After Effects CC: Night Vision, Sniper scope, Security Camera | Film VFX | Skillshare

After Effects CC: Night Vision, Sniper scope, Security Camera

Film VFX

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4 Lessons (1h 44m)
    • 1. Course Introduction

      0:52
    • 2. After Effects Sniper Scope look

      15:05
    • 3. After Effects Night Vision

      55:17
    • 4. After Effects CCTV

      32:32

About This Class

You will learn how to create the following looks in After Effects CC:

- (Military) Night Vision

- Sniper scope

- Security camera look

in After Effects CC that you may need for a scene in your film or you simply want to add these techniques to your effects arsenal.

You will learn step by step how to prepare the footage, add the effects and details for realism.

Transcripts

1. Course Introduction: welcome. In this course, you will learn in after effects how to make this from a footage that looked like this. How to make a sniper scope. Look on how to make a security camera. Look, CCTV, this is before on this is author. 2. After Effects Sniper Scope look: how to create a sniper scope Looking after effects. Are you bringing the footage first? Andi quickly creates a composition rights. And then before I do anything, I'm going to right click and recompose source of furniture on this. Is that a composition? That is a container off my footage. Okay, my footage is inside on. I'm gonna work on this composition, right? The first thing is, of course, you've noticed that my screen here, but the monitor is reduced often that with space bar and scroll wheel Moscow via because I need to draw a mosque because the shape off their sniper is a circular. So I need to use a circular last, which isn't ellipse to which we will find here. Now make sure that you're layer is selected. Then you come here to the rectangle to actually buy the faulty chose a rectangle tool. But you select the year Phillips to on you. Come on and select. Here. Start somewhere around where you want to end on Go right covering a bit like the center. All right. So this is how I wanted to be Good. Now, of course, during filming, you're going to make sure that the character Theo actor is in the middle off the frame. Now, this is one of the exceptions when we have somebody exactly in the middle of the frame. Generally, we have the rule of thirds and there are placements on the screen. But But we have a sniper targeting somebody. He better be in the middle off the screen. Because all what we will do now impressed. Production is driven by the middle of the screen. Okay, Now that I have this mosque, what do I need to do next? Let me just remove you know this dis control here. I can remove it by just clicking like this on. This looks just to rule, right? Right. That there's no work on this. Fit it. And this looks to sharp. I don't want this. It cannot be sharp. So I go to the mosque and to the mosque feather. I'm just a tiny Johnny little bit. Just something like this. That's about enough. We don't go Well, I cough board like this. That would be too much. It doesn't make sense like this. What about 30 ish? I think doing about much that was It's something like this. Just a look that makes your borders not so sharp. All right. That's what the next bit is going to be, too. Start at in those details and conveying the message to the audience that this is a sniper scope. All right, so just remember this notification. It's a sniper scope basically at in those target dot on the Red Door Target adult and those lions and stuff. What not So we need on that. How do we do that now? Quite simple. De select. We can't use the same tools, but now we de select the layer and come here and we're going to start with the lobster. I want to start with you know, the red dot that in in the middle you can have it black if you want. I just prefer to have it read, but I need to put it in the middle. How do I know exactly the metal? Because this is such a tiny little dot I don't need to know the middle off the screen now. I come here and there's proportional grid found even better. There is a grid. Yes, we don't see much of our footage now because there's so much on the way. But we need these lovely grits, because if they help us a lot in, um exactly drawing what we want them. This is the middle. And I need that small greed as well, because I need to draw a circle here. And that's gonna be my daughter. Now, before drawing This one is not selected. Making sure it's not selected on. I come here to the field and I choose the color. I want what I excavated and I chose the color. I go for the red. Ok, And for the stroke, I don't want any strokes. I'm gonna disable that. Andi, I'm ready to draw. When I come here, I select these four. So basically, I'm going to come here to the edge on drool. Unprecedented. This way I get a perfect circle. If I did it like this and make sure that my dots are exactly on this intersection points then it will work almost there. Yep, Yes. Release Now this is my daughter. Me fits on the screen and remove the grids. And look at this. This is too big. Yes, I know. Let's come here to transform for the shape under scale on break it down to something that makes better sense. Maybe 30. Something like that. It needs to be like a gentle, subtle little dot Yeah. Should not be a huge thing right now. This is a daughter, and then we need to add all the lines around this, and what I suggest is to have a line that covers the whole screen from left to right on another line from top to bottom and not have them continues. I want a girl around this dot and then, uh, another a circle around it as well. So this is more like, um, a look that conveys a sniper. Just said this is quite common. So let's do that. What I will do is come de select. Of course, all my layers and come and get here. The mental I click on the pen tool, But hold on a moment. The last time I've used one of those selections, I have read a no stroke this case. I need to have the feel disabled. I don't need to have the stroke enabled. Enabled by by how much I was come here. Five five is gonna be OK. Well, that some of us five. So this is why it's still five. I would go for five and I needed to be black. All right, so it's black now. High, though I draw perfect lines exactly where I want them to be. Yes, you guessed it. It's again. The same thing is my grid. I come here and you see that my daughter is exactly the sender. What I will do is just drome like, not really a draw. So I just press here. So that gives you one button. 111 point and then press shift. Do your best to get there, but seal per shift on it will give you a straight line. Now, this is one of them. Then you de select aren't come back here on press one and again. Press shift on on the bottom one and we have the second. Let's look at what we've done. Remove the great Sir. This is what we have now. This does look like something we want because they are standing in the way in the middle. So we have to remove this. Okay, let's do that. We're going to remove that middle part. But you know what I want? First to put the circle rights because removing the middle part is going to require brick in person and I'll do that next. So first of all, the circle. Same story. Bring the grid. Another guides. I meant the other grid around here. It's a matter of choice. Like how big do you want your circle to be? I will go with something. I come here to my lib store right here. What rectangle? Ellipse? Still nothing selected. Come to your feel. Nothing stroke exactly the same settings as for the lines. And you are going to draw something. Let's say, um, I'm starting here. Okay. And press shift. It will give you a perfect circle. I know it is a little bit. It's not a little bit is completely not in the center. It doesn't matter much for now. Gonna press the selection tool, Don't click on it. Double click. And then what I cause also do is just used the young, uh r o Toole's whites Until I get those you know, these thes dots here aligned with the center Is it a lot of the center? Yes, it is nice. Now that I have it's aligned. Let me Look at my Where's my anchor points? Michael Porches, Exactly where it's meant to be. Very good. What is it? Is it too big? It's a choice you wanted to be dis pick. We wanted to be smaller. It's an artistic choice, But I think this is good. This is good. I haven't then going to create a gap here. This is no time to create a gun. Now we have been creating so many shape players. This is not good because it's not named. We need to be a little bit organized. What was this? This was our line Read. Sorry, this was a red dot This is my or isn't line h line on? This is my vertical line v line because when I want to make a person, I need to know exactly which one. I want to recognize that this is my circle. There's