After Effects for Graphic Design | Chris Converse | Skillshare

After Effects for Graphic Design

Chris Converse, Designer & Developer

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28 Lessons (2h 33m)
    • 1. Using After Effects for design projects

      1:41
    • 2. About the exercise files

      0:47
    • 3. A brief intro to After Effects

      1:46
    • 4. Getting comfortable with the After Effects interface

      6:06
    • 5. Importing Photoshop files

      4:45
    • 6. Exporting Photoshop, JPG and PNG files

      5:10
    • 7. Creating an editorial graphic

      8:41
    • 8. Add a dramatic lighting effect

      7:25
    • 9. Adding a Page Curl

      6:57
    • 10. Creating a burst of light

      7:36
    • 11. Color keying for transparent imagery

      7:09
    • 12. Color keying for advanced transparency – part 1

      5:46
    • 13. Color keying for advanced transparency – part 2

      5:24
    • 14. Creating a kaleidoscope pattern

      4:32
    • 15. Generating a unique texture

      5:54
    • 16. Create line art from a photo

      4:12
    • 17. Shapes with radio waves

      6:45
    • 18. Interlocking zig zag pattern

      7:53
    • 19. Enhancing an illustration with lightning

      6:40
    • 20. Enhancing an illustration with rain

      5:40
    • 21. Creating a water surface — part 1

      4:44
    • 22. Creating a water surface — part 2

      6:57
    • 23. Creating a water surface — part 3

      3:34
    • 24. Making realistic melted chocolate - part 1

      5:48
    • 25. Making realistic melted chocolate - part 2

      5:19
    • 26. Creating bubbles for champagne — part 1

      7:00
    • 27. Creating bubbles for champagne — part 2

      8:43
    • 28. Where to go from here

      0:28

About This Class

As a designer, you’re constantly challenged to create new and compelling imagery for your projects. That sometimes requires new tools. After Effects is known for animation, but it's also a powerful program for graphic designers. Its panels and basic features are similar to Photoshop, Illustrator, and InDesign, which makes After Effects easier for designers to learn. This course offers a unique workflow, combining Photoshop with After Effects to create stunning, unique, and professional-quality assets for print, web, and photography. Instructor Chris Converse—founding partner of Codify Design Studio—shows how to create special effects, add dramatic lighting to photos, color key images, build textures and patterns, and generate artwork from almost nothing, producing effects like water, bubbles, lightning, and rain. The course is for any designer—even if you’ve never used After Effects before. Chris demos each example step by step, and shows how the results can be used in real-world design projects. 

Topics include:

  • Adding dramatic lighting
  • Color keying photos
  • Animating a page curl
  • Creating patterns and textures
  • Generating artwork from blank layers
  • Adding rain and lightning to illustrations
  • Creating water and bubbles

