some random
| | 04:07 |
variance, so let's change the size random percentage.
| | 04:11 |
We can go ahead and crank that up to about 99%.
| | 04:14 |
Let's press tab to move to opacity.
Let's change that to 66, and press Tab.
| | 04:20 |
Under opacity random percentage, let's
change that to 97.
| | 04:25 |
This is going to be a lot more random, and
its already created a lot more interest in
| | 04:30 |
our particle animation.
Now, I'm going to scroll back down to
| | 04:34 |
where we were and just make sure that we
can change some other settings.
| | 04:39 |
Notice when I go to set color it's grayed out.
| | 04:42 |
This is a dead giveaway that we've
actually chosen the wrong particle type.
| | 04:47 |
Let's go back up under our particle type
here and click on the sprite pull down.
| | 04:50 |
I want to choose Sprite fill, this way I
can fill our particle with new colors.
| | 04:56 |
So under the set color options, let's not
choose at birth.
| | 05:00 |
Let's click on that pull down and choose
Random from gradient.
| | 05:05 |
Now if we go to the Color over life
options, when I open that you can see I
| | 05:08 |
have a gradient.
Let's click the third gradient from the
| | 05:13 |
top on these presets on the right.
This'll give me some blue variance to my
| | 05:18 |
color settings.
Now, of course I want the opacity to be
| | 05:22 |
random over time as well and that's
visually represented here on the timeline.
| | 05:26 |
Since it's 100% white it's going to be
100% opaque the entire time.
| | 05:33 |
So if we go to the opacity over life
settings, we have a different set of
| | 05:37 |
parameters we can adjust.
Just like we have presets here on the
| | 05:42 |
right for our colors, we have presets here
for the opacity over the life.
| | 05:47 |
If I click this fourth one down it'll
start dark and then be completely opaque
| | 05:51 |
and then get dark again.
Well I want this to be kind of variable,
| | 05:56 |
so I'll just click and drag to create my
own custom shapes.
| | 06:00 |
Let's create a couple of different shapes
and just have the opacity die off a little
| | 06:04 |
sooner.
Now notice I have a direct result here in
| | 06:08 |
my Color over life settings.
These are tied together.
| | 06:13 |
Now if we scrub through timeline here, you
can see I've got some basic animation
| | 06:17 |
that's been created, but if we load up a
RAM preview, the particles are still
| | 06:21 |
moving way too quickly through the scene.
Now rather than trying to adjust the
| | 06:27 |
settings that we've set up currently,
let's press the Spacebar to stop playback
| | 06:30 |
here for a second.
I want to scroll down further under my
| | 06:35 |
options.
Let's open our physics options.
| | 06:38 |
In here we can create physics based on the
thickness of the air.
| | 06:43 |
So let's actually go to the Air settings.
If you open that up, in here, let's
| | 06:47 |
increase the air resistance.
This is a very sensitive value.
| | 06:51 |
So let's go and increase the resistance to
a value of around 2.6.
| | 06:56 |
Notice now my particles are kind of stuck
in the scene.
| | 06:58 |
If I scrub through you can see most of the
particles aren't flying off in varying
| | 07:02 |
different directions anymore.
Now we'll make an adjustment back to this
| | 07:07 |
by bouncing back up to the top of our
particle settings.
| | 07:10 |
But let's finish setting our air
adjustment settings.
| | 07:14 |
In addition to the resistance, let's add
some wind.
| | 07:17 |
I want some wind to move from right to left.
| | 07:21 |
So let's choose a negative value for wind
x and click and drag.
| | 07:25 |
Let's choose a value around minus 130.
This way the particles will look like
| | 07:31 |
they're actually moving through the scene
according to how the jumper is jumping.
| | 07:36 |
Now I want some particles to fly up in the
scene slowly throughout the entire scene,
| | 07:40 |
so I'll click and drag to the left to have
the wind X move up in our scene.
| | 07:46 |
Now of course I want to make an adjustment
to wind Z so lets click and drag that back
| | 07:51 |
to the right and set a setting of around 92.
| | 07:55 |
This way the particles will move back
through the scene.
| | 07:58 |
Now if I scrub through the animation area
you can see I've created a very strong
| | 08:02 |
clear defined particle animation.
I want to add some more variance to this
| | 08:07 |
animation.
In order to do that, let's open up the
| | 08:11 |
options for our Turbulence field.
In here I want turbulence in the air to
| | 08:15 |
change the size and the positions of our particles.
| | 08:19 |
So let's change the Effect size option.
Let's increase that to around 27 and press
| | 08:25 |
Tab to move to position and we can
increase that to around 46.
| | 08:31 |
Now it has created a little more variance
amongst our particles, but they are still
| | 08:35 |
really very tightly packed together.
Now when you've applied physics to your
| | 08:39 |
particle animations one of the things that
you'll need to do is go back up under your
| | 08:43 |
Emitter options and sort of tweak the
velocity of that emitter.
| | 08:49 |
So let's click and drag under the velocity setting.
| | 08:52 |
Let's crank this way up to a value of
around 800.
| | 08:56 |
Now usually that would mean particles are
flying all over the scene, but since we
| | 09:00 |
have the air resistance set so high, this
is going to create a nice, kind of smooth
| | 09:04 |
particle animation.
Imagine as if you were shooting your
| | 09:09 |
particles into some vegetable oil or
something as opposed to just shooting them
| | 09:13 |
out into the air.
This is going to create kind of a thick
| | 09:17 |
slow-down effect, so let's load up a RAM
Preview and see what we've created.
| | 09:23 |
So, after a little work we've created an
animation that's actually moving along
| | 09:27 |
with our jumper.
Now of course like everything else in this
| | 09:30 |
project, we'll continue tweaking as we
move forwards but, I hope you enjoyed this
| | 09:34 |
little tour of Particular, and especially
an overview of the process of creating
| | 09:38 |
complex custom particle animations.
| | 09:42 |
| | Collapse this transcript |
| Creating cloud and dust particles| 00:00 |
In order to add a little bit more depth
and interest to our particle animation,
| | 00:04 |
we'll add two more passes, a pass of dust
and a slightly softer pass of clouds.
| | 00:10 |
Now I want our new particles passes to be
created based off our old particle system
| | 00:13 |
that way we don't have to worry about
positioning our particle emitter in the
| | 00:16 |
scene, it will just follow along to what
we already have currently.
| | 00:22 |
So to get started, let's select layer 6
and press Cmd+D on a Mac or Ctrl+D on
| | 00:25 |
Windows to duplicate.
Once that layer has been duplicated, let's
| | 00:30 |
go ahead and rename the layer.
I'll change the name to Dust.
| | 00:34 |
Now, just so we can focus on this dust
pass, let's go ahead and solo this layer
| | 00:37 |
and go to our Effect Controls.
Before we make any changes, we should go
| | 00:43 |
ahead and press the Reset button.
This will reset the majority of the
| | 00:46 |
effects for our particle animation.
Notice now our particles are set up as
| | 00:50 |
spheres.
If we open our emitter options, you can
| | 00:54 |
clearly see that we still have our key
frames and we also have our expressions.
| | 01:00 |
So, we don't have to worry about whether
or not our particle system is going to
| | 01:02 |
move along with the previous system.
It's still there.
| | 01:05 |
Let's press U on our keyboards to open up
our keyframes.
| | 01:10 |
Now, when we reset the emitter, it
automatically created a new keyframe where
| | 01:13 |
the current time indicator was set.
We don't need this keyframe, so I'm
| | 01:17 |
going to draw a lasso around it and then
just press Delete.
| | 01:21 |
Now that we've deleted this keyframe,
let's move down to the previous keyframe
| | 01:26 |
and change this parameter from 140 to 1400.
| | 01:30 |
Since we're creating dust particles, we
obviously need more particles.
| | 01:33 |
Now, in order to see our particle emitter
as we make changes, let's drag down the
| | 01:37 |
timeline here a little bit to around 1
second and 6 frames.
| | 01:42 |
Now as we make adjustments our Particle
field will update.
| | 01:46 |
Let's change the direction of our
Particles from Uniform to Directional, and
| | 01:51 |
let's decrease the Spread from a value of
20 to a value of 5.
| | 01:57 |
Let's increase our Velocity from 100 to
400, then press Tab to move to the next
| | 02:00 |
field.
Let's decrease the Randomness down to a
| | 02:05 |
value of three and we can decrease the
distribution to a value of .3.
| | 02:11 |
We can leave our velocity for motion set
to a value of 20.
| | 02:16 |
Now, if we scrub through the scene, you
can see our particles are emitting and
| | 02:19 |
they're definitely following along from
the current motion path.
| | 02:23 |
But we still have some adjustments to make
just so we can have a little more clarity
| | 02:26 |
as to what's going on in the scene.
We'll create those adjustments by going
| | 02:30 |
down to our Particle settings.
So in the Effect Control Panel scroll down
| | 02:34 |
to your particle options and open up particles.
| | 02:38 |
In here, let's decrease the life of our
particles from 3 seconds to a low value of
| | 02:43 |
0.8.
For the randomness, let's choose a setting
| | 02:48 |
of 10%.
Now, for the Particle Type, we can change
| | 02:51 |
it from Sphere to Cloudlet.
This should soften up our particle
| | 02:54 |
significantly.
Let's jump down to the Size setting, and
| | 02:57 |
change that value to 3.
Let's tab to move Size Random, and change
| | 03:04 |
that value to about 30.
Now since our opacity is set up at 100%,
| | 03:08 |
we can't really see what's going on with
our particles.
| | 03:11 |
So let's change that Opacity setting way down.
| | 03:14 |
I'm going to change it to a value of about 5.
| | 03:17 |
Now, let's move to down Opacity Random and
change that setting to about 20.
| | 03:23 |
This is just creating a little variance in
the opacity of the particles.
| | 03:27 |
We can leave our color set at birth.
But let's change the Color to a light blue
| | 03:31 |
I'll click in the color well and just
navigate our colors here to this blue
| | 03:34 |
setting.
I want it to actually be a little more of
| | 03:38 |
this blue green, so I'll just drag down
towards green.
| | 03:42 |
Once you have a color you like, you can go
ahead and click OK.
| | 03:46 |
Since this all appears to be one color,
I'm going to go ahead and increase the
| | 03:50 |
Color Randomness up to around 20%.
Just so we can see the particles more
| | 03:55 |
clearly, let's increase the Magnification
in our Composition panel by scrolling with
| | 03:58 |
our mouse wheel.
Now if we scrub through the scene, you can
| | 04:02 |
see all the particles are set at the same
opacity when they're born.
| | 04:06 |
I want them to change over Life.
So let's open up the Opacity over Life
| | 04:09 |
settings.
In here, we still have the same settings
| | 04:12 |
from our previous Particle emittter.
So let's go to the third preset down and
| | 04:16 |
click.
Now, when our particles are born they'll
| | 04:20 |
be transparent and then they'll get
brighter at the beginning and then fade
| | 04:23 |
off over life.
If you scrub through, you can see what
| | 04:26 |
we've created.
I think this is looking pretty good for
| | 04:29 |
our dust settings.
Let's go down and make a couple more
| | 04:32 |
settings adjustments.
I want to change the Transfer Mode from
| | 04:37 |
Normal to Normal Screen over Life.
This way when the particles are actually
| | 04:42 |
applied over top of the background video,
their transfer mode will change to Screen
| | 04:46 |
and the Blend will start to blend with the background.
| | 04:51 |
So let's go ahead and turn off the Solo
button for our Layer and scrub through,
| | 04:55 |
and you can see, we've already created
kind of a dusty emitter off the bottom of
| | 05:00 |
our runner's foot.
Now I know this particle system looks
| | 05:05 |
rather stark and harsh at the moment, but
we will further address this when we go to
| | 05:08 |
actually create our final color correction
and blend passes.
| | 05:13 |
For now let's go ahead and duplicate our
Dust layer so we can create a cloud pass
| | 05:17 |
to further soften this up.
Select layer 6 and press Cmd+D and let's
| | 05:22 |
rename our new layer Clouds.
For the Cloud settings, we only have to
| | 05:27 |
make a few minor adjustments.
Press U on your keyboard to open up the
| | 05:31 |
keyframes and make sure you navigate back
to the second keyframe.
| | 05:34 |
Let's decrease the number of particles per
second to a value of around 100.
| | 05:38 |
We don't need as many particles for Clouds.
| | 05:43 |
So, we can see what's going on.
Let's go ahead and scrub back down the
| | 05:45 |
timeline to around 1 second 10 frames.
Let's increase the directional spread of
| | 05:50 |
our particles.
Since I want this to be softer, let's
| | 05:53 |
double it to a value of about 10.
We can leave the velocity set to the same
| | 05:57 |
value.
The rest of the adjustments, we should go
| | 06:00 |
ahead and make in our Particle settings.
Let's change the life from 0.8 to a value
| | 06:05 |
of around 2.
Now, I want to soften up these particles,
| | 06:10 |
so let's change the size from 3 all the
way up to 10.
| | 06:14 |
That's automatically created a lot more
variance to our clouds.
| | 06:19 |
Let's further blend this back by changing
the Opacity settings from 5 down to about
| | 06:23 |
2.
If we scrub through, you can see we now
| | 06:26 |
have our dust pass and our cloud pass, and
everything is kind of softened up a little
| | 06:30 |
bit and there's a little bit more interest
in the scene.
| | 06:35 |
I'm going to fit my magnification up to 100%.
| | 06:37 |
So as I scrub through, you can see how
this is actually been created.
| | 06:42 |
Now, just to blend our clouds with our
Dust layer a little bit more, let's go
| | 06:45 |
ahead and collapse layer 6 and collapse
layer 7.
| | 06:48 |
I want to move layer 6 below all of our
particles so that all of our particle
| | 06:52 |
systems will blend over the top of that
Cloud layer.
| | 06:58 |
I'll collapse layer 7 and then select
layer 6.
| | 07:01 |
For layer 6, lets have this pop a little
bit more by changing the Layer Blend Mode.
| | 07:06 |
If you don't have your Layer Blend Modes
open, toggle your Switches and Modes,
| | 07:09 |
until you see your Blend Modes.
Let's change our Blend Mode for our Dust
| | 07:13 |
layer from Normal to Screen.
Notice when we do that, now, we have
| | 07:18 |
little bit more interesting blend between
our particles.
| | 07:22 |
So when it comes to building more
interesting Particle Animations, take what
| | 07:26 |
you've already created and just duplicate.
This gives you a lot more flexibility.
| | 07:31 |
You can duplicate your previously existing
particle animation and then create whole
| | 07:35 |
new particle systems and just use the
power of Blend Modes to actually blend
| | 07:38 |
everything together to create one cohesive
interesting particle system.
| | 07:44 |
| | Collapse this transcript |
| Rigging 3D particle emitters| 00:00 |
To create flowing streaks off the back of
our football, we're going to have to rig a
| | 00:04 |
3D particle emitter.
Now, to get started with that let's create
| | 00:08 |
some 3D particles.
Let's go up under Layer > New > Solid.
| | 00:14 |
With our new Solid we want to make sure
it's the comp size and it doesn't really
| | 00:17 |
matter what color, so I'll leave mine set
to Dark Gray.
| | 00:21 |
We can click OK.