not a lot going on here, but still it's good to be organized. So now I want to mt this area instead of drawing 1234 I just want to run quickly. Put a mosque. I will take the horizontal one vertical line. Parikh composed them as lines. Then, with this lines composition selected. I come to the selection tool, which was lips. I turn it back to rectangle Andi. I will again, of course, with the help off those grades that both of them come here closer on. I'm not just select a number of small off small rectangles. How many do I wants? I think I'm going to go with four. That's 1234 that is in every direction. So four. And for that I'm starting here and I'm going with all of these and then counting for in every direction. That's for down, and that's four on the right. I was trying to be precise with the lines. Okay, that's it, I release. But I have just selected the middle part. That's not what I want. Simple masks A's bade Well, it shouldn't say odd. It should say, Sir abstract when I say abstract and I get the middle empty, this is how you can get four lines without drawing four lines. Okay, you are going to fit Onda. Let's remove those grades and stuff. Now we are almost done. We haven't finished yet. We're almost done. Just something else that we need to do Why, When you look at this for months, you have everything in focus. This is not realistic at all. When you have a sniper scope, we have the character that the actor in focus, which means that the lines under dot on the circle that are on the way are a foreground, and they need to be blurt, convey the depth of field. Okay, so I need to blur this stuff all of this stuff Circle line on, right, Doctor, take all of them and pray, compose and call them detail. Now, of course, you can add the beer to each one of them, but it's just easier to do it at the top level to do things once detail. Now that I have finished this, I could come to the detail on and come to my effects some presets and go for go Schindler G Oh, you on a drag and drop on my detail and I go for something like, I don't know what a strike thirties. Well, that's a lot. 30 is a lot, but still, I think Dana, then it's gonna be OK or 12. Write something like this. I'm just look at this. That should be fine. Probably 10 is enough. That is enough. Okay. 10 is enough Now this is it. You can get a look off. It's not. This is a sniper. Look, that's how you make a sniper. Look, they think is you could go bid further. Be creative with your foot and say you want to style eyes the footage because the sniper scope is different. It shows some different local whatever you could go for A for a black and white look when he could place that on the composition again of this was footage. Then you get this look or you couldn't do that with any other. Look, let me keep the black and white there. Dizzy bullet on. Say, we're going to go with C c Tone right cc donor C c toner. Apply it to the source footage on. Then you get this right. Then you can start playing with your footage. Stylized Neitz given it your touch. It's now you're bringing in the story so it could possibly be, um, something like curves, curves. And then you bring the curves and then you're going to start creating a little bit more contrast a little bit more contrast than Oh, maybe you don't like the CC toner Finalist is able this one aunt enable our black and white again see? So it's all a matter off choice now. You can stylized the footage the way you want. But hold on a moment. Why did we create this composition? Why is it that we haven't done anything? If you look at this, I just opened. I've just opened now This double clicked on the source footage Composition. I look at the footage here. Can you notice? There's absolutely no effect whatsoever applied at the footage level. Why? Because now I have the freedom to change my footage and just drag and drop another one and everything is going to stay the same. This is how you make a sniper scope look in after effects in an efficient way in such a way that you can use it with any footage whatsoever. Working ones on the planet as many times as you need 3. After Effects Night Vision: Let's start working on the military night vision seen. I will bring in a footage here, this one on. I'll just quickly create a composition on before proceeding any further. I would like to talk about how you should film it now. This is the phase where you are adding visual effects. Basically, you're in first production. There is a production face where you need to prepare yourself properly so that when you reach the stage off best production, it goes smooth Now, just like any other visual effects. Say, for example, going to do green screen. You need tracking markers. You need to do a few things. There are preparations that need to be made for a night vision, military seen or any kind of not vision scene. You need to take into account two main things. The sun on the sky. Okay, designer to most important bottle. Actually, this guy is gonna help a lot, even if you have a problem with the sun, right? Okay. Night vision is for the night. It's basically tries to mimic the night The sky in the night is dark, so you cannot bring a footage. Shoot, Say we're gonna make a scene that is going to look like a night scene. But you know what? Let's just shoot it during the day and I'm gonna pick up certain day and that day is sunny . You cannot be a sunny day because you've got what you've got, what we call shadows. So let's take this one, for example. Just look at this one. Not suitable. When I put it here. Let's just look at it in front. This is not suitable because this is a sunny day and you have very harsh shadows, very hard highlights. And you can even see Wendy walk when the military walks. They have shadows on their trousers. There are shadows everywhere, and here. This is very, very, um, badly exposed for a night. We're talking about night now. Okay, so it's not just a matter off a blind. The technique, it's about going back during filming, and I hope you're not watching this too late. But during filming, you need to make sure that you are filming and an overcast day, so your best friend is an overcast day. The clouds are your friends. The more clouds you have, the better. On overcast day, that's number one. So if all together you can avoid you can avoid in your scene you can avoid the sky. That's an even better think, so that the second problem is this kite. The sky can be Let's say it's an over cost over cost means that you may have dark clouds or it could be over cost with a lot of sun behind, which basically means you are gonna have whiter close. The problem is you are going to need to do a lot off work for the sky to bring it to the dark level that you would expect at night. It's all about realism in this scene. It's all about realism. So have you noticed that in this one this guy is not part of the street to shooting in this one? This guy also is not part of shooting. Okay, we don't have the sky. Can you please, for the purposes. Off annoyed scene. Right where you have my vision, military night vision or any kind of not mad vision. You want to special operations or swatting whatever you want to do. Make sure you do not if you're feeling a minute during the day. Okay. If your family doing today? Um, I'm expecting you would, um because it's much more practical. Avoid in your seen blocking. When you're shooting, avoid the sky. Right. So rule number one An overcast day No sunshine. Sunshine means shadow shadows. Even if you apply the technique, you're gonna see the shadows on the ground. There are no shadows at night. So anyone who looks at that stuff he's gonna feel something is fake. A normal person is gonna feel something is fake. Um, a specialized person and that stuff is gonna start laughing, right? Because you want to have an over custom. Now, the second thing is to avoid any trouble, avoid the sky when you are blocking the scene. So the angle off the filming with a camera should be avoid in the sky. Why? Because if it is a special operations and you have any sort of shooting or explosions with explosion comes, want smoke and smoke goes what direction? It doesn't go downward. It goes up. And if it goes up in a mixes with the sky, you are going to darken the sky. That's dead easy at the moment. To smoke that you need to see isn't The scene reaches the sky. Things are gonna look really, really, really about. Therefore durian fielding, no sun, no sky. OK, do yourself a big favor. Now we come to the technique. Once you have, you respected these two rules. Now we come to the technique and you can apply them to any footage. What? So ever? All right. And we will apply them to many, many cases. But now I'm just relieved this not suitable one, because I brought it only for the purposes of demonstrating that there are