There are also other effects, for example that do keying which are needed to pull off a dream key which we will also take a look at in this class. But the most important thing of all, stay creative. That's when you can use this title safe area. Let's set that to five. If I'm going to type in here 20, that means that the change around the 42 can be a maximum of 20. We're going to have to duplicate our entire scene two times. Hold down the Shift key to scale in the right proportions. There is one thing that is still looking not so natural and that is the glow underneath the fire right here, which is currently just a solid as you know. I'm going to click here in My Composition, and let's just create a text, for example, hand text. Let's just open up this folder and let's see what we have in here. The last thing that we have to do is just enable motion blur for all of these layers, and a quick way to do that, it just by clicking in the first layer and just wiping your mouse down like this which will enable it for all of those layers. Let just increase that a tiny bit maybe that's a bit too much out of focus, let's set it to 10. Well, we have two campfires, and we're going to solve this out to see what it is. Then when you select this clip, you also see this new thing here being introduced, this right here is the x, y, and z axis. Mask Tracking: Welcome back, apprentice, As a famous professor, I don't want to get recognized in public. You need to be organized guys. But if you're doing this more often, it might be a good idea to start learning the short keys of your keyboard and to go into the capacity properties, just simply select your layer and hit the T button, and that will open up the capacity. It also moves in position somehow. The smoke is clear what that is. When playing this back, we can already see a nice animation going on here. That is because of the backgrounds, because I'm moving my finger. Other interesting windows are, for example, the Character Window. First of all, always, click the "New Composition" button. But as that may be also their rotation? You can also see it when I'm heading back to my projects panel, and click on landscape that the resolution says, 4K. As you can see, there's this tiny edge around me, which shouldn't be there. Maybe we need to help After Effects a little bit. His first key-frame also will be getting the Easy Ease Out. Let me show you guys the software side of this thing. Like we've seen before with the orange solids right here, we're going to go back up to the menu, go to layer, new, and this time instead of solid, we're going to create an adjustment layer. Then I just have to select this, align it left text button and to move my text over to that side. I'm going to solo it out, I'm going to zoom in here on my hands, and because we have two tracking points now, I am going to have to take the pen tool here, take a piece of flesh somewhere like that, disable the solo, move that over to the tracking point like so, make sure to feather this tiny bit, not too much, and I'm going to name this layer here, Cover-up Track 1, right-click on to it, Time, Freeze Frame. With the layer selected, hit the P key on your keyboard to open up the position property. I'm going to rename the clip on top green-screen and the clip below is going to cold empty, there we go. In our case, this is not what we want. For example, if you want to change the position, you can let each letter come in from the bottom to the top separately. But then right here we can see that we have an empty shot, and that is always going to be super important if you are going to mix different elements together within the same shot. Whenever something goes wrong, just hit Stop with the Control key, and the arrow to the left, you go back into time frame by frame, and you look for the points where the tracker is back on its right spot. Because here comes some pretty cool things. Maybe more or 60. I'm going to place this back to one view and just have a look at our normal shot. I can go into any distortion, for example, and increased the color distortion. Let's try it. I'm just going to reset that back to zero, and maybe just add a tiny bit of that warrant into the mountains. I'm going to give this a name, which is now lesson number 3. Perfect. Now nobody sees that we had a tracking mark on our finger. Just like with the mercury effects that we've seen before, the raindrops onto our lens. Going back to our website, we can see that we have somewhere right here, the timer up or down. Yeah. If you want to have curved lines, then click hold and drag that point open and that way we can kind of create these beziers with our mask. If I disabled that, you can see what it does here. Enable the animation. There now it's subtle, nobody notices that there's a mask onto my face, but I am popping out a little bit better. The animation comes in from the right within that key-frame, it'll kind of smoothen that out as the last key-frame. It takes a little bit of time, of course, and if you've been using heavy effects and it's going take a little bit longer. It's already being added to the timeline as you can see over here, but it doesn't really show anything. They are static still and they will match perfectly on top of each other. There we go. Clicking onto which will open up some guides, by the way, guys, these guides will not be rendered. It will just help you to render stuff faster while you are working inside after effects. Adobe After Effects consist out of these multiple windows. Now it seems that we have a shadow from the awesome text as you can see, which is pretty cool as well. Changing these keyframes to ease out or ease in doesn't really make much difference here, so I'm just going to leave them to normal linear