Now to create our emitter you want to go
| | 00:26 |
up to effect, under track code and choose particular.
| | 00:30 |
Now one of the great things in particular
is the fact that you can create 3D
| | 00:34 |
particlar emitters using lights inside of
after effects.
| | 00:39 |
So lets add a light into our scene.
Go up under Layer > New > Light.
| | 00:44 |
I'll just choose a generic Point Light.
Let's make sure the Intensity is set at
| | 00:49 |
around 100% and then click OK.
Now, with a light in the scene, we need to
| | 00:54 |
reselect our Layer 2.
This is our particular layer.
| | 00:58 |
While we're here let's go ahead and name
this Particles.
| | 01:02 |
(SOUND) Open the Emitter settings, and
under the Emitter, we can change the
| | 01:07 |
emitter type from a point emitter to a
light emitter.
| | 01:13 |
Notice I get this message saying that I
need to actually name the light emitter,
| | 01:16 |
so I'll click OK and just select Layer 1
and rename it Emitter.
| | 01:22 |
Now, if we select our particles again,
under the lights we've successfully paired
| | 01:26 |
up the emitter.
We can't see any particles because we're
| | 01:30 |
only currently at frame zero.
So, let's move down the timeline here and
| | 01:34 |
notice now we have particles emitting from
our light.
| | 01:39 |
If I select our Emitter here I can go
ahead and move that and you'll notice the
| | 01:42 |
particles will move with the light.
Now in order to pair the light with the
| | 01:48 |
null object, I want to make sure that my
null exists in 3D space.
| | 01:52 |
So select Layer 3, and then enable 3D for
that layer.
| | 01:57 |
Now to reposition our emitter to follow
the null object, just hold down the Shift
| | 02:00 |
key.
And in the Parent column, click on the
| | 02:03 |
pick whip and point it right at Null 6.
Now let's rename layer three, our Null 6
| | 02:08 |
layer.
I'll rename mine track.
| | 02:12 |
Now if we scrub through the scene you can
see the particles are actually being
| | 02:15 |
emitted from the light and they're
tracking along with the movement of our
| | 02:18 |
null.
Now I want these spirals to rotate around
| | 02:22 |
the outside of the football.
To do that let's offset the position of
| | 02:26 |
our light emitter.
I'm going to go to the emitter settings
| | 02:30 |
and press P and then here let's change the
z position to 21.
| | 02:37 |
Now I'll select the emitter and press
Command+D to duplicate.
| | 02:40 |
If you press P to open that position,
let's change this z data to minus 21.
| | 02:46 |
Now you can see we have two different
particle systems being emitted from two
| | 02:49 |
different lights.
But in order to get the spinning effect,
| | 02:53 |
we need to actually spin our null object.
So move your current time indicator, back
| | 02:58 |
to time zero.
And select our null object.
| | 03:03 |
Let's animate the x rotation.
I'll go ahead and add a keyframe, and move
| | 03:07 |
down the timeline to around one second.
Now just click and drag through the x
| | 03:13 |
rotation.
If we scrub through the scene, you can see
| | 03:17 |
we've successfully created and 3D rig
where the lights are offset in 3D space
| | 03:21 |
and our particles are spinning around with
our football.
| | 03:26 |
| | Collapse this transcript |
| Creating animated streaks| 00:00 |
In order to create 3D flowing streaks, we
need to make some adjustments to our
| | 00:04 |
particle emitters.
Let's scrub through our animation and see
| | 00:07 |
where our project currently resides.
Now we definitely have 3D emitters
| | 00:12 |
rotating around a football.
But we don't have any stress, so we need
| | 00:17 |
to make an adjustment to our particles layer.
| | 00:20 |
So select layer three and go to the effect
controls for the particles.
| | 00:25 |
First thing you'll notice, we have our
emitter type, which are lights, and we
| | 00:28 |
have two emitters in the scene so it's
emitting twice, and that's perfectly
| | 00:32 |
fine...
Let's look at some of the other settings
| | 00:36 |
that we need to adjust.
The most important one is velocity.
| | 00:39 |
I want the movement of the lights to
actually create the particles, and I don't
| | 00:43 |
necessarily want any velocity on any of
the particles.
| | 00:48 |
So let's change velocity to zero, and
press Tab and change the random percentage
| | 00:52 |
to zero and the distribution to zero.
We can even zero out the velocity for
| | 00:58 |
motion.
Now just so we have precise streaks let's
| | 01:02 |
change the emitter size on the x axis to
two and the emitter size for y to one and
| | 01:07 |
z to one.
This is starting to look a lot more like a
| | 01:13 |
streak right now.
The next pull down here for light
| | 01:17 |
intensity, this would allow us to use the
light intensity to control the number of
| | 01:20 |
particles being emitted at any given time.
I don't necessarily need that, so I'll go
| | 01:26 |
ahead and change that setting to none.
Now, we'll just use the particles per
| | 01:31 |
second parameter to control whether or not
we're seeing any particles for our
| | 01:34 |
streaks.
If we scroll back through our timeline
| | 01:39 |
here, you can see the particles are
starting to be emitted the second our
| | 01:42 |
quarterback starts throwing the football.
Let's not start generating particles 'til
| | 01:48 |
about frame 7.
So, change the particle per second
| | 01:52 |
parameter down to zero, and add a key frame.
| | 01:54 |
Now, let's move a couple frames down the
timeline to around frame 10.
| | 02:01 |
Let's increase the particles per second.
I'll click and drag up, and notice as I
| | 02:05 |
drag up, I'm defining how streaky the
particle streaks are becoming.
| | 02:11 |
The more particles I add, the more these
are going to look like lines instead of
| | 02:15 |
dots.
Let's use the setting 26, 70 for right
| | 02:18 |
now.
Under Position Subframe, we need to change
| | 02:22 |
that pull-down from Linear to 10x Smooth.
This is just going to smooth out the
| | 02:28 |
translation between the different particles.
| | 02:30 |
We can leave our Direction setting to Uniform.
| | 02:34 |
Now, we need to make adjustments to the
particles themselves.
| | 02:37 |
So let's collapse our emitter and open the
particle settings.
| | 02:41 |
We don't need these lines to be
extraordinarily long so let's change the
| | 02:44 |
life of each particle.
I'm going to bring this down quite a bit
| | 02:48 |
to a setting of .4.
Now, if you want to see your particles
| | 02:52 |
update, just go ahead and scrub through
the scene and give yourself a little bit
| | 02:55 |
more time.
Notice once I get around frame 17 or 18,
| | 02:59 |
now the tail of the particle starts
catching up with our animation.
| | 03:04 |
I do want to add a little bit of variance
to how long the particles live, so let's
| | 03:08 |
increase the life random percentage to
around 27.
| | 03:13 |
This way we'll get a little bit of a drop
off as the particles start to fade away.
| | 03:17 |
Now, since this is kind of a drastic
setting let's look at the opacity over
| | 03:20 |
life settings.
If we open up that option here, let's make
| | 03:25 |
sure we have our effect control panel open
all the way so we can see the presets.
| | 03:31 |
Let's chose the third preset down from the left.
| | 03:34 |
This way I get a nice fadeoff from the
particles as they start to disappear.
| | 03:38 |
Now to further tweak this, let's change
the particle type from sphere to glow
| | 03:43 |
sphere, and this automatically softens up
our lines.
| | 03:47 |
Just to tighten things up a little bit,
let's change the size from five to three.
| | 03:54 |
That'll smooth out our lines and make them
a little smaller.
| | 03:58 |
For the opacity setting, let's change that
down to around 60%.
| | 04:03 |
If we randomize this setting, we would add
a little bit more waviness to our lines.
| | 04:07 |
I want to go and have a randomness setting
of around 27%.
| | 04:12 |
Now of course we should change the color
of our particles, so let's go on the color
| | 04:15 |
settings, click in the well, and change it
to kind of a light blue setting.
| | 04:21 |
In order to add a little bit of randomness
to that color let's increase the color
| | 04:24 |
randomness just by clicking and dragging
on the parameter.
| | 04:28 |
We can increase it up to around 47%.
Now this is looking pretty close to what I
| | 04:34 |
want to create, but you notice, I'm
getting these weird bumps that are
| | 04:36 |
appearing.
This is because we actually have too many
| | 04:40 |
keyframes for our track.
So in order to smooth this out, what I'm
| | 04:44 |
going to do is move my current time
indicator over top of one of those bumps,
| | 04:47 |
so I can figure out exactly where the
extra keyframes are.
| | 04:52 |
So let's draw a lasso around this one
keyframe, And press Delete.
| | 04:56 |
Now notice as I move forward in the time
line that bump isn't quite as drastic.
| | 05:01 |
If I click on the next key frame here I
can go ahead and delete that as well.
| | 05:04 |
And now I'm getting a slightly more smooth result.
| | 05:08 |
Since we have the particles fading in a
little bit before they increase to full
| | 05:12 |
luminance.
The fact that our null object is kind of
| | 05:15 |
sliding a little bit off the football is
kind of covered up.
| | 05:19 |
So let's go through the process of
smoothing out these kind of lumpy areas
| | 05:22 |
just by selecting the different key frames
in our timeline.
| | 05:27 |
Notice when I click on a key frame, it
shows me which key frame selected in my
| | 05:29 |
comp panel.
So I'll go ahead and just click on the
| | 05:33 |
different key frames and further smooth
out our animation.
| | 05:37 |
Now once you've gone through this process
and created something that you like for
| | 05:41 |
your own tastes, we'll go ahead and
analyze our rotating streaks.
| | 05:46 |
And as you can see the rotation is
happening rather tight on the football.
| | 05:51 |
So I want to offset those two different emitters.
| | 05:54 |
Lets change the Z paramter to minus 40 for
the top emitter and then 40 for the lower
| | 05:59 |
emitter.
This way they'll wrap around the foot ball
| | 06:03 |
a little bit more clearly.
Now we've succesfully created our emitter
| | 06:07 |
and of course they don't quite blend with
the background but we'll further address
| | 06:11 |
that when we get into the color correction chapter.
| | 06:15 |
For now, we're succesfully created some
light streaks.
| | 06:18 |
The most important thing to remember when
your animating light streaks you want the
| | 06:22 |
velocity for your particle emitters to be
set to zero.
| | 06:26 |
| | Collapse this transcript |
| Adding dynamic motion with particles| 00:00 |
Never being one to leave well enough
alone, I figured this was the perfect time
| | 00:03 |
to add more particles and dimension to our
light streaks.
| | 00:07 |
After all, they do look a little flat
right now.
| | 00:10 |
Now just so we don't have to start from
scratch every time, let's duplicate Layer
| | 00:14 |
3.
But before we do that, let's make sure the
| | 00:16 |
layer is named properly.
If we turn the visibility off and on, you
| | 00:20 |
can see these are our light streaks.
So let's rename this layer, Light Streaks.
| | 00:25 |
(SOUND) Now you can press Command+D on the
Mac or Control+D on Windows to duplicate
| | 00:30 |
that layer.
Let's rename our new layer h-plus logos.
| | 00:34 |
(SOUND) Now we'll use the H+ Logos as a
particle for a custom emitter.
| | 00:40 |
So in order to specify that logo, we need
to actually make sure to add it into our
| | 00:44 |
composition.
So let's open our Pre-comps folder, and
| | 00:47 |
drag our Logo Particle Precomp down into
the timeline.
| | 00:51 |
Now this is only going to be a reference,
so we can turn off the visibility of that
| | 00:54 |
layer.
If we go back to our H+ Logos layer, we
| | 00:57 |
can open the Effect Controls, and specify
our new H+ layer as the particle.
| | 01:04 |
Let's open the Particle settings.
Under Particle Type, change it from Glow
| | 01:08 |
Sphere to Sprite Colorize.
Now, we can access the Texture option.
| | 01:13 |
When we open our Texture, we can change
the Layer settings to our Logo Particle
| | 01:17 |
Precomp.
Now, we can't see the logo because the
| | 01:20 |
logos are too small.
So, let's double the Size from 3 to 6 and
| | 01:24 |
press Tab and increase the size randomness
up to about 70%.
| | 01:30 |
Now, you should start to see the particles
appear along our light streaks.
| | 01:33 |
In order to have these particles bounce
off of the edge of the light streaks, we
| | 01:36 |
need to make settings back in our emitter.
So let's open up our Emitter settings.
| | 01:41 |
If we start at the top, you can see we
have keyframes.
| | 01:45 |
So let's press U on our keyboard to open
up any current animated properties.
| | 01:50 |
If you press J, we can quickly move our
current time indicator back to the second
| | 01:54 |
keyframe.
Now we can decrease the number of
| | 01:57 |
particles per second.
Let's change this parameter to a setting
| | 02:01 |
of about 800.
Now for the position subframe we don't
| | 02:04 |
need to smooth the results, so let's go
ahead and click on that and change it to
| | 02:06 |
linear...
Let's change our Velocity settings as
| | 02:10 |
well.
I'm going to change Velocity to a setting
| | 02:14 |
of 72 and press Tab to move to the next
field and we'll set that to 92.
| | 02:19 |
For the distribution we can set that to
2.1 and for the Velocity for Motion, we
| | 02:24 |
can set that to 10.
Since I want my particle emitters to be a
| | 02:29 |
little bit larger, let's change the
Emitter X Size all the way up to a value
| | 02:33 |
of 84.
And then we can change the emitter size on
| | 02:37 |
Y and Z to 50.
(SOUND) Now, just in case we want to add
| | 02:40 |
more particles later, or even less, let's
go ahead and click on this pull-down for
| | 02:45 |
particles-per-second modifier.
If we choose light intensity, we can
| | 02:51 |
adjust the number of particles in the
scene by just adjusting the brightness of
| | 02:55 |
a different light emitter.
Now we're ready to add our final
| | 02:59 |
adjustments back down under our particle settings.
| | 03:02 |
So, let's collapse the emitter.
In the particle settings, let's work on
| | 03:06 |
the life of our particles.
Right now, they have the exact same life
| | 03:09 |
as our light streaks.
I want to increase that a little bit more.
| | 03:14 |
So let's change that life up to 2.3.
Go ahead and press Tab to move to the next
| | 03:19 |
field and let's change the Life Random
percentage to 6.
| | 03:23 |
Now, if we scrub further down the
timeline, you can see more clearly the
| | 03:27 |
particles.
I'm going to zoom in on our top panel and
| | 03:30 |
just reframe the scene.
Notice how the logos are perfectly
| | 03:34 |
straight.
So let's go down to the Rotation
| | 03:36 |
parameter.
In here, let's change the Random Rotation
| | 03:40 |
to a value of about 14.
Now our logos are still readable but
| | 03:43 |
they're kind of rotated around the scene.
I'm going to collapse the rotation for now
| | 03:48 |
because we have three more settings that
we can make adjustments to.
| | 03:53 |
Let's double-check the first one, Opacity
over Life.
| | 03:57 |
When we look at that you can see the
particles start transparent and then
| | 04:00 |
become 100% opaque and then fade out over death.
| | 04:04 |
I think this works beautifully because if
you notice the particles fade in right
| | 04:07 |
around the edges of our ball.
So, let's leave this setting alone.
| | 04:12 |
Let's look at size over life.
If we open up that option, notice we don't
| | 04:16 |
have any settings set up just yet.