worse. Of course, But you can you get the point. Okay. You get the point. You can already see beneath the helicopter There. There is some sort of a very soft shadow, because anyway, it's an overcast day. Yeah, but there's so much so much on being quite reflected by the snow that it's not much of a deal. Okay, but it's an over casting. All right, Now let's apply the technique. How do we do that? The absolute very first. Think you want to do? Let me just remove this minute. This, um not suitable from here, even from the project. Okay, The first thing you want to do is to make sure that you are working on adjustment layers. You are not working on your footage because you are a smart person and you want to be able to apply it to different scenes, Should you want to? Sorry, even different verdicts, I would say so if you have the same shot, if you have three or four shots in the same scene and all of them are supposed to have that you're not going to do the same work for all of them, you're gonna do it once and then apply it. And he shorty want, of course, with some tweaks, minor tweaks. But then you can do that. So I will leave this military. And it's not this this video footage, I'm gonna leave it alone. But I just come here and say, create adjustment layer. And on this adjustment layer, just leave it like that adjustment layer number one, not rename it. And I'm going to apply all my goodness to it. Everything that needs to be done for the night vision number one. Well, this is a snowy. I mean, I have deliberately chosen the worst, um, in terms of footage that has respected the rules once there is no no sun, no, no sky. This is the worst you can get. It's in the snow because you've got so many so much highlight in this guise and also, in most cases, give yourself the privilege off using and starting with exposure. The first thing you want to do is it is night. It's night. So it needs to be. The explosion is to be reduced by how much it's up to you that xgo with minus four as a beginning as a starting point and see what we get later. Okay, this is we're accumulating. A certain number off off effects altogether are going to get us to where we want to be. The second bit is and surprising scans of the noise vision because there isn't affects for night vision. But be careful. It's not just about picking up that effects and applying it. Okay, I'm gonna apply it to my footage in. That's it. I've got it that that's not how it works. We need We need some some sub tweet. So we've got the night vision, you apply it like this, and then you get what you get a good starting point for a non station. These four effects, it's a composite, um, effect. That's got solid compulsive mini Max for the noise. Envision Venetian blinds. You need all of these. Leave the Massa as they are. And I think at this point in time, you are going to get a very good idea off. How inappropriately exposed your footages minus seven. Okay, this is a good starting point, minus six, because at night you don't see very well. Let's be honest. Even with the night vision, it's not very, very clear what's going on. But you you are able to distinguish based on because if they knew that we're following here is what's called image enhancement, right? Might Vision has two technologies. The first technology is image enhancement, which is the one that we're doing. What it does is it It takes the existing light and it enhances it. It's like it makes it more obvious, which basically works perfectly here. Yes, there is ambient largely reflected on this. Now that is very normal. So it is going to make it even more obvious, right? So this is not meant to look like send This is snow. Okay, so initially, when you are should show in the scene, you're gonna show people in the sand Sorry in the snow. And then there's a nice scene or something. Cool. Now we are going to reduce this to minus 6.5. Good. The idea is just to sell the point off. Um, the dark, something OK, It needs to be dark next. Now is quickly to come on. A ploy, our night vision, military goggles. How do we do that? What's quite simple? We're just going to employ a We're going to bring in a, um, a Moscow. And that's going to be Let me just create a solid first, we need to create a solid, and that's going to be at the same resolution. Of course, as our composition on this is gonna be black, I'm going to create this solid on this is going to be our Millie three. Google's all right here. I can't see anything, of course, because I need to come on at a mosque. The mosque is going to be here. I'm going to use the Ellipse, too on and I come to the top on click on drag. But I didn't press shift so that they get a perfect circle. And then I dragged to the point where I reach the end off the frame. I'm India. D that the bottom off the frame. Good. So this is now done. What I need to do is to in verse it, um subtract. Subtract. OK, this is abstract. Good. No, I will duplicate this mask. Right. I would click on the Selection two and then come and double click on the edge here and drug to the writer. And then if I press shift, it's gonna make sure I'm dragon on the same horizontal line just being get here. You know, you don't necessarily need to have the whole at circles of the goggles inside off the frame you can. Awful having the bigger than the frame were much smaller than the shame. Okay, I'm just giving you this now, this choice, it's your artistic choice. Okay, Then you release the mouse on. You now have the initial shape. Now, this looks nothing like Google's is just a starting point. Of course, we need to come to the mosques here on because I am kind of lazy. I need to do the work ones. Andi, I let a do adobe after effects. Take care of the rest. I want to work on one mosque and then let the 2nd 1 do follow because they are supposed to be one same Google with two circles. So I am going to work with the mosque feather, of course, but I want to work with the mosque expansion, but I don't want to do the work twice. So what I'll do is alter Click on the 2nd 1 So this is the follower. I'll click on most feather musk, further and all. Click on mosque expansion on. Just bring this swirly thing here and link it to the mosque feather. Meaning? Could you ask in the second Mass? Could you please do exactly whatever the 1st 1 is doing? That's it. Okay for the mosque expansion. Same thing. Take it to Mark Maske expansion of the 1st 1 that whatever I do, that's the first. The first mosque level's gonna happen at the 2nd 1 that's efficient working. Now let's go back on. I'm going to start working on the feather further, are just going to increase it a bit now. Don't go off board with the feathering because you just need to have some smooth edges. That's all it takes. Smooth edges, because there are the girls are hard or it's like sharp edges. But we don't convey the sharp edges, but doesn't have to be too much of a smoothness. What will help us is the marks mosque expansion. If I reduced this a bit like this, then I'm able to get a proper look. Plus to eat candy. Um, the softness, the edge just a little bit. Not too much softness it about enough. Okay, but not not covering, like, 10 or 20% off the whole area. All right, now, this is a starting point. We want to convey the message that this is quite an elaborate, advanced face off technology could work, right? So this equipment this Google, this military think you look through is quite investing, So we're going to add detail. That's what sells the idea off complex, advanced, elaborate detail. Now we will additive. How do we do that? The detail is by adding we're gonna add a circle here on this circle. Same thing applies, Okay. Everything I'm saying applies to the right, so I'm gonna add a circle on that circle. I'm gonna have some detailed stripes, very tiny ones, and then I'm gonna have a number, um, different shapes, circle hit, and then another pointy shape here. Okay, let's do that. And we're gonna do the same for both. And you could change to your liking if you say okay, I wanna have to here on three year or one here for here. Just for the purpose off are showing unimpressive level of detail. Whatever works for you. Well, let's start with something now. It is going to be a shape we are. I'm working out on the same composition. There is going to come a moment when I'm I have so much detail going on that it needs to go to a different composition. We're not there yet. Well, I'm going to start with my shape. What does the shape look like? It's an ellipse, too, because now most of the time, we're gonna be working in circular shapes, so I click, making sure nothing to selected here. And let me just turn off the sound here. Because if I play this, gonna hear a sound. We don't want to hear that we come to this Phillips to make sure nothing is selected. We could click