keyframes. As you can see now here in my mask bats property, all those key frames have been automatically generated, something that we would otherwise have done manually and scrubbing through this clip, as you can see, After Effects did a great job at following my face. I'm going to expand that property and from there we can also see an option right here called invert it. Of course, I'm also going to take this here now, the duplicate of that one, and move it over to the other tracking points like so. Just make that bigger like so. If you need to create a certain visual effect or something, most likely, you want to jump in here and search for that specific effect that you're going to need and then drag that over to your composition. After they've clicked on this button, you can see that we have a bunch of options, but the only think you really have to pay attention to, is that the track type is set to transform. I'm sorry, the name is Jodie, but for you, it's Professor. Maybe I have to make this even smaller. We have to do here something because our entire shot is gone, we can't see the beautiful landscape anymore. Now I'm going to disable the empty layer here below for a moment, you can see it just that masked out and that everything else here is black. Let's go back inside. Just open up your bracket like so. We're also going to create multiple compositions. We can make this layer blends with other layers. First, I'm going to show you something more advanced, and it's a very important thing to know because it is a very big thing within After Effects, and I'm talking about expressions. Let's create that. This here represents the entire duration of that composition. If you click on the your "Project" tap your on Skillshare. Let's try something else, maybe increase that searching area really big, I don't know. It's currently red. Look at that Lesson 12,10,11 that all in here. For example here a rectangle, and I'm going to draw it on the left side. I can also go into the transform option and move that glitch around to get something unique. Down below here for the color, we're going to pick something orangey, which resembles the color of the fire. What we're going to do right now or have a look at now are the key-frame curves, and here's where it takes up the magic. That was it for expressions. It's going to give you a pop-up box, and you want to rename that composition to anything you'd like. Just click on that, which will show you the map of the key. So right now, the texts will rotate around its own axis revealing itself. We're going to go to our layer right here, and on the right, we have the switches. There you go. Again, you can download this, use it wherever you like. Just hit Control V, that is the codes, then just click away. For example, rainfall in the landscape. Expressions: Believe it or not, but you have just gone through the basics of Adobe After Effects. Next thing I wanted to do is take the Anchor Point Tool to move this little anchor point into the middle of that circle by holding down the Control Key. Now in order to track the movement of my finger right here, what I'm going to have to do is open up the tracker window. You can see that the campfire now is gone. The first one who can copyright it can claim the rest. 13. We can analyze by just playing the clip or we can also analyze per frame. Again, it's going to behave differently. Pulling on them will change the position of the text. That keyframe actually now holds the value of the current position, which is this right here, and this is our A. I'm going to press the S key because I want to change or animate the scale, I'm going to enable key-framing for this scale. Good luck with your career in the future. We can just as good disable that entire layer. After Effects … With one simple effect, we can generate rain into any of our shots. Click on that. The two tracking points can't overlap, so no worries about that. Now in between these two key-frames, before that middle circle actually goes to its ending position, I'm going to add one more key-frame. The text now just fades out. But in this case, I've been working with stock lips, which usually are in 8-bits, so that is more than enough. As you can see now, automatically aftereffects created a new layer called a Shape layer. This right here is the mask path which we can find baking error properties as well, here it is the mask paths, and we know that we can make animations onto it because I can see this animation stopwatch on the left to it. But hopefully this does give you a better understanding of what a 3D camera tracker does. For that, I will actually need to do rotation tool, but we can find that tool very easily within our toolbox. Now instead of changing that entire mask like we've seen previously in this class as well, I can just go ahead and increase the mass expansion a tiny bit from here, like so just to make sure that the mosaic effect is definitely covering up my entire face, and of course, this is a technique used very often to track the license plates of cars, or maybe you have people in your shots that don't know that they were filmed, then you also need to make them unrecognizable. So just like before, like with the flame, I'm going to take the pick whip tool and drag it over to the Null Objects to link it to that one as well. As for the first key-frame over here, right-click, Keyframe Assistant, Easy Ease Out. Just click here on Output file, and to locate any folder to which you want to save that, for example here within my learn Adobe After Effects folder. Well, that is very simply done. If I'm going to decrease the ends, you can already see what it does to my text. We can go to 30 to 50, it's go into wiggle around that 42 percent. Jumping into the options of the path itself, we will find the option in here, roundness by increasing the acts, we can increase the roundness of the corners or decrease that to have less roundness in those corners. It's currently says normal, which means that the clip is just going to behave normal, but we can change its blending mode. I can make a selection by using the in and the out points tools that we've seen prior as well. Rotating this clip goes a little bit different. 