Let's choose the third setting down from
| | 04:21 |
the top and that'll create a similar
setting to what we have for our Opacity.
| | 04:26 |
The only difference is I don't want the
size to actually scroll up from the start.
| | 04:31 |
So let's just click and drag to make sure
that the size starts large and then starts
| | 04:35 |
actually running down.
Obviously, this is personal preference so,
| | 04:40 |
please choose any size settings you like.
I'll go ahead and collapse size over life
| | 04:45 |
and let's look at our color settings.
For the Set Color options we need to
| | 04:50 |
change at birth to over life.
This way over the life of the particle
| | 04:55 |
they'll change colors.
So, if we open up the color over life
| | 04:59 |
settings notice we have this kind of
rainbow gradient.
| | 05:03 |
Let's choose the third preset down from
the top.
| | 05:06 |
This blue setting.
Now we're going to get a smooth transition
| | 05:09 |
from white to this kind of greenish color.
All the way down to blue.
| | 05:14 |
If you want to add more colors you could
definitely just click anywhere underneath
| | 05:17 |
the color area.
If you want to double-click on a color,
| | 05:20 |
that'll open your Set Color options.
So you could then kind of tweak exactly
| | 05:24 |
how you want your colors to appear.
Just remember, when you use the setting,
| | 05:29 |
the particles are going to work form left
to right.
| | 05:33 |
So when they're born here they're starting
white and they're getting greenish and
| | 05:36 |
then they turn to blue.
Same thing with the opacity across the
| | 05:40 |
top.
If it's black it's 100% transparent and if
| | 05:43 |
it's white it's opaque.
Now we'll probably have to come back and
| | 05:47 |
make adjustments to the transfer mode but
for right now lets change this from normal
| | 05:51 |
to screen.
This is going to make the particles kind
| | 05:55 |
of blend with each other over top of
everything that's going on in our scene.
| | 06:01 |
Now, let's reset the Magnification of our
composition and load up our RAM preview.
| | 06:05 |
After a couple seconds, I'll just go ahead
and press the Spacebar so we can preview
| | 06:10 |
what's going on.
I think this is looking pretty good.
| | 06:15 |
We'll definitely continue tweaking this as
we move forward.
| | 06:18 |
But for now you can see we've added a
little bit more dimension and dynamic feel
| | 06:22 |
to our particle animation, just by
doubling our light streaks and making some
| | 06:25 |
adjustments with our custom logo.
| | 06:29 |
| | Collapse this transcript |
|
|
4. Adding Color Correction and Finishing TouchesCreating a garbage mask| 00:00 |
Before we attempt to color correct our
footage or even blend in graphics over the
| | 00:03 |
top of our footage we need to make sure
that we have a clean backplate.
| | 00:08 |
And if we scrub through our clip, you'll
notice that the DP's hand pops right into
| | 00:11 |
the middle of the scene.
So we're going to fix this relatively
| | 00:16 |
quickly by using a garbage mask.
We're also going to pull a frame from the
| | 00:21 |
clean shot and use that as our backplate.
So if we move our current time indicator
| | 00:26 |
to the beginning of our comp notice we
have a really strong shadow on our soccer
| | 00:30 |
player and we have the DPs hand in the
lower corner of the image.
| | 00:36 |
Well this isn't going to be a good clean backplate...
| | 00:38 |
Let's move our current time indicator to
the end of our project.
| | 00:42 |
Here we have beautifully well-lit graphs,
and the shadow's out of the way, as well
| | 00:45 |
as the hand off the screen, so this will
be our perfect back plate.
| | 00:50 |
Now as I'm noticing our work area is set
at 8 seconds, so let's change the work
| | 00:54 |
area end to the end of our composition
while we're down here.
| | 00:59 |
Now to create a clean back plate, we'll
just create a freeze frame.
| | 01:03 |
Let's select layer four and press Cmd+D to
duplicate that layer.
| | 01:07 |
Now, we can go up under the Layer command
and go to Time and choose Freeze frame.
| | 01:14 |
In the Freeze Frame setting, notice time
remapping was applied, and it shows frame
| | 01:18 |
121.
Now if I scrub through the timeline,
| | 01:22 |
notice nothing's going to move except for
the graphic elements over top of his leg.
| | 01:27 |
So this will be our freeze.
Let's rename layer four Freeze, and move
| | 01:31 |
it to the bottom of our layer hierarchy.
>> Now when we apply a mask on layer four
| | 01:36 |
it will allow our freeze layer to show though.
| | 01:40 |
Now to create the mask, we want to move
our current time indicator down the
| | 01:44 |
timeline to where the hand is most in the scene.
| | 01:47 |
I'm going to choose frame 106.
Now we can grab the pen tool from our
| | 01:51 |
toolbar.
And then go ahead and click to create a
| | 01:55 |
rough mask around the hand.
It doesn't have to be particularly close
| | 02:00 |
and as a matter of fact you don't want
your mask points to be to close because we
| | 02:03 |
will end up adding a feather to this mask.
So once you're finished adding your mask
| | 02:10 |
you can go ahead and grab your selection
tool one more time and just reposition
| | 02:13 |
some of the points if you want to you
know, kind of tweak the mask a bit.
| | 02:19 |
Once you have something set up you like,
let's press M.
| | 02:22 |
That'll open up our mask path parameter,
and we can add our first keyframe just by
| | 02:26 |
clicking the stopwatch.
Now whether you move backwards or forwards
| | 02:31 |
is entirely up to you.
I'm going to try and move back a couple
| | 02:34 |
frames, so I'll just move my current time indicator.
| | 02:37 |
And since all the anchor points are
selected, I can quickly and easily
| | 02:40 |
reposition the entire mask just by
clicking on one of them and moving.
| | 02:45 |
If I move down through the scene, I could
deselect some of my mask points, and then
| | 02:49 |
just click and hold down Shift to click
multiple mask points.
| | 02:54 |
This will allow me to reposition large
groups of the mask points.
| | 02:58 |
Now that you've seen a little bit of the
process, I'm going to save you the
| | 03:01 |
headache of watching me go through each
individual frame.
| | 03:06 |
We'll cross dissolve to the finished
roto-scope mask in just a moment.
| | 03:10 |
Now I'm going to change my magnification
to fit up to 100%, and let's scrub through
| | 03:14 |
the project.
You can see I have my mask that's
| | 03:18 |
rotoscoping out the hand but of course I
can still see the hand.
| | 03:23 |
So, let's change our Mask Blend mode on
layer four from Add to Subtract.
| | 03:28 |
Now press Shift+Cmd+H to hide the mask
path, and then scrub through the scene.
| | 03:34 |
As we scrub through you can see any hard
edges that appear based on our mask.
| | 03:39 |
So if you look at the shadow in the bottom
of the scene, you can see I have several
| | 03:42 |
hard edges that have appeared.
And a couple of little dancing things
| | 03:47 |
happening over here when we scrub through.
Now we will be adding some graphics over
| | 03:53 |
top of this and darkening up the scene, so
I'm not quite as concerned about this
| | 03:56 |
rough transition.
But just to soften things a little bit I'm
| | 04:00 |
going to press M twice on my keyboard to
open up my Mask Feather options.
| | 04:05 |
Now if you go ahead and scrub out on the
Mask Feather parameter to a setting of
| | 04:09 |
about 22.
We've softened that transition.
| | 04:13 |
So it's not quite as jarring, it's still a
little jarring.
| | 04:17 |
But it's not quite as bad.
Now like I said, we could go ahead and
| | 04:21 |
continue tweaking this, but for now, our
animated mask is set up exactly the way I
| | 04:25 |
want things.
We're good to go to move on to create our
| | 04:30 |
initial composite, and continue applying
some of the finishing touches to create
| | 04:34 |
our finished animation for this shot.
| | 04:38 |
| | Collapse this transcript |
| Color correcting the back plate| 00:00 |
I have our reference QuickTime open here,
so we can talk about the scene that we're
| | 00:03 |
going to build.
As I scrub through, you can see we've got
| | 00:07 |
our graphics appearing and our soccer
player kicking the ball.
| | 00:11 |
Overall, there's kind of a greenish tint
to the scene.
| | 00:14 |
Now, we're going to make our shot look
even better than this because I find these
| | 00:17 |
goal posts and things in the background
rather distracting.
| | 00:22 |
So for this specific video, we're going to
work on isolating the soccer player from
| | 00:26 |
the background.
And then we'll fade out the background
| | 00:30 |
elements leaving just the soccer field and
the player.
| | 00:34 |
And then of course we'll be able to take
that and apply a color correction to the
| | 00:37 |
whole scene to better match this kind of
teal look of our h plus logo.
| | 00:42 |
So let's jump into After Effects.
Now, our back plate layer is made up of
| | 00:47 |
two layers, layer four and five.
I'm going to draw a lasso around both of
| | 00:50 |
those layers and precompose them.
Let's go up under Layer and choose
| | 00:54 |
Precompose, and let's call this soccer
Kick One Precomp.
| | 00:58 |
Having this precomp as a single layer in
the bottom of our composition will allow
| | 01:02 |
us to tint the background video as one element.
| | 01:06 |
So let's go ahead and double-click the
precomp so we can actually work on
| | 01:10 |
isolating our soccer player from the background.
| | 01:14 |
Now, just so we have one piece of footage
to work with we will precompose this one
| | 01:17 |
more time.
Select layers 1 and 2, go up under Layer
| | 01:21 |
and choose Precompose.
Let's call this Base Precomp Kick.
| | 01:27 |
(SOUND) All right.
Now, we're actually ready to start
| | 01:31 |
painting out the selection of our soccer
player, and we'll do that using the Roto
| | 01:35 |
Brush.
So, to do that, we need to open our
| | 01:38 |
precomp in our Layer panel.
Right-click on Layer 1 and choose Open
| | 01:43 |
Layer.
In the Layer panel, we have our footage
| | 01:46 |
loaded.
Now, we can go to Roto Brush tool, which
| | 01:49 |
is up here in upper left portion of the interface.
| | 01:53 |
The Roto Brush tool will allow us to
easily paint onto our scene.
| | 01:57 |
Now, before we paint anything, we need to
go up under the View menu and make sure
| | 02:00 |
that our resolution is set to full resolution.
| | 02:05 |
Now, just so I can see a little more of
the scene, I'll increase the size of the
| | 02:07 |
canvas.
Now, the Roto Brush is a relatively simple
| | 02:11 |
tool.
If you hold down the Cmd key, if you left
| | 02:14 |
click, you can increase the size of the
brush of decrease the size of the brush
| | 02:18 |
just dragging up and down.
It's Cmd on Mac, Ctrl on Windows.
| | 02:24 |
When you have a Green brush, that allows
you to add to your selection.
| | 02:28 |
So let's quickly just click and drag
inside our soccer player.
| | 02:32 |
Notice the Roto Brush has actually created
a selection.
| | 02:36 |
I'm going to press Command on the Mac and
left click and drag down just to create a
| | 02:40 |
smaller brush.
Now, when we draw through, I'll be able to
| | 02:44 |
select for arms.
Now, all we're trying to do is create a
| | 02:48 |
good rough selection of our player.
So I'll just keep drawing in different
| | 02:54 |
portions of our player to actually create
more of a selection.
| | 02:59 |
Now, any time you have too much of a
selection, you can hold down Option on the
| | 03:02 |
Mac or Alt on Windows and paint through
that extra area.
| | 03:06 |
That'll tell the Roto Brush to delete that
extra selection.
| | 03:11 |
Now, like I said at the beginning, we
don't need to have a very precise
| | 03:13 |
selection.
We can make adjustments to the roto brush
| | 03:17 |
after we've created our main selection.
For example, we can shift the edge out
| | 03:21 |
just by clicking and dragging.
Notice now, I have more of a selection.
| | 03:25 |
I can also soften that edge by increasing
the feather amount.
| | 03:30 |
Notice when I do that, I get a direct
representation here in my Layer panel.
| | 03:34 |
Now, if you really want to see what the
mask looks like, you can toggle the Alpha
| | 03:38 |
Channel.
This is what I'm most concerned with.
| | 03:41 |
So I'll just jump back to toggle my Alpha
Boundary one more time.
| | 03:45 |
And we'll start creating our Roto Brush selection.
| | 03:48 |
Notice in the bottom of the Layers panel,
we have these arrows.
| | 03:52 |
These arrows are signifying that we have a
roto brush selection.
| | 03:56 |
Any part of the file that's outside of
these arrows will not have a roto brush
| | 04:00 |
applied.
The way the roto brush works, it allows
| | 04:04 |
you to move frame by frame and then refine
the selection so if I move down a frame I
| | 04:08 |
can go ahead and just paint back onto her
foot and add to the selection.
| | 04:17 |
Now, you'll want to repeat this process
several times as you go through the
| | 04:19 |
different frames.
And again, if there's too much area
| | 04:25 |
selected, you can always Option+click and
drag to deselect a certain area.
| | 04:30 |
Just understand, sometimes, you may have
to go back and reselect the areas you want
| | 04:33 |
selected.
Now, to save the headache of having to
| | 04:37 |
watch me go through this entire selection.
I'll just cross dissolve till when I'm
| | 04:41 |
finished painting the roto brush and we'll
pick up there.
| | 04:45 |
Once you have a roto brush selection that
you like and you finish painting all your
| | 04:48 |
frames, go ahead and go to the Freeze
button in the lower right corner of the
| | 04:51 |
Layer panel.
When you click that, After Effects is
| | 04:55 |
going to go ahead and render those frames
in the background so that every time you
| | 04:58 |
scrub through the scene it's not having to
reprocess the Roto Brush selection.
| | 05:05 |
Now that we've frozen our roto brush
selection, I'm going to jump back to the
| | 05:08 |
Composition panel.
Notice we have a clean selection of our
| | 05:12 |
soccer player.
Let's make the timeline a little bit
| | 05:15 |
larger and look at what we have.
In our precomp, we have our base kick
| | 05:20 |
layer that already has the roto brush applied.
| | 05:24 |
Now, I'd like to have this selection
separate from the overall back plate.
| | 05:28 |
So let's press Cmd+D to duplicate this precomp.
| | 05:31 |
And on the back plate layer, Layer 2, lets
go ahead and select our roto brush and
| | 05:35 |
delete.
Now, we have a source for a mask and we
| | 05:40 |
can go ahead and apply adjustments to our
background layer.
| | 05:45 |
Now, I want this main top area here to be
the darkest.
| | 05:49 |
So, what we'll do is create a new gradient layer.
| | 05:53 |
Let's go up under Layer and choose New Solid.
| | 05:57 |
Make sure it's the comp size and click OK.
Now, under the Effect settings, let's
| | 06:02 |
Generate a Gradient Ramp.
To accentuate the dark area at the top of
| | 06:09 |
the scene, let's bring the Y parameter for
the black area down.
| | 06:13 |
Now, let's reposition this between our two layers.
| | 06:18 |
We can change the Blend mode of our black
solid layer by switching our toggles an
| | 06:21 |
switches.
For the Blend mode, let's change it to
| | 06:25 |
multiply.
Now, we've successfully isolated our
| | 06:29 |
soccer player from the background and
we've painted out all of those background
| | 06:32 |
elements.
Now, I know it doesn't look really
| | 06:35 |
realistic just yet, but we need to tweak a
little bit more before we can actually
| | 06:38 |
stylize our footage.
So to tweak this, I'm going to go ahead
| | 06:43 |
and select my Layer 1 layer.