on. Then we define what we want. Before we start drawing, we need to define here the field under stroke. Now, do I want tohave feel? No, I don't want to have feel. I just want to have empty Okay? Under stroke. Of course I need a stroke. If there's no feeling, no stroke, we have not them. I need to have this. And what is the color now? The colonies to be white, White as a starting point. What is? What helps you customizer. Okay, so you want to customize and use any Connery want? Your starting point needs to be white. This is why it's not because it needs to be white, right? So I'm going then to draw a circle and then again press shift until I get something that is perfect circle and I'm going to re lease. Okay. Is this enough? In terms of thickness for the stroke? Probably. This is too much or lunacy. Okay, It's it's all your choice. But now what I will do is I will move it around. I will place it in the middle. How do I know the middle where there's a nice trick. If you come here to the choose grid and stuff, there is ah title. You've got a title on SE title action Safe. There's this one. It helps us identify this. We've got a few of them opens. We got this as well, right? So this helps a little bit to identify your your, um, center. But remember that the centre also needs to take into account our existing circles. It doesn't mean that it has too much do screen and frame center. It has to match the goal center, which is different. See, now this is less than this. This is more so. I not going to a ploy this I'm going to move a little bit to the right. Something like that. But at least on the screen, it is the center horizontally. I mean, Okay, right. This is done. I will done simply simply do what I'm given to work on its first. Because I'm lazy. I'm going to work in it first. Only when I'm happy, I'm going to duplicate and move it to the right. Let's work on this on by working means I really want to get everything out of the way, right? This is not great because I wanted to be transparent. Transparency is something I want to work on because it's too bright. I know it's white. We're going to use a different color, probably. But I want the thickness to be this, that's for sure. So they wouldn't be selected. Here is the Ellipse to we had two options and we had we had the feeling that stroke and school stroke size I can also come and tweak it here. Stroke on the difficult decides stroke with. This is five I'm going with probably something like three, maybe 2 2.5 It's just about conveying minor detail. It should not stand in the way off what we're looking at this is number one. I think we're kind of happy with this. Just check if I'm OK with the rights. Good. This is fine. Now that I'm happy with this one, I'm going to duplicate it and simply move it to the right. That this would be too slow. I'm just gonna dead and then push it to the right and then went ambition, A displaced shift to make sure I, um staying on the same horizontal line. That same story here, let's begin our grid just to make sure. Kind of OK, one of the great This is too much to the right compared to the image, cause this should be same as this kind of What's Yeah, something like that. Okay, this will probably move a little to the right. All right. Good. Now we have a starting point. I'm going to add some more detail. I want to keep everything as is here, because if I move it to another composition, I will not be able to see what I'm doing in terms off the original shapes off that I have here. There's Google, you know, there's just black just here. I won't be able to see them, so I want to keep everything here up till the moment when I want to tweak everything at once. Then I move it to a cyclical position. Now, what do I want? I want even more detail. Let's get even more detail. I'm going to get a, um, stroke on. This needs to be white indeed. And five is good as a starting point of Okay. With five list, draw for release of the 20. Yeah, 20. Let's draw something would a shift. Okay. And I'm going to keep it a little big. Then use Use the selection. Tual, don't bring it somewhere to the center here, all right. Needs to be quiet. Proportional in always helps too. That's a lot of great stuff. It's a lot of great goodness. Okay, Just helps to knock about 123 4/4 234 For fish. It's a little bit to the right. That's it. Okay. Right now, I have finished this one very quickly. I would like to have a shape, not a circle so shape with a discontinued cheap. How do I do that while just bring in a mosque? So let's name things just we avoid. So this is the old turn to avoid confusion. Outer circle one left. Yes. And this is our outer circle, right? And then this is our inner circle left. This needs a mosque before proceeding any further before duplicating it needs a mosque. A mosque is gonna come in the shape office, search off Rick Fungal and I will draw. It's like this. Now That's not go. Sorry. I'm using the wrong settings and change the film to say yes. I want to have feel on no stroke this way I'm able to draw like this. And by the way, just control said here you have an option. Do you want it as a shape or do you want it as a mask? It's as a mosque. So I want to just mosque it like this. Wonderful, Good. Initially in the very first place I think something is going wrong. Initially, I think I've just done a few a few times because when I clicked I have filled in the circle by by by accident. That shouldn't happen because I was using the wrong settings for the shape I click on this and I make sure that I'm working with the mosque toe then No, I come here. Andi gets just what I need. That's it. Now, is this what I want? No, I want exactly the opposite. So substructure. Okay, now we're going to do something Easy work. I'm going to click on the selection tool Kilic on this one on click on the mosque and duplicated when I duplicate I'd come here and double click and I come to the rotation. I am on the second mask now. I'm going to wrote data Ondas. When I reach here on 90 degrees, I press on shifter and it snaps. But I need to release birth shift on miles at the same time. Otherwise sometimes and jump somewhere else. Okay. Like this, for example. So at me. Turn it again. See? These are the side effects off. Not releasing properly. Let me just do one more time. This is starting to be a little bit and win. Good. Okay. This I have not my mask. Number one, Number two So I want to duplicate even more. I select both of them on I duplicate them when I come here and double click. What did I select Now I have selected birds. So when I wrote eight, I rotated to mosque two mosques number three under. Before When I start rotating Henderson on same thing shift shift. Then I release birth and I get this and I want even mawr, which basically means I'm going to create a duplicate off before my control De I get 567 and eight. I keep them selected. Of course. I double click on. I get all of them selects a tie Common rotator. But this time I'm left on my own. I can't use shift because Well, that's as far as shift. Will we take me? So this one, I have to do it. Just why I born in kind off like this. Okay, card enough. But I release. What do we have? Let's de select this. This is a shape A locked off. This is the target. Not once I have done this and I'm kind of satisfied with how The thickness of the line. I think that's OK. I want to duplicate this and call it right. Three name, inner circle. Right now I leave you the choice, of course, to decide which barred gets which shape I'm gonna give you all of them. And then you can play with reducing and bad in to create variation. Now come to the right and then we're going simply to move it around. Transformer Onda, Position on. I move here to the right because I'm using just d ex access. I am sure I'm still on the y axis. There's no need for why, for crescent shaped and shift on this in this in this case. I think of pushing to be too far. Just a tiny bit tear. I can click on this one local mosque and shape bad visibility because it's standing in the way. I just want to see it. It sounds like it is. Okay. Good. Kind off, is it? Yeah, probably. Okay. Yeah. Right. Okay, Now that I have this, I want to add another form, something different. Okay, so this one is different than this one is different. That that the 3rd 1 that's gonna be inside and again you have the choice to mull too. Mix them the way you want. This time is not gonna be a shape this time. It's got to be a solid all right, because we need to do something really cool. So I'm going to go with a solid. This solid is going to be in rectangular shape. So it's because the hate is the nitty So Just needs to be with unity as well. On I needed to be white and I click on shape. I am go into go to the ellipse to and double click on install. I get a circle now. What