Transcripts

1. Using After Effects for design projects: Hi, I'm Chris Converse, and I'd like to welcome you to using after effects for graphic design. Now this course is very different from most other aftereffects courses and that we're going to be focusing on using after effects for print design and photography and Web graphics and illustration any type of project you can imagine, because at its core, aftereffects is a design tool, and it works just like other tools you may already be familiar with from Adobe, most notably illustrator Photoshopped and in Design. And in fact, aside from a few naming differences, aftereffects has the same basic panels as the other applications. And the best part is, if you're familiar with photo shop, you already know the basics in this course will use some special effects inside of after effects to create editorial graphics will add dramatic lighting, toe a photograph, and we'll learn to key out colors of a photograph for use in print and Web layouts. We'll also be diving into generating textures and patterns from any image in order to create unique backgrounds, repeating patterns or custom brand imagery. And finally, we'll take a look at generating artwork from nothing but a blank layer, allowing us to create liquids like water or melted chocolate. Produced bubbles for champagne, using particle systems and even generating lightning and rain to enhance a graphic novel illustration. And don't worry if you've never used after effects before the introduction chapter walked you through the basic panels, makes comparisons between aftereffects and photo shop and shows you how to set up a workspace. Plus will be demonstrating each example step by step throughout the course, and during each lesson, I'll show you a practical example of how each effect can be used in a design project. I have a lot of techniques to show you, so I hope you'll join me in using after effects for graphic design. 2. About the exercise files: the exercise files for this course include a series of assets that you can use to follow along with me during the course. I would also encourage you to you some of your own artwork as well. When you unzip the assets, there will be a few main folders Chapter one, Chapter two and so on that correspond to the chapters in the course. Each folder within the chapter folders will contain either artwork in J Peg Photoshopped or Illustrator format or a series of linked files and in after effects file that you can start from now. If you're familiar with after effects, you can skip ahead to the next chapter. However, if you've never used after effects before, the next few videos will give you a brief overview of after effects will explore the interface. How to set up a workspace, special import options for Photoshopped files and had an export artwork back to photo shop . Or it's a J peg or in a bit transparent ping file 3. A brief intro to After Effects: aftereffects works in much the same way as illustrator Photoshopped and in design. In fact, the main panels in after effects function the same way as panels in the other abs. The only real difference is what they're named the timeline panel and after effects works like the Layers panel in the other APS. The composition panel is similar to the art board and illustrator, the canvas and photo shop or a page. And in design, the project panel shows linked files just like a linked smart object in photo shop or the links panel in both illustrator and in design. And finally, a pre cup or pre composed composition and after effects works like a smart object in photo shop or a symbol. An illustrator allowing you to have multiple instances of the same artwork throughout your layup. And as I mentioned earlier, Aftereffects works just like Photoshopped. In photo shop. We can apply effects toe layers, then specify the properties. Aftereffects uses the same workflow toe, apply effects toe layers in the timeline panel. Now, when you first look at the after effects interface, it can be a little intimidating, but for this course, were only going to be using a few panels. The timeline panel, which is where we'll find our layers. The composition panel. Where will create our layouts? The project panel, which shows us are linked files as well as compositions and any artwork we've created. And the pre comes or additional compositions can be opened and closed in the timeline panel or open from the project panel now two panels that you won't see in the other design applications are the effects and presets, and the effect controls the effects and presets. Panel works like the filter menu in photo shop, where you browse and apply effects to your layers. And the Effect control panel works like the layer styles, dialogue box and photo shop, where you set the properties for the effects that you have applied to a layer. So now, instead of continuing to talk about aftereffects, let's open it up and get started by setting up a workspace 4. Getting comfortable with the After Effects interface: now for this course, I'll be using the creative cloud 2018 version of after effects. However, most of this course will work all the way back to creative suite versions of after effects . So once you've launched after effects, this is the screen you'll see or something similar to this. This is the default workspace in the creative cloud version. So over on the left hand side, we have our project panel down in the bottom. We have the timeline panel. We could see the time indicators. Here in the center, we have the composition panel and on the right, we have a few additional panels. And in this particular default setting, we can see the effect in presets. So the first thing we're gonna do is get rid of some of these extra panels. And so what I'm going to do is start by going up to the window menu, come down to workspaces, and let's come down and choose small screen. This will get rid of a lot of the extra panels Now, over on the right hand side for libraries. I'll come in here and just click on the little menu. I come here and choose clothes panel. And I'm gonna do that for preview and info. And if you have additional panel showing, you can close all of them, we want to leave up the project panel composition, timeline and the effects and presets. Now, let's come up to the window menu and let's come down and let's open up the effect controls . So down here will go to effect controls. We'll turn this on and this particular workspace, this will show up next to the project panel. So what I'm gonna do is click and hold on the effect panel. I'm going to drag it across, and I'm going to drag it to the top quadrant here of the effective presets. This way I can put the two panels together and someone sees a group together going to just increase the width of this a little bit, maybe to about here and then I'm gonna come over to my project panel and decrease the with here. I'm trying to get a little bit more room for my composition area and then finally to come down here and I will decrease the height of the timeline panel. So now, with all of my panels, where I want them. Let's come up to the window menu. Let's come down the workspace. Let's come down and choose Save as new workspace and we'll name this graphic design. They don't click. OK, and now we'll have a graphic design link up here next to my toolbar. So if I go back to default, all of the panels will go back to what we had before or go back to graphic design and we'll see the new panel structure. So now, with our workspace set up, let's import some artwork and take a look at how files show up in the project panel. So it's going to the file menu. Let's come down and choose import. I'll choose file. And so if you're following along here, you can use any J pic file you have on your system. I'm going to use the champagne glasses dot jpeg file, which will be using later in the course. So with this selected, I'll come down and choose open. So if that's gonna do, is bring the J peg pile into the project panel, opens up a little bit, we can see the pixel count here and we can see the file showing up here now. In order to use this, we need to create a composition in order to put the J peg into very much like having to create a page and in design, or a canvas and photo shop before we can actually put some artwork on it. So to do that, we can come up to the composition menu, come down and choose new composition. Or you can also click on the new composition button showing up in the composition panel. Either way, if we click on this will get this dialog box here for the composition settings here, we can give this a name. You want to make sure that the pixel aspect ratio is set to square pixels for the background color. If you don't like black, you can click on the swatch and change it. Click OK, and then over here, where the height and width are showing is where you can set up the size of your composition . Now, if you're going to be printing your artwork, make sure to add enough pixels to support the print size, and there are lots of resolution trucks that you can find online for the quick Web search. So for the composition settings here, based on the J pic file that I've chosen, I'm gonna come in here and set the width to match the width of the J peg, which is 2500 pixels. And then the height is gonna be 1766 pixels. So with these in place, I could come down and click, OK, And now, once I do this, you'll see the composition