And just press command+D so I have a
| | 06:47 |
duplicate of the original roto brush paint.
| | 06:51 |
I want to duplicate of this layer just in
case we ever decide to go back and make an
| | 06:54 |
adjustment to the roto brush.
I'll move my duplicate layer down to the
| | 06:59 |
bottom of the layer hierarchy.
And turn off it's visibility.
| | 07:03 |
And in my switches, I'll shy hide that
layer so enable Shy and then go ahead and
| | 07:08 |
hide that layer.
Now, for our Roto Brush layer, I just want
| | 07:12 |
to soften the edges of the roto brush.
Now, instead of going in and adjusting the
| | 07:18 |
Feather settings for the brush itself I'll
collapse that effect and just go up under
| | 07:22 |
the Effects settings.
And choose Blur > Fast Blur.
| | 07:29 |
Now, when I apply this it's going to blur
the soccer player as well as the mask.
| | 07:33 |
So, let's go ahead and increase the
blurriness here, and that's giving us a
| | 07:38 |
nice soft mask.
So, what we need to do is duplicate our
| | 07:42 |
back plate layer here, Cmd+D and move it
up above our black solid layer.
| | 07:48 |
Now, if we go back to our track mats, we
can enable a track mat.
| | 07:53 |
Let's select a track mat for Layer 2 and
tell it to Alpha Mat my base comp.
| | 07:59 |
Now, I've got my soccer player separate
from my mask and separate from the
| | 08:02 |
background and I have my gradient layer
that's helping mask out all these
| | 08:06 |
different elements.
In order to pinch the mask in, let's go
| | 08:11 |
ahead and select Layer 1.
And under the Roto Brush settings, let's
| | 08:15 |
go ahead and shift that edge back in a
little bit here.
| | 08:18 |
I'm decreasing the amount of the shift.
Now, we're losing a little bit of the edge
| | 08:24 |
of our soccer player, but that's okay
because we will make an adjustment to the
| | 08:27 |
gradient settings here.
So, let's press T to decrease the opacity
| | 08:32 |
of our gradient.
We'll bring back our background just a
| | 08:36 |
little bit.
Now, to see what all these settings are
| | 08:39 |
doing for our color corrected comp, let's
jump back to our kick composition.
| | 08:43 |
In here we have our main precomp.
Now, we can go up under Effect, you can go
| | 08:49 |
to color correction and apply a tint.
I want to tint the white areas of the
| | 08:54 |
video.
So let's go ahead and click on the white
| | 08:56 |
color wheel.
And choose kind of this nice teal blue
| | 09:00 |
color.
Now, this is a rough tinting.
| | 09:05 |
Let's go ahead and decrease the amount of
the tint in the scene.
| | 09:08 |
Let's bring it down to around 32%.
Now, in order to stylize this a little bit
| | 09:13 |
more, let's go back to our precomp.
In here, I want to create an Adjustment
| | 09:18 |
layer.
So let's go up under Layer.
| | 09:20 |
Choose New Adjustment Layer.
On the Adjustment layer, let's apply a
| | 09:25 |
Curves adjustment.
So go to Effect > Color Correction and
| | 09:29 |
Curves.
To adjust the curves, let's click in the
| | 09:34 |
middle and drag down.
Now, I want to click in this upper half of
| | 09:38 |
the curves and click and drag back to the left.
| | 09:41 |
This is going to increase our contrast.
Now, if we go back to our kick
| | 09:45 |
composition, you can see it's kind of muddy.
| | 09:50 |
So, we'll pop this by using a duplicate of
Layer 4.
| | 09:53 |
So, let's select Layer 4 and press Cmd+D
and if we switch to our modes.
| | 09:58 |
You can change the Blend mode from normal
to add.
| | 10:03 |
Now, this is going to help pop our background.
| | 10:06 |
Obviously, this is a little bit too much
to add back into the scene, so let's press
| | 10:09 |
T and decrease the opacity back down.
Now, we've got kind of a contrasty look
| | 10:16 |
for our soccer player.
And when we start to blend in the
| | 10:19 |
different graphic elements, we're starting
to actually get somewhere with this
| | 10:24 |
stylized look.
| | 10:26 |
| | Collapse this transcript |
| Fine-tuning the Form particles| 00:00 |
Now that we have a very color correction
on our background plate we can go ahead
| | 00:03 |
and stylize our particle systems.
So let's move our current time indicator
| | 00:09 |
to frame 10.
Just so we can see the particles more
| | 00:12 |
clearly let's change the magnification up
to 100% and make sure we can see our
| | 00:15 |
particles in this scene.
Now this form was created with a Base
| | 00:21 |
Particles layer.
So select Layer 2 and go to the Effects
| | 00:24 |
Control panel.
In here we need to make some adjustments
| | 00:27 |
to our particles themselves.
So let's open up the Particles section and
| | 00:31 |
in here let's decrease the Opacity down to
around 40%.
| | 00:37 |
And just so all the particles aren't the
same let's increase the opacity randomness
| | 00:42 |
up to 100%.
Now just so you can see things more
| | 00:45 |
clearly I'll turn off my adaptive resolution.
| | 00:48 |
To add a little bit more pop to these
particles lets add another trap code
| | 00:52 |
plugin.
I'll go up under Effects and go down to
| | 00:55 |
Trapcode.
And this time we'll choose Starglow.
| | 00:59 |
Starglow is also a plugin available in the
Trackcode suite from Red Giant.
| | 01:04 |
Let's start by adjusting the input channel.
| | 01:06 |
Change the Lightness to Luminance and then
open the pre-process section.
| | 01:11 |
As we click and drag to the left, we'll
lower the threshold value.
| | 01:15 |
The lower this value gets, the brighter
our Starglow is going to be applied to the
| | 01:19 |
different particles.
So, let's go ahead and set a threshold of
| | 01:23 |
around 30.
Now we can soften the threshold by
| | 01:27 |
increasing that value.
So, let's soften this up to around 25.
| | 01:34 |
Now in order to give a little bit of a
dynamic pop to these highlights, let's
| | 01:37 |
increase the boost light.
I want to increase this to a value of
| | 01:43 |
around 2.
If we scrub earlier in our time line
| | 01:45 |
you'll notice we have really bright
highlights that have come in here.
| | 01:50 |
So let's actually decrease the boost light
to around 1.
| | 01:53 |
This way when you have multiple particles
overlapping each other we'll still have
| | 01:57 |
bright highlights but then when we move
back further down in the timeline you can
| | 02:00 |
see we still have a little bit of pop here.
| | 02:05 |
Now of course we could keyframe the boost
light but for now let's leave it set at a
| | 02:08 |
setting of 1.
To better match our scene we need to
| | 02:12 |
adjust the colors of our Starglow.
So, let's scroll down to see the different
| | 02:16 |
Starglow options.
If we open up Color Map A, you'll see we
| | 02:20 |
have green colors and Color Map B we have
these orange and red colors.
| | 02:25 |
Let's start by changing the preset for
Color Map B.
| | 02:29 |
If you click on the pull down, let's
choose electric as a preset.
| | 02:34 |
Now we have kind of a nice bluish highlight.
| | 02:36 |
The shadows are still a little blue, so
let's go ahead and click in the shadows
| | 02:40 |
color and just drag that color down
towards green or lighter blue.
| | 02:45 |
Let's click OK, and now we have something
that matches a little more closely our
| | 02:49 |
monochrome palette.
It's still a little green, so let's go
| | 02:53 |
back up to our shadows colors for Colormap
A and just change that green setting.
| | 02:59 |
To be a little bit more blue.
When we click OK.
| | 03:01 |
Now, I have kind of a fun popping
highlight for my particles.
| | 03:05 |
Now that we've stylized these particles,
we need to actually move down the timeline
| | 03:10 |
and look at our next set of particles, our shockwave.
| | 03:15 |
To apply these adjustments, let's start by
actually just applying our Starglow.
| | 03:21 |
I'm going to scroll up in my Effects
Control panel since I still have layer two
| | 03:24 |
selected.
I'll make sure to click on the word Star
| | 03:28 |
Glow and then copy that effect.
Now when we go to the Shockwave layer we
| | 03:33 |
can collapse the form effect and then just
make sure we have the effects control
| | 03:37 |
panel selected...
And paste our star glow.
| | 03:42 |
This is automatically created a beautiful
bright highlight in the scene.
| | 03:46 |
Just so we can see things more clearly I'm
going to change the magnification to fit
| | 03:50 |
up to 100%.
Now as we scrub through you can see we
| | 03:53 |
have our particles animating into the
scene and at frame 12.
| | 03:57 |
We have this really bright pop that happens.
| | 04:00 |
So we have two different adjustments we
need to make.
| | 04:04 |
Let's start by adjusting the Opacity of
layer one.
| | 04:06 |
Press Option + T to set an Opacity keyframe.
| | 04:10 |
I want to go ahead and just drag this
Opacity down to 0.
| | 04:14 |
And if we move a couple frames down the
timeline let's go ahead and increase the
| | 04:18 |
opacity up to 100%.
This way, when we scrub through, the
| | 04:23 |
particles will pop and it will still be up
at a value of 100%.
| | 04:28 |
Now since we already had these extra
opacity key frames, let's just go ahead
| | 04:31 |
and draw a lasso around them and delete
them for the time being.
| | 04:35 |
So let's go ahead and scrub through.
You can see we've got our particles
| | 04:40 |
building into the scene and we have our pop.
| | 04:44 |
Now that we've stylized our particles I
want t ogo back and make an adjustment to
| | 04:48 |
my background back plate.
Overall I think this scene is looking a
| | 04:52 |
little flat so let's go ahead and create a
new adjustment laeyer.
| | 04:57 |
Go up to layer choose new adjustment layer.
| | 05:01 |
In here we can go to the effefcts panel
and let's apply a curve setting.
| | 05:05 |
So let's go to color correction and choose curves.
| | 05:10 |
With the curves selected I want to
brighten up the same so I'll go ahead and
| | 05:12 |
just click and drag in the middle up
towards the upper left.
| | 05:17 |
And just to create a little bit more
contrast, let's click in this upper
| | 05:20 |
portion here and drag back down to the left.
| | 05:26 |
If we disable our curves and re-enable our
curves, you can see it's applied just a
| | 05:29 |
little bit of a change.
To make this pop a little bit more, we're
| | 05:33 |
going to go ahead and adjust some
brightness and contrast settings.
| | 05:38 |
So I'm going to go up under effect, color
correction and choose brightness and
| | 05:41 |
contrast.
I want to crank up the contrast in my
| | 05:45 |
image and then increase the brightness overall.
| | 05:48 |
And we'll keep making adjustments to both
of these until we get something that's
| | 05:52 |
better stylized in the scene.
So now if we scrub through you can see we
| | 05:56 |
have these beautiful particles entering
the scene and our soccer player has a
| | 06:00 |
little bit more punch because we've
adjusted the brightness and contrast.
| | 06:05 |
Now I don't like the amount of the
background that's popping through but
| | 06:08 |
we'll continue to make adjustments to this
as we continue layering in some more
| | 06:12 |
graphics and apply our finishing touches.
| | 06:16 |
| | Collapse this transcript |
| Continuing with fine-tuning| 00:00 |
Now comes the fun part, we actually get to
polish our product and create a finished
| | 00:04 |
element that we can then go ahead and
re-time for the edit in our spot.
| | 00:10 |
So let's scrub through our kick
composition and see where we're at.
| | 00:14 |
We have particles appearing, getting
kicked and flying off the scene.
| | 00:19 |
Now the first thing I want to address is
just the brightness of our soccer player.
| | 00:23 |
So let's open up the soccer percomp.
I'll double click layer 5, and in the
| | 00:27 |
precomp let's select layers 2 and 3 and
just press Cmd+D to duplicate those
| | 00:32 |
layers.
This will make our soccer player just a
| | 00:36 |
little bit brighter.
Now I want to blend this into the
| | 00:39 |
background a little bit more, so let's
select layer 6 and just decrease the
| | 00:43 |
opacity down to a setting of around 71%.
Now even though this has created a kind of
| | 00:49 |
a halo look.
If we go back to our kick composition, I
| | 00:52 |
sort of like the style that that's created
around our soccer player.
| | 00:56 |
So I'm going to go ahead and leave this
theme the way it's set up currently.
| | 01:01 |
Now if we scrub through, you can see we
have our base form particles but we don't
| | 01:05 |
have any other particles that sort of hark
back to this h+ product.
| | 01:10 |
So we need to add a particle system.
Let's go to the Jump composition.
| | 01:15 |
In Jump, we already have some particles
set up on our Layer Seven.
| | 01:18 |
Now, just because these particles are
custom, they're referencing another layer
| | 01:22 |
in the comp, so let's make sure to hold
down Cmd on the Mac, or Ctrl on Windows,
| | 01:26 |
and click on Layer One.
That way, we can have layer 7 and 1
| | 01:31 |
selected when we go up under edit, and
choose copy.
| | 01:37 |
Let's go to the kick composition, and
paste those layers.
| | 01:40 |
I'll make sure layer 5 is selected, and go
up under Edit, and choose Paste.
| | 01:46 |
You'll find two errors.
Just go ahead and click Okay.
| | 01:49 |
Those errors were caused because
Particular no longer knows what layer to
| | 01:53 |
follow to determine the position of the emitter.
| | 01:57 |
So let's select our particular layer,
layer 5.
| | 02:01 |
If we open the effect controls, we can go
to the Emitter settings, and in here
| | 02:05 |
notice position X, Y has nothing attached
to it.
| | 02:09 |
So let's hold Option on the Mac, Alt on
Windows, and click on the Stopwatch.
| | 02:14 |
This will go ahead and trigger an expression.
| | 02:18 |
Now go down to the timeline, select layer
4 and press P to open up it's position
| | 02:22 |
data.
Then with layer 5's pick whip, under the
| | 02:27 |
expression, let's click on the pick whip
and point it at position for layer 4.
| | 02:33 |
When we let go, we can just click anywhere
outside of this area to set our
| | 02:37 |
expression.
Now we're still not going to see any
| | 02:40 |
particles because we haven't specified
what layer those particles are going to be
| | 02:43 |
set from.
So let's select Layer 5 one more time.
| | 02:48 |
In closing emitter settings for now, let's
open our Particle settings.
| | 02:51 |
In here we do have a sprite fill particle
type, but if we open up our texture
| | 02:55 |
options, notice there's nothing set for
the layer.
| | 03:00 |
Let's change that pull down to our logo
particle precomp.
| | 03:04 |
Now you can see our particles flying into
the scene.
| | 03:07 |
In order to better match the scene, let's
make our particles monochromatic.
| | 03:13 |
Go down to the Set color option and change
it from Random from gradient to At birth.
| | 03:20 |
And then click in the color well and let's
just choose this kind of light blue color
| | 03:23 |
and click Okay.
Just to create a little bit more variance
| | 03:28 |
across the h's, let's decrease the opacity
And increase the opacity randomness up to
| | 03:34 |
100%.
