After Effects Compositing 03: Advanced Matching and Looks

with Mark Christiansen
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After Effects Compositing 03: Advanced Matching and Looks
Video duration: 0s 2h 9m Intermediate


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

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


(engine idles) (wind whistles) (engine revs) (tires squeal) - In this course we're gonna keep going with fundamentals of compositing. Which is matching and adjusting a shot to make it look the way you want. We're gonna take it more into the cinematic realm. Now when I say that, I a mean couple of things: One, is we're going to look specifically at the camera, and what it does to the shot, and how it sees the world.

We're gonna look at how you recreate what the camera does in your shot. We're also going to take that to the level of making any shot look more cinematic. (engine revs)

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