Adobe After Effects CC: Create a space scene | Jonathon Parker | Skillshare

Adobe After Effects CC: Create a space scene

Jonathon Parker, Passionate MoGraph and VFX Lectu

Adobe After Effects CC: Create a space scene

Jonathon Parker, Passionate MoGraph and VFX Lectu

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
14 Lessons (1h 29m)
    • 1. Course Promo

      1:29
    • 2. Intro

      1:23
    • 3. How this course works

      2:13
    • 4. Creating the planet surface

      9:24
    • 5. Create the planet clouds

      16:53
    • 6. Create planet clouds 2

      4:59
    • 7. Create the blue atmopshere

      6:48
    • 8. Create the white atmopshere

      6:30
    • 9. Create the background stars and planets

      9:57
    • 10. Adding a lens flare

      4:18
    • 11. Animating the camera

      6:41
    • 12. Creating the text

      7:53
    • 13. Animating the text

      7:04
    • 14. Adding the final touches

      3:36
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

124

Students

--

Projects

About This Class

Requirements

In order to take this course you will need the following:

  • -A computer or Mac

  • -A working copy of Adobe After Effects (You can download a 7 day trial from the Adobe Website)

  • -An attitude to learn the techniques to create and animate an environment that is out of this world!

Course Description

Adobe After Effects CC: Create a space scene is built around helping Adobe After Effects users and students learn the skills needed to for Digital Matte Painting and Digital compositing. There are many different uses for After Effects which can be covered but this course is focused primarily on Compositing multiple assets together to create a photo-realistic environment.

There are many different effects that I teach you through this course, one of the most interesting is where we will be creating our own Hi-Pass filter to add depth and dimension to the planet surface and clouds!

As I come from a teaching background (teaching visual effects and motion graphics is my day job) I believe in equipping students with the skills needed and then letting student put their skills to the test, so as I say in some of the final videos, once you have created your scene, feel free to share your work with me in the question room or on social media and then I can provide feedback and help you further! (Details of Creative Tap's social media can be found in my profile).

This course covers the following areas:

-Intro

-Creating the Planet surface

-Creating the Planet Clouds

-Compositing an atmosphere and atmospheric Haze

-Compositing BG elements into our scene

-Adding and animating a lens flare and a camera move

-Creating and animating Guardians of the Galaxy style text

-Hi-Pass Filter creation

-Colour adjustment and matching techniques

-Outro

This course comes with a PDF Handout uploaded a with various lessons along the way which links you guys to where you can get the project files from so please feel free to download these. 

Meet Your Teacher

Teacher Profile Image

Jonathon Parker

Passionate MoGraph and VFX Lectu

Teacher

My name is Jonathon Parker, a Motion Graphics and Visual Effects lecturer from the UK.

 

Firstly, a little background about me! I have always been the creative type and always strive to improve and push my creative skills further and further.

 

As stated above I am already teaching in the UK as a Motion Graphics and VFX lecturer – The difference with my courses will be the fact that they come from an educator, not someone doing this just in their spare time! All my courses focus on teaching and assessment. I will teach you a few skills and then set you an assignment to check that those skills have been learnt. I also see the importance of generating handouts and resources for the student, so I have included these in my courses also!

&nb... See full profile

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Your creative journey starts here.

  • Unlimited access to every class
  • Supportive online creative community
  • Learn offline with Skillshare’s app