showing up in the project panel. If I double click this, we can see the contents of the composition in the composition panel. Now we don't have any artwork placed in the composition. So let's go back to the project panel. Let's grab the champagne glasses that J peg or whatever J peg you've imported and let's drag and drop it and it will snap into place in the composition. Once we do that, we'll also see that J pic file now showing up in the timeline panel as a new layer. So now we have the peg in the timeline of the J peg in the composition panel, and we can see the JPEG and our comp in the project panel. So now that we've seen the long way of how to import artwork and create a composition. Let's take a look at some shortcuts. So in my project panel, I'm gonna come in here and just delete my composition. I'll choose Delete. This will bring him back to the point where I had imported that JPEG file but don't have any compositions created. Then we can come over here and simply grab the JPEG file in the project panel and just drag and drop it over into the composition panel. What this will do is automatically create a composition sized to match the file that we dragged over from the project panel. You'll also see the J pic file showing up in the timeline panel as a layer. And if you want to check the competition settings, we come up to the composition menu and come down and choose composition settings, and then we'll see all of the properties that were set by simply dragging that file into the composition panel. So let me cancel out of here and let's take a look at an even faster shortcut. So I come in here and delete that JPEG file and the composition from my project panel. This is basically starting off with a new blank project, and we're gonna come over here and click on new composition from footage. Clicking on this will bring up a dialog box. I'll go to my desktop where I have my J pic file. I'll select the J Peg, then come down and choose open. And now, because I used the new composition from footage, we'll get the JPEG file imported into the project panel. We'll get our composition created, and that J pic file will be placed into the composition, which we can see in the timeline panel. So now that we've taken a look at setting up our workspace, importing artwork and setting up compositions next, we'll take a look at some extra import options that are available when we import a Photoshopped file. 5. Importing Photoshop files: aftereffects can import a wide range of file types, including many graphic formats, some three D formats and, of course, a wide range of video formats. When importing Photoshopped files, however, aftereffects gives us two main options. So I wanted to discuss those with you for a few minutes, and you don't need to follow along if you don't want to. But if you do, you can use any layered Photoshopped file. And so I'm going to start by opening a photo shop file in photo shops. You can see all of the letters that were working with. Now in this photo shop, I'll I have a series of smart objects have a smart object for the logo for the tree and for the background. I also have a shape, layer alive type player, a simple pixel based layer and some adjustment layers. So all these layers together create a full composition inside of Photoshop. So now let's go back to after effects. Let's come up to the file menu. Let's choose import file, and I'm gonna choose that same photo shop. I'll with that selected will come down and choose open and then after effects is going to present me with this dialog box here, which gives me the choice of importing nous as footage or composition. There's also a composition retained layer sizes so the compositions won't be cropped. But let's first come in and choose footage with footage selected. We can choose merged layers or we can choose a specific layer. What's happening here is aftereffects is going to treat all of the layers in that Photoshopped file as if it were a single piece of artwork. Now we still have a link to the Polish shop files. We can make changes which will take a look at, but basically we're going to treat all of those layers as a single piece of art. Or we can choose a specific layer out of that voters up file. So let's leave this as merged layers. Then we'll choose. OK, now that voters up, I was gonna show up in my project panel to create a new composition, I can simply drag and drop this into the composition area to zoom up the composition. I'll come down here and select this drop down menu will bring us up to 50% and we can see now all of the layers from our photos up. I'll are showing up as a single piece of artwork, and we have a single layer down here in the timeline panel. Now the great thing about this is I can still go back to photo shop and make a change, and the artwork will update in after effects, even though it's being treated as a single piece of artwork. So to demonstrate this, I'll come in here to my photos up pile. I'm going to add an invert filter on the tree and let's turn off the layers that create the tagline. So with this in place, let's turn the adjustment layers back on. Let's hit save. We'll go back to after effects and we'll see that the artwork has now been modified inside of after effects, so that link is live between aftereffects and Photoshopped. So now let's take a look at the second import option. So inside of after effects, I'm gonna come in here and just the leak, the composition and the length of the post op file. Let's go back to photo shop. I'll come in here and reset the file back to the original states. Well, let's save then we'll go back to after effects. Let's choose file import, Choose file. We'll select the same book profile again, choose open, and this time we're gonna commit and choose composition. So now what's gonna happen is aftereffects is going to honor all of the layers in the photos up pile, and it's gonna create a composition and place every layer as a piece of artwork in that new aftereffects composition. Now, when it does this conversion, we have a choice of whether we would like to keep the layer styles edible, which means things like drop shadows that are supported in after effects will be converted from the photo shop file to the aftereffects format. Or we can choose to merge layer styles into the footage, which means any sort of special effects we've done in photo shop will be merged into a layer in the final aftereffects file. I tend to like to choose this because, just like before, this will create a live link back to the original Photoshopped file so we can always go back and change layers and have the artwork modified. So with merge layer styles selected, I'll come down here and choose OK and Now we're gonna see something a little different. We'll see a composition that's been created, named after the name of the photo shop I'll. Then we'll see a folder, and inside the folder are all of the individual layers showing up. If we double click the composition, this will open the composition in the main composition panel, and we'll also see all of the layers in the timeline panel. So this gives us an amazing opportunity to take a full composition inside of photo shop and convert it into a full composition inside of after effects, giving you the ability to utilize any portion of that photo stockpile. And so now that we have explored a couple of options for importing Photoshopped files next we're gonna take a look at how we can export compositions from after effects to either Photoshopped J Peg or transparent Ping files for use in your graphics projects. 6. Exporting Photoshop, JPG and PNG files: the key way we can use after effects for non video related projects is to export a composition directly to the Photoshopped format, complete with layers and full transparency. Support Photo Shop is one of the most widely used graphic applications, and its native PSD format is compatible with a wide range of other applications from other creative cloud applications by adobe toe all kinds of other applications available for both desktop computers and mobile devices. And in addition to PST files, aftereffects can render directly to J peg and full a bit transparent pink files as well. Now, these aren't the only formats that aftereffects can export to, but these are the ones that you'll most likely using your design projects. So let's take a quick look at how we can export a composition for each of these file types . So now back in after effects, I have a sample composition opened. You don't need to follow along with me here, and this is one of the examples that will be covering later in the course. So what I want to do here is make sure that I have the composition panel selected so we can see the blue outline. I'm going to select the artwork on the stage down here. You'll see in the timeline panel. I've selected this coffee being start J Peg and over here and the effect controls. I'm gonna come in here and activate the key, like plug in. What this is actually doing is cutting out all the green background, so we'll get a nice, transparent layer inside a photo shop. So with the composition layers selected, let's come down and make sure that the composition panel is set to full resolution. And this is important because if this is set to any other setting, like half or 1/3 that's the resolution of the final Photoshopped file that will get. So make sure this is set a full come up to the composition