is this? This is now a mosque inside that rectangle. What is going to happen if I duplicate that same mosque on on inverted and subtract it? I get very narrow line here. Not that's not gonna cut it for me. That's not enough detail. I will come too. Deep mask expansion and change it for the 2nd 1 If I reduce, I get mawr, I get a line. There may be thinking that's no. It is not a long way for doing the same thing as you've done in the beginning, with the shape would not have been easier to just take a shape. Yes, but in this case, the kind of form I'm trying to make requires this maneuver. Okay? So just bear with me a second on you will notice what we are trying to know to do. Know. Okay. So what I will do is let me scale down this so that we know what we're talking about. Transform. I'm going to scale it down a bit. I'm sorry. That was position scale. Let me scale it down so that we see what we're doing on. Probably for the purposes of just focusing on this one. Let's solo it on. Console away. just by clicking on this, okay? We don't see anything else. Just this shape. This one is complex enough to focus on it. I need you to decide off course for the mosque. So what is the level of thickness that you want? But you can still work with this at any time. You I mean, you can change it anytime. But let's have a starting point. Something like this. No. I'm going to do something very familiar. Exactly the same thing we've done before. The mosque in now, the mosque. In using that rectangle on, we started copying and again and again against saying Think again. But this time it's gonna give us a different feel. A different look. No, this is my Mosca. I have this one selected and I create a mosque. Now, when I click on this initially with this one highlighted, I automatically get a mosque. It's not gonna be shaped, not created mask. This time it needs to be somewhat narrow. Something like this. Of course it gives me white inside because this is ad it needs to be sub strapped. And then we will do something that is familiar, which is basically just copy and paste in the mosque. OK, so duplicating it, duplicating it. I'm going to duplicate it and select selection Tool Dockery Condenser. Then rotator shift release birth come duplicate again. Both of them double click moves, Birth of them the same time shift and release it the same way it jumps. Sometimes it jumps. That's a bit annoying. Yeah, Release up the same time. Something like this. Okay, Right. And then I'm going to select 3456 arm click on Control de to duplicate them again. This part we already know, if not it before. And I'm gonna move it on. They're like this every thinking. Are you not repeating exactly what you've done before? Yes and no. On the no part is the fun part. This is gonna give us a different shape. Let's This is just that we haven't started. We've just given the input. We haven't even started the shape now. So the real change is gonna happen when we tweak the the expansion of the mosque. Now what I need you to do now because I have three till 10 are making these gaps. I come back to number two a number one mask expansion. This is what makes the shape. If I read used this further, I'm getting very deep. Okay, So what did do I get? I get very sharp and let's remember these is removed this. Okay, So what did you have? We used to have this. We were here. Okay, now we're bringing it here to the sharp edges. Bought. This does look good. This is too big, too ugly. What if we reduce this on make? It's just tiny little bit like this. Then it becomes a different story. Okay, Now, this is exactly what I would like to have. I didn't. And so this Onda move it to the rights to the left, to the rights, wherever you would like. No, this needs to be a little smaller. Something like this, um, trying it, you know? Well, I can do to make sure that I'm really okay in the center is just making sure I my scale it up. Then move it to position it properly. This is no Okay, if please. Yeah, this is okay. Now I can bring get re scale it back. He's going to be ok. There seems to be too much detail and it's all white and it's too shiny. Don't worry. We will fix this, not fix it. This that we're just We're on our way. We haven't finished building yet. That's why when you see it building the ceiling construction, it doesn't look good. It's only when it's finished. Let's duplicate this one. Aunt. Just move it to the left. Okay. So that his position I'm a bit left. Same story here. Going to scale it up. I would be too much. Well, that that works as well. Skated up. Just let me. Let's give it time. The answer. We're kind of okay, but the position, right? This looks like it's OK. Let's scale it down again. I'm just remember what the scale off the other one. Waas 45. Let's make sure we are consistence 45. Okay, now this is a choice in terms of Look how I finished. Yes, I think we have enough detail in terms off. 123 Now for two and three. I have enough detail before number one. Guess what. I want to have even more detail on this line. This looks too simple. Now this one is okay. This one is OK, that this is too simple of a shape. I need to add some details of that. How do we do that? Let's work on this separately. I want you to, um, activated title safe titled Action Safe Andi Zoom all the way, which is gonna use this lovely think in the middle because it's gonna help us and please work in the middle. It's will make your life much easier. Okay, I know we need to do everything on the left and on the right, but the ingredients will start with We start with them most often in the middle because rotations and a few other operations, especially for this one, it requires to be in the middle. Okay, so let's do that. I need you now to come to the Ben Tool, and we could create a shaped bow, but this time is just adopt place. Adult exactly in the middle. Okay, I just checked. There was a saving there was saving in the background, so I don't think it has created adults. All right, this is a dot because it's a the same time. And click on shift, please, to make sure you are exactly the same. line shift and then click here. What have I created? I have created a shape or Sorry, this is feel stroke under nothing here. Oh, okay. I need to change this one. I need to change something. Like to maybe yeah to. Okay, now, I have just changed the width off the shape. And if I zoom Barca and remove this, then you see that we have a tiny little line here. Okay? Now this line is going to do a lot of goodness. How do we work with this? Let's select. Let's use the selection tool. And we will come to the shape over here. We want to add Let's swim a little bit back and just isolate now for now for these complex , not complex things that require focused. Let's just isolate them. I want to on a repeater repeater his repeater by default it at two. Now I'm going to add something like 20 or more so I could just expand repeater on copies. Three. You know, by the 43 I'm just gonna win to something like 2025 ish, and they all go somewhere in the right. That's not what I wanted to go I wanted to go in a circular shape to match my circle that I had there. How do I do that? Now? What I need you to do is to come to transform repeater here and step number one. Make sure as we've agreed, we're going to work in the center of the screen position. Here. It says 100. We need to be in the center of the screens. That zero, Which brings all off the copies on the position. Zero Andi, Step number two. We're going to rotate them. So here this. Plus, we're going to rotate. Blow us. Okay. Number two just increases a bit. We'll see exactly how much we need, but we need to increase it from zero on. The next bit is going to be the anchor point. The Why? Off the anchor point. When I start adding the wife Uncle Point, it is going to expand. Okay, Now I can go back to fit screen, and then I can go back on unsold Low this meaning? I'm sorry. Just go unsold of this on. I'm able to see everything. Let's work on the position by going to the transform position. Now. This is this is completely different. This is transform off the shape. What we've worked on when we created the circular thing was a transformer off the repeater . Now just the shape just I needed to come here. Do not scale it yet. I don't need to scale it. I'm just going to live it up. But it's somewhere closer to the center. Not very precise, but cause we will do the precision a bit later. Okay, Not gonna have this come back to my contents. Repeater transformer. Peter, Andre, increase the anchor point. When I do that, I get I just I get more off, okay? I'm just check if it's OK. Let me take. It's a little bit off a game, something like this. Then I'll come back to my contents, transform repeater and anchor points because now have placed at the top of the circle. I'm just moving down on the circle. This is a bit too much, so I can see some of the edges. I will reduce this anchor points a little bit and bring it a bit down. Some precision work for a bit more detail. I'm regular is a big town. Okay? No, I can say that these lines of tiny lines are aligned with the circle. Do I want to have more of them? Because I just randomly pushed increased. The numbers are not random is put their 20. I could need more of. Just remember 20 works very well. I could go with 40. Then I find that actually, it turns and keeps. Add in. That's the things. Like, I don't know how many exactly I need, but 20 years 20 was okay, I'm just checked. 