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. Course Promo: Hey, guys, Welcome to this course. This course is built around digital compositing and matte painting skills. Andi, In this course, we're gonna be creating some space escapes or space scenes or whatever you wanna call them . Now, obviously with through this video could see there's actually two versions have created a red and blue one on. Basically, once you've got the skills you can create loaded it from variations as well. I have also added the sort guardians of the Galaxy style text as well she might have seen. And that's just a little extra. Took inspiration for this shot from the planet Morag from First Garden Galaxy. So I hope you guys get the course on join me in. The class is on. I look forward to seeing you in there. 2. Intro: Hello, guys. Welcome to this course. Thank you. Purchase in this course now just to kind of introduce you into what we're gonna be doing off. So you put you probably saw it from the ad video, but we're gonna be creating a space escape with some text as well. Now, the text is completely up to you enough to do gardens. The galaxy can do whatever you want. You don't even after our text. If you just want to learn space, Cape now is gonna be a lot of skills that we learn here will, but will be using CC sphere to make these distant planets because you know that they're not to kind of they're not too much detail, but because we want a lot of detail on this close up the planet, we're gonna be using different techniques. We're not gonna be using standard CC sphere for this. She will not The techniques and the good thing about this course is once you've learned the techniques, you can tweak it. Then you can just cut off the planet a little bit differently. You can get other text in their on dso you can do many, many variations So once you've learned these techniques, you'll be able to take them into other projects and create MAWR space escapes in the future . So without further ado, let's dive on in into the next session. Onda, Let's get started. 3. How this course works: Hey, guys, welcome back. So to make this full screen, welcome back. So just want to go through basically how this course is going to work. So I have uploaded a list S or pdf document or word document a list to which contains the list to all the kind of links and images that I've used from the Internet off all royalty free, free to use. So that's that's how you kind of get hold of those assets. You can just download them all in one go. I didn't wanna kind of upload the images because even though their loyalty Cree technically not mind. So I didn't want to redistribute them. Eso I've just put a link to them all and even download them next. Obviously you guys have got this course will be really useful for me is if you could do maybe two things leave a review and, ah, comment on what you thought, Of course. And if you've got any other courses that you want to see in future, let me know so I can make him, um Andi. If at the end of creating your watch, Michael, that you're your space scapes, if you want to tweet them to me or post them in our Facebook group. You can find the details to that in my profile. And there's that little Sof identity, the end of each lesson where pops up with my Twitter handle on the Facebook page on. We've also got Instagram as well, which I'll make sure that's in my profile as well. And the pop up thing eso if you if you want to show us your results, that would be really good. I love seeing sometimes students of shared stuff with me before I love. I love seeing what they've created. So just remember their links to download all the assets is in a pdf attached to this Latin and probably some the others. Will Andi also leave a review and comment just to tell us? Have you found it? Any other suggestions for what you want us to do in the future on, But with the other one, remember? Yeah, tweet us your kind of work. Yeah, cheers for. And also, if you get stuck with anything, question is a question board as well. So just just ask us and we'll get back to you as soon as we can. Um, so, yeah, Cheers on. I'll see you in an accession 4. Creating the planet surface: Hi, guys. Welcome to the first lesson off this off. This what you call it this course in this session, we're gonna be creating focus on focusing on creating the planet's surface. So I took inspiration for a guardians of the galaxy seen, and it's actually a very, very first scene. You see, it's an establishing shot of the planet Morag. Now, what I'm gonna do is I'm gonna quit any competition, and I just click this new competition like I'm gonna call this planet surface. Okay, 1920 by 10. 80. Perfect click. Ok, now I'm gonna drag in, or you can control I we I click, go to import file, anything you want to do, and I'm gonna import the more Wag Planet image. Then came Oregon school one dragged us down here s and scale up. So this is the kind of composition. The only thing I take from this really was the composition of it. So I got outside viewer planet a couple plants and background light source lens flare shebang done, but I had text as well. So mine was awesome on That's what we're gonna be doing. So I'm gonna leave this in your just as inspiration on and yeah, inspiration. I also gonna import. So I click import file the Mars image. Okay. And this is an eight K image is quite big, so I'm gonna click import on. We're gonna drag this time on top. Okay, So what we want to do is we want to first of all, get our lips too on. We're gonna drag out. Like so. So now that we've got this mask, we can start playing around there was a reason that I've done it Horizontal. First, we're gonna rotate it later. Um, but yeah, I'll get to that later. Um, what we want to do now is we want to get effect called bulge on. We want to put this on there as well on DWI. Wanna click thes points. Onda kind of match it to this size. So we're gonna get this bulge centre, and I'm just gonna put it round about in the center, like so, click that and now we can scale not move it. We can scale this up. Suits got that bulge there and it fills the whole thing. Then there. That's great. That's gonna make it look more realistic. Now What we want to do next is simply rotate this so it kind of looks similar to what's going on in the background. And the reason we did it this way is because the Bulge, if we put the bulge on without rotating it wouldn't move. Take the bulge and it wouldn't have fitted. It just wouldn't work. So what we want to do is I want to turn this off, OK? This layer this Mars later. But I want to click it still cause I want to modify this thesis lips so that the path follows the same path as this planet so that we're making sure that it fits. I swear we turn it off, okay? And we just want to flatten this just slightly with these handles in. Andi. Yeah, we've got something that matches. So now when we turn it back on, let's get rid off the outline. So click this button. You can see it's the boulders making it over peak a little bit, but that's fine. So let's get rid of this outline on Lis. Hit the bulge, and we can move this but actually need the out right now. We can move this bells back in so that it lines up perfectly like so there you go. I'm pretty happy with that. So I turned that off and you can see that without the bulge, it just looks really flat. But with bell just giving it that sort of planet, look, or we're getting there at least. So next thing I want to do is I want to start off giving this planet color. No, no short term. When we go for I think I'm gonna go back for the blue. Seeing the examples, I showed the blue and a red one and I think I'm gonna go with the blue. So, Jack, the curbs on their on we're going to go into the Reds. We want to suck some of this raid out, okay? And you can already see it's starting to go blue soft. Taking the mid tones out, I think I'm also gonna go into the shadows and degree sit yet on this highlights. I didn't really do much. Now I think I believe the highlights then just sucks. Um, all those mid terms out there now is going green. So let's go into the greens again. Getting in mid tones out on the shadows Maybe not too much on now has come into the blues on this brings on this blue in like so on We also want to pick it up a little bit in shadows Andan the highlight as well. And we're gonna chuck this midterm writer like so So we're getting some things, quite Bluey. Now again, I may just come into the red to decrease that a little more Yes, and likes a blue. Now let's go and see what happens if we take some more green out. No, I think I'm gonna leave the green and they're honest. Come back toe blue and push that a little bit more. I'm gonna come to the RGB, which is his main line. I'm gonna decrease the shadow this off these dark areas slightly on. I'm just gonna push up thes Roy areas, but here. Okay, so this is our curbs. Done. Now you can You can play around that to your heart's content. I also like to play under the saturation. So, Chuck, a hue and saturation on there as well. Andi, I think just a little bit like that. Maybe plus seven on will take the lightness down. Just a touch. Okay. I'm pretty happy with that for the surface at the moment. Now, next thing we're gonna do is we're gonna have some detail to this surface, okay? Because Because it's even though it's a massive image, we just wanna bring up that detail a lot more. So the way I'm gonna do this is as close Elise down. We've got planet surface. Okay, What I want to do is I want to duplicate this composition. So let's go rename no soy click it control or command de siecle planet surface to. But then we're gonna rename this to if I pass. Okay, so if we double click and go into this one, we can get rid of the Morag image on we've got Mars. Okay, but I'm gonna duplicate this now. So duplicate, in case we've got basically in the planet's surface high pass high pass is basically a sharpness filter. It's a nice, nicer way of doing it. Then Chuck in a sharpness effect on that, um, Now what we're gonna do is close all these down on. We're gonna chuck on, invert onto the top one. Okay, So chucking invert on today and and it's gone like that. Now I'm gonna hit t to turn the opacity from 100 to 50 on will go completely Great. Now on the top one. Still, we want to get a box blue or fast box blue and chuck it on there. Keep the iterations to three