menu. Come down to save frame as and then we'll choose. Publish up players from the Save Dialogue Box. I'll choose the desktop and then hit Save. Then, if I reveal my desk up, I'll see the coffee beans PSD, which I got directly from after effects. Let's double click this toe open in photo shop, and then once this is open and Photoshopped, you'll see that I have a single layer, and I can see the checkerboard in the background, letting me know that the files transparent. So just to test this, I'll come in here and make a new layer command shipped and or control shift end in windows . Well, press return well, just credit color here, maybe a medium brown. Fill that color. Put the layer behind the background, and we can see that colors now showing up all around the coffee beans. So again, I got this beautifully transparent photo shop. I'll directly from an effect applied to a J pic file inside of after effects. Now to take a look at exporting this out as a ping file instead of photo shop, let's go back to after effects. I still have my composition panel selected. I'm still in full screen resolution. Let's come up to the composition menu. Let's come down to say frame as and this time will choose file. Now this is going to open another panel inside of after effects called the Render Queue. Now this panel will typically open next to your other compositions down in the timeline panel. So under render queue, let's come down here to the render settings, and we can see the coffee beans item is now in the queue. Let's change current settings to best settings for the output module. Let's come in here and change this from a butcher shop pile down to custom. Then, in this dialog box here, the output module settings Let's come down and choose ping sequence. Let's choose OK and from this output frame dollars box, let's choose the desktop and then I'll simply click, save and finally, let's come over here and click on Render. And now if I reveal my desktop, I can see the new pink file showing up. And if I double click this toe open in photo shop, I'll get something similar to what I had before, where we can see the checkered background indicating that this is a transparent file and I can use this transparent pink file in any application that supports pings. So I'll close this. Go back to after effects and let's take a look at rendering out a single J pic file. So to do that, I'm gonna come down here to the timeline panel. I'm going to open up my steel global composition, so this is a composition that has multiple layers from a post op pile. So let's come up here. Make sure the composition layer is selected. Let's go to composition to, say frame as choose file Now in the Render queue, all of my jobs will continue to display so I can select the first item and simply hit delete. Next. Let's come down here and choose best settings for render settings for the upper module. Let's choose custom. Let's change this to a J pic sequence. Let's choose OK for the output. I'll click the file name. We'll choose the desktop. Let's save and they will choose render. And just like before if I revealed the desktop will now see my new J pic file showing up on the desktop now for the majority of my projects, I used to Photoshopped format. It's faster, and the format is widely supported. But if you do need to create a J peg or paying or any of the other multiple file formats that aftereffects can generate, you can use the render queue. So if you've been watching these introductory videos, then you're ready to dive in and start making some graphics for design projects. So to continue, let's go to the next chapter and get started 7. Creating an editorial graphic: Now for this first graphic, we're going to create an editorial graphic, and we're always being asked that our company to create unique imagery for articles and block posts and advertisements. And a lot of times we try to tell a story with the image and in this example will use to shatter effect for a sports block post. So inside of aftereffects to begin, let's start with a new blank project. So from after effects, you go file New shoes. New project. You'll see untitled project up here in the title bar. Now let's go to the exercise files and inside of the Chapter one folder inside of the folder. 01 editorial graphic. Let's come in here and grab the basketball ping and the sports record. Jay Pek file and let's click and drag and drop those right into the project panel inside of after effects. And so now, with our artwork imported and showing in the project panel, let's come up to the composition menu. Let's come down and choose new composition, and in here we can set the pixel dimensions of our composition, so this is going to be for a website for a block post we're gonna use a 16 9 aspect ratio. So for the with, we're gonna come in here and set this to 12. 80. I'm going to unlock the aspect ratio and let's come down to the height and set this to 720 pixels. You can leave the frame right at whatever it said to for the pixel aspect ratio. Let's make sure we're using square pixels and then we'll come down and click, OK? And now we can see our black rectangle, which is the background of the composition in the composition panel. So I come in here and just change my zoom level up to fit. They don't come over here to the project panel. Let's start by grabbing the school record Dodge a pig file. Let's drag and drop this and drop it right inside of the composition area. So this J pegs a lot bigger than the composition. I'm gonna come over here and just move this into place about right here. Now I want to scale this down a little bit. What I could do is zoom out in the composition window and grabbed the corners and scale it just like you would in another design tool or what we can do in after effects is we can toggle open this little triangle here next to the layer toggle open transform. If I scroll down, I confined the scale property and I can click in drag and scale this down this way as well . So I bring this down to about 93% and just move it over to the corner, scroll up here and just toggle these closed Next has come over to the effects and presets panel, and we're gonna come in here and look for the effect called Shatter. So I start typing the word shatter. This will show up here under the simulation group and to apply the effect, we're going to click and drag and drop it right on top of the J pic file. Now, in some cases, when you apply an effect, you won't see the artwork show up and you won't actually see anything happen until you dog the timeline. Many of the effects will use in this course do not require that we move the timeline or change the rendering view. But sometimes some effects will. So as you're exploring around in after effects. If you ever apply an effect and don't see any changes, take a look at the timeline panel and take a look at the effect controls panel. So in the effect controls, I can see here that the view for shatter is set to wire frame plus force. I'm going to click on this and simply change this to render. So I'm basically saying I want to see the rendered version or the rendered result of the shadow effect. Now I'm not saying anything shattered, so let's come down to the timeline panel grabbed the play head, and I'm simply going to just drag this out a couple of frames and notice that we now see the shattering effect. So the artwork is being mapped across that shattering effect and giving us the ability to sort of break apart that artwork and everything is in three D, and it's casting shadows. It picks up light, we can rotate. We can do all kinds of cool stuff with this. So now that we've got this working a little bit, let's come back to the effect controls and let's come down here and change the shapes. So let's toggle open shape the default setting here is bricks. Gonna come in here and just change this to something else? Let's come in here and choose puzzle. And now all of these items will now become puzzle pieces. If you continue to drag the timeline out, this will go further and further into the shattering effect. I'm gonna come in here and change the scale of the timeline, going to drag this over here to the right to make it so that as we dragged the time, the increments are much smaller so we could go one frame at a time. Let's come on periods of repetitions back in the effective controls. Right now the default is set to 10. If you hold your cursor over top of the letters, you'll see a little right and left arrow over the pointer. If you click and drag these air scrubby sliders Utkan, scrub these So as I add more repetitions, weaken see more puzzle pieces along the X and y axis. So that's very cool. It's going to bring this back to about 21 somewhere in this range. Here, let's come up to the puzzle setting. Let's come down and change this to glass. Next, let's come down here and talk will open the force area. So let's come down and let's change the position. I can change the position by coming over here and scrubbing over the X and Y properties. So this is the why property I can also change the X property, which go side to side. Or you can come over here to the composition and you can click on the center point and drag this around. So what we're gonna do is credit graphic where we have a basketball looking like it's breaking through the words school record. So with the center point down here, let's come back over here to the force. Let's