30 30 minutes. I have to to to to, and then it stops here. I think 20 was okay, 20 but I'm just showing you what's the effect? If you say 100 then you get this, which is here. You've got five. And here you've got four. So it's just matter off calculating home, and you need exactly for the positions that you have. All right, so 20 was okay, But I think I don't mind having this many like this because it looks pretty cool. It does look critical, and I think with this 80 because it is a multiple of the 20 everything okay, because 20 works very well. Mathematically, anything much applied by 20 is gonna be okay. So if you say 120 is gonna be OK as well, Because that's time. Six. I'm gonna get six of them. It's all what we'd like to get. I think 80 was okay. 4. After Effects CCTV: security camera look in after effects. How do we do that? I'm going for us to bring a footage and quickly creates a composition on. Then I want you not apply any effect whatsoever on your footage. I want you to recompose this and let's say we call its source footage and live it alone. I mean, the video footage. We do not apply anything on it. We're going to apply it somewhere else. But for now, let's go back to our main composition. I just called it main because it is the top level composition. I want to remember that. So I've got the main one. I've got the one where I have my source footage hidden. Good. Now that most important part here is actually know when what is exactly what we want? Do you want to replicate the exact security footage look that we have nowadays today? Like as off the moment you are watching this anything. I want to replicate the footage of the security camera. Now that is one objective. There's another objective that off the filmmaker who wants to convey to the audience that this is a footage from a security camera that's another objective. Why? Because security cameras nowadays are pretty good during color, and you can see much better than earlier ones. The only thing is that you can find some dates in some time, and I can remember what they color and they pretty good Now that is one thing that the filmmakers have decided not to use over time. Because there's a grammar in filmmaking. The message is conveyed. Audiences are done doing using images. And if I show you and I take the example off the police interrogation, it's important to talk about these things that we have clarity on the film. Grammar Police interrogation. If I tell you, imagine a sink, a new picture for me in your mind, a scene for police interrogation where there are two policemen and one suspect. What do you see exactly? It's a dark room. It's one table, two people, two policemen on one side, the suspects on the other. And then you have what you have. One lamp that is lighting only that table, and it could only see the front part off their bodies, and the rest off the room is kind of dark. Now this is sin grammar. The soil. You can go for another one if you want, but this is the fastest way to convey to the audience within a fraction of a second. What is going on. They can easily tell from the look from the way these two gentlemen are standing or talking that these are policemen, that the guys who is a suspect and that is an interrogation room there and at the police station that isn't within a fraction of a second briefing makers, we show we don't tell. So how do we convey? Let's go back to security camera now. If you're going to use a security camera that is color, that is enough. Good looking in terms, off quality of pixels. It's not really great, but and there isn't much of a difference in terms off your film. And that camera foot is the real one, like the latest and greatest ones that they're pretty good. Um, so what's your objective? Your objective is within a fraction of second to convey. Do the audience that this is a security camera footage, right, because you have very little time to tell your story, and you don't want to waste that valuable time in inappropriate film grammar. So this is why we're going to go with the, um look off the black and white grainy footage has got those stripes and lines, and this is how we want to convey. So let's go under that we start with an effect that is going to be applied at which level we have agreed that we're not going to touch at all our video footage. So what do we use? We're going to create a adjustment layer, and then we say, rename its You know what? Just keep it adjustment layer. In this case, just keep it to just be there, OK? Everything is gonna be here. Almost everything. What? Anyone. Okay, everything is to be here. Nothing on the footage. What do we start with? We're going to go to our FX presets, sir, and we will start bit by bit. Please take into account the fact that we're going to be using effects at a subtle level. Very simple detail, very tiny minor bits. So if you look at each one of them may be thinking that's not much of a difference. You add them all together and you end up with what you want. So let's start with a vignette. Andan vignette is not what you may think. I'm absolutely no going for the vignette. As you would know, from the artistic weight off, nothing really dark edges surrounding your image. I'm gonna do it. I'm going to put it on the adjustment there, and I'm going to go with something really, really supple winter and then so subtle that you yourself when you are actually working on making this, you shouldn't be able to notice much of a difference. Okay, that is it. That's it. We're trying to reduce the exposure off those edges. That all Okay, A tiny little bit. You barely noticed the difference. Okay, this is much of Obama's. Actually, I didn't mean it to be that much. Okay, 1 15 There is a There is a difference. Okay. This this This is kind of it. Okay? I don't want to Jet. Okay. This is what we're aiming for now. The next bid is now to add What? What's What does the security camera actually look like? Okay, lets go back. Lets go back. What is the security camera used for? To see what the objective is to try to see as much as you can, right? As much as you can. Means wide lands wide linesman's distortion. All right, so this is not what we need. The next step is going to be optics compensation, brink optics compensation on. We're going to go with something drastic just to explain the effect when I do like this with 50 Si woo, that's a distortion as just to show you what it does. Okay, Now I'm gonna make it again. Subtle. So let's go with 20 ish 20 ish, kind of. I just want a slight a distortion of the edges. Twenties kind of. Okay. 20 is what I need. But I've ended up with some edges. These need to be removed. So you want a suit? Of course we can do that. We can increase the size. Hold on a moment. Did you think we're going to go to the footage on go here and then transform and then scale ? No way. I will not touch my footage tonight. Anyway, everything happens of the adjustment layer. Let's come here. I will come to transform. It's exactly the same thing. I'm one too. This came so transform and I go. Where's scale? Skin is here. Okay, let's get up. Skate up by How much? 11 Not enough. 