on. I'm gonna bring this up and you can see it's start to bring some of that detail in there and you can click Repeat edge, pixels as well, just to make sure these sides Okay, Um, so what? You can see there is this just bringing in a little bit of the detail I think I'm gonna go to around. Let's try 60. Okay, so we're gonna be able to use this now. So if we come back into planet surface Andi, we're gonna put Planet High Pass above the Mars image. Okay, let's just turn off the Morag image in the background from now. Andi, if we were to turn this to, let's say hard light, you can see when I turn it on and off, it's given it that more detail here. You can see in the creators and we'll get we'll worry about this band later. Um, so when I turned on and off, you can see it's really giving it a lot more detail so hard, Like his good, vivid light Does it even more. Um, I'm not fussed on vivid. Like, to be honest in, try soft light. Been try overlay, I guess. Softer than I think I'm gonna go with still linear light. Now I'm gonna go with hard light, then you can see when we turn on office. Just giving it that more detail, which is nice. Gives it that depth. So in order to get rid of this at the top, what we're gonna do is we're going to duplicate this Mars image. Place it above. Let's rename it to MAS. Um, Matt. Okay, Once you've done that, just make sure you can see the track matte so I can't click toggle switches and we're gonna turn this to Alfa Matt Mars. Matt, I know it's just gonna cap it. So now we've got the detail just being added here. Okay, So that's mainly it for the planet's surface. Obviously, it doesn't look amazing at the moment, but that's because we haven't out of the clouds. We haven't done a lot more. There's a lot more to do to it. So I'm gonna leave this lesson here on. I shall catch you guys in the following lesson where we're gonna look at developing it a lot further, so cheers. And I'll see you next session. 5. Create the planet clouds: guys. Welcome back is the next lesson. Know where we're gonna be looking at creating clouds for the surface? Eso just before I do this two ways that I'm ashamed to do this one of those ways is by using some free freebies, basically, from walk its stock dot com Now I'm gonna drag the window over the rockets, Doctor. Com They have loads of video packs, but in freebie section, you can get net this nebula pack. It's really, really interesting how they made it with all this kind of fluid stuff. But actually, you can download some of these images. Sorry. The videos video pack. You can download these for free on. You can use them. I'll be showing you because, you know, I thought they were great. So I used them up, showing you how to do it with and without. I will be uploading the videos because it's actually their stuff, but I will be dropping in a little word document with a link to this website so that you can go get them and use them if you wish. But I will be showing it both ways. So, miss dive on in. First of all, I don't show you the way of doing it with their assets. So I'm gonna create a new composition, and we're gonna call this clouds. Okay? Just like that. Now I've got I opened up this window I've got here this all all this stuff by here. Now, I think the ones I used when I was doing this over practice was seven and eight. But I think 67 and eight would be good to use a six and seven to see. Look, face Similar. Uh, I'm gonna use 67 He's 5678 That's a good song. By steps, by the way anyway. Gonna click and drag these in on these the assets that I'm gonna use. Okay, so let's go and have a look. Now, I was just going, so I'm gonna click and drag this down on right now. If we use that, it will be to pick. OK, so I'm gonna scale this down on essentially. What I'm gonna do is I'm gonna bash a load of these together, so I'm gonna get my lips tool, draw mask like so. Andi, if I come into the mask satins Aiken further this just like that. Okay on. Then I'm gonna move this just to the top corner because we're essentially gonna bash loads of these together. Andi just kind of created sort of MySQL landscape. Um, sort of s on a scale this one down. And I'm basically gonna rinse and repeat this process for each sof cloud I do. Onda, we will end up with something that's gonna look no, not scale. Feather will end up with something which looks quite organic and unique. Okay, so I'm gonna move this one up here. It's like so okay, now I want to do because you can obviously tell already. What I'm doing is pretty self explanatory. I'm gonna pause the video, and I'm gonna I'll come back when I've done each of this. Now, looking at this scale, I may want to scale just before I do this one down, because I want them to have a similar scale to them or could scale this for now like that. And now they match into him too scared a little bit better, and we'll color correcting together later. So I'm just gonna pause this on then I come back once once I'm ready to show the next bit. Okay, so you join me back. I've got 123 go. Six layers in here. Now, when I was a little bit green. So what? Well, may want to do is just, um, correct that I'm just gonna chuck kids on it Doesn't matter too much, really. I'm getting it to accurate, but it is nice to get things right. So I'm gonna take some green out boy too. Actually, I'm gonna chuck some red in, Okay? There was too much over too much red on. That's already getting most of the way there. I may take some blew out. That's a little golden things a little bit too saturated. Um, So what? I'm a do is chuck a saturation on there? Hue and saturation. Sorry on Just dial it down. Just just by a couple, like, so minus three. I think that most of the way that I'm pretty happy with that. There's also this one in here, which is quite dark, so I'm just gonna get another curbs. Andi, I'm just gonna bring up the shadows in this one. No, not the shadows. The the darks on mid tones. Just like that. I may take a little bit of the read out of there because a little meringue. I'm just going to see how that one goes. Um, maybe the shadows of the red? No, everything. I believe it with that, To be honest, I see. I just tune out on and off. You can see what kind of making that fit of the better in you know, what was just Oh, shut up. Just a smidge. There we go, and we'll be fine. Fine with that. Now we've color corrected them together, which is the aim. The game on these actually animate. Now it's up to you. It depends on how you compete with deals with it as well. It's up to you whether you want to leave them animate in. I tried it with them without They animate a little bit too fast for what you'd imagine climates to be doing on when you slow it down. Because the free Marie isn't there. It doesn't really work. So what I'm gonna do is I'm just gonna select them. All right, Click time. Andi, Freeze free. Okay, so they're all frozen now, So let's rename this composition to cloud footage. Okay, Um and then we're going to come back to our planet surface on Miss Dragon. The cloud surface, just like so. And put that on top. In case you can see it's a couple holes in it. That's fine. You can go back and fill them if you want, but, you know, I think it's natural to actually have a few holes in there. Um So what I'm gonna do is the same thing as we did for the planet. I'm gonna get this ellipse too on. I'm gonna draw horizontally across, like so. I'm also gonna then put the bulge effect on there like so is on Claudia on. I'm gonna scale this out. Center it somewhere along here. I couldn't move it. I must just knife scale this scale this up. Let's lock these other layers so that I'm not clicking any of them. Um, now let's go back the mulch on. We're going to scale this just to make that fit. Now you probably guessed it. The next thing to do, you know, a bulge. I don't I think you two in the height down, So the very the belt. Right? And we're going to about 20.7, actually, I'll leave it to one and then I'll have a look once we've rotated it. So I'm gonna get that rotation on by hitting our on. Pull it round like so Onda and remove this down on their two mosques on here. No, there isn't. OK, it's not quite sure where you but what I want to do, know, basically is I want to match this up. So let's zoom moved on. We're gonna go, just like something like this. Okay, Now is our bulge acting up? I think it might be Yes. We will match it a little bit better. I'm Scott Scale. The, um a little bit covers on Don't move it down. I could scale it down, but speech. I just want needs to be the same. So let's go. Let's just go back to 100 by 100 on and then look them. No, just give a little bit. Scale us. That's gonna be fine. Now, what we want to do is we want to get this mask on. We want to get this mask, rose. It we go. We want to get its mask matching up, so I'm gonna move it just down like so remove these points down. We're matching up on. We match enough appear Yeah, more or less so even though it's going over, that's because of the bulge. So if we get the bulge, weaken now during the bulge back like so and scale it Atwood's slightly like this. Okay, now looking at what we've got going on Oh, move that down. I've got a feeling this bulge is a little bit too much. So I'm gonna bring the stone 2.75 and see without sitting. I see what's like 22 on off. Um, I still think 0.75 is not just go 0.6. What was good 0.7 split the difference. I think that's what's gonna work. OK, so so far, this is what we are working with, right? No. So far, there's a couple of issues going on that we wanna attend to. We come back into the cloud footage. Um, I think when we look at it, look at it over here. They're too big at the moment and they look quite big. So what we could do is duplicate all of these. Andi, move this bunch to the top on. Let's Let's grab the bottom six. First of all to in the top six off, we can move. We can scale these dang, like so on. Basically, we're just gonna create smaller versions, okay? Just like this. So duplicate the stuff you've already got, and we're just gonna make them small s We've got more resolution to work with. I think that's kind of nice way of working. So now let's turn these on one by one and scale them down as well. So scale them all down together. Something like that is gonna be a right on. Let's to anymore. Back on. Well, it's not anymore. Back on. Actually, that's two in 11 by one. This could be