come down and play with the radius. If I increase the radius, it increases the area that is breaking the JPEG file. If I decrease this, you'll see it gets smaller and smaller all the way down to a more controlled area. We can also change the strength. If I increase the strength, this will push away those pieces much faster and again, all of these air hooked on the timeline. So I come back here and with the timeline as well. So I'll leave these settings right here. Let's come down to the physics. Let's pop this open. Inside the physics, we can control even more options. Let's come over here to rotation speed, for example. Click and drag, and I can rotate all of these pieces around. We can also change the viscosity, which is how sort of sticky the pieces are to each other as their being blasted apart. We can change the gravity. We can change the mass variance approximately how heavy they are, so that, along with viscosity, will give us some some different results. And one of the things that I'll say a lot during the course is you've got to really play with all of these settings, even if you don't know what they dio. It's really easy to come in here and just hover over a number. Click and drag and just change all of the settings and just move these around until you get an effect that you like scroll up to the top here. I'm gonna play with a few more settings for direction who can pick this and change the direction of the force that's coming out. We can also change the extra depth, and this controls how thick that J PIC file appears to be before it gets broken. So now with my broken pieces over on the right, let's go back over to the project panel. Let's grab the basketball ping file. Let's drag and drop this over here to the right hand side. So what sort of covers up the shattered area, then down the timeline panel? Let's grab the basketball layer and let's drag it underneath the school record J pic file. Now a short cut to get to the scale tool is with the layer selected out. Press the key on the keyboard that will automatically bring up scale. And I can scrub this down a little bit just to make this a little more. Obviously we can see this through the cracks. And then, of course, I could go back to the J pic file, go back to repetitions, for example. I can add more pieces, or I could continue to change other settings until I get the look that I'm after. And then the last thing we'll take a look at here before you go and explore on your own is if we come down to the camera settings. Let's tackle this open inside of the camera settings. You'll be able to see that this truly is a three D effect as well. So if I committed to the camera rotation, come over here to the UAE rotation, change the degrees, we can actually move this around in three D space, which is just totally amazing. And then we could do the same thing for the X and Z axis as well. So I can sort of move this around a little bit until I get exactly the effect that I'm after. And then, once you have an effect that you like to get this back out to photo shop to do some further editing or imported into any number of other applications, you can come up to the composition window, come down to save frame as and choose photo shop players, and we talked about this earlier in the introduction videos. Now, of course, you can continue to play with various settings to create all kinds of interesting effects for this particular project. I saved my file out as a Photoshopped composition that I painted in a few shadows over top of the basketball, and then I say this out from Photo Shop is a J pic file for use in a Web article 8. Add a dramatic lighting effect: the light rays effect in after effects allows us to add or enhance the lighting in a graphic or photograph. So to begin, let's go back to the exercise files and let's go inside of the zero to folder inside of the Chapter one folder, and we're going to take this deal Globe PSD file and import this and aftereffects. And so you can do that by going to the file menu inside of after effects and choosing import file. Or you can simply drag the Photoshopped file from your operating system right into the project panel in after effects. And now, when you import a Photoshopped file into after effects, you're gonna have a couple of options. We talked about this in the introduction videos. So inside of the steel globe PST import options here. What we're gonna do is change the import from footage to composition, and I'm gonna leave, emerge, layer styles into footage checked and then click. OK, so that's gonna create a composition for us. Called this deal Globe showing up here, which matches the photo shop file name. It's all double click on this and in the project panel. If I toggle open this folder, we'll see all of the individual layers. So down in the timeline panel, we can see that all of the layers have been placed along the time line and what I'll do first, that's come down here and select a photo layer. So with this selected, I'll come up here to the composition window. Let's come down and set this to fit so we can see the entire composition. Next. Let's go over to the effects and precepts. Let's come in here in search for light race so I'll just type raise. And then down here, under the generate group, we can see see, see light rays. So to apply this effect, if I were to simply drag and drop this like we did in some of the previous videos, what would happen is the effect would get applied to the top layer, the Columbus layer, and what I want to do is apply the effect to the photo layer, so what I'll do is click and drag this and drop it on top of the photo layer in the timeline panel. Now the photo layer is selected. I could also simply double click the item in the effect in presets, and that would apply it to the selected layer as well. And so in either case, we now have the light rays effect apply to the photo layer. So with this effect applied, you can see the beginnings of the effect showing up here in the effect controls. You can see all of the default properties. So this little icon here showing me the center point of the light rays effect, and we can also see that showing up here. So if I want to move this, I can come in here and scrub these numbers so I can move this along the Y axis or along the X axis, or I can come over here and grab the center point and just drag it around the image. Now you'll start to see the effect when we drag this over top of varying pixels inside of the photograph. So as I start to drag this across dark and light pixels, you'll really start to see what the effect is doing. So what I'm gonna do is come over here and drag this so that part of the center point is over top of the dark pixels here in the image. I'll drag this to about right here so we'll leave that for the moment. Let's come back over to the effect controls and let's come in here and start changing some properties. So first is intensity. If I grab this and dragged this down, this will decrease the power of the effect. And then if I come up here and increase this, this will increase the power of the effect. So leave this back near 100. Next. We talked about the center point. Next, we're gonna take a look at the radius so the radius is set to 40 by default. So to understand how this effect works, what it really does is that basically kind of broadcasts the pixels from the layer that the effect is being applied to at you. So to see this, if I come in here and increase the radius, depending on the size of the image, you can see what it's really doing is taking the image and just pushing all of those pixels back out of us. And so if we apply this effect to a light area of a photo, it'll really look like there is light, shining or reflecting off of the pixels. And then if I go the other way and decrease the radius, we'll see a very small effect happening from those pixels being pushed out. So for the radius, I'm gonna bring this down to around 34. Next is the warp softness. Let me increase the radius little bits. We can see what happens here. The warp softness will basically blend all of the race together. So if I increase this just like increasing the radius weaken Seymour of the original image . But if I bring this down, we'll see all of those rays sort of blending into each other. So I'm gonna leave the warp softness down at zero. I'll bring the radius back down to around 34 and next to come down here and change the shape the default is round. But if I come in here and select a square, the shape that is broadcasting out thes pixels or creating the light ray effect is now gonna be a square, which then means the direction option becomes available. And then I can come in here and rotate the square around. So this will give me the ability to sort of move the Rays around and control how the light is shining off the globe. It's not gonna come back up here and I'm gonna move the X axis a little bit. And then the Y axis. What I'm looking for is to create some shadows and highlights to reflect off of the globe. Now, once I have this in place, I can come down here. And if I uncheck color from source, what this means is I can pick a light color by default. Color from source means it's going to take the pixels from the image and use those colors, which is what you're gonna want to use most of the time. But if you did want to pick a specific color, you can uncheck this, come down here and click on the color swatch, and