11. Of course you wouldn't say it with the color picker right here. You can also go ahead and take the rotation tool from our toolbox up here and rotate that text here on one of these axes, just stand them then and rotate on that axis, as you can see. Anyways, I'm going to go back to the view here and set it to two final results, and let's have a look when I'm going to enable the empty layer back, how it looks. For my Effects library or the Effects & Presets window, we can search for a specific effects or we can also just look for it through all of these folders. Premiere Pro Lumetri: Color Correct like a Pro, Video Editing with Adobe Premiere Pro for Beginners, Learn Video Editing with Premiere Pro for beginners (2016). When we are now going to press "Apply", all that tracking data will be transferred into that Null Object. You can just select that effect and hit, control C on your keyboard or, command C. If you are working on a Mac to copy that affects, then select your pond, play it right here, when it's selected, just hit, control V and now it is also added to the effects controls right here. Click "OK", and with my clip selected, I'm going to press the" T" button on my keyboard to bring up the opacity property, just decrease that because else are a shadow is a little bit too hard like so. Again, if you can't find, it's menu Window and search for Effect & Presets. Then below that is the resolution. There's also an advanced option under the arranged selector, which allows you to change whether each character should be changed over time, or each word, or each space, or each line that is up to you. I'm just going to double-click on this clip first, just to have a look at it before we're going to work with this. Now, there are different ways to add animations to your text. Thank you so much for watching again and in the next lesson, we're going to build even further on this magic and add some crazy effects to it. Let's go inside and figure this thing out. Let's just say, text because that's the best thing I can come up with right now. Well, theory is exactly the same, right-click columns and choose the column that you need. In the next lesson, we're going to build footer on this beautiful landscape and actually blend different things in there, like fire, some fog, etc. The first blending mode droop on top right here, are going to make sure that all the lighter parts are gone and that's all the darker parts are going to stay and there different ways to do that. From the format options, I'm going to change that to QuickTime because QuickTime is the most used formats within the film industry. Oh no, something is wrong with the green-screen device. Just right-click onto it, creates text and camera. We want to set the birth size and the death size to the same amounts. We can move that around, maybe place it somewhere else where we like it to be. If I double-click on this composition inside of my composition, it will open it up with all of its layer contents that we've been working on previously, it will open up a new tab as well, in my timeline and I can head back to my normal landscape composition in which that composition sits. Like we've seen before, change the outputs to a location that you would like to export to, which in this case is going to be in that same folder, and I'm going to rename it this time to high quality export. Already this is starting to look more realistic. It's there, the VR Digital Glitch. This can take a little while, but that is just how visual effects work. That is not correct, I should have made my mask the other way around, but let's just jump into the mask properties for a moment here. At a certain point, I will make a movement like I'm getting this glitch. What's happening? I just love these mountains, look at those. I can just go ahead, select this one layer and hit Control D to duplicate that layer. This machine right here, makes sure that we can generate snow, or rain, or like sand or anything else. In order to do that, we have to create something special. So we also would like to remove that now. So right now you can see that this clip here is half the length of the composition, which is now 20 seconds, which can also be seen here on the top. It's just the easiest way to create certain visual effects and that is something that I want to show you in the next lesson how we can bring all of these things together and create something unique. In that way after effects only needs to render one of these layers instead of both of them. If I wanted to be in the middle, but on the left side, I can say first, align it vertically and horizontally fields, we're going to align it to the left so that are with these options are for. I'm going to take my clouds and drag that into the timeline. The first thing that we already see here is the bounce effects. Though I do end up with one little problem here, and that is that my entire shot starts to look like pretty dull now. I'm going to scale all of my circles back out to zero. There it is. Now let's change that text here for a moment. Look for a structure that you like and that is organized to you. What we have to do is select all of the ending key-frames here. That's why you should have put on your glasses. It doesn't always have to be the exact same thing as you are shooting in. Let go, you'll