easier, sister in this one on, I think this one could be scaled up a bit. 18. And we can get that. But there it's all right. If you got a couple holes in there because that's what you'd expect Mr in this one on Andi Yes. Should have been there. Let's get this one on again to own do it. So, Andi Good. This one in Ah, on what you may want to do is it's gotta time remap on there. You may want to just alter it slightly or turn to turn off on then because that fork in better looks the same over there, and you may not even see it. But let's just offset that a little bit on deceive changes. It might not. It might always have a little bit wispy. A This is go to the end on where it's gonna be a little bit different. Um, on this, just like click time time. Freeze frame. Here we go anyway. Moving on his Turness went on wherever it is over here, onto this one on on this kind of filling up now with smaller ones on wherever this one is. Don't here, Phil, holed up there. Okay, so if we go back to planet surface, you can see is more holes, but they're the kind of elements of smaller. So let's go. That's sorted. Now, what we want to do because we want to select this layer on, we want to chuck a saturation on that because another issue is very, very colorful. So, Chuck saturation on there on. But I'm gonna take this down too. Think minus straight, minus 75. We clouds don't tend to be orange, so we're gonna take most of the cull arrived on may change. Hue This this list Let's turn it back up. I may change a hue to make them blue first of all, so they've got that blue tint to it. So you can kind of you're already getting that kind of see through lock because clouds on only kind of seafood. So I'll give something like that, and then I'm gonna take the saturation back down to like I minus 75. So if there's the tiniest bit of color in s got a bluish tint from the planet now, what we want to do next is go and set this to screen on. We've got, you know, something that looks a lot more realistic. A lot more like clouds. When it was back on normal, it looked awful. Now, on screen, I'm screen right now. It looks a lot more kind of realistic. If you wanted to, you could duplicate this. So that's stronger on may be turning down Lou Pastie down to about 25 cents. You just got a little bit stronger color in there and they look really wispy and it's starting to look nice. Now that being said we were gonna do it, I'm just gonna delete that one. I'm gonna come back to the mask. I'm just gonna just for safety. I'm just gonna have it go a little bit over like that. Okay, Now, that's gonna be fine, because what we can do then, is not duplicate this. First have a second version change it to 25%. Then on a shift click no control shift. See them both to recompose them. So I'll call this clouds. Click. OK? And what we want to do is get this Miles, Matt, this unlock it and we can control d duplicate it, put it above. And now we're going to get the this Alfa Matt and set Mars Matt too. And we're gonna change us back to screen because it's because we pre composed it. So here we go. We've got the claims in there and they're being cut off by the matter of the planet. Now the next and final, but we want to do is we want to give it this high sharpness, high pass thing that we did with planet. Okay, um, it was more important to do on the planet. But let's do on this one. So let's duplicate the clouds on Do What we want to do is no Do complete. Actually, we'll come into here. Copies was making new compositions recalling clouds my pounds okay, on this topic is in And then we will basically take this talk one change your pastie back up to 100 on we're gonna like we did for will Put an invert on the top one, like so under way about the little holes. I'll be fine. Um, we're gonna change if I remember correctly. Change your past, you 2 50 It goes great, Andi. Well, with ailments, it's fine. No, on what we're gonna do then so invert. And we're gonna put the box blue on there just to bring back in further some elements on. We want to make sure these these setting normal as well on. That's why those elements is showing eso box Lou chuck it on the top one. Not about Mom. So again, Chuck, this on the top one Fast box blur on. You can just turn this up. Keep situations to three on its gonna bring back this now, so If we go back to our planet's surface, we're gonna bring in our clouds. High pass on. We're gonna set this too. Let's have a look at hard light. I said look at a soft light. I think so. Hard light was working quite well. There we go on. We're gonna get this Mars MMA to duplicated chuck it above and set this Alfa matter to Alfa Math. Miles Mac three Now, actually, that clouds high pass. I turned into linear, not hard light. There you go. So you can see if we turn it on and off. It just adds that little bit more depth to it. Okay, I may actually take take the capacity of this down to about 75. Didn't affected as much. Okay, so in this session, what we've done is we've got these two cloud elements in this. We've come from this to this Andi, It's looking pretty pretty neat so fast, we're gonna carry on building on it in the next lesson. So true, student. And I'll see you in that next session. 6. Create planet clouds 2: Hello. Welcome back. Now, In the last session, I said that was going to show you a second way, and I completely forgot to do it. So I'm just gonna say, quickly, take a few minutes just to show you I'm not gonna do the whole kind of mask in and bringing the sharpness back again. But I was quickly show you. So if you got a new composition, call it. I'll call. It climbs V two. Just sort of muddled up the way you would go about approaching. This is if we go layer new, solid, critically solid. Andi if we talked fractal noise, drank that on. They got a lot of options in here for your linear, maybe. And just go dynamic progressive. You can get this. This kind of cli would look dynamic. No, to Belinda, I like No, no, not even. It is dynamic, dynamic twist, actually, a lot more wispy. You basically got a lot of stuff in your difficult subset. You've got this sub scale in, um, you can play a round of that last two big, but you can play around with this and kind of see what you get. Um, you got the transformers well, so you can rotate stuff. You can kind of play around with scale. So let's say that we go with that one. Let's just make a little bit bring up the contrast Touch on during a brightness dance. We got something like that. Let's say that's one version you can go just with that. If you wanted to, I'd probably make a feud versions for Duplicate that. Maybe let's changes to basic Um, maybe Let's play one of the evolution says later and cycle around the contrast little bit on the rightness. Been the right toe and then weaken Screen this one on top. Andi, maybe bring the brightness down a touch. So we've got different versions late in there with each other. You could also you've got the option to animate then. So if we come to the beginning for this, hit the evolution so over 12 seconds it'll just go about for 37 changes from Clute 3 10 toe 3 40 It's not come to the bottom one. Andi, This start on zero, this one so key frame and then maybe these ones can go slower or faster. Slots changes to 50 on. Then what you've got with this. You've got the option to kind of, like animate them. Okay. Um, no, you can see it is previewing in, so I let it do one seconds. So does give you a kind of mawr things to work with. But actually in the video pack, which I showed you guys, I feel that some believe that back Nice. You could just see I was animated. Not very fast, but you could see there is a little change in there, especially if you look off here. You can see a little bit movement there, but I feel with the stuff from rocket stock which are linked, which I've linked you to. I feel there's a lot more kind of this dots and speckles in there. It's a lot busier as a lot more going on. Not to say that you couldn't replicate it by maybe Chuck in some noise on here. So we left ago. New, solid. I don't really recommend you go this route color is just a lot more tedious. We get some noise. Monk of noise that use colored noise so good that maybe endless scale this layup on, then screed it on talk. It's no great. Really. Um, what you could do further is duplicate this fractal noise one on its Tony's bottom to offer . Now on what you can do is say right show only in the luminant parts. So you've got it scattered. Then you can turn the bottom two back on on between its on off, you can see there's no great deal of effort, but you can't really see it now. So if we go levels on, chuck it on there, you could really push it. Siegel. It shone through, Um, but again I flew inverted less. Er that looks. I just don't think Ysebaert is best to go with us anyway. But you know, is completely up to you guys. So again, once you've done this, what you would do then is all the stuff we did in the previous one. So if you've kind of if you do decide to go this way, what you can do is just go back to the previous lesson. I don't teach the same things twice, but just what we did bring it in here on Excuse me on creating high pass on and using these Alfa matters this the same process. So I find this one here is just shown you kind of how you would go and create your own stuff. But I'll see you in the next tutorial where we move on. There's a couple changes I just want to quickly make to this. And then we're gonna have the atmospherics in, like, the sort Hayes. And we're gonna build unclear something super cool. So, chief student, and I'll catch you on an accession. 