you could pick a color so we could make the light red, for example. But I'll come up here and increase the intensity, and you can see that the square rotated shape is now being created from red instead of the pixels from the image. So I'm going to hit undo a few times here, hitting commander controls E getting back to where we were before. Now to finalize this light, Ray, I'm gonna come up here to the intensity and I'm gonna bring this way up. I'm gonna bring this up to about 190. It's up to about right here. I'm gonna come in here and grab the center point. Gonna move this around, let me re enable color from source. Move this to about right here, over here, and play with the direction I want to get some interesting highlights moving across the text in the background. And then once I have the affect the way I like it, I'm gonna come back to the effect controls, and I'm going to select the CC light rays effect and on the Macal hit command D or on Windows all control D and I'm going to duplicate this effect. I can apply this effect multiple times to the image. So I close up the first effect. In the second effect, I'm gonna bring the intensity down a lot. Gonna bring the radius down a lot. I'm going to select the center point. And what I want to do is move this to another area of the image and I want to pick a spot where the sun is actually hitting the sculpture. So maybe I'll put one right over here, maybe increased this just a little bit. Rotate this around just a little bit just to get a nice little highlight. And then one more time I'll select this effect, Commander Control de duplicate that again. And then I move this to 1/3 spot. Maybe over here, I'll bring the intensity down a little bit and maybe rotate this. A little is well. Now you can try this effect with any image or photograph to see what kind of dramatic lighting effects you can create. And so, for my final project, I added levels in hue saturation in addition to the light rays to create this final image. 9. Adding a Page Curl: and this example will create a page curl effect. And we're going to do this so that we can create a graphic to promote a travel catalogue in a promotional graphic. So to begin, let's go into the third Folder folder number three inside of the Chapter one files in the exercise files. In there, you'll see a file called Articles Underscore pages that PSD and let's import this photo shop file directly intact effects. Now when we import Photoshopped files into after effects, we have a couple of options, and we talked about these in the introduction videos. So under the import kind, let's come in here and choose composition and I'll leave. Merge layer styles into footage selected, and then let's come down and click. OK, that's going to give us a new composition in the project panel in a folder with all of the individual layers. I'll open this up a little bit. Let's come in here and double click the composition that will open the composition in the composition panel and will also see the three individual layers from the photo shop. I'll showing up as layers in the timeline panel. Next, I'll set the magnification in the composition panel to fit. So now the composition panel is showing us all of the artwork from the photos on file. And now let's go over to the effects and presets panel. Let's come in here and search for the page turn still, type in turn that will bring up in the Distort Group TCC page. Turn now to apply this to the cover layer. Since the cover layers at the top, I could drag and drop this right into the composition area. I could also drag and drop this on top of the cover layer in the timeline panel as well. And in either case, once I let go will be applying the CC page turned to that layer, and we can see the effects happening immediately inside the composition panel. Now, with this effect will see a target show up. If I come over here and click and drag on the target, you'll see how this effect works. I can grab a corner of this, and this will bend all of the artwork on that layer around, as if we were curling a printed page. Now over in the effect controls, we can see all of the default properties and under the controls, the bottom right corner is selected. Let's come in here and change this to the top right corner. Now, if we come over to the composition panel dragged the target around, we'll be pulling the corner from the top, right? We could pull this around back to the effect controls the fold position. That's the target we've been dragging around so you can come in here and scrub the X or scrub the why and get pixel level control. Next is the fold radius. So to see what this does, I'm gonna come in here and set the magnification to 50%. Then I'll hold this base part to get the hand tool, and I'll just pan around. So back in the effect controls if I scrub this number lower all the way down to four and what you'll see in the composition panel is that the curvature of the page turn is reduced all the way to four. And this actually looks like just straight corners pan over and look at the top as well. If we come back to the fold radius and increase this, you'll see that this actually changes the curvature of that fold. So now we can see around it arc around the shape and again we could see that on the top as well. If we continue to increase this, we'll see more and more curvature giving us the illusion of the ark being much higher for this curve effect. So the setting that I like for the folder radius is about 130. So I come in here and just scrub this up, get to about right here and the next will jump down here to the back opacity. So right now, this is set to 85% by default if I lower the opacity. What this does is make this look as though the page were printed on vellum or Mylar, and we can see through this a little bit. I'll come in here and change this up to 100% making this page fully opaque. Then we'll come back to the light direction. Now, if we come in here and change the direction of the light, we can change the effect that the light has against the page girl. So if we have the angle going in roughly the same direction as the angle on the page. This will create a shadow on this edge. If we come in here and rotate this around to the opposite direction, this will create a highlight so you can use this dial to create the proper lighting effect . And now the final thing I want to do is change the artwork that shows on the back panel here. So I come in here and change my magnification back to fit when I come in here and grab this corner and drag it down. So what we're looking at here is the back of the cover. So it's a zip. The cover has been printed twice and in reverse on the background. So now we're seeing this show up on this face here. So what we're gonna do is come over here to the back page property and instead of this using the same layer that we're applying the effect to, Let's come in here and set the back page to the back cover and you can choose any layer that's already on your timeline. So now we can see that showing up here. If I click and drag an pull this back, we can now see that the second layer in the timeline panel back cover is now being applied to the back of the page girl effect. However, we have a problem here, and that is, if we were actually curling the page out from a catalog, we would be able to read the second page. Now we don't have a way to force aftereffects to flip the image that's being applied to the back panel. Even if we were to flip this on the timeline, Aftereffects is referencing the artwork that's placed on the timeline but from the original source artwork. So here's a case where we can use the fact that aftereffects is linking to a live photo shop file. So let's switch back to the exercise files and let's open up the article pages PSD in Photoshop. So back in the exercise files, I'll come over here and double click on the article pages that PSD Now we have the source file opened in photo shop. We can see all the layers. I'm gonna come in here and hide the cover and page layer showing just the back cover. I'll select this layer. Next, I'll come up to the edit menu come down to transform and let's choose flip horizontal. So that's gonna reverse all of the pixels horizontally on this layer. Next, inside a photo shop, Let's come down and choose file save. We'll close the photo shop. I'll go back to after effects and will immediately see aftereffects will reapply that artwork to everything happening inside of the composition so we can see here that the page reads properly as the background from the page girl effect. But we can also see that it's backwards in the regular timeline. However, this is okay because we don't want to see the back cover. Let's come down to the timeline panel. Let's hide back cover again. It still needs to be on the timeline so we can be assigned as the back cover in the page girl. But we don't have to show it in the main composition, and this will also reveal the third page in our document, which is the third layer in the timeline panel. So I used this technique to create a promotional graphic for a travel catalogue so we could show off some of the rich content contained in the catalogue for an advertisement 10. Creating a burst of light: in this lesson will take a look at the light burst effect, which works a little differently than the light rays effect that we looked at earlier and will apply this effect to a text layer. So this