now see here in this drop down menu that null one has been selected and that flame will now follow the exact same movement of that Null Object. You know what? The final thing that I'm seeing is that the mountains are a bit colder than my shots. Maybe it goes a little bit too fast, let's move this a bit more apart. You know, all of those teenager girls screaming. If you aren't running the latest version of Adobe After Effects on a Windows machine, then you won't see the Apple ProRes options in here. I'm just going to go directly into the text properties here, expand, that's going to text, and right here we can find source text, which is the source, the actual text that we can input in here. Now after effects is doing the work for us, as you can see up here, it's almost finished analyzing this shot. Just drag that rainfall onto that adjustment layer, and bang, we've got rain. Oh, look at that. If I can type right, there we go impact. What kind of happens now is the white circle comes in, it introduces this outer circle, it goes back out and as it comes back in, it's also introducing that small red dot. Keep that selected, go to the toolbox on top and maybe this time go for the ellipse tool. I'm going to hang it right here to the wall because I do think that he deserves a special spot in my laboratory and you know what guys, if you can do better than him then you are going to get on that wall and I'm going to rip him off. Within the effect panel there are a bunch of different effects that we can find in there, and they are already grouped together. At over two columns, Alts enable anything from there. Lets just take something vibrant reds maybe, like so, and then just press Okay and it's now my mask is a ton more visible, which makes it easier to select the points and move them around to cover up my backgrounds. Best video maker: Video Editor with Music, Text, Photo, Blur, slideshow, NoCrop, Add animations on your videos & photos to spice up your Instagram & TikTok posts. Within the project panel you'll see here on the bottom that we can create a new bin or a new folder. You want to make sure that your timeline right here is selected and then you can go up to the menu, pick on layer, select New and from there we're going to click on solids. Mode will give you a drop-down menu. Next up we've got modes. Or maybe you want to change the frame rate of your shots to something else. By enabling that, we're going to invert the mask. With this layer selected here, I can still change the front to whatever I like, I can change the boldness, the colors and everything, just the way that I want I can drag it to any position and that timer will still do its work. It starts very slowly as it comes in, but I can also just undo that. That's great. Learn essential workflows and techniques every editor should know in this 26-tutorial course by After Effect expert. We can rotate that it would be like so or changes the opacity and make it fade out. Click on it to create a key frame, we can go forward in time and we can then change the mask part, so it can just grab this mask, its points and drag it to a new position. We can add a stroke around it, which is currently set to white. Learning how to use this software is not an easy task. Let's grab some tape here and hang you to the wall in my laboratory. Also,this has to be applied to our entire shot, so drag that to the adjustment layer and see, yeah. Because there is an automatic way inside After Effects that actually works better at any manual way. Apprentice. There we go, and then go back to scale property and let's say that we want this square to be scaled up from the bottom, what we then have to do is graph the anchor point tool again and to move this one right here through the bottom, holding down your Shift key will make it snap to that vertical axis right here. We have a nice curve. For convenience, I'm going to disable here to stroke set that to zero pixels and with this, we can draw a simple star like so. Did my smoke just disappear? This has actually something to do with performance so at this point, I'm not going to bother with this too much. You don't need any pre-knowledge of Adobe After Effects as this class begins from the start! In my Effects controls the Gaussian blur opens up, and very easily I can just increase the blurriness to make the background a bit out of focus. Now I would like to have these mountains right here on my shot. There we go and just save that. We are going to make smooth key-frames now. Let's continue with this. It's now these presets are actually pretty good. As you can see here, I am removing the selection of what was on my t-shirts. Then just bring that old way down here to the bottom, like so and now when we are going to scale this rectangle, it will do so from that points. The fire, it is now a lot better than we had before. Wherever you click within your timeline, you can see here the actual value on that point of the opacity. We are going to have to search for Mercury, right here Mr. Mercury. I should be the example to you guys. What I'm doing right now is saying, "You really have to start super slow, accelerate faster, faster, faster, faster until you're at your maximum, and then go to the last key frame." With the layer selected, go over to your tracker window and click again on track motion. Maybe, it was a better idea to just keep them at 50 percent or maybe even less like 25 percent. There we go. Unless you're not going to work with animations, then some effects might be easier to work in the effects controls. Because if you decide to explore Adobe After Effects folder in the future, then expressions will definitely be a very big part of that. So what we're going to do is take out this tracking data and store that into