7. Create the blue atmopshere: Hey, guys, Welcome back. We're gonna be doing these sort of atmospheric aids. Mr. Doyle. Number is just a couple amendments I want to make. Now my clouds high pass This kind of watch McCall it sharpness thing. I want to bring us down to 25 1st of all, it's a little too strong. The next thing I want to do, I want to go into the clouds on then the bulge. Little part in here, which I thought one was too much. I've decided I'm gonna keep it as one. So you can change back. We want to, but it just makes them make sure you on both It just makes sense that the planet is so the cloud should be as well is how it should look. And hopefully, you know, end up looking better for it later. What I'm also gonna do with the planet's surface if I unlock this is whereas it isn't here , isn't it? So Mars basically. Welcome back into here, I want it's a little bit to Akwa Blue with a minute, so I want to put a hue and saturation on it. I'm gonna take some of the color right and I'm also gonna take some of the likeness out as well. This is the high pass. Sorry. I meant to put this on the Mars by here, So unlock on is already a mess. Delete this one. And it's already a hue and saturation on Mars image. So I want to come into here, and I think I wanna take the lightness down a little bit more. And I also want to take some more. Not too much, but a little bit more Colorado and take a darker stone. I was kind of looking a little bit better. Now, Um, what could do as well with the clouds is I may come into the levels and they're very white at the moment. Um, so I can kind of come to the input white on. Just tweak that a little bit. Vago is kind of looking a little bit better. Yeah. Okay, so we're gonna go ahead and we're actually going to start making the atmospheric haze. So I'm gonna do to to use that to do that. Is this Mars matter which we've been using? It's basically the Mars the off surface, But we're using as an Alfa Matt, we're gonna do is I'm gonna do protect it. Okay? I'm so control of Monte. Nasty effects search. Click miles, my three control Monte Mars Matt four. Okay, now come in to the effects and, um, women's elite them all. OK, so delete. Now, if we turn this on, you'll see this is what we've got. So we want to use this. Okay, What we wanna do, We want a blue haze, first of all. So if we go, Phil, type in Phil and we're gonna drag it on this, and we're just gonna select. So turn this layer off. We're just gonna select a kind of bluish, white ish bluish color for me here. Something like that. Okay, we'll go with that for now. We can change it later, So if you turn it back on its just filled this with that, Okay? What we want to do next, he's get fast blue drag that on there, and we want to chuck this up like so. So you can see that we're getting this blue now. Okay, so I'm just gonna for now, I'm gonna put a 50 on The next thing we want to do is again get this miles, Math three Duplicate it on put above. And now we want to change this to Alfa inverted from I remember. Yeah, Alfa inverted. So if we were to turn off this line, But here you can see it's just kind of poke connect. Now what we're gonna do with this Mars Matt five service, Let's rename a few things here. So this is our rename this blue act One more beer honest being told everywhere but on the planet. But what we want to do is we want it on the planet a little bit. So I'm gonna select that Mars Matt, and I'm just going to click and drag it down ever so slightly so kind of creeps just on the edge of the planet. OK, on what I want to do, then, is it's very hard line a moment. Where I want to do then is I want to put a fast blue on this Mars Matt five so that line will end up blue. And so if we just go like this, we've now got it kind of going on top off. Both. Okay, so if we turn it on and off, you can see what's kind of happening there. So then if we sing Solo wrote this What we've got is just this Linus going across, okay? And now is the fun bit where we can start playing around with it on playing around of the color. So it's come to the blue atmosphere, which I have spelled completely incorrect atmosphere on Don't work. That was capsules in a blue atmosphere and we can play around the color. So let's go into the curves, click and drag it on, Chuck, some more blue in there. Make it more blue like so dear. No, we don't eat yellow trucks and more blue in there. We can play around with the fast blur list. See, workings if we take it down to 25. No, I think maybe we'll go 40 c Yeah, I just extends it little. What's good? 50 way. Uh, so, Chuck, this blew up, and I'm gonna get saturation on there as well. No, what I want, I want I want it to be a little bit more saturated. So that strike 28 must too much. So we can kind of go like this. Okay, Andi? Yes, kind of. That's kind of get in there. Maybe around 10. Okay, that's fine. Um, what I might do is get this blue atmosphere and just kind of with my arrow keys. I've got a select it. I'm gonna kind of move it. I'm pressing right and up. Lighting up, right. Enough acid. It too much. Eso left down. I'm just gonna kind of arrange a little bit differently. So it is that there's more of its been over. I think that Vatican asked kind of getting there now us looking a lot more realistic. Now, if we bring back this Morag image on so this act, you can see it's got a little bit of greenish one were there, and then it's got a larger white one. So that's what we're gonna work on in the next tutorial is we're gonna be creating that white haze. Okay, so it's turned off that morning image now so you can see what we're kind of gradually getting there. You can kind of play around as much as you like, but I will stop this year and I'll see you in the next Etoile 8. Create the white atmopshere: Hey, guys. Broken back. Now we're gonna move on to the sort of white haze. Okay, um, so let's is gonna be, is basically very similar before we're going to get this Mars Matt five duplicated. Rename this like that's not spear. If I spelt it right. No, of course I haven't. Who also happens, right? Wait. Atmosphere two known on what we got in here. So we've got hue and saturation. Mr Like that, um, fast. They will keep curves. Will delete on this bulge will delete. Okay, So essentially we've got then is this, um So we want to get Phil on, we'll click and drag it on, and we're going to select the color this time. We'll get a white but would also come to the blue and just give it a tint of blue like that . Something like that. So if you want the hex code is D a double e double f, I'm gonna click OK on blue. This massively. Something like that. Okay, um, once I've done that on a duplicate, Mars might five again, and I'm gonna chuck it above the white atmosphere on. I'm gonna Alfa inverted Matt this now. So it is appearing up there, but again, like we did before. We want to just admit why there's a curves on you. Um, we want to just blew their circles of the planet as well, like so Okay, now I want to come back into the white atmosphere, and I'm gonna bring us down a little bit. Just a smidgen on. I'm also gonna dial down your pastie. Let's call this about 75 okay? I think to be honest, I think that's a light you could play around in the old days. 50 on will go 60 62. Bang in the middle. Um, on. Yeah, you can play around of that now. That's mainly the white atmosphere. Done. There's just a couple things I want to do before we move on. Okay? I don't know if you can spot the errors that I'm looking at at the moment, but there's a little bit of sharpness to it. Then it should be a little bit blue. So we're gonna correct that. And I also want Teoh darkened a certain area of the planet. So let's do that first, So I'm gonna get my Mars image. Okay? Control D and I'm gonna put this to the top. This is what we've got. I'm gonna delete the hue and saturation. Let the curves delete the bulge. Okay, This is what we've got. Now I'm gonna get my, um, Phil options, and I saw it. I'm gonna get my Grady int I'm gonna put Grady int ramp. Where is it? Uh, well, that's why it's called Ramp Grady around there. We go on. I'm gonna click this on here. Okay, so I've got greedy in on that. The moments Let's get the start of the ram on the end of the ramp. Just we could see where they are. No, I want this to be kind of appear. So the black area just kind of by their on Dwight. Just kind of like down here. Okay? So, effectively, what we're gonna do now is fistful rename it Rename on and I didn't call it anything we name. I want to call it Darkness. Grady in. Okay, let's do that. Now. I want to put this below the atmospheres so below the blue atmosphere, like so on. What I want to do then, is change this to I think let's have a look at screen. No, it's not going to screen. Multiply, I think. There we go. OK, And what I can do now is dialed our new capacity. Andi, I actually want to flip the vamp. Um, so swap colors they go. So this part of planet in darkness and again we can take it down on this part of planet in light. Okay, So what we've done is just kind of added a little bit a depth and dimension to it, which is cool. No, the final bit. Well, I just want blue that air just kind of annoying me on. Then we'll be done with creating the planet. For now. I want to right click down here. Or you can come up to lay a new I'm just getting a new adjustment layer on. I'm gonna get a just a fast blue on there, Chuck it on and I'm gonna draw Act with the pen tool. Very, very, very briefly. Quickly. Where I want this blur to take effect are click like so on. Then click went here like so Okay, just like that. And that's why I went blue to take effect Now I don't Don't do anything to the atmospheres . So again, I'll come down and put it above darkness. So let's just put hedge blue. We name it too. Andi. Now we can kind of stop bringing this up, okay? Obviously. Far too much. But in Tunis outline Oxus annoy me. So we'll take it to five. Let's see what fives giving us what? I'm also gonna do em twice, and we're gonna feather the mask. Okay, Just further that, um, maybe not 211. Let's go, 50. Okay, I think Let's go. 20 on to be, Honestly, I think that's working. So turn on and off. You can see it just adds a little bit of a blue there. Okay, so we have actually completed most off the planet. Now, Um, if you were to obviously play this, there isn't any movement because freeze frame the clouds, but we're getting that would definitely get in there. It's looking a lot better. So planet, if it's done, I'm gonna close these pumps down because the next thing we're gonna move on to is creating the background stars and planets, Andi. Then we'll nearly be ready to start animating and quit taxed. So I will stop here on. I'll see you guys in the next session. 9. Create the background stars and planets: All right, then. Welcome back. Now, in this session, we're going to add in the background stars and planets. Okay, Now, the image that I'm gonna be using for the background Star Field is this one here, which I'm now important. It's called Galaxy Infinity. Milky Way. Basically, I'm gonna be putting a link. It's one website called Pecs. ALS. I could upload the image, but because it's not mine, even though it's got a creative Commons license is free for commercial use and whatever. I don't wanna be uploading it myself. So I will be attaching a link, links to all the assets that I've used and stuff so you can get them yourself. Eso no bother there. Now we've got planet. If so, I want to create a new composition, really on disk in 1920. But otherwise, type it in the 1920 by 10. 