Now to better stylize this, let's copy a
| | 03:39 |
different effect from one of our other layers.
| | 03:43 |
I'm going to collapse layer five for now
and select our base particle layer.
| | 03:48 |
In here, if we collapse our form options
under effects control, we have star glow.
| | 03:52 |
So let's select our star glow filter and
copy it.
| | 03:57 |
Now if we go back to our particular layer,
we can paste that effect.
| | 04:03 |
Now we've applied the same star glow that
we had to our original formed shape, and
| | 04:07 |
now our particles blend into the scene a
little more clearly.
| | 04:11 |
Now, after the soccer player kicks the
ball, I want these particles to fall
| | 04:15 |
towards the ground.
So to make that adjustment let's adjust
| | 04:19 |
the gravity setting for our particle emitter.
| | 04:23 |
Close the particles setting in Particular
and open up Physics.
| | 04:27 |
Under physics just crank up the gravity to
a value around 1200.
| | 04:32 |
Now we scrub through, you can see our
particles will emit and they'll fall
| | 04:36 |
towards the ground.
Now I want my particles to kind of spray
| | 04:40 |
out a little more randomly.
So if we open up our Emitter settings, we
| | 04:45 |
can increase the spread.
So let's click on the Directions Spread
| | 04:49 |
and just increase this to a setting around 55.
| | 04:53 |
Now when we click and drag, you can see
the particles are emitting from the
| | 04:56 |
background, and we have our kind of cool
star glow.
| | 05:00 |
So now that we have everything animating
through the scene the way we like, let's
| | 05:04 |
add one last element to add a little more
pop to our graphics, and that's these
| | 05:08 |
flashing H's.
In order to add a flashing H, we need to
| | 05:12 |
add a blank H to our project.
So let's go to our project panel and open
| | 05:17 |
the Graphics folder.
In there, we'll find our H+ Sport logo.
| | 05:21 |
Let's go ahead and drag that down into our composition.
| | 05:25 |
I'll make sure it's set all the way at the
top of the timeline.
| | 05:29 |
That way, it's automatically going to be
on top of all the other layers.
| | 05:34 |
Now, to stylize this, let's just go up
under the Edit menu and choose Paste.
| | 05:40 |
Since we already copied the star glow,
we've created the paste effect right on
| | 05:43 |
top of our logo.
So if we press T, we can open up the
| | 05:47 |
opacity of this layer.
I want to decrease the opacity down just a
| | 05:51 |
little bit and then open the Effect Controls.
| | 05:55 |
In here, let's change the input channel
from Luminence to Alpha.
| | 06:00 |
Now we need to make an adjustment to our pre-process.
| | 06:03 |
If we increase the threshold, this will
decrease the amount of the star glow
| | 06:07 |
applied to our logo.
So let's increase the threshold to around
| | 06:13 |
263.
Now all we need to do is animate the
| | 06:16 |
appearance of this popping.
So, to do that we'll create a couple quick
| | 06:20 |
key frames.
If you move your current time indicator to
| | 06:24 |
frame three and add a key frame for the
opacity, let's change the opacity setting
| | 06:28 |
to zero.
Just move a couple frames down the
| | 06:32 |
timeline and then increase the opacity
setting up to 100.
| | 06:36 |
Now I'll just move a couple more frames,
decrease the opacity setting just a little
| | 06:41 |
bit.
You could choose any setting you like.
| | 06:45 |
The big point is that we're going to have
this flicker through the scene.
| | 06:49 |
Now, move a little further down the
timeline and decrease the opacity down to
| | 06:52 |
zero.
Let's trim the outpoint of our layer by
| | 06:56 |
pressing option right bracket, and then
move our current time indicator to the
| | 07:00 |
first keyframe and press Option left bracket.
| | 07:03 |
Obviously on Windows it's Alt left and
right bracket.
| | 07:08 |
Now when we scroll through the scene I've
got this h plus logo that actually pops.
| | 07:14 |
So we can strategically reposition this in
different places throughout our project.
| | 07:19 |
Let's actually make this appear a little
further down the timeline.
| | 07:22 |
Let's say, right after our soccer player
kicks the ball.
| | 07:25 |
Now instead of having a popup in the
center of the screen let's go ahead and
| | 07:29 |
reposition that off to the left hand side.
Now you can duplicate this effect just by
| | 07:35 |
duplicating the layer.
So I encourage you to duplicate this and
| | 07:39 |
scale it and reposition it in different
areas on the scene.
| | 07:43 |
As well as different places along the
timeline, that way you'll create a custom
| | 07:47 |
graphic that's all your own and then of
course you'll have something that's ready
| | 07:50 |
to retime when we go to edit this back
into our project.
| | 07:55 |
| | Collapse this transcript |
| Stylizing the graphics with Lux| 00:00 |
In order to better blend these graphics
into our scene, we're going to use another
| | 00:04 |
Trapcode effect named Lux.
Let's start by creating a layer Solid.
| | 00:09 |
Go up under Layer > New > Solid.
Make sure the solid is the same size as
| | 00:14 |
the composition by clicking Make Comp Size.
| | 00:17 |
And let's make sure that we have a white solid.
| | 00:21 |
Go ahead and click OK to set your white solid.
| | 00:24 |
Now to create the Lux effect, we need to
go under Effect > Trapcode > Lux.
| | 00:30 |
Now nothing's going to happen at first
because Lux actually works with two
| | 00:34 |
different layers.
We've applied Lux to our layer of Solid
| | 00:38 |
but nothing's going to be generated until
we add a light to our project.
| | 00:44 |
So go up under Layer > New > Light.
Now let's change the color of our light.
| | 00:51 |
If yours is blue, we'll change it to white.
| | 00:53 |
If yours is white, just leave it set to white.
| | 00:56 |
We can make sure its a point light and
leave the fallout set to none without
| | 00:59 |
casting shadows and then click OK.
Now notice this has actually created a
| | 01:05 |
bright light in the center of our scene.
Now I'm not seeing the control handles, so
| | 01:09 |
I need to press Shift+Command+H to make
those visible again.
| | 01:13 |
Lux allows you to create a volumetric light.
| | 01:17 |
Basically, any time you add a light to the
scene, you can have it be visible now,
| | 01:22 |
using Lux.
So if we select our white solid here,
| | 01:25 |
notice we have options for our point lights.
| | 01:29 |
If I crank up the intensity, the
brightness of the light is going to
| | 01:31 |
change.
Now if i double-click on the light, notice
| | 01:35 |
I have intensity settings here as well.
Well I can go ahead and crank this up.
| | 01:39 |
And notice as I increase this intensity,
the brightness of the light still
| | 01:43 |
increases.
Let's cancel that last change.
| | 01:48 |
With our white solid selected, notice we
have an option for Light Intensity.
| | 01:53 |
As long as this is selected, any time we
make changes to our light intensity it
| | 01:57 |
will go and show that change in Lux.
Now, let's change our intensity for the
| | 02:02 |
Lux setting back to 100%.
Now to choose a different color, I want to
| | 02:07 |
actually go to my light settings.
So, let's open up our Light options.
| | 02:13 |
An then here under Color, let's grab our
Eyedropper, an choose one of these light
| | 02:16 |
teal colors.
Notice that wasn't that light.
| | 02:20 |
So let's go ahead an just bring that up to
this bright area here, and now we can see
| | 02:24 |
this more, kind of stylized glow.
To make the light follow along with our
| | 02:30 |
jumpers foot, we want to go ahead and
change the position data for this light.
| | 02:35 |
Let's collapse Layer 1 and just press P to
open up its position.
| | 02:41 |
Now, we need to separate the dimensions of
this position to create an expression to
| | 02:44 |
tie to each one of these different
parameters from my null objects.
| | 02:49 |
So let's right-click on the word Position,
and choose Separate Dimensions.
| | 02:54 |
Now, if you hold down Option on the Mac,
or Alt on Windows, and then click on any
| | 02:58 |
of the stop watches, notice it'll
automatically create multiple expressions.
| | 03:04 |
Since all three settings were selected
when we clicked, it's automatically
| | 03:08 |
started to apply those expressions.
Now, just so we can see things more
| | 03:12 |
clearly, I'm going to press the Tilde key
to maximize my timeline.
| | 03:17 |
Now let's open up the position data for
Layer 7 and Layer 6.
| | 03:23 |
Now, if we open up the disclosure
triangles for each one of our expressions,
| | 03:26 |
now we have access to the pick whips.
So let's click on the pick whip for X
| | 03:31 |
position, and point it directly at the X
parameter for Layer 7.
| | 03:36 |
We can do the same thing for the Y parameter.
| | 03:38 |
And then of course, for Z, let's go ahead
and choose the Z parameter for Layer 6.
| | 03:45 |
Once all three of those are chosen, go
ahead and click anywhere outside of the
| | 03:48 |
expression to set the expression.
Now we can press the Tilde key one more
| | 03:53 |
time and notice our light has moved down
onto our jumper's left foot.
| | 03:57 |
This is blended with our particles quite
well and created an interesting look for
| | 04:01 |
the scene.
In other to further blend what's going on,
| | 04:04 |
I want to create a base plain layer that's
down here in the bottom of my composition.
| | 04:11 |
Now just so I don't slow things down as
I'm working, I'm going to go ahead and
| | 04:14 |
press the Caps Lock key just to stop any
refresh from happening in my Project
| | 04:18 |
panel.
Let's go up under Layer > New > Solid.
| | 04:25 |
For this solid, I want to make sure to
choose a 50% gray.
| | 04:28 |
(SOUND) So let's open up the Color settings.
| | 04:30 |
And then, click and drag till we get to
50% gray.
| | 04:33 |
I can see that in the Brightness setting.
As long as you have 0, 0, 50, you'll have
| | 04:38 |
a nice 50% gray.
So let's click OK, and then click OK one
| | 04:42 |
more time.
And of course our refresh has been
| | 04:45 |
disabled but that's okay for the time being.
| | 04:48 |
Let's toggle our switches and modes, so we
can get to our different switches here and
| | 04:52 |
enable 3D for this layer.
Now, I know I want to position this down
| | 04:57 |
in the scene so, I'm going to click on the
Y axis and just drag this down.
| | 05:02 |
Now, I know I also need to rotate this, so
let's press R to open up the rotation.
| | 05:06 |
If we rotate on the X axis, we can go
ahead and click and drag, insert a
| | 05:10 |
Rotation of negative 90 degrees.
Now in order to see what we've done in our
| | 05:15 |
scene, let's go ahead and disable Caps Lock.
| | 05:19 |
Notice now our gray layer is reflecting
this light.
| | 05:23 |
This is really cool but in order to better
blend it into our background, we need to
| | 05:27 |
change the blend mode for this layer.
Go to the toggles and switches and change
| | 05:33 |
the mode from Normal to Screen.
This is going to knock out any of the gray
| | 05:38 |
pixels and allow the color that's being
absorbed by the light reflect into the
| | 05:41 |
background area.
Now, if you press Shift+Command+H, you can
| | 05:46 |
turn off all the handle edges and see
exactly where the edges of our layer solid
| | 05:50 |
are.
So what we need to do is actually change
| | 05:54 |
the scale of this layer solid.
I'm going to press S to open up the scale,
| | 05:58 |
and I'll unlock the scale parameters.
It's okay if we distort this out of the
| | 06:04 |
normal 100% value just because I'm just
using this to catch that color effect.
| | 06:11 |
Notice if we scale this out towards the
background here.
| | 06:14 |
I've got this really neat blend that's happening.
| | 06:17 |
Now to soften this, I want to add a mask.
So I'm going to grab my Mask tool.
| | 06:23 |
And with the Gray Solid selected, I'll
just click and drag in my composition.
| | 06:29 |
Now, once the mask has been created, I'll
grab my Selection tool and click off the
| | 06:32 |
mask, just so I can click on this one
point and drag it over to the side.
| | 06:37 |
And we'll do the same thing with our other
left point here.
| | 06:40 |
Now, that we have a mask added to this scene.
| | 06:43 |
We can just soften that mask.
So lets open up the mask options and crank
| | 06:47 |
up the feather setting.
This way we can create a soft transition
| | 06:51 |
between the area that's catching the light
and the background area that is not.
| | 06:58 |
So when it comes to adding Lux in the
scene, you want to make sure to pay
| | 07:01 |
special attention to its 3D position data.
And then, of course, take advantage of
| | 07:06 |
different blend modes to catch the light
as it reflects off different objects in
| | 07:10 |
your project.
| | 07:12 |
| | Collapse this transcript |
| Blending particle emitters| 00:00 |
Even though we got kind of a dynamic look
with our lux effect and our glowing
| | 00:03 |
ground, we still need to better blend
these particles together in this scene.
| | 00:08 |
So let's go ahead collapse Layer 1 and
collapse Layer 2 and start focusing on our
| | 00:14 |
base particle emitter.
So our base particle emitter is down here,
| | 00:20 |
under Particular.
If I turn off the visibility and on the
| | 00:24 |
visibility, you can see these are the logos.
| | 00:27 |
So let's rename Layer 10, Logos.
(SOUND) And to better blend these in with
| | 00:32 |
our dust and clouds, I want to make some
different settings on our Effects
| | 00:36 |
Controls.
So, let's start by decreasing the amount
| | 00:41 |
of Life on these particles.
I want to bring that setting down to
| | 00:46 |
around 1.2.
This way, the particles will more closely
| | 00:50 |
stick to the feet of our jumper.
Now, I'm just going to disable my adaptive
| | 00:54 |
resolution setting here so you can more
clearly see the particles as I move
| | 00:57 |
through the scene.
Now when I scrub, notice how the particles
| | 01:03 |
are kind of shooting up an off to the side.
| | 01:06 |
I want to add a little bit a gravity to
this particle.
| | 01:09 |
So let's go down to the physics settings,
an crank up the gravity settings.
| | 01:16 |
(SOUND) If we scrub through now notice the
particles are kind of moving with our
| | 01:20 |
runner but, they are falling down in the
scene and I think this is creating a
| | 01:23 |
little bit more realistic look.
Now, just so we don't have quite as many
| | 01:28 |
particles let's go back up to our particle
emitter settings and press the U key to
| | 01:33 |
open up our different keyframes.
Let's move our current time indicator to
| | 01:38 |
the second key frame.
Let's change the Particles per second
| | 01:41 |
setting to around 100.
Now, when we move further down the
| | 01:46 |
timeline you can see we have our particles emitting.
| | 01:51 |
But there aren't quite nearly as many.
Now to better stylize this to match the
| | 01:55 |
rest of our graphics, I'm going to jump
over to my kick composition here for a
| | 01:58 |
quick second.
Let's select our base particles layer and
| | 02:05 |
copy our Starglow effect.
(SOUND) I'm just going to press Command+C
| | 02:09 |
and then jump back to our jump layer.
On the Logos layer, let's press Command+V
| | 02:15 |
or Ctrl+V on Windows to paste that
particular effect.
| | 02:20 |
Now this is starting to actually blend in
the scene a little bit better.
| | 02:24 |
I still think the logos are a little
bright and I don't like all these dark
| | 02:27 |
logos.
So what we can do is change the Opacity
| | 02:30 |
settings and the Color settings.
So, let's decrease the Opacity setting
| | 02:37 |
from 66 down to around 39 or 40.
And just to change the color settings,
| | 02:44 |
instead of changing it from random from
gradient, let's choose at birth.
| | 02:50 |
Now, we can change the color from at birth
to this kind of light teal color.
| | 02:55 |
When we click OK, since we have varying
opacities for our H's, we'll have them
| | 03:00 |
blended back into the background but with
our starglow effect they still sort of pop
| | 03:05 |
out of the scene.
