After Effects: Futuristic Graphics (Part 5) | Duncan Rogoff | Skillshare

After Effects: Futuristic Graphics (Part 5)

Duncan Rogoff, Video Editing & Motion Graphics

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
8 Lessons (15m)
    • 1. HUD INTRO PART 5

      1:41
    • 2. PART 5 OVERVIEW

      0:21
    • 3. GREEN SCREEN KEY

      3:10
    • 4. MOTION TRACKING

      2:08
    • 5. SETTING UP THE MAIN COMP

      1:04
    • 6. COMPOSITING THE RECTANGULAR GRAPHIC

      2:23
    • 7. COMPOSITING THE CIRCULAR GRAPHIC

      3:36
    • 8. OUTRO

      0:53

About This Class

In this awesome, 5 PART COURSE we'll cover a wide variety of techniques for creating and animating some really cool graphics inside of After Effects. 

You'll learn how to create and design your graphics using only After Effects' built-in tools, how to animate your graphics using basic keyframes and simple expressions, and lastly how to get a solid green screen color key, motion track live-action footage, and composite your animated graphics over top for a final look.

In PART 5, you will learn how to get a good green screen key, motion track your footage, and composite our animated graphics onto live-action footagel

==============================================================================

Other Courses in this series:

Futuristic Graphics (Part 1): Building the Rectangular Graphic

a503d05e

Futuristic Graphics (Part 2): Building the Circular Graphic

14b70629

Futuristic Graphics (Part 3): Animating the Rectangular Graphic

7708a174

Futuristic Graphics (Part4): Animating the Circular Graphic

6305bfb1

Transcripts

1. HUD INTRO PART 5: Hey, everybody, Dunkin Rogoff Fear with a really great aftereffect Siris for you. In this five part course, I'm gonna teach you everything you need to know. To make futuristic screens and heads up, display graphics entirely inside of after effects. Without any plug ins, you learn how to design layout and simply animate two different styles of graphic. And then how to get a clean green screen key in motion. Track your footage in order to composite your elements. The live action footage for finished piece This series is great for all skill levels and whether or not you have a need to make this particular style of graphic, the tools and techniques you'll learn are applicable for a wide array of projects. In part, one of this series will teach you how to design a graphic based on rectangular elements using after effects built in tools and layout features in Part two. Well, design and create a second graphic comprised of circular elements and taken in depth look at stroke facts. Part three will animate a rectangular graphic in its entirety, learning how to create a polished animation, all using simple key frames and some easy expressions. Part four will cover. Animating are circular graphic manipulating our layers and three D space and working with the camera to create depth in Part five. We'll put it all together. We'll show you how to get a clean green screen color key and then teach you some tricks in order to get a solid motion track of your live action footage. Well, then composite everything together to create our final piece. I'm really excited about this course, and I hope you are, too. In Part five, we'll talk about green screen motion trip, even positive. So let's hop on into after effects. Start creating our first element, see in class we owe. 2. PART 5 OVERVIEW: Okay, so here we are, inside of after effects for the very last part of our heads up display tutorial. In this last part, I'm gonna show you how to take your footage and get a good green screen color key. And then one motion track our footage and finally composite both for graphics on top of our moving footage. So let's go ahead and get started. 3. GREEN SCREEN KEY: ah, half year a live action footage with the green screen background, not created screen screen background myself. So it's a little rough, but this should give you the general idea of how to get a good green screen key. So the first thing I'm gonna do is I'm gonna take our footage. I would drag it onto a new composition to create a new composition. We scrub through footage we can see here, have everything on top of a green screen. Now it's great about aftereffects is that getting green screen key is actually really simple, especially if you have good lighting. So the first thing we're gonna do is we're going to select our footage, and we're just gonna go up to effect King Que que I I found to be the easiest way to get a good green screen key. There couple different settings to adjust, but the main one is this screen color here. Now we can quick and select their color from our color palette, or we can take the eyedropper and color pick are green screen. Now, if we turn our transparency, you can actually see that we've removed most of our green screen But since our green screen had a little bit of noise, which will be the case most often that you don't actually have a green screen that's entirely one color green. We're gonna need to get