80 on. We'll call this final comp on. We want to drag in our planet's surface. Okay, so we've got that in their great stuff. Um, no, behind that, we want to put our galaxy Okay, this nice little star field. Now we turn this off for sec. You can see this image again is quite big. Andi, something like that. Now I don't want to keep it just like that. I want to rotate it. I want my so this band of why seems the Milky Way I want to kind of point in towards with the blighter. Better go in towards my planet just just for compositional reasons. Eso I'm gonna get this scale and scale it back up, Justus Kind of, I think would be nice. This kind of just but there, So just remember that bit, but there's gonna be behind the planet anyway, on our scale, it up just kind of direct the I, um, have you now what I want to do next is only curves and I want a chuckle curves on there. Andi, I want to take out the Reds because I want us to be kind of bluey star field, So want to take out a lot of reds on? Just take us from the greens as well on this god of blues. And let's see if we could just pump a little bit more in There we go. Um what want to do is come to the RGB. Andi, I wanna bring the highlights down quite a bit. Okay, Andi. Then we reached up it. But there, on this play with shadows? Yes, something like that. A case. We got that nice little curve. Um, let's see what this is looking like now with this on. Okay. Why? I also want to do is get these levels. Onda should get their input White. I want to play a round of this because I wanna push some of those stars act okay says no. We're taking a lot of the color right here on, but I also want to kind of read Iraq This okay, Something like that. And now we're missing a bit in the corner. So if we were to turn the levels off on the curves, you can see Yeah, I miss it. A bit corner sort of scale up like so. That's great. Okay, so we want to turn these back on, so just click the little boxes on. You can see we do lose a lot, but it kind of looks more cinematic this way. Okay, now we've done that. So it's rename this two star field Star field sends a Garfield personal cat Anyway, shut up. We want to create those planets. So what we're gonna do is we're gonna get this Mars PNG Just gonna drag it in again in between them both know yeah, between both okay and finance to put on talks easier. We're going to scale down. We don't actually need to. Um But anyway, we're going to get an effect called CC. So just to this back up to 100 we're gonna get an effect called CC sphere. We're gonna drag it on now people will be asking Oh, my God. Why didn't you do this in the first place? I find when you got close ups of planets, if this gets you kind of, you kind of lose a lot off resolution with this. If we were to have made this radius if we were to have done it this way on then made this huge Onda kind of dragged the time just to get that curvature because you have to make it so huge. I mean, look, the curvature is very still very curved to get such a kind of flattered about to have gone in on an area this big, and it just wouldn't buy the detailer so before you kind of massively saying When you just do this, then that's why so, radius, We've lost it now. Raiders of this fear was gone. I have no idea what's going on. We set. They know it's disappeared. It's completely disappeared. That's incredible. Let's delete that effect on Do it again. So, cc sphere, I don't know what I did, but we still can't see it. Andi, I have no idea why destroy that one more time? Um so I think I think it was off screen, That's why because I had moved it and then I scaled it down. That would be why was down here anyway, We're gonna go with this now. I want the light source again. Drawn inspiration from the more Wag Planet thing earlier. I want the tops of the planet to have that light because the light sources up here is light in this planet. But it's light in just the top kind of on the left, because if the lights also there, that's what would happen. So you got to think about this. Where is my light source and how does it affect everything else? Which is why the dark parts over here anyway. Enough of the science lessons this dive on in So it's good to the effects. Radius will come down just a little bit like there's fine light now, like directions. What we want to play around with says on top, make the that's light height. So just kind of getting the edge like so, Andi, I think that's that's kind of looking like actually, maybe just go a little bit more. There we go on, we want to chuck this behind the planet. Now we want to kind of look at where we're gonna be moved away internists into So I think I wanted to be smaller. So radius of under 94. Let's go half that 92 Onda. OK, it's fine now. I want to get the saturation now and I want to up the saturation quite a lot. So we got that color on the top and I also want to bring the lightness Thanks. I want this area to be black on its not to the moments just bring it to the top that is So why is that not looking black, I think because of the haze, So I'm just gonna move it up. Just a touch. I wanted to be behind the, actually. Um okay. On again, a brightness down, maybe a little bit less. Okay, I'm flying with that on. We're gonna basically duplicate that process. So I'm just gonna rename this to Middle Planet, because in terms of depth, it'll be in the middle on the scope duplicate that on will rename it to on it. Basically, with this one, I'm just gonna move it over here on gonna play on scale that we want this to be about 60 or less. Push even further us go 40 on. We're gonna play around, bring saturation back down to around 24 brightens up a little bit on we're gonna play a round of Houston, will just change it to her. Maybe a sort greenish color or so it's just different. Um, something like that on. We could bring brightness up to minus 10. Let's say yes, I'm like that. Okay, we've got these planets in there. You can You can play around with colors. I think I will play along with that. Comes a little bit more cause you don't have your color. Something like that album a saturation, their touch. Yeah. Okay. I'm happy with that. No, no, I'm never gonna be happy with the color of my but yet you can play around until you're happy. I'm just gonna leave it with that. That's fine. Now we've added the planets and we have added in the stars. So we're building the scene a lot more if we bring back the Morag image, Um, you'll see that. Actually, there was 1/3 plan in that one to feel three toe, create that. Actually, if we turn this on and off, you know, we're not that far off. Our clients don't look the same, but obviously they had three D programs t actually create this. They probably did some fluid dynamics, but to be fair, we're getting there. It's looking pretty unique. So in the next one, we're gonna be add in the lens flare, and then we're going to start animating stuff where I go actually going to animate the lens , flown the next one on. Then we'll start animating camera very quickly before do kind of go. I think that star field maybe decrease It's a little bit on. Move it over like so Agnellis downside to it 30 we can He's gonna fit and it's not gonna fit. So let's bring it up to 45 on Don't move. Damn. Yeah, 50 is gonna be I'll go to so 50. And I'm maybe bring down the professional levels even more to see what happens. Yeah, I think I think, um, something like, yeah. So to the little touch, Yeah. 5 90 Ok, but anyway, I believe it. That and I will see you guys in the next to toil where we add an animate the lens flare. Just student. And I'll see you then. 10. Adding a lens flare: Hello. Welcome back in this session, we're gonna be creating an animated a lens flare. So, what you want to do, Right? Click down here. New solid on. We'll call this lens flare Click. OK on. But that the talk was great. No click on search over here for a lens flare. If you've got optical flares by video, Copilot, they're great to go ahead and use them. But I'll show you with this. Um, Now you can pick from whichever one of these. I think I'm gonna go personally with 105 minute climb on. I'm gonna drag it up here. Andi, that's was going to start. So if we go screen, no screen over what this is gonna be telling the people is that the light sort is kind of up here. Okay, So I'm just gonna Fleiss enter key frame that right at the beginning. So if we hit you, this is okey for him, and I'm going to say, let's just animated across 10 seconds. Um, so then it kind of moves over to here, so make sure they go over to here. Um, no, the camera won't actually be moving that much. Um, so we kind of want to make sure that I think actually, I'm only gonna keep limit to about Yes, It's gonna be a very slow one. So I'm just gonna click that key firms who gets that value Delete this one on and move this value down to 10 seconds. OK, so across that 10 seconds, it doesn't actually move too much. Um, What I'm gonna do some soda, This layer. No. Lock it. So the layer on Play this back and see how quickly that ends up moving. So just let it buffer for less. Do third as well. How? He's up. So, basically, how fast is that going? It's not too fast. Okay, Well, I want to do because I want to kind of maybe come here as well on set a key frame just out of this value and move this along. So for the 1st 2 seconds, it doesn't move that much. And I've come to the end. Andi, that's actually do a different way. So if we select these both on, we'll click a graphic like the graph. Vegeta Andi, select them in here. Make sure you were in speed graph, which we are, unless click this Now what's gonna happen is we can play around in here so we don't want it to be. We wanted to kind of have its main movement kind of in the middle. So what this is saying as it gets higher, it kind of moves faster. So we wanted to kind of move. If you look at my Max, I kind of wanted to go. She like that. Okay, so if we come back, we'll have a look at how that's looking. We just have to let it kind of preview