will give us a chance to work with text in after effects as well. So let's start with a blank, untitled project inside of after effects. Let's first come up to the composition menu. Choose new composition. Will name this burst for the with Let's set this down to 1000 pixels hit tab. Let's set the height of 500. Make sure we have square pixels and for the background color. Let's come in here and make sure we're using a medium grey. So right about here, click OK, click OK again, I'm gonna make sure my composition panel is set to fit in window for the magnification. And so now let's come up and select the text tool in the toolbar. When we select a text tool, this is gonna open the character and paragraph panels as well. And in the introduction video, we created a new graphic design work space based off of these small screen workspace. So in that particular workspace, the character and paragraph panels will show up alongside of the effect controls. And if you don't see those two panels, you can select them from the window menu by going to window and then selecting either character or paragraph so I can see those panels over here on the right. So with the textile selected, there are three ways that we can create text inside of after effects. And they're the same ways that we can create text inside of Illustrator. If I come in here and click and drag, I can create what's called area text, which means I can start typing some characters. And when I type enough characters that get to the end of the line, the text will wrap to the next line. I'll hit the escape key. The second way is I can click one time and create point text so I can come in here and start typing. And then the third way is to use text on a curve. So again, illustrator does exactly the same text features. We're going to use point text, so I simply want to come in here and just click one time in the center. And then we want to type something so we can apply our burst effect. So I'm gonna type graphic design in all caps. Once you type in your word, you can come up here and select the move tool. This will sort of commit the text to the composition. And with the selected, I'll come over here to the character panel. I'm gonna click on the foreground. Swatch here changed the color toe white click. OK, next I come down here to the type size. I'm gonna click and drag and just scrub this up to make the text larger, so I'll increase this to 85 pixels and I'll come in here and click and drag this to the center of the composition. Now let's get down to the timeline panel. Let's select the text layer lets it commander control de to duplicate that for the duplicate, the layer on the top. Let's come back to the character panel. Let's come in here and change the color to black. Let's click. Okay, and then let's come down here and hide the top layer. Let's select the bottom layer. This is the white text layer. I'll come in here and close my character and paragraph panels. Have more room. Then let's go to the effects and presets panel down in the search field. Let's search for the word bursts, and then down here we'll see. See? See light burst 2.5, which is under the generate group. So let's click and drag this. Apply to the text layer and you'll see the results of the effect immediately. So in the effect controls, you can see all of the properties here. The first property is the center point. You can click on the numbers and change the horizontal or vertical CenterPoint. You can also come over to the stage, click on the target and move this around. This will give you a sense of what the effect is actually doing. So this differs from the light ray effect because in light burst, all of the pixels are being burst from the center point, as opposed to the light rays effect where the pixels are broadcast from the center point. So again, it just makes the effect a little bit different here. So let's leave the center point right here in the middle, so let's come back over here to the effect controls under the railing. Let's come in here and decrease the length of the rays. So as these gets smaller, we see less of the effect. And then similarly, if I dragged us up, we'll see the rays getting much larger. So leave these up here around 100 and 50. Next is the burst type. The default is fade. If we change this to straight, will be able to read more of the original letters or see more of the original image showing up here. And then, if we select center will get a slightly different effect here. What's happening is the center point is in the middle or in the center of the foreground and background of the length of the ray. So for this to make more sense, let's leave the burst on center and let's come in here and change the railing again. So as I increase and decrease this, you'll see that the beginning part of the text seems to be moving back in space, and the end of the birth is forward in space Again. If I just move these back and forth, you can see what that effect looks like. So I'm gonna put the railings back to 1 50 I'm gonna change this back to fade. This just looks a little more natural. And then there is an intensity slider, and this is meant to work with the color setting. So if I come in here and choose set color, click on this watch, we'll make this green click. OK? And if I go back to the intensity and set this down to zero, we're seeing 100% of the color that we sat down here in the set color option. And if I come up here and increase the intensity, you'll see the center point of the light is affecting the way the colors applied throughout the entire effect. So for this lesson, I'm going to uncheck set color and for the intensity doesn't matter what this is set to, so I'll put it back to 100 again. Intensity is Onley taking effect if we have a color set and so now, to complete our effect, let's go back to the timeline panel. Let's show that black text layer that we set up earlier. I'm also going to increase the size of my timeline panel here and with the black text layer selected. Let's add an outer glow to this, and these effects are just like the effects inside a photo shop. So if I right click on the layer, come down to layer styles, let's come over and choose outer Glow and not to set the outer glow properties we're gonna set thes inside of the timeline panel. So here we can see outer Glow. Let's open up the options and inside of here again, just like photo shop, we can change all the different properties for the outer glow. So up on the main stage, I'll come in here and just zoom in a little bit so we can see what's happening. Lament about right here. So down in the properties for outer Glow. Let's come in here and change the opacity from 75 down to about 35. So bring that right here. Let's come down here to the color click on the color Swatch. We're gonna set this toe white and finally, let's scroll down. Let's find the size and let's increase the size up to 10. I'll just type that in and then click away. And once you like the way the effect looks. You can get this over to photo shop so you can use it in your projects by going up to the composition menu, going to save frame as and then choosing Photoshopped players and make sure that you are looking at the full screen resolution in the composition panel. Now. We used this technique in two different social media advertisements, and in each case we change the center point of the light burst to match the photo in the background to make the effect more realistic. 11. Color keying for transparent imagery: at our design company were always masking in Silla wedding images and photographs. And this lesson will take a look at a very fast way to remove a solid color from any image . And while this is certainly possible to do inside a photo shop, I would argue that many times you could do this a lot faster and aftereffects. So if you're following along, we're gonna go inside a folder five in the Chapter one folder and import the coffee beans J pic file into after effects and so you can use file import. Or you can simply drag the J pic file from your operating system right into after effects in a short cut for creating a composition based on the size of this J pic file that we talked about in the introduction video is to take the J pic file from the project panel and just drop it right into the composition panel that will give us a brain and composition with the exact size of the Jay Peak, which in this case is 39 39 by 2185. So with our coffee beans imported, what we're gonna do is come over to the effect in presets. Then let's come down to the search field and let's start typing in the word key. What we're looking for under the key and group here is Key light 1.2. So I'm gonna select this and drag and drop it on top of the J pic file. Now we'll just come over here and decrease the project panel in the timeline panel so I can see a little bit more of the composition and then over in the effect controls, we can see all of the default settings for the key light plug in. So the first thing we need to do is choose the screen color. We want a key out. So over here next to the swatch, there's an eyedropper tool. Let's click on the eyedropper, and with this activated, let's come over here and let's pick a green color that seems to be the most used throughout this background image. Now it appears to be an even solid green color, but once we apply, the key will see that there are some variations in that green. So