Now, our smoke really looks like smoke and
| | 03:11 |
I want this to look a little bit more like
shiny particles.
| | 03:17 |
So, to make an adjustment to that let's
select our dust layer first.
| | 03:20 |
If we turn off the opacity and on you can
see the dust is just this very front
| | 03:24 |
section of our effect.
First thing I want to do is collapse the
| | 03:30 |
emitter settings for this dust.
And the Particle options.
| | 03:34 |
Let's click in our Effects Controls and
press Cmd+V to paste the starglow effect.
| | 03:41 |
Now this is definitely adding a little bit
more pop to our dust.
| | 03:45 |
If you find the shine is a little too much
go ahead and open up your Preview Process
| | 03:48 |
settings.
Then just raise the threshold a little
| | 03:50 |
bit.
That way you can tone down exactly how
| | 03:54 |
much that's popping out of the scene.
Now let's look at our cloud settings.
| | 03:58 |
I'm going to collapse Layer 10 and select
Layer 11.
| | 04:03 |
For our cloud we have really long lasting particles.
| | 04:07 |
Let's start by changing the life.
I'm going to go to my particle settings
| | 04:10 |
and under life let's change that to about
point 8.
| | 04:15 |
Now when we scrub through the scene, you
can see I have these particles that are
| | 04:19 |
being emitted, but it's not nearly as distracting.
| | 04:23 |
And I have a little bit of glow on top of everything.
| | 04:25 |
Let's change the blend mode for our clouds
from normal to hard light.
| | 04:32 |
This is going to better blend it into the background.
| | 04:35 |
It's a subtle change, but when you play
the animation back over time, you'll see
| | 04:39 |
that now this looks a little bit more
dynamic in terms of how the animation is
| | 04:43 |
being created.
Now none of these particles are really
| | 04:48 |
popping off the background and that's
because our background layer is still way
| | 04:51 |
too bright.
So let's select Layer 12 and go up under
| | 04:55 |
Effect > Color Correction.
Let's start by just making a Levels
| | 04:59 |
adjustment.
I like using levels because I get a
| | 05:03 |
histogram that shows me the brightness of
the scene.
| | 05:05 |
Let's change the output for our black by
clicking on this triangle and dragging it
| | 05:09 |
to the right.
Now I've got a much more dynamic scene,
| | 05:14 |
with a lot more contrast.
If I want to pop up my midtones, I can
| | 05:18 |
click on this midtone setting, and just
bring it back to the left here a little
| | 05:21 |
bit.
Now when we scrub through, you can see the
| | 05:25 |
particles are much more attention-grabbing.
| | 05:27 |
Now just to add a little bit more shine to
our particles, I'm going to go back to my
| | 05:31 |
dust setting.
And just make an adjustment to my
| | 05:35 |
Starglow.
Let's decrease the Streak Length so its
| | 05:39 |
not quite as long but increase the boost
value so we get this nice white hot look.
| | 05:45 |
Now when we scrub through we've got
something with a lot of contrast and a
| | 05:49 |
little bit more dynamic flavor.
To add the finishing touches to this
| | 05:55 |
graphic, we need to take all these
particle settings and apply the same thing
| | 05:59 |
to our jumpers right foot.
This is a pretty straight forward process.
| | 06:05 |
To begin, let's go ahead and select Layers
9, 10 and 11 and just press Command+D to
| | 06:09 |
duplicate all those layers.
Go ahead and press Cap Locks to stop the
| | 06:14 |
refresh of the Comp panel.
Now I'm going to move Layers 9, 10, and 11
| | 06:19 |
up in my layer hierarchy.
I want to position them above our Z, our F
| | 06:23 |
layer and X Y our F layers.
Select Layers 8 and 9 and press P to open
| | 06:29 |
up the position data.
Now since we've already created all the
| | 06:35 |
particle animations all we have to do is
reattach the different expressions from
| | 06:40 |
each particle emitter to the proper X, Y,
Z position data.
| | 06:45 |
So I'll show you how to do this for one
layer and then I want you to do that for
| | 06:49 |
the subsequent layers.
So with Layer 5 selected, I'll open up my
| | 06:53 |
emitter options.
And notice we already have an expression
| | 06:57 |
set.
Well, let's select layer five and press
| | 07:00 |
the U key to open up those expressions.
Notice there are words in our expressions.
| | 07:05 |
So, this is actually going to be
relatively easy to change.
| | 07:09 |
All we need to do is change the name from
LFto RF.
| | 07:14 |
So, if you click in the expression window
you can just click just to the right of
| | 07:17 |
the letter L and change it to R.
Then just click outside of the expression
| | 07:22 |
to set the change.
We'll do the same thing for L on the next
| | 07:26 |
expression.
So like I said, go ahead and do that for
| | 07:31 |
the next two layers.
I'll pick up here in just a second.
| | 07:35 |
Once you're finished making those
adjustments, go ahead and press the Caps
| | 07:38 |
Lock key again.
So your scene can refresh.
| | 07:41 |
Now the only thing we need to do is create
a little bit more variance between the two
| | 07:45 |
different particle emitters.
And this is a really easy process.
| | 07:50 |
Again, much like the previous settings, I
am going to show you how to do this once,
| | 07:54 |
and then you can make the adjustments to
the subsequent particles.
| | 07:59 |
So lets select our Clouds layer seven.
In here, under the emitter options, if you
| | 08:03 |
scroll down to the bottom, I have a
setting for random seed.
| | 08:08 |
All we have to do is just click on that
number, and change it.
| | 08:11 |
Once you do that, the particle emitters
will change and update, and then we'll
| | 08:15 |
have completely different particles moving
along on the different feed of our jumper.
| | 08:20 |
Now I want you to make those changes to
Layer 6, our logo layer, and Layer 5, our
| | 08:24 |
dust layer.
Then, you'll actually have completely
| | 08:28 |
unique particle animations on each
different foot of your jumper.
| | 08:33 |
| | Collapse this transcript |
| Creating complex particle emitters| 00:00 |
While creating these initial light streaks
was kind of fun, we're going to have a lot
| | 00:03 |
of fun in this video creating complex
emitters out of these light streaks.
| | 00:08 |
So to start, let's make an adjustment to
our H particles.
| | 00:13 |
I want to add some dynamics to those
particles, so they flow through the scene
| | 00:16 |
a little more realistically.
Let's load up our (INAUDIBLE) preview so
| | 00:21 |
you can see what I'm talking about.
I like how the streaks flow through the
| | 00:24 |
scene but, notice how all the particles
just kind of turn into a big mess over
| | 00:27 |
here on the right side.
Let's press the Spacebar to stop playback
| | 00:32 |
for a second, and position our current
time indicator further down the time
| | 00:35 |
indicator further down the timeline around 106.
| | 00:39 |
Select the H+ logos layer, layer four.
And go to the effect control panels.
| | 00:44 |
Let's scroll down and open up the Physics options.
| | 00:47 |
Under Physics, let's open up Air.
In Air, let's increase the air resistance
| | 00:52 |
to a setting of around four.
Automatically we are starting to get a
| | 00:56 |
little bit more definition in our
particles that have been omitted.
| | 01:00 |
I want to add wind moving from right to
left, so let's click and drag on the x
| | 01:04 |
parameter for Wind X and create a value of
negative 54.
| | 01:10 |
If we open our turbulence field options.
In here, we can have turbulence created
| | 01:14 |
off of our particle emitter.
Let's have that turbulence affect the size
| | 01:19 |
of our particles.
I'll go ahead and increase that value up
| | 01:23 |
to a setting of about 34.
Now, obviously, we have way too many
| | 01:27 |
particles in our scene.
So let's go up under our particle emitter
| | 01:30 |
options.
And see if we can adjust how many
| | 01:33 |
particles are being emitted.
Well, when we look at particles a second,
| | 01:38 |
you can see we have key frames, and if we
look in the timeline, there are those key
| | 01:41 |
frames.
So, let's navigate to the second key frame
| | 01:45 |
here and change the particles per second
option from 800 to a setting of around
| | 01:49 |
320.
Now when we scrub down the time line you
| | 01:53 |
can see there are many less H's now just
we can see things more clearly I'll turn
| | 01:57 |
off my adaptive resolution setting.
Since we've created the wind and thickened
| | 02:03 |
the air density I want to go ahead and
load up a ram preview so you can see what
| | 02:07 |
we've done to our H logo's.
I love how they kind of stop in the scene,
| | 02:13 |
but I think we should add a little bit of rotation.
| | 02:16 |
So let's stop playback for a second and go
to our particle settings.
| | 02:21 |
Let's open up rotation and just increase
the amount of rotation speed.
| | 02:26 |
Go ahead and crank that up to a setting of
around two and then we could randomize
| | 02:30 |
that speed just by increasing that random
assignment just underneath.
| | 02:36 |
Now as we scroll through you should see
our particles are actually emitting and
| | 02:40 |
they're rotating.
(LAUGH) Now these are moving kind of
| | 02:43 |
quickly sort of like wile e coyote so
let's go ahead and stop playback here and
| | 02:46 |
just look at what we've done.
Okay, that's obviously a little too quick.
| | 02:52 |
So let's just stop Playback here for a
second, and decrease the Random Speed to a
| | 02:56 |
setting of around three.
And let's just decrease our Rotation Speed
| | 03:01 |
to a setting of around one.
Now when we lit up our Preview you can see
| | 03:06 |
we have some rotation but it's not quite
as frantic.
| | 03:10 |
Let's go ahead and load up our (UNKNOWN)
preview and you can see that's looking
| | 03:13 |
pretty decent.
Now, I want to stop playback here for one
| | 03:17 |
second and further blend these light
streaks and logos together.
| | 03:21 |
To do that I want to decrease the size of
my logos.
| | 03:25 |
So, let's look under our rotation settings
and adjust the size.
| | 03:29 |
I want to change it now to a setting of
around two.
| | 03:33 |
Now these particles are going to blend
with our glowing lines a little more
| | 03:36 |
clearly.
To add further depth, let's go ahead and
| | 03:39 |
create an effect similar to what we
created in the Zero to Jump chapter.
| | 03:45 |
To do that, I'm just going to go ahead and
lift our dust particles straight out of
| | 03:49 |
the scene.
Click on layer five, and press Cmd + C to
| | 03:52 |
copy or Ctrl + C on Windows.
Jump back to our pass comp.
| | 03:58 |
Let's make sure we have layer four selected.
| | 04:00 |
And paste our new layer.
We'll get an error message, but that's
| | 04:04 |
okay.
Our dust setting's looking for position
| | 04:07 |
data.
So if we open up the emitter options here,
| | 04:10 |
notice nothing is set up for x, y, or
position z.
| | 04:16 |
We need to link this to our actual
particle emitters.
| | 04:20 |
So we don't necessarily have to use
Expressions to do this.
| | 04:23 |
We can just change our emitter type from
Point to Lights.
| | 04:28 |
That way any lights that are in the scene
are automatically going to emit.
| | 04:33 |
These settings from our dust.
So if we scrub through the scene here, you
| | 04:36 |
can see now we've added some dust into the scene.
| | 04:40 |
Now the dust is spraying out a little far,
so let's see if we can change that
| | 04:43 |
setting.
If we decrease our velocity value, it's
| | 04:47 |
automatically going to bring Our dust
particles back in line with our streaks.
| | 04:55 |
So as we scrub through here you can see
we've got some dust actually flying in the
| | 04:58 |
scene.
And our logos.
| | 05:01 |
Our logos are living just a little bit too long.
| | 05:04 |
So let's go ahead and select our logos
layer and make one more adjustment.
| | 05:08 |
Under the particle settings let's decrease
the life from a setting of 2.3 to around
| | 05:15 |
1.2.
This way when we scrub through you can see
| | 05:19 |
we have our streaks emitting and our dust
and our logos.
| | 05:24 |
This is creating one nice complex cohesive look.
| | 05:28 |
To add the final touches to this we need
to go ahead and create some luxe lights
| | 05:32 |
right where our light emitters are.
So t odo that let's go back to our jump
| | 05:38 |
composition and look for our luxe layer.
That's our white solid here so let's click
| | 05:44 |
on layer three.
And just go up under edit, and choose
| | 05:47 |
copy.
Now we can go right back to our pass layer
| | 05:51 |
and go up under edit and choose paste.
Now since we've done this, it's
| | 05:56 |
automatically taken our emitter lights and
used those as the lights.
| | 06:01 |
For our locks.
If we open up our point light options,
| | 06:05 |
notice we can go ahead and make an
adjustment to the intensity of the light.
| | 06:09 |
I want to increase the intensity and then
increase the softness value.
| | 06:14 |
This way we'll get a little bit of pop,
but it's not quite as jarring.
| | 06:19 |
Now in order to change the color setting
of our lux lights.
| | 06:22 |
Let's go and select our two different emitters.
| | 06:25 |
Press Cmd + D or Ctrl + D on Windows to duplicate.
| | 06:30 |
Now let's rename these two new lights.
I'll change the Emitter 3 to Lux.
| | 06:36 |
Let's change Emitter 4 on Layer 1 to Lux 2.
| | 06:41 |
Now if we double click our lux lights we
can change the color.
| | 06:44 |
I'm going to the change it to this kind of
light blue color, and click OK.
| | 06:48 |
When we click OK now our lux light should
update to be blue.
| | 06:54 |
Now it's hard to see because we actually
have the lux applied to both the emitter
| | 06:58 |
And our Luxe light.
So let's change that setting for our
| | 07:02 |
second luxe light.
And then look at some different options.
| | 07:08 |
When I click OK, let's reposition our two
luxe lights right next to each other, and
| | 07:12 |
turn the visibility off, then turn the
visibility back on.
| | 07:17 |
Notice, these lights are blue, but they
are blending with our emitter lights.
| | 07:22 |
So let's go ahead and select our light
solid one more time, and open up the
| | 07:26 |
general settings.
Notice that we have an option for the pull
| | 07:30 |
down here where it says name starts with anything.
| | 07:33 |
Well, let's click on that and change it to Luxe.
| | 07:37 |
Now it's only going to use the luxe lights.
| | 07:39 |
To create this glow look.
Now as we scrub through the scene you can
| | 07:44 |
see we've created these kind of glowing
beams and a much more stylized look to our
| | 07:48 |
particle emitters.
So, we've definitely created some complex
| | 07:52 |
emitters just by copying some different
particle emitters that we've already
| | 07:56 |
created.
And by applying some different color
| | 08:00 |
correction using Lux.
| | 08:02 |
| | Collapse this transcript |
| Creating a cohesive look| 00:00 |
This is arguably my most favorite part of
the entire process.
| | 00:04 |
Looking at all the different graphics that
we've created and trying to create one
| | 00:08 |
cohesive look so it's coming from one
voice graphically.
| | 00:13 |
Let's start by looking at our past composition.
| | 00:15 |
You can see here, our colors aren't quite
blending with our background and our
| | 00:19 |
graphics, and the scene overall looks a
little washed out.
| | 00:24 |
If we look at our Jump layer, we have this
really nice high contrast scene and we
| | 00:27 |
have these bright graphics in the bottom.
If we look at our kick composition, you
| | 00:33 |
can see we have a lot of things going on here.
| | 00:36 |
I really like the business of this
composition, but notice, there's a lot
| | 00:41 |
going on.