in, but you'll kind of see what I mean. Now, even when it's preview in in like that. So yeah, watch. It is quite slows quite slows quite slow all of a sudden, I guess that speed boost on There we go. There we are. We can push that even further if you want to. Um, just by selecting knees, so is pushing further. That may be a little bit too much to be honest. So yes, let's Let's have a look at how it looks, but it's gonna be very yeah, and asked far too much. So let's get these, Move it back. Move it back to be up a little bit. Get this one. You can play around with this and to what you want. So he's going to preview that. I think that's gonna be okay, to be honest. Yeah, fine. Okay, so we have created the lens flare and animated it. Let's just unsold. Oh, this. So then it'll be on top on. We are doing well. We are. Adan's awful this atmospherics. Now it makes it look as if being filmed through a camera. Um, so I will see you guys? Yeah, in the accession, just like 11. Animating the camera: Welcome back. Now in this session, we're gonna be animating the camera. Okay, S So what we're gonna do, we're gonna do my will Still will be doing the text stuff. The guardians of the galaxy style text. I'll be afterwards, so let's go ahead, layer new camera. Okay on. We'll just call it camera one. Keep with a pre set of 50. Excuse me. 50 mils. Fine. Um, now, if you're wondering, just click, OK? If it comes up, if you're wondering more minds looking blue because I've got it on third at moment and I don't see a point in bringing it back up to full at the moment because, you know, we've seen how it looks like it'll just only slow my laptop down, so why not? Anyway? What you want to do is click toggle switches. You can see three D layers. Now, the ones we want to be three d are basically the four bottom ones. Okay, not the lens flare that will always go on top. Okay, because it's something which happens when you're filming. It doesn't have depth to it's kind of just on top of your film. It's to do with the lens. So it's not three. D. Object is an artifact. Essentially. Anyway, we got the camera. Let's open up to views. So goto one view and tune into two views. Horizontal. What we want is a star field. Let's push this for this back. So I'm not talking that far. Just by there. We want to Chuck scale up, so just make sure it feels like so. Okay, Great. Um, I got Middle Planet, and we want Far Planet actually to be on the bottom, don't we? Um, so that's that one, but there, so we'll bring with the position of this back. So back to just vote by here. Yeah. And you can kind of Then if you need to reposition on, you may want to scale up. If you want to do it by the radius will double this to 80. Um, yeah. I wouldn't kind of still see it. I think I put that time too. 60 e. Yeah. Yeah, fine. Now, Middle Planet. I want to push this back. Kind of to about here on, uh, Andi Just I didn't need it slightly. Bring the radius up. 210. Um, maybe 120 sq. Yeah, scored under 20 on. I'm gonna move up just a touch again. So that's kind of in its own space. Onda, we are go into planet surface. We're gonna bring us back a touch just to hear Andi s scale until it fits frame. We're just gonna do this. The camera we were doing is going to be one of the smallest camera moves ever. We don't want to do anything to huge mainly because we've built this planet inside of after effects of Suisan is not a lot of three D depth to it is actually a flat image, and extravagant camera moves will give that away. So because we have been able to work three D programs because this course wasn't about that I can do, Of course. And if you want, um, we're kind of a little bit limited. Okay, so I'm gonna come back to beginning on camera. Let's drop down, Andi. He don't have to, but I tend toe a key frame everything, just in case I'm over here. 10 secondmarket. I'm like, Oh, yeah, actually, I want a bit of rotation on that, so I just give everything an initial key frame. Um, on gonna push the camera in, like so I'm gonna move across slightly. Maybe just to give it some variation. Um, we could we could play under the orientation, rotated by, say to or let's go. Minus two, I think minus two. Okay. And now we just want to make sure that's planet skilled. Let's try 109. I think I'm just gonna go 110 just in case. It's not gonna be to detrimental anyway, So everything's in there. So we basically we've got a very, very small cam a move like this. Okay, It's got a little bit of attention to it. So let's go back to one view. I must make this fit. Andi, I know it's quite blurry, but I just want to kind of preview and see what we've got, and you can kind of see it does. Look, the more extravagant camera movie do is kind of got that little It doesn't look necessarily to d, but it doesn't look fully three D if you're gonna get what I mean. So I got the slowest camera move going on there on. Do you can even do yours a little bit less? You know what the women to five seconds. I may uhm ki formal these on Let's move these key claims on Let's move these down to here. So only move doing half the movement in the same amount of time and I think that may make it again. It's all about with subtleties. You don't want it to be completely static because you want to sell the movement. Um, but you know, another thing you could do if you've got the fractal noise on here or a few that footage which we used If you've got it movin, that'll sell that. It's actually video, not an image. So I think ask a very slight movement to it. But it may be known someone do. I just did on going to come maybe two here again get all those key frames for the current value. And I think that is going to kind of I think that would be the selling point to split the difference. And I think that's gonna be good. Obviously. Mine still low quality, just previews in quicker because my computers in shock that moment, and I'm doing it on a laptop. But I'll do it on Phil later. Yeah, we've got little bear. Okay, I like that. We've got this lens flare kind of cell in that movement. Okay, great. Um, so I'm going to it. What happened there? I'm going to eat these key creams, and I'm gonna leave it there now. We've got three sessions left. I think one is going to be creating the text sort of garden galaxy style text. You can use whatever text you want, but I'm gonna show you the kind of guardian of the galaxy style one. Then we'll animate it in the one after. And then we'll do some final touches. So just to tune in, I'll see you guys in the next session. 12. Creating the text: Hey, guys, Welcome back This session, we're gonna be creating the text. So what I'm gonna do, I'm gonna quit a new composition. Um, won t Yeah, I would call it Text Lay. I think now I've actually downloaded a font from Daph on dot com. Let me just find out what was cool things called. Yeah, guardians. So I'll put a link again in the description and no, not description. This isn't YouTube. Um, I will put a link in that kind of list of links. So I got all my assets from, um So if you were to go to Duff on to think what I did is I searched guardians again, get guardians of the galaxy and came up with some suggested ones. The one I used waas. Um, where was it? Was it not here was actually called guardians. So if I do a search for guardians, not guardians of the galaxy, um, search the guardian's. I think it waas this one. Yeah. Is this one on? So we just if you want, you don't have to use you can use whatever funds you want, but yeah, um, let's dive on in any way. So that's what? I've got to go on an install that you have to close this down. Either install it via formed book for Mac or dragged into windows. Where that see, See Dr Windows. And then I thinks fonts on and just restart after facts with mcis synthetic font book. I think I can't remember. Anyway, let's jump on it. I'm gonna get my textile in this text layout on. I'm gonna type the words guardians Onda student outline at the moment. And I don't need to get round yet, so I want to select it. And I want to change this to just white text completely white. Go on. No outline. Okay, so I'm gonna move this on in. They're gonna type now of on. We want to make this a little bit smaller. So Liska scale, Let's take a stand. 50 Moving up here. Andi Now, next word is the isn't it? The let's take the stone 50%. So we got off the but there guardians off the and then we're gonna talk. Final word is galaxy. So galaxy on. Then we could move this by here, and then we've got guardians off the galaxy. Okay, let's move across Mitt now. I think that is good. Okay, cool. So we've got the main text guards, the guards so you can play around of the layout and everything, but I'm gonna stick with this. So I got text lacked. Now, let's make a new one called text. It's gonna be yet. We're gonna call it text overlay. This is called over a good word like that. Would you want to drag your text layout into here On the other again is gonna be a word document or pdf, full of all looking of links where I'm getting my stuff from. I got this from cg textures dot com. Is it still called that? Now? I think it's just called texas dot com. So I've imported this texture on. I'm gonna put it here. It's kind of like a sort metal d calcula thing. So it's gonna put it there on. I'm gonna go toggle switches on. I want to put the load on, I texture at the bottom, and I'm gonna change the Alfa Matt text layout, so it's going to go in there. Next thing I want to do is I want to make this more yellow. So I'll get curves. Drank it on Andi, Let's pump up, nurse, Take out. Let's leave the Reds. It is actually go to the blue and suck out a little blue on. Then we're going to get a saturation hue and saturation. We can make it more saturated. I'm also gonna go back to the RGB of the curves. I'm gonna brighten it as well. There we go on and I think a little bit more. No, You know, what I'm gonna do is with this texture. I'm just gonna kind of moving around because I want to get some grit and maybe some of the dot those bolts in there as well they go. So it's looking a bit more gritty. So this is the text overly done? The final thing we want to do is let's go back to our project. We wanna create a new composition again. So text final. I think we have some text ones drag in the text overlay on, get the tech slaved, and we want to duplicate this on actually, no, not duplicate. Let's just quit a new composition and