102 That's it. Tiny bent. What? Um, so we have not finished this close. This what we have got? Ah Minervini int A minor distortion and slight re scale in to cover for the edges off the distortion. Okay, Now the next bit is going to be actually a composite effect. That includes a lot off effects at once. Yeah, you could do them all one by one of yourself. Fine. That's that. That's a choice. You could use other similar effects as well. But there is one effect that's got a lot for in one. And that is gonna be night vision. My vision. You apply the night vision. When you release, you have 1234 effects applied at once. And the most important ones are noise and venetian blinds. But we do need the others also other ones as well. However, the color is for night vision. We don't want not vision. And this thing senior wants it to be just enormous. If I bring the color down to black, then I am almost there. OK, then I'm almost there. I have grainy footage, all the straps that I need that come from the Venetian blinds. You can tweak the city's if you want, but they have done it in such a way that it looks already good by default. Okay, Now you could tweak the settings here. The direction needs to say the same 90 degrees because 90 degrees makes horizontal lines. If you change them is gonna be like this. That's not good. So my CPC keep it, but 10%. You could take it to your liking. Right? But this one, I like the default. Let's close these four. That came as a gift in one, um, effect. And we moved to the next bit. Which is what information do we find on the security camera? We find date time on the camera number. That's what we need. Okay, there is effect here. Um, there is Texter on, then time called weight. I, um, gonna need another adjustment layer, and I would explain to you why let me create first created faster adjustment layer, and I would call it time. Good, because I want my time code to be on a separate adjustment layer. Everything that is image is on one adjustment layer and all the rest off the texture is somewhere else. Okay, so I keep this one is adjustment layer for image. You know what I could even rename into cities? You name it to say that, Mr Adjustment Layer for Image Good. And then this is time could actually working to under put quite a few layers for text because we need the time we need the date on. We need the camera and we need the background behind the time on behind the date. And they had to come out. So something about five or six layers yet to come. Well, let's apply on our timecode adjustment layer. Let's employ effects time. I'm sorry. Text on time code on before I click that Let me come here. And just to show you just for reference purposes, actually, I come here on a plant title action safe. Just saw a plane. It's actually visualizing this that you you you see the safe margins. Okay, I come to effect said Xing. This one effective text on time. Good. When I click on this and automatically get as properly aligned with my title safe area. I've got your time. Could. But what is this? This is a time could This is not a Glock. I mean, this is not the timing that you would find on a security camera. Why? Because this is for film cameras. This is for power. Minute. Second on. The worst part is the frame. Now you do not find a frame in a security camera. You could very well say Okay, now this is Ah, this is not suitable. I'm going to rebuild my own clock from scratch. You can do that with functions, with expressions, with expressions and using functions within expressions. You can absolutely do that. But I'm just thinking that's not really a very good use of your time. Let's use your time better because this time code really works. Well, I just need to remove that last annoying bit off the frame. Okay, The frame number. I just need to remove this. So let's do that. If I if I drag this, by the way, were able to see that actually, we are six seconds on a few frames. Six seconds and three frames. I don't want the frames bit, so let's come back here and remove the frames. First I stand on the timecode, select the time code on a come to actually just masking it. I'm just gonna mosque the last bit. I use the rectangle toe with this one selected and come here on. I liked it in colluding What was? Just zoom on this. Why don't you do it with precision? We're gonna get there at some point in time. What? We're away here ago. I do not want this parts. Let's say that this is a bit that I do not want Staff white This part of it Now when I release guess what happens. I see where All the moments I think I just I just wanted tweak this so that we are not not taking more than one meat. That's it. That's all I need out now. The thing is, when I did it now, all right have isolated this one or the idea is to remove it, not to isolate it. So I just need to substructure my mosque. What? I've just done what I would have just drawn. It is a mosque, the mosque add No, not add substructure. And that's when I subtract that I end up with this. Let me zoom again and this is what we get. What is this? This looks a little bit messy because I have only taken those the middle you could you could take here as well. Fine. I mean, it's up to you. It's whatever works for you, do you think is I will need to create a black background for everything here anyway. But if you feel like you want to do it, fine, I will come, however, now, immediately and creates a background. Now I will tweak the zeroes. There's no there are no zeros on a security camera. You find the real time and will change that. Let me first bring in the I am a background for this. Then I come to shape such a dis elected d select. Make sure you have the selected everything in the layers and come to a rectangle. Now I probably would like to get a bid Now that that should be fine. Then I will select exactly at the edges we see here with precision and make sure I cover almost. We're just a bit more than double, but in any way double down the length, but in any way, it should be at least thicker a stick. As I don't know. If not thinker. Okay, let me just do this. Now remove these on the selector. Even one of this title safe area on. We can see that we do not have any problem with the inches. And if we do have a problem, it's quite simple. One tiny, um, a few pixels in a few pixels they're down on. We are good to go. Now, let me bring this one. And it'll down here below the time called. Then I'm able to see the towns that time could. Now, I know I can read just just to make things. Uh, so that thinks making it. But it sounds pay attention not to leave any gaps between original, um, original. Just take this one up. Yes, almost there. I think we are almost there. Okay, good. We are there. We cannot see any edges. We are good to go. This is time. I'm gonna add the date, but let's first fix the time San code. What is this? I have time source, layer source. Well, if I move like this is just reading from the layer frame rate. Now I am at sick and three on some frame, but that's timeframe is hidden somewhere. Just hidden him. That's it. I want to show trooper time in. White citizens are three seconds on. This is looking at my timeline. I wanted to be two PM 4 p.m. in the afternoon. Whatever. Then I need to have here something like 14 or 16 and then long in terms of hours. This is these other hours, minutes and seconds to do that. And it would change the source. It cannot read from my timeline. I needed to be custom. And when I say custom, then I have custom here and I'm able to change this. Now. My footage is 25 frames per second. I'm going to do 25 transfer second, right, And I have here starting from now, starting from if you try to open it, you're gonna find minus 30 in on bluster T as being the general number of frames. This isn't what we want. We want to ignore this one. Don't get to intimidate about minus 30 in plaster your limits you can go. You need actually to go to millions. So let's try something like nine million. Just put nine million on some other number. Whatever. Just some random stuff. But it needs to be something like nine million. Okay, nine minutes taking me to non am nine million signature. My name is another nine, and that is three PM Cool. Okay. Now you can get the right time in here. This is dessert. This is the proper, the proper. Um um, Formatting, this is our minutes and seconds. And they do they have this behavior such as? Well, right. It behaves us. Such as well, So this is one more second see and a 2nd 2nd here because that's that's how I move in for it. Good. What I want to do now is at the second bid, you always find time with the date. So let's at a date to date is going to come as a text. This new indexed on this is going to be here my day. Now, I'm just gonna fit this. I'm able to see my text and write the date. It's going to be something like 77 and the 2000 and 19 that is 10 missing. There What? Okay on, um, it has been gets here. Oh, that was a bit too much. Okay, Sorry. Um, the idea is that when you write, this was the last time I have used text in after effects. It was 36 pixels the size of the text that when I come here to my time code, I find text size 36. This is the text size off the time code. So you need to match it. It needs to be the same. Please go with something normal. Usual basic basic in terms of funds. Because CCTV cameras, they convey that they can get good and better. But they will never have artistically stylized funds for date and time. They're just supposed to convey the date and time. That's very basic. Go with something like the aerial basic on phones. This is what I have in here. Let me get a bit closer. I just aligned them so that they do not look Teoh, select it on aligned this all right. What I will do is because I feel that this one is a bit brighter than this, right? There's on the time code. I will come and