Well, I want to start by creating one
| | 00:45 |
cohesive color wash across all of the
different comps.
| | 00:49 |
So, let's go to the 03_Pass layer and
create a new adjustment layer.
| | 00:54 |
Go up under Layer, choose New, Adjustment Layer.
| | 00:58 |
Now, we can go to the Effects, and I want
to apply a Tint.
| | 01:02 |
So, if we go to Color Correction, there's
Tint, but just below that, there's
| | 01:06 |
Tritone, which is also another form of
tinting your layer.
| | 01:10 |
This gives you control over the color of
the highlights, midtones and shadows.
| | 01:14 |
So let's change the midtones to that kind
of light blue color we've been using for
| | 01:17 |
the majority of our projects.
We can also change the shadows from black
| | 01:24 |
to kind of a dark blue, make sure it's
really nice and dark.
| | 01:29 |
Now, in order to blend this back into the
scene, let's increase the value for Blend
| | 01:33 |
With Original.
The larger this number, the more like the
| | 01:37 |
original scene our graphics going to look.
So, let's set it at a setting of around
| | 01:44 |
71%.
Now, this still looks a little washed out
| | 01:47 |
so, let's go back to our Effects under
Color Correction, and apply some Curves.
| | 01:51 |
With our Curves Adjustment, let's click in
the middle and drag up to the left to
| | 01:55 |
increase the brightness of our scene.
Then we'll suggest the highlights just by
| | 02:01 |
clicking in this middle area of the line,
and drag up onto the left.
| | 02:06 |
Now, just to crush the black levels out a
little bit, let's click in the lower
| | 02:10 |
portion of our line, and drag down into
the right.
| | 02:14 |
Now, we've added a little bit more
contrast to the scene, and this looks
| | 02:17 |
overall much more like a cohesive look.
Now, to apply this to all the other
| | 02:23 |
layers, all we have to just copy our
Adjustment Layer.
| | 02:26 |
So lets select layer 1 and rename this
Color Wash.
| | 02:32 |
Now we can just copy that, Cmd+C on the
Mac, Ctrl+C on Windows and just press
| | 02:36 |
Cmd+V or Ctrl+V to paste.
Notice we're not seeing our Color Wash in
| | 02:42 |
the Jump comp.
That's because the duration of this comp
| | 02:45 |
was a little longer, so let's make sure
this layer goes over the entire length of
| | 02:48 |
the composition by dragging our out point.
Now notice, this wash is a little too
| | 02:54 |
strong.
Let's just disable the Curves option here,
| | 02:57 |
and you can see that it's blending back
into the scene quite nicely.
| | 03:01 |
Since we already had such a high contrast
background, we don't really need these
| | 03:05 |
curves.
Now, just so it doesn't have a such a
| | 03:09 |
strong blue wash, let's increase our Blend
With Original setting to 84%.
| | 03:14 |
Now, we can go to our Kick composition and
Cmd+V or Ctrl+V to paste again.
| | 03:19 |
Just like our previous comp, let's disable
our Curves.
| | 03:23 |
And again, with a Tritone, let's increase
this Blend With Original setting up to
| | 03:28 |
around 85%.
Now, if we click through the different
| | 03:33 |
comps, you can see we've created a
generalized stylized look.
| | 03:37 |
Now, in addition to using this step to
create one cohesive look, this is also
| | 03:41 |
another way to actually create one last
pass at your graphics.
| | 03:46 |
So when I'm looking at these light lines,
I'm realizing they still look a little
| | 03:49 |
chunky.
Especially, when we compare them to
| | 03:52 |
something like we did in the Kick settings.
| | 03:55 |
See how nice and clean these particles are?
| | 03:57 |
Let's go to our past composition and make
some changes to our light lines.
| | 04:03 |
I'm going to scroll down to our Light
Streaks layer, Layer 10.
| | 04:07 |
And let's decrease the size of our Particles.
| | 04:09 |
In the Particles setting, let's change the
size from 3 to about 1.2.
| | 04:15 |
Let's keep stylizing this by going to our
Jump composition and copying a different
| | 04:20 |
filter.
Let's go to our Dust layer, and if we
| | 04:24 |
collapse our particular effect, we can
copy our Starglow Effect.
| | 04:29 |
So select Starglow, and copy.
Jump back to our past composition, and
| | 04:33 |
let's just paste right on the Light
Streaks layer.
| | 04:37 |
If we collapse our particular settings, we
could easily toggle on and off the
| | 04:41 |
visibility of our Starglow.
As you can see, it's not really affecting
| | 04:46 |
these lines very strongly.
We need to adjust the Input Channel to
| | 04:50 |
Alpha.
Now, we can adjust our pre-process
| | 04:54 |
settings by increasing the Threshold.
This will allow us to tone down these
| | 04:59 |
highlights.
We can also soften this up just a little
| | 05:02 |
bit just by increasing the Softness amount.
| | 05:05 |
Now, as we scrub through, you can see I
have much more dynamic glowing lines
| | 05:08 |
moving through our project.
There's one last thing I want to adjust
| | 05:13 |
and that's the brightness of these two lights.
| | 05:16 |
So let's look for our Lux layer.
If you click on layer eight, that's
| | 05:19 |
actually our Lux layer.
So while we're here, let's press Return
| | 05:24 |
and name this layer Lux.
Under the General settings, we have an
| | 05:28 |
option for a Look.
Let's click on that pull-down and change
| | 05:32 |
it from Natural to Strong.
Now, this automatically blows out the
| | 05:36 |
scene.
But we can deselect the Light Intensity
| | 05:39 |
Use option, and just decrease the Softness
of our light down to 0.
| | 05:44 |
Let's also decrease the Intensity down a
little bit.
| | 05:48 |
If we use a setting of around 40, this
looks pretty good.
| | 05:52 |
But I want to press Shift+Cmd+H so we can
hide our lights and see exactly what we're
| | 05:56 |
dealing with.
I really like this pin line effect.
| | 06:00 |
If we scrub through you can see these
lights are now moving around the football
| | 06:03 |
and it creates a really cool effect.
Now notice, when I scrub back into the
| | 06:08 |
screen, my lights are already starting the
rotation process before the ball starts to
| | 06:12 |
rotate.
So, let's click on this first X Rotation
| | 06:18 |
keyframe and drag it to the right.
Now, when our quarterback throws the ball,
| | 06:23 |
it will start spinning and our particle
lights will go ahead and start rotating as
| | 06:27 |
well.
Now notice, since we have such a tight
| | 06:30 |
rotation in this one area, we've got some
issues with our Rotation.
| | 06:36 |
We can make an adjustment by deleting some
of these extemporaneous keyframes.
| | 06:41 |
I'm going to start by clicking this third
keyframe here and just pressing Delete.
| | 06:44 |
We can delete this next keyframe as well.
Now, you can see we sort of stretched out
| | 06:50 |
the position between these different keyframes.
| | 06:54 |
Even though our lights appear to kind of
move ahead of the football, I still think
| | 06:57 |
this is perfectly acceptable because of
how bright everything is in the scene.
| | 07:01 |
So we've quickly and easily smoothed out
this adjustment.
| | 07:06 |
If you really want to keep smoothing
things out, you could adjust the Shine
| | 07:09 |
settings for our lights again.
But I really like what we've created, so
| | 07:12 |
I'm going to leave my settings set up the
way they are right now.
| | 07:17 |
So if we click back through our Kick
layer, our Jump layer and our Pass layer.
| | 07:22 |
You can see we do have three different
graphics, but they do have some
| | 07:26 |
resemblance of a cohesive look.
Now of course, just like any other
| | 07:30 |
project, you should probably go ahead and
send off a version to your client to see
| | 07:33 |
if it's something that they like.
| | 07:36 |
| | Collapse this transcript |
| Pushing the graphics over the top| 00:00 |
There comes a time in every project where
you look at your finished graphics and you
| | 00:03 |
realize they're not quite finished.
You need to push them over the top so
| | 00:07 |
that's what we're going to look at in this video.
| | 00:10 |
We'll look at the different things that we
could do just to push our graphics a
| | 00:13 |
little bit further.
So let's start by scrubbing through the
| | 00:17 |
zero three pass composition.
And if you notice our lights are actually
| | 00:21 |
lit at the beginning of the comp.
And I don't want these lights to start to
| | 00:26 |
appear until our passers arm starts moving forwards.
| | 00:30 |
So, let's position our current time
indicator on frame seven and make sure
| | 00:33 |
that we select our lux layer, layer eight.
Go ahead and press Opt + T or Alt + t on
| | 00:38 |
Windows to add a key frame for the opacity.
| | 00:42 |
Let's change that setting to zero and move
forward a couple frames so the ball comes
| | 00:46 |
out of his hand.
Let's do frame ten.
| | 00:50 |
That way we can increase the capacity to
one hundred percent.
| | 00:53 |
Just to keep a tidy house, let's move back
and keep the starting point that way with
| | 00:57 |
option left bracket.
alternate back windows.
| | 01:02 |
Now if we preview the first part of that
animation, you can see that we've added a
| | 01:05 |
little bit more pop into that scene.
Starts dark and then we get this huge
| | 01:10 |
blowout.
So I think that looks pretty good.
| | 01:13 |
Let's jump to our 01 tick composition.
We scrub through here I want you to
| | 01:18 |
position your current time indicator
around frame 15 and we'll see we have this
| | 01:22 |
flashing logo.
But if we scrub through you'll notice it
| | 01:26 |
only flashes once I don't think that's
particularly dynamic so let's have it
| | 01:30 |
flash twice.
We'll just compress all of the key frames
| | 01:33 |
by holding Opt on the Mac, Alt on Windows,
and then drawing a lass around the key
| | 01:37 |
frames.
Now, still holding Alt and Opt, we can go
| | 01:41 |
and click on our end keyframe, and drag it
to the left to compress it.
| | 01:46 |
Now let's just copy those keyframes.
And before we paste, make sure our current
| | 01:50 |
time indicator is on our last keyframe.
Now when we scrub through the scene, you
| | 01:54 |
can see our logo's flashing twice.
This flashing logo is quite a dynamic
| | 01:58 |
element.
Let's incorporate this into the other
| | 02:00 |
compositions.
I'll select layer 2 and copy it.
| | 02:05 |
And we'll go to comp 2 and paste.
It doesn't matter where the logo appears
| | 02:10 |
just yet because we'll do the final
placement here in a minute.
| | 02:13 |
Let's go to our 0 3 pass layer and copy
our layer.
| | 02:18 |
Okay let's go back to 0 1 K and kind of
focus on things a little bit more.
| | 02:22 |
When I scrubbed through, I have a lot of
things going on.
| | 02:26 |
So our little h plus logos here are
getting lost.
| | 02:29 |
I want to add a little more pop to these logos.
| | 02:31 |
To do that, let's scroll down and make
sure that we have our number seven layer
| | 02:35 |
selected.
If you turn the visibility off and on, you
| | 02:38 |
can see those are logos.
Let's rename the layer logos.
| | 02:44 |
And now to give it more pop lets press Cmd
+ D or Ctrl + D on Windows to duplicate.
| | 02:49 |
Now that looks pretty good but I want to
accentuate this kind of glowy floating
| | 02:52 |
nature.
So lets select our bottom most logo layer
| | 02:57 |
8.
Go up under effect and go to blur and
| | 03:00 |
apply a fast blur.
But the fast blur let's increase the
| | 03:05 |
bluriness setting to around 20.
Now we're already starting to get some
| | 03:09 |
pop.
Let's look at our blend modes if you don't
| | 03:12 |
have your blend modes active just make
sure to toggle them.
| | 03:15 |
And let's change our blend mode for that
layer to add.
| | 03:19 |
Now we get a little bit more pop in this scene.
| | 03:21 |
Now when we scrub through, you can see
that our glow and our logos are in the
| | 03:24 |
exact same spot.
And to increase that little floaty
| | 03:28 |
feeling, I'm going to press S to open up
my scale, and just increase the scale on
| | 03:31 |
this layer to a setting of around 120.
This will offset our glow a little bit,
| | 03:37 |
but if we reposition the layer back to the left.
| | 03:41 |
This is going to actually create a little
bit more of that sort of flowing glowy
| | 03:45 |
feeling.
Now obviously you could keep pushing by
| | 03:48 |
this by duplicating this glow layer if you
really want to excentuate that look.
| | 03:52 |
I'm just going to undo because I sort of
liek where we're at right now.
| | 03:57 |
So we can scrub through just to double
check one more time and I think this looks
| | 04:00 |
pretty good.
Now let's go back to the other
| | 04:04 |
compositions and place our h plus flashing logos.
| | 04:07 |
Let's go to zero two jump.
Just click on layer one and drag it down
| | 04:11 |
the timeline for the time being.
Let's scrub through and see where the h
| | 04:14 |
flash is.
I sort of like how its flashing here in
| | 04:17 |
the left hand side but I want to make this
a little more interesting.
| | 04:20 |
Let's duplicate this layer and then press
S to open up the scale.
| | 04:25 |
We can create a smaller version of this
flashing over in the right hand corner as
| | 04:28 |
well.
And just so they aren't flashing at the
| | 04:31 |
same time, let's offset the animation by
dragging our first layer down the
| | 04:34 |
timeline.
Now, if we scrub through, you can see the
| | 04:38 |
logo's going to flash in one place and the other.
| | 04:41 |
Now, I know the word sport is outside the
title safe, but that's okay.
| | 04:45 |
This is just an accent piece.
So let's load up our ram preview so we can
| | 04:48 |
see what this looks like.
I think that's already creating a slightly
| | 04:52 |
more dynamic look.
Let's stop playback, and go to our pass
| | 04:56 |
layer.
We can do the same thing with our pass
| | 05:00 |
layer.
Since our h+ logo is so large, and it's
| | 05:02 |
setting directly over top of our passer.
Let's just push it off to the left hand
| | 05:07 |
side here.
Even though we can only see part of the
| | 05:10 |
logo, let's just duplicate that logo, make
it a little smaller and again, do the same
| | 05:14 |
thing that we just did by setting it over
here and then offsetting that animation.
| | 05:21 |
Now since in our previous comp the logo
kind of flashed from left to right.
| | 05:24 |
Let's go ahead and have this flash from
right to left.
| | 05:28 |
This will be a kind of fun juxtoposition
with the football.
| | 05:31 |
Alright now let's load up a RAM preivew
and check out what we've done.
| | 05:36 |
So you can see whenever you need to push
your graphics over the top what you need
| | 05:39 |
to do is just analayze all the different
graphic elements in your different scenes.
| | 05:45 |
And then figure out whether you need to
add more pop or incorporate those elements
| | 05:49 |
throughout your other comps.
| | 05:52 |
| | Collapse this transcript |
|
|
5. RetimingRetiming layers with prerenders| 00:00 |
Since our project has so many particles
and different effects, it makes sense to
| | 00:04 |
prerender our clips before we retime them.
So let's move to the zero one kick
| | 00:08 |
composition, this has the most graphics
out of any of our builds, so we'll go
| | 00:12 |
ahead and retime this clip.
To do that, let's select all the layers in
| | 00:17 |
the composition, then go up under Layer
and choose Precompose.
| | 00:21 |
Let's name our pre comp Kick for precomp,
and click Okay.
| | 00:28 |
Now instead of rendering this clip, let's
open our precomp and actually render this
| | 00:31 |
composition.