call it a text outline. Click. OK, go into text layout. A copy these into text outline. Okay. Um now when we want to do is with them all selected. Go to character, pick the color changes to none. Get the late Get the strokes. Already done it. Double click the stroke color on the color I've gone with. This is nice. Gold is like 696 306 96 300 Click. Ok, and then we want to go back into text Final on DWI. Wanna put the text outline on top? Okay, There's one last thing to do with this text outline we want to get Where is it? Babble. So Bavel Alfa put it on this one on. It's just going to give it this kind off. If I didn't have it, it gives it that kind of look there on. Actually, I'm not even gonna play around. This thickness was well, was three. Ah, yeah. Okay, let's get three. They go. Actually, no, I think it looks too soft. And so it's good to Yeah, cool. On the last thing I wanna do with the text overlay go to layer little. Well, we layer styles on in a shadow, okay? And then come into the drop down les styles in a shadow You can play around the distance. I think I'm gonna go something, like, maybe 12. Play a round of the choke. No, one of that size may be increased a little bit and quite hard. Shadow size five Distance 12 on I'm going for Or what overlay gives it a little reddish kind of yes, Bit nicer. I'm Tyne. Your past year 200 There. Yes, a lot nicer. Okay, so this is our text. Okay. On DNA now. Weaken, Drag this. So we've got Planet Earth is his final comp, isn't it? Project Andi Text final. Drag this in below the camera. And here's our text. Okay, so that's pretty good. We've created that text again. You can go with whatever you want. You don't have to go with yellow. You do have to go with this fund. You don't have to go with this. These exact words It can be an intro for channel or whatever, but I'm gonna stop it there in the next one. We're gonna actually animate this text on. Then we're gonna do the final touches, and we will be done. So Justin, I'll catch you an extra 13. Animating the text: Hey, guys, Welcome back. Now it's time to animate the text. So if you were to watch, I'm not gonna play it just from Poppy. What reasons? But if you were to watch the gardens, the galaxy title sequence, it kind of what he's on the planet. It kind of doesn't. Adam the little credits, like directed by remembers name guided Scooby Doo. Like when it is directed by and starring those animated. But actually, the word the title guidance galaxy kind of pops up instantly. So what we're gonna do, we're gonna come to about two seconds. Um and then we are going to start this layer. So Alton Square bracket Key. Justo, cut it to there. We're going to start it here. So for the 1st 2 seconds is not there. Then all of sudden bang pop on. So what we're gonna do then has come to about a second in Onda. We are going to hit. We're gonna make this treaty on. We're gonna hit people position. But before we do that, I want to move my anchor point. Basically, we're gonna be bringing us towards the camp bringing this to awards the a long wait. Basically bigness towards the Flippen Eck towards the camera. But But if we're not careful, we may end up filling the screen with completely yellow. So what we want to do is, before we make a mess, we wanna make sure we move the anchor point. So and we want to move the anchor point to somewhere like here, so basically, it's gonna animate through this point. OK, cool. Now that's put. I think it's fairly center. We're gonna do is come to positions. API second in set key frame by nine seconds. I think I wanted to have disappeared. Um, so it's annoying me now. The camera moves in, of course, but a tilt. I'm not sure we're gonna keep that tilt anyway. We want this to completely have gone, So we're gonna bring this, actually could go to, um if we go to active camera top, we want to bring us all the way back. So if I get V So I got my selection to one of those all the way back. So just part is the camera, Okay? So if we go back to active, what we should have now is it goes completely past the camera like. So Okay, now ask. That's good. That's good. So what we want to do is see if I've got enough ram to preview. That's just to show you what we're working with. I should Yeah, I ask it so you can see the cameras are tilted as well. Is that going to end up going through? Not completely happy with that, because the camera moves in that be a speed that up, asking to slow as well. So it starts. Maybe a little bit later of four seconds on end the second area. Let's give that one to go. I don't want it to be. I don't want people to think that the cameras moving through the text does not moving enough. We're bringing the text after a shooting. Attacked again? No, fast enough. So let's bring this down. Happens ever appear to four sessions while three more or less. Andi Yeah, it's just going past, So I might do, um if I get the anchor point are so it's gonna have to lead the that we're gonna move the anchor point ever so slightly. No upward. I'm just to the light. So coast flu there, if you had a key frame. Just delete the key frame. So now we go through. Cool. I'm just gonna give that another preview. So, God, into the gak siege we go through. Boom would done I could do with coming. Daniel, touch. This is just me being picky at this point. Too. Honest. Um, so if we move anchor point, I know that one. Welcome down. There we go. Right. So it one must play through gardens, galleries, comes up bang scales up on. And to be honest, I don't think I was gonna give it to the graph editor and kind of play around of stuff the maybe, Maybe we can. So why have I got to positional key claims this ever quick Look at my top. For some reason, I've got to keep rooms there. So let's see what happens between these two. Basically, that is it. I think I'll delete this one on that Just carries on. Go like that. Okay. It's just so I'm pretty sure it's gonna be fine. What we can do if you want, um, is we can come into here, select them both. Graph editor. Um, Well, no, Ali. Select them both, like so now come into the graph. Editor Andi, I have lost again, Uh, where they pointed, entrusted in that position. You can basically do what we did earlier. So if I zoom out, um, where are we? I lost them. They're basically what we did earlier. We played around with What was that? We were what? We are imaginative. We played around with the It was a lens flare. That was the lens flare Key frames week. It used graph editor to modify them. So I think it's all we don't hear. Yeah, here we go. Highlight them on. Then we can fit, which is fit to screen. I think this one fits electric view. We can have a little curve on them as well if we want, so maybe gets faster as it goes to extra. Let's give that a preview. May not want to do that, but I just want to see how it looks. So give that previous completely back in. So what comes? Speed up is against towards the camera, then still cl echoes. No, I don't think I like that. Someone do it. I'm happy with it. How it waas So anyway, that's the one of the swim in an X session. I'm just gonna go through some final touches on. Then we will be there. All done so cheap, student. And I'll see you the next session. 14. Adding the final touches: Welcome back, guys. Terms the final session. Now, Final One. Um so it's just like a few finishing touches, but I'm gonna go through now. Service, make sure this is fitted. Um, what gonna do is I'm gonna cut a new solid quickly. Nice little been yet. If we call it a vignette of e o g N e T T e a mix was black on. Then just get this a circle ellipse tool appear double Click it on Then what we want to do is we want to invert the mask, so just either click the inverted box or take it, subtract and then this Federer it so f on we're gonna fare to this on. Then you can come into the mask satins well and open expansion. So it's doing on the edges. And then you can also take the transparency down to about 25%. So with without, with without it, dick, and sometimes add something you don't even have to do if you don't want to. Excuse me has been yet, and we don't want that to be a three d layer. If we go now, layer new adjustment layer. We're going to get some curves on that Just make a little bit more contrast in down and up . Okay. Just makes it pop a little bit more. Andi, Maybe if you wanna have a little bit more saturated, I sometimes do it just to make a profit more. Five. Yeah. Now, I'm gonna turn this to full now. Finally probably taken age, but you can see that we have come. We've gotta have a long way. Really? Um I'm what I'm gonna do is I'm gonna pause it because I'm gonna export this on. Then I'll play it back for you. Just so we can kind of summarize the skills balloon, so I'll just get a quick pores. Okay, So it back here is the final product. Obviously, I haven't got music on mine, but nice salt camera move. Text comes up. You don't have to have text on yours. You can just animate a nice camera move if you want, but yeah, this is what we've got. So I'm glad you guys Well, hopefully I'm hoping you enjoy the course. Basically, check out my other courses, lead, leave a comment and review, because that helps me build better courses. So terminal good stuff to, you know, tell me what you thought. Given a rate in review and all that stuff that I help me on D Yeah. I really hope you enjoy this course. And I look forward to doing some more stuff. So again, if you've got any suggestions, just leave them is like a little just leave us starving in an end. Like, say, I was really good looking or if it was good, But can you gonna make this in future? Or do do it to toil on this? If you want to check out my UTI, we're going toe to toe tutorial on their creative tap. Yeah, join the Facebook and Twitter Tweet me. Results on remember is quite important. You don't have to go the blue planet what you can do now with planet surface. If you want, you can always check on. I just took a huge saturation on. Do you can change the hue. So you've got completely different color planet on because all of your Hayes and everything is in there. It's got that sort of hazy stuff as well. You may possibilities are endless, so you can have a red planet just like that once you built it, possibilities are endless. Anyway, choose to tune in on day. I'll hopefully see you guys again. Thanks a lot for pushing the course on. I'll see you in the future.