rid of this noise by fine tuning. A couple of our Senate's usually like to add a screen pre blur of to gives things just a little softer edge that makes it a little easier. And now, who switched the view here from final result To screen Matt, we can see which parts have been keyed out and which parts haven't. So now we have to do is if we come into the screen, Matt Settings and take our Blacks. We want to quip are black so that all the parts that are white have become black because the white are the areas that will show through. And the black are the areas that are gonna be keyed out. And you just want to adjust the settings you have all black, where your green screen is an all white where your footages and so now that we've done that , we can flip back to a final result. You can see here now that we've gotten rid of all that extra noise and all we're left with . It's simply our footage, so that's really easy to work with. So now what I recommend doing is rendering this out as a separate movie file so that after effects doesn't have to calculate the green screen key as well as the effects were gonna lay on top of it. So what I have here is that actually have the original footage that I worked with, which just has her main actor over black. So I'm just gonna go ahead and work with this and I'll provide both these footage sources for you. Well, just label this 1st 1 green screen key. Well, the second composition footage created a second composition from a movie just by dragging this again onto our composition window. That way, by doing it that way, you get a composition that matches the exact dimensions of your foot It So just coming here to our footage, actually, what I want to do is only entitled this one H U D graphics, and this is gonna be our main composition. It's all coming here on a press command K to get into our composition settings and I'm gonna make this full 10. 80 p 1920 wide by 10. 80 toss. I'm gonna press, OK? 4. MOTION TRACKING: So first thing we want to do to get a good track because you want to take our footage and we want to drag it to create a new composition. This will create a composition that's the same frame, size and duration as our original footage. We'll just call this footage may. So the next thing we need to do is we need to narrow our field of view a little bit. So select a region of interest tool here. We're just gonna draw a box around our main actors head. Now it doesn't have to be perfect, but the closer you can get to the original, the better. So just scrub through here to make sure we don't lose this. Had it all when he's turning to the sides will just give him a little more breathing room. Now come up to composition crop comp to region of interest. Before we can actually motion tracker footage, we had to pre compose this into its own layer, so we compress shift command, see on the keyboard or come upto layer pre composed, and we'll just call this tracker, move all attributes into the new composition. Well, press. OK, so now we can just come over to our tracker window here. If you don't see this, come up the window and select tracker. I was gonna quick track camera. Know what this is doing is we're actually tricking aftereffects to thinking that our actors head is the camera, and so it's gonna track the motion of his head instead of a camera that's in the scene. So I'm gonna take a couple seconds to analyze, and that's gonna create a full three d salt for our camera. So just let that run for a second, and now you can see here we've got a bunch of points that have been tracked on our scene. This is looking great. So what we can do? We can quick a point that appears for most of our scene. Like this Green acts. We can write quick on it, and I can select create no on camera. So what this is going to do, it is gonna create and no using the data for that track point and it's gonna create a camera for our scene 5. SETTING UP THE MAIN COMP: The other thing I want to do is I want to create one more pre Kump. That's the size of our original footage. So again I'll take our original footage. I'll drag that onto a new composition window. Well, just title this A to D pre cop. We'll take our H u D pre comp and drag it into our H u D graphics section, and I can come up toe layer Transform and Aiken do fit to comp with. Now it's gonna scare are seen up so that it fits our full 1910 e by 10 80 window. And so I can come into our track composition here selector null and our camera will copy. Those will come over to our pre comp and I'll paste those into our scene. So now we have a no that's tracked on top of our main footage that's being referenced by our main graphics composition. So we can do now is we can begin to bring in the elements from our earlier projects. 