something that we can use and that is something called a Null Object. To remove the green, we are going to need an effect called key light, and this can be found in our Effects library here on the right side, just search for key lights. There's also a more advanced tracking, but for most of the work when you just have a first and running around, that is not needed. For example, the size of the raindrops. Look at there. What I'm going to do now is take this key-frame right here, which is already the ending position or point B, and just drag that to the right side. Control key 1, 2, 3, 4, 5 frames back. The next thing that I want to do are some color corrections because the grass of my shot, and that of these beautiful mountains aren't really the same. Adobe does allow you to already start working with clips and once you're done with your project, and you want to render out your special effects, you could then choose whether or not you'd like to purchase it as well. Let's render death clip and see how it looks. What we have right here now is the green screen chat with me, into it and an empty shot. You could shoot in a 4K resolution if you like so, but maybe you want to create only a full HD composition inside After Effects. Let's hit Play, but we'll keep an eye out on what happens next. Like I've seen throughout this entire class experiments with the Shift, Ctrl, and Alt key. Those things can usually play back pretty smooth. Now going back into that effect selected right here, I'm going to click on one of these points. It looks amateuristic. We can now change the position value. that's how you can animate a glitch effect onto yourself, super easy with the glitch effect. There we go with a very simple codes, that layer now is more a life. A video editor app for creating cool vlog and videos. This right here is Storyblocks for video. So if I place my play heads right here on top of this clip, I'm not seeing the clip below because it lays below that. Use a range of powerful features to create professional-looking, quality videos. Instead of creating dozens of keyframes in order to get that bounce effect in there, it's just a matter of copying and pasting a bunch of codes inside After Effects to get the work done as well, and this bounce effect in particular also works on scale animations, on rotation animations, etc. Every good professor in the visual effects industry is organized. I can move it around, but I can also decrease its scale, smash it a little bit like that. Now in order to get rid of that black background, we are going to have to blend that fire and blending is a technique, we're going to mix two different video layers together in a specific way. They are only a visual help while you are working in your project when you're going to render out or exploit your video, these guides will be gone, so no worries about that. I've got years of experience. This right here is astonishing. I'm going to take my rotation tool and I'm going to rotate it here on the x-axis to lay it on the floor, like so. You're going to work the exact same way and go to double-click in my projects panel, head over to my stock clips folder and right here, you can find a campfire, near body of water. Click on it and let's create the text, Red Dot Productions. What I'm going to do with animate the glitch effect? There are two settings that we want to change in here. Just a bunch of basic options that comes with this CC Lens effects. It's right here. You can see the website over here, which has a bunch of videos, but also photos that are just free to use. Now with my clip selected in the timeline, I'm going to head back to the tracker window. Anyways, we're going to set an in and an out point on this clip. We have a solid and now we can use one of the mask tools here on top to create a specific shape. Close that in here, the inner square, and enlarge outer square a tiny bit so that it has a searching area. If you do choose to go for Apple ProRes , you can simply take out the 422 or 422 HQ version. With more than 2 million subscribers, we publish weekly tutorial videos. But first let's have a look at this second composition that we've just created. Somewhere right here or my arms go up there, the explosion should start. Then let's say that I want to add a bounce effect to the animation. The most common methods for learning After Effects include classes which are available online or in-person, private training, online training and books. Actually not. The face tracking is something that happens a lot inside After Effects, so that's why there's this dedicated option to it. We here at [inaudible] also always work with these presets. But if I'm going to mask myself out, that also means that the backgrounds will be gone. Clicking on that will add a keyframe of the current value, which is zero. We're going to export this. I'm going to double-click into my project Bonilla again. If we now select all of the layers that we want to scale out, use that Equip tool, we can insulate link it to that null object, which makes all of those circles scale down as well. Animations and Keyframes: I'm trying to figure this out now for a couple of days, guys, but I can't find the problem. The next shape that lays on top of that, I'm going to take a circle as well, but I'm going to make it a little bit smaller. Well, those headlights will actually scale up as it comes closer to the camera, so if that's the case, then you also need to select the position, scale and rotation. In Premier Pro from After Effects in this lesson, we had actual... To do that one right here we can rotate that clip into new... Also follow the tracking data will be placed in order to do that again online resources to help you.. 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