There's a nice import and replace function
| | 00:35 |
that we can use so once we render the
Quicktime it will automatically be
| | 00:38 |
imported back into our project.
Let's go up under Composition and chose
| | 00:43 |
Add to Render Queue.
In the Render Queue, you can leave your
| | 00:46 |
render settings set to Best and your
output module to Lossless.
| | 00:51 |
On Windows, it'll probably be Windows
Media, on the Mac it will be a Quicktime
| | 00:53 |
file.
It you click on the word Lossless, you can
| | 00:57 |
go to the Post-Render Action pull down.
Change that from None to Import & Replace
| | 01:02 |
Usage.
Now we need to define where we're going to
| | 01:05 |
output our file.
Click Next to output to, and let's go to
| | 01:09 |
our exercise files folder.
In our exercise files, there's a footage
| | 01:14 |
folder, and in the footage folder, I've
created a new folder called zero five
| | 01:18 |
prerenders.
We can leave the name kick for precomp in
| | 01:21 |
there, and click save.
Now, when we render, our clip is
| | 01:24 |
automatically going to be rendered, and
imported into our project.
| | 01:30 |
And if we go to our 01 kick composition,
notice the pre-compass has been replaced
| | 01:34 |
with our rendered Quicktime.
So now, we can easily re-time our footage.
| | 01:39 |
Go up under layer, and choose time.
Enable time remapping.
| | 01:44 |
This is going to create two keyframes.
If we open the graph editor and select the
| | 01:50 |
words Time Remap, we can see a graphic
representation of our retime.
| | 01:55 |
Now, as we scrub through the scene, I want
our soccer player to kick the ball, and
| | 01:59 |
then right about this point, I want to
sort of move backwards and then move out
| | 02:02 |
of the scene.
So lets start our retime by positioning
| | 02:06 |
our current time indicator at one oh four.
So lets add a keyframe.
| | 02:12 |
I'm going to down to my Diamond button on
the left side of the interface and add a
| | 02:15 |
keyframe.
Now move down the timeline to around 113,
| | 02:19 |
and let's add another keyframe.
Since I've created these two key frames
| | 02:25 |
this is going to give us the ability to
keep the normal timing for the first half
| | 02:28 |
in the last little bit of our composition.
If we want to retime any areas now, we can
| | 02:34 |
just retime this area in between.
So, let's add one more keyframe in between
| | 02:39 |
the two keyframes.
And I'd like this clip to play backwards.
| | 02:43 |
So to make it play backwards let's click
and drag the clip down so in this area
| | 02:47 |
it's actually moving down instead of up.
This will make the clip play backwards.
| | 02:53 |
Notice the further I move the key frame
down, the further back the clip will move.
| | 02:58 |
Now I don't need it to move back quite
that far so let's just move it down to
| | 03:01 |
here, so when we scrub through, you can
see, okay, the ball's going to come flying
| | 03:05 |
out.
It'll jump back, and then fly back out
| | 03:08 |
again.
If you want to smooth this out with the
| | 03:11 |
keyframe selected, you can enable ease.
That was we can go ahead and use handles
| | 03:16 |
to retime exactly how our key frame is
going to be applied.
| | 03:22 |
So this is going to kind of create an
interesting look.
| | 03:25 |
So let's preview our animation and see
what we've got.
| | 03:32 |
So obviously, once you apply your first
retime, you'll probably want to make some
| | 03:35 |
adjustments.
I'm going to smooth out that last little
| | 03:38 |
change that we did, just so it doesn't
move quite so quickly when it moves to the
| | 03:42 |
next keyframe.
When you've applied your re-time, you can
| | 03:46 |
actually change how the system processes
all those frames.
| | 03:51 |
So with layer one selected, let's go up
under the Layer menu, and notice under
| | 03:55 |
Time we have an option for Frame blending.
Now if you have extensive re-timing, you
| | 04:00 |
may want to set this to Pixel motion.
This way Aftereffects will look at each
| | 04:05 |
individual pixel in the retiming process.
If you find that pixel motion isn't
| | 04:10 |
getting the job done, you want to go ahead
and set it to Frame mix just to see how
| | 04:13 |
that actually looks.
So, once we're finished, let's go ahead
| | 04:18 |
and load a RAM preview, and you can see
we've properly retimed our footage and
| | 04:22 |
done a successful pre-render.
| | 04:25 |
| | Collapse this transcript |
| Adjusting speed with Timewarp| 00:00 |
Another great way to retime footage
without having to precompose or even
| | 00:04 |
prerender is by using the Timewarp effect.
So, let's go to the 03_Pass composition
| | 00:10 |
and apply our Timewarp effect to a new
adjustment layer.
| | 00:14 |
So, let's go Layer > New > Adjustment Layer.
| | 00:17 |
And then go to Effect > Time > Timewrap.
The default settings for Timewrap
| | 00:22 |
automatically adjusts the speed down to
50% playback.
| | 00:25 |
And if you scrub through, notice we get
kind of these warping, blurring effects.
| | 00:31 |
This is happening because the default
setting for the method is pixel motion.
| | 00:36 |
Timewarp is looking at each individual
pixel of our composition and trying to
| | 00:40 |
move the pixels accordingly to slow down
the footage.
| | 00:45 |
Now, since our image is made up of such
high contrast graphics and numerous
| | 00:48 |
graphics at that, pixel motion isn't the
best answer.
| | 00:53 |
Let's switch our settings to frame mix.
Now with frame mix we have options for our
| | 00:57 |
speed.
So, just so we can see where we are in our
| | 01:01 |
composition let's change the setting for
speed up to 100%.
| | 01:06 |
This way we'll know exactly where we are
when we start the retiming process.
| | 01:11 |
Move your current time indicator to frame 17.
| | 01:15 |
This is where I want the footage to start
playing backwards so the ball moves back
| | 01:18 |
into our passers hand.
And then we'll have it move forwards and
| | 01:21 |
shoot out off the scene.
So let's add our first speed key frame
| | 01:26 |
here frame 17.
Now just move down the timeline a little
| | 01:31 |
bit till about 102.
Let's change our speed setting to minus
| | 01:35 |
100.
Notice even though it's playing back at
| | 01:39 |
minus 100% speed, our ball isn't back to
where we want it to be yet.
| | 01:44 |
So let's move down the timeline here a
little bit until the ball gets back into
| | 01:47 |
our passer's hand.
Now let's press u on our keyboard to open
| | 01:51 |
up our key frames.
And we can add a second key frame at the
| | 01:54 |
current value just by clicking our little
diamond button here on the left side of
| | 01:57 |
the interface.
Now if we move further down the timeline,
| | 02:02 |
say around one 20.
We can change our speed back up to 100%.
| | 02:07 |
Now the footage is going to playback in
normal real time speed.
| | 02:10 |
So lets preview what we've created.
I think that's pretty cool, but honestly
| | 02:18 |
it's a little slow for the transition.
So lets stop playback here and compress
| | 02:22 |
our keyframes.
I'll draw a lasso around all the
| | 02:25 |
keyframes, and hold down Option on the
Mac, Alt on Windows, and just click and
| | 02:29 |
drag on one of the keyframes.
This way when you scrub through, it'll
| | 02:33 |
automatically jump back and move forwards.
Notice we don't have quite precise control
| | 02:38 |
over how far back the football is going.
That's just dependent on how long it can
| | 02:44 |
play backwards at 100% speed.
So let's go and increase the amount of
| | 02:49 |
space between our center 2 key frames.
That should give us a little of the
| | 02:53 |
backwards motion.
Now, in order to polish a little bit more
| | 02:58 |
lets make sure we have to word Speed
selected and open our keyframe editor.
| | 03:03 |
Lets right-click on our lowest keyframe,
go to Key Frame Assistant > Easy Ease In.
| | 03:09 |
This way we can ease the transition into
our speed change.
| | 03:13 |
Let's do the same thing for our next keyframe.
| | 03:15 |
We'll go to easy Easy Ease Out.
Again, we could smooth this transition
| | 03:20 |
back out again.
So, of course, you could add this effect
| | 03:24 |
to any of your keyframes and really smooth
the change in motion.
| | 03:28 |
But I think you can see how quickly and
easily you can change speed effects just
| | 03:32 |
by using Time Warp.
| | 03:34 |
| | Collapse this transcript |
| Using Timewarp with Motion Blur| 00:00 |
In addition to being able to re-time your
footage, you can also control the motion
| | 00:04 |
blur directly within the effect of Timewarp.
| | 00:07 |
So to show you what I'm talking about,
let's jump to the comp 02_Jump.
| | 00:12 |
To apply our Timewarp, of course we need
to add an adjustment layer.
| | 00:17 |
Now let's apply our Timewarp.
We'll go to Effect > Time > Timewarp.
| | 00:23 |
Now immediately Timewarp is going to
default to the Speed setting.
| | 00:26 |
This time I'm going to be really precise
about what frames I'm working with.
| | 00:30 |
So, let's change that speed to source frame.
| | 00:34 |
Now, if you scrub through the timeline
after the setting notice nothing's going
| | 00:37 |
to move in your footage.
That's because the source frame is set to
| | 00:40 |
zero by default and it just stays that way.
| | 00:43 |
So we need to press Home to move our
current time indicator to the start of the
| | 00:46 |
timeline and add a keyframe for our source frame.
| | 00:50 |
And then press N and go down and look at
our time indicator to see, okay that's 90
| | 00:54 |
frames.
So let's change our source frame value to
| | 00:59 |
90 frames.
Now if you press U on your keyboard, we
| | 01:02 |
can see the two keyframes we've created.
And if we open our Editor, you can see the
| | 01:07 |
line that's been created.
This is just like when you enable time
| | 01:10 |
remapping on any sort of layer.
Now let's move our current timeline
| | 01:15 |
indicator to around 203.
This is where I want the time change to
| | 01:18 |
happen.
So in order to do this I'm just going to
| | 01:21 |
add a keyframe at the current value.
Let's go to the left side of the timeline
| | 01:25 |
and click our diamond keyframe button.
Now before I make this change I want to
| | 01:30 |
add some buffer keyframes so move your
current time indicator further up the
| | 01:33 |
timeline towards the front.
Let's say around 120.
| | 01:37 |
Then add another keyframe.
Then, we'll move back down the timeline to
| | 01:41 |
around 2:12, and add yet another keyframe.
Since I have these two buffer keyframes, I
| | 01:46 |
can now make adjustments to that extra
keyframe we first added.
| | 01:51 |
No matter what setting I change this
keframe to the timing after and before
| | 01:55 |
will always remain the same.
Now let's move our current time indicator
| | 02:01 |
diretly over our third keyframe here.
Notice as I move up and down I'm getting a
| | 02:06 |
unit number and even through its not a
square number let's see its set at 2961.
| | 02:12 |
OK well let me change this to 29.
That means this frame is exactly frame 29.
| | 02:20 |
If we move our current time indicator to
frame 29, sure enough, absolutely no
| | 02:23 |
change.
So again, this is a very precise way of
| | 02:27 |
adjusting your retime effects.
Now just like any other key frame, we
| | 02:31 |
could ease this out, so let's do that.
I'll right click on the key frame, go to
| | 02:36 |
the key frame assistant and choose easy
e's, and with our control handles we could
| | 02:40 |
control the amount or the speed in and out
of our key frame.
| | 02:46 |
So that's all well and good everybody
understands how to retime.
| | 02:50 |
But, let's move our current time indicator
to around 123.
| | 02:55 |
Now, let's go to Timewarp and scroll down
in the effect controls.
| | 02:58 |
Go ahead and enable motion blur.
It may take a second to process but, now
| | 03:02 |
notice I've got some great motion blur on
our footage.
| | 03:06 |
Now, if you want to create some kind of
crazy effect, you can increase the number
| | 03:10 |
of Shutter Samples.
So, this will give it some really really
| | 03:14 |
nice smooth blurs.
It's increasing the number of frames to
| | 03:17 |
create the blur.
So, the higher the number the more the
| | 03:20 |
processing but, also the smoother the blur
in general.
| | 03:24 |
Let's see what this looks like.
I'll load up RAM preview and make sure I
| | 03:27 |
start it from the beginning.
Once you've gotten through the time change
| | 03:32 |
go ahead and press the Spacebar and see
what we've got.
| | 03:36 |
I don't know about you, but I think that's
kind of cool.
| | 03:39 |
Now, I'll stop playback here and just tell
you one more thing about Timewarp.
| | 03:44 |
After we apply the motion blur, if you
ever want to speed up your system, and not
| | 03:48 |
have it take so long in that process, you
could change the method from Pixel Motion
| | 03:51 |
to Frame Mix.
This won't give you quite as smooth of a
| | 03:55 |
blur but it will speed up the overall
processing.
| | 03:59 |
| | Collapse this transcript |
|
|
ConclusionReviewing the finished project| 00:00 |
Now that we've created all our graphic
elements, let's check out the commercial
| | 00:03 |
and see how they were integrated back into
the final edit.
| | 00:06 |
(MUSIC)
>> You work hard and play harder.
| | 00:10 |
Water can't give you back what you lose.
H+ Sport has what you need.
| | 00:18 |
Natural electrolytes from plants, not chemicals.
| | 00:21 |
H+ Sport isn't made in a lab.
Too much sugar dehydrates you, and robs
| | 00:27 |
your energy when you need it most.
H+ Sport only has five grams.
| | 00:32 |
Everything you need, nothing you don't.
H+ Sport, natural rehydration.
| | 00:38 |
| | Collapse this transcript |
| Next steps| 00:00 |
I want to take a moment to say thank you
and help define some next steps as you
| | 00:03 |
continue your jounrney exploring motion graphics.
| | 00:08 |
I have some other suggestions for some
courses you might want to explore.
| | 00:11 |
Since we just finished mograph techniques
you'll probably want to check out the
| | 00:15 |
other mograph techniques titles.
The great thing about this is the fact
| | 00:19 |
that it explores cinema 4D as well as
after effects.
| | 00:23 |
Now if you want to go a little bit more in
depth about motion graphics, I have a
| | 00:26 |
course on the principles of motion graphics.
| | 00:29 |
Like I said, it's a little bit more in depth.
| | 00:31 |
It's almost 8 hours and it covers a
variety of different techniques as well as
| | 00:35 |
explores some of the basic principles
behind design.
| | 00:39 |
Another great course is Design in Motion
with Rob Garrott.
| | 00:42 |
I really love this because it explores a
bunch of quick techniques you can use in
| | 00:46 |
both After Effects and Cinema 4D to help
take your motion graphics to the next
| | 00:49 |
level.
Now if you're one of those people who like
| | 00:53 |
to explore the nuts and bolts of how
everything works you'll want to check out
| | 00:56 |
the After Effects Apprentice series.
Since we just finished some tracking,
| | 01:01 |
you'll probably want to look at After
Effects Apprentice 12: Tracking and
| | 01:04 |
Keying, with Chris Meyer and Trish Meyer.
Like I said, this does a great job of
| | 01:08 |
explaining exactly how tracking and keying
works inside of After Effects.
| | 01:14 |
So again thank you so much for taking this
course and I hope you enjoy your journey
| | 01:17 |
exploring motion graphic techniques.
| | 01:20 |
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