employ on exposure, explosion, color correction. Let's bring it a tiny year to get down. That is a bit too much. Minus 0.5. The idea is that minor details, but they should not take too much time. Says too much for the way. Okay, It is kind of the same kind of the same. So I don't want to have too much difference that you have the date and you have the time. Let's check in the probably that masked I have added. I can see something seen here, so I think that the mosque could need some adjustment. I think it does. Yeah. I'm just gonna move it a bit off. That's it. Just make sure nothing is visible. Good. That's my date. That's my time. You could get in closer if you want. I just prefer Teoh. Leave some space. But we know what was going closer. I've been a bit close. All right. Good. Now I'm going to quickly two week this shape. Did you set a bit? The's are the bits that take a little bit more time than than the others. But things are the final ones. Okay, this is other finals. Okay, I'm done. I'm done with this one. But there's camera one. Okay, so, Cameron, this camera eight, let's say camera it. I need to put camera it just so filling the screen. I'm gonna put it on the right here that it's going to look a little bit more aesthetically pleasing. I could put it here or here. The idea is just to have it somewhere else. Not on the same up. No, not at the same place. So what I do because I'm lazy, I'm going just to duplicate that text on Duplicate the same background. Let's let's give it a name. Rename black background for time. Okay, So, background for time. And I'm going to duplicate this control de on. We have duplicated dark the black background for time is gonna become now black background for coming. Come in. And this one that has become 2020 has now going to be moved somewhere else. Let's move it here. Down. Don't. Here, let me move off this camera by ground down here. Now it's simply changed this to something that SEZs camera eight, for example. I did not have come at once so that you give the impression of got plenty of cameras, Indus evidence. Good. And got my background for the comer that I need to just K's just clicking on this juice in it. Something like this. Okay. All right. So I think I'm there. I think it's good. Right? Okay. What do I have now? I've got footage. Is that? Looks the way I wanted to look, but I have some text that is a little bit different from the footage. I've got sharp text. I've got black that looks to clean. I'm not saying it should be as graining as the footage, but I just wanted to get a little bit immersed in the image. So let's stood up. What I would do is take all off the things. Now you see why I've kept this adjustment layer for image alone and everything that's related to text, including the black backgrounds behind it. I'm going to recompose. Call it whatever. Something like fixed on camera, take some background news, everything, and I will double click on this on because I'm lazy. I'm not gonna applies on each one of these layers. It needs to be an adjustment layer, right? That's called efficiency, Actually, not lazy port, I hear. So I'm going to rename this as blur on noise. What, you guessed it even apply. Blur on noise. Why? Because I just want them to look less good up to be immersed with the rest. So let's on this adjustment layer. Apply. They go Schindler. A tiny, tiny, tiny little bit. I'm starting one. Do I see a difference? No, it's out of it to do. I see a difference? No, really. Three. So I see a difference. Yeah, I think I'm starting to see some difference. Okay. No, I shouldn't see that much difference. Let's go back to okay. You stop at the point where it doesn't really look different. So this is due. And then I add noise, noise when I bring in my nose from the nose and grain applied here. And let's look at this, then that's quite noisy. But know enough, maybe 50. That's that's it. That's a lot. 20 around 15. 15 actually is. No, it's not. By eyeballing it like this is, the city looks in context. So I look in my main composition and see that actually, it's OK, but probably a tiny bit too much. Just quickly go back to my text on camera composition and reduce it to something like 22 2012. My main cameras here. Okay, good. This is good. What I will do now is simply run this play on. Just play it and it will load in the room. You know, aftereffects. Take some time to calculate all of these things, and it will odor in the room. Once it lives in the room, we will see what other tweaks need to be made. Let me press to complain now. Okay? It has loaded in the memory, and now we can see it's playing in real time. But hold on a moment. Is this what you would expect? Actually, from that? It's typical. Look off a security camera. There's something missing. What is missing? The playback speed. It needs to be brought down to that almost mechanical movement. Let's do that. Let's come here. I'm going to go back way back to my main composite. My main, um, composition And I will come to the project Main right. Clegg composited composition settings. My frame rate is 25 years. Could be 30. Whatever. That depends on your footage, but we are going to do something drastic now it's gonna be just too. We are bringing it way down to two frames per second. My press. OK? What just happened now? Is that my and who footage is now playing at two frames per second instead of 25. Let's see what it looks like. Let me first before starting before starting. Due to the change on there's national No change from the beginning, I didn't actually match this one did not match the dream. I just dreamed. Do you footage to Master Composition? Okay, let's play this and look at this. Okay, now it like this property and drum. Let's look at it one more time, okay? This has a much better look and feel off a CCTV camera. Okay, Good. Now we have achieved what we wanted for one footage. Do you remember the trick of the very beginning? When I said Let's not touch our footage. Let's open this. You remember this footage? We didn't touch it. That one is clean. It's got absolutely nothing. This is time now to bring in any footage we want. Er which has the same resolution in this case is sanity peak on its. So you are shooting at a certain frame rate off a certain resolution you are bringing in similar videos. I'm bringing this stuff in and I'm bringing in seven of them, right? So all seven and I'm gonna drag alof them beneath it. I didn't do anything in terms of ethics on these ones. For simple reason that it just beneath the source. One. If I come here now, some of them are longer than others. I need to come to a place where I can see that all of them have something and I D's able the 1st 1 we've been working on. I can see this if I can see this and I come back to the main because this is where we're going to see our stuff and I play it. What is gonna happen? Apologies. There's some sound here. I need to turn it off. You get exactly the same result for a footage we have not worked on For a simple reason that we did not need to work on our footage. We just couldn't bring any food. Did you know any footage whatsoever? Let's look at this. This one, this one. Well, this one. Well, this one. If you have a scene that has I just could this Okay, then bring it back. Let's go back to the 1st 1 If you have a scene that is shot in several places on, you want to apply the same thing. You're going to the same work again and again all over again. You are going to do the work ones and apply it to all of them at once. Just one won't think that is optional. Actually, if you want to have transparency in the black background here being behind the text, if you want to have it somewhat transparent that we show what's beneath there, you need to do that by come into the background. And, of course, making it transparent here capacity on given something like 50%. Okay, but be careful, because if you do like this, you're gonna end up with a little gap here. Remember, we brought our own background. So what you need to do is quite simply, just get rid off that box that came initially with this effect. How do we do that? Let's go back to our effect. And here we have. Right. So it's a blood and time coat, right supplies and take. That is called timecode. That's that's what we have brought in. But we've brought it with a box, and it say's that just increases a bit show box that you can just simply remove this box. Okay, just take like this. You remove the books. You actually are now using your own black background camera and black by ground for, um, for the time. See, So both of them are not transparent. And he just got rid off that box. That king initially. When? The time good. Right? It's a bit annoying to have it in there, especially that we have got those friends that we don't need. Right, so this is 40 transparency.