6. COMPOSITING THE RECTANGULAR GRAPHIC: now. Like I said, I recommend trying to stay organized, so now may be a good time to do that. Make it composition called Render Com's. If there are HD graphics in there, we'll make another composition called pre camps. Throw everything else in our pre comes folded and one more, well, title assets there are footed in. We can even make one last folder. Call it Import. This is for all our imported projects to compress command I on the keyboard to come up to our import screen. Hop in our projects here and I can import are composition with erecting You're graphic that we made. It's looking great hot back into our a t d pre comp, bringing our rectangular graphic throw that on the scene. I want to make this a three d layer, but checking the three d box here and now I can scale it down. So if it's our scene and I want to move it back in Z space so it's closer to our actors fix , we compress are on the keyboard to give us a little more rotation. If we'd like, rotate on our Y access or not the last thing we can do is we take this pick whip. We packed it to our track. No. So now, as we scrub through in time, you can see that are graphic actually moves along with our No, You want to get this to a point where it lines up. So really, it's all about position are elements so we can just take this? We can scooted over here. We can rotate it a little differently on the why access and of the press p on the keyboard to bring a position the further away from the no, we are the more emotion we're going to get out of our graphics. So you can see as we scrub along our graphic moves along with attracted It's looking really good. Now all we have to do is bring in our circular graphic 7. COMPOSITING THE CIRCULAR GRAPHIC: so do the same process. Press command on the keyboard to bring up the import data coming here. And this is where it becomes really nice that everything's all organized. There's double check to make sure that this circular graphic is a composition we want and it looks like it is. We'll come back into our pre come and would drop in are circular graphic again. We'll make it a three d layer. We'll scale it down. About 25 was good for the last one. I will just take this and now a position it off to the red and maybe we'll shrink that down even more to about 20. And again. What is pick with this to our track? No. And now it becomes beginning here. You can see that as our layers build on. We're actually seeing the outline of that composition. The way to get rid of that. It's come down here and just check this continually Rasta rise box. Now we get a comp. That's Link directed to our scene, is actually using the three D camera in our current set up. You can see that as we move, you can actually see the difference on the spacing between our three D layers from, Ah, rectangular composition. And again we could just position this in space a little better. If we move it over to the right and grab the zero and just push it back and see space a little bit, we won't get quite a much motion out of it. And so if we scrub along, you can see it is. Graphic is a little further out than our 1st 1 but is attached to a motion track, and here we get a little overlap. It's actually fine with me, but if you want again, just feel free to position your graphics. However you want. You push it back a little further NZ space, slide it out over the right side and maybe even give that a little rotation on our Why access? No, I actually don't like with that continua restaurants button to do our graphic, and that's because it started using the camera on this current scene instead of the original camera we had set up in our animation. So we're just gonna cheat a little bit to get rid of those borders when our graphic animates up and this is actually looking a lot better, and we'll maintain our original depth of field, which I really like. So we're just gonna cheat a little. Going to select a composition were to come up to the mask tool. We select the lips. We're just gonna double quick on that to create a mask. Let's go back in time a little when things are building on press F on the keyboard. Well, just feather mask out. Maybe 300 pixels. Well, 12 down this era, we'll take our massive expansion. I want to start bringing that in. So now we don't have such a hard border. And you can see that as we scrub through, everything builds on really nicely. We don't see that harsh outline. We have both our original animations in place. 8. OUTRO: And there you have it. That's it. Congratulations on finishing this court. We did a lot of work, so you should be really proud of yourselves. First we laid out both of our graphics entirely and aftereffects. And then we animated our rectangle a graphic and are circular graphic individually using some basic key framing techniques as well. Some simple expressions. Lastly, I showed you how to get a really great green screen color key and had a motion track moving footage. We then took our graphic elements that we have created earlier and deposited them on top of our live action footage. And hopefully, if you followed along, things should be looking really good. Please feel free to reach out if you have any questions and please let me know if there's anything else you be interested in learning about. Thanks so much for joining me. I'll see you next time. We how we out