I'm going to select an area right about here. Simply click one time and what that's gonna do is pull all of that green out of the image. So now we're seeing the background of the composition, so my composition background color is gray and something more easily see what the keying is doing. Let's come up to the composition menu. Let's come down to composition settings and let's come down here and first set this to Black. We're gonna change this one more time when we take a look at some of the hay lowing effect . So for now, we'll choose black click, OK, click OK again. And now we can see in the lower left hand corner. We can see some of the white areas here, so there are some hot spots on the green background. When we shot this photo. Well, the space bar click and drag, we concede little bit more on the right hand side as well. Now, for the final project were really only concerned about some of the coffee beans in this area here. We're gonna be putting this into a website design, but I do want to get the best keying that I can get next. I'll come down here to the magnification. Let's come in here and change this to 100%. The space brought. Move this down so we can see some of the beans here. I'm also gonna change my resolution from half up to full so I can see the full resolution of the photograph with the keying effect. And so we can see some of the edges here are sort of blending together. So let's go over here and make some adjustments. So in the effect controls for screen gain, that default, here's 100%. If I drag this down, this actually decreases the amount of power that the keying has so we can see a little bit more of the green. If I dragged us all way down to zero, we get no keying. And similarly, if I go above 100% we start to cut into the original images. So now we can see the coffee beans, air starting to disappear here a little bit. I'm gonna come back here and set this back to 100 for the moment. Next is the screen balance. The screen balance attempts to remove some of the green that might be reflected on the coffee beans or basically any of the same color of the key. That could be reflected on any item that's against the color background. So to make this a little bit more obvious to see let's come back to the composition menu, let's come back down to competition settings and let's change the color from black to something really bright. So I'll come in here and choose a really bright pink click. OK, click OK again and the reason I'm doing this is because I want to see this pink color showing inside of the coffee beans. So now if I come down here to screen balance and I increase this, we can see the pink now starts to move inside of the individual beans. So this gives me the idea of how much of the background image is actually showing a reflecting on my main image. Then similarly, if I come down here and decreases all way down to zero, I'm not getting any of the reflection pulled out so we can see the pink showing up inside of here because the green actually was reflecting on this particular being here. And so some of these you just got to play with based on your individual image. But as I mentioned before, this is a really quick way to get some sell a wedding, working for a project. So what I'm gonna do is come in here to the screen gain, and I'm gonna bring this up to about 125. So drag this up a little bit. As I make these changes, you'll see a little bit more of the pink showing up around the beans here and then for the screen balance, we're going to bring us up to about 12. So brings to right here, so that's gonna look pretty good here. I can see a little bit of color in this being here and in this being here. But this will actually make this look a little bit more realistic when we put the coffee beans against different colors because it will actually look like the reflection of the background is showing up on the coffee beans. I'm gonna come in here and zoom out a little bit, go down to about 25% so we could see more of our image, but the space bar and I'll pan around. So this is all looking good. So at this point, to get this over to photo shop, we're gonna come up to the composition menu. We're gonna come down to say frame as and we're gonna choose Photoshopped players and make sure that you're in full resolution before you do this. And so now in this save dialogue box, we're going to say about coffee Bean Stop PSD. I'll choose the desktop and then I'll hit Save. Then, if I reveal my desktop, we'll see the coffee beans Photoshopped file showing up here, which was generated from after effects. And so let's double click on this and see what after effects created. If we take a look at the layers panel, we'll see we have a single layer showing up here in the canvas area. We'll see our checkered background indicating that all of those areas are transparent and after effects also gave us some guides as well. It's all hit command semi colon on the Mac or control semi colon on the PC to hide the guides. Let's go back to the layers panel occurred a new layer Commander control shift end. I'll just press return. Let's come in here to our colors. I'll set my foreground color, too. Maybe a medium brown click. OK, I'll fill that a move that layer behind the coffee beans layer. And then, if I zoom up, we can see how beautifully transparent all the coffee beans are from that keying effect. Now back in after effects. You can use this technique on just a portion of an image as well. Then you can use a masking techniques inside a Photoshopped to achieve your final composite . So experiment inside of after effects with different photos using key light to get different transparency effects. Now for these coffee beans. I used this exact same technique, and then I took this resulting Photoshopped file. I brought it into my Web layout as a linked smart object, made some color adjustments and then position them behind other elements within my design. 12. Color keying for advanced transparency – part 1: it can be difficult to cut items out of a photo that are transparent, like glass or water. And even with the keying tools and after effects, we can't always get the perfect settings. So we'll keep this image twice in two different layers and after effects, then blend them together in a photo shop using layer masks. So in this first part will create two keyed versions of this photo and after effects, so inside of after effects will start with a blank, untitled project. Then let's go back to the exercise files, and we're gonna go into Folder six inside of the Chapter one folder in the exercise files. Inside that folder, you'll find a file called almonds dot jpeg. So let's import that into after effects to get started and some. Once you have the J pic file imported, you can see it in the project panel. Integrated composition. Let's click and drag on this and drop it into the composition area. This will give us a composition that will match the size of the JPEG file, which is 6000 pixels by 4000 pixels. Then let's go over to the effects and presets up here in the search area. Let's type in the word key. We're looking for key light. Then click on the key light effect and let's drag and drop it on top of the J pic file. Now inside of our effect controls, just like we did in the last video with the coffee beans. Let's come in here and click on the eye dropper next to the screen color swatch with the eyedropper selected. Let's come in here and pick the most common color green inside of here, which is going to be around this area here, so we'll click one time, and now we'll have our key applied. Now the great we're seeing is the background color of the composition. Let's come up here to the composition menu. Let's come down and change this. Let's go to composition settings and down here for the background color. Let's click on this watch and let's make this a really dark gray somewhere around right here. Let's click. OK, here and here. And so now with this dark gray, we can see some of the brighter areas of that green background. So what we're gonna do is create two versions, as I mentioned before. In one version, we're going to over key this image to get some of our detail, and in the second version, we're going to under key the image, and then we'll blend the two together. So for this one, let's set up the over King. So let's come back over to the effect controls. Let's come down to screen gain and let's increase this. Let's bring this up to about 155. So bring this to about right here. Now we can see on the screen. All of the hot spots in the background are dropping out. But we're also losing a lot of detail around the almonds down here on the ground, the shadows as well as a lot of the highlights and shadows in the glass bowl. Next, let's come over here to screen balance. This is sets of 50 by default. Let's come in here and just scrub this down to about 45. Now this controls thesaurus tinting of the background color as it reflects on two items on the screen. Not to test this. Let's come up to the composition window again. Let's come down to composition settings. I'm gonna move this out of the way a little bit, I'll click on the background color Swatch. I'll move this out of the way. And then if we come in here and pick a couple of different colors, we can see if that background color is bleeding into our original image. So I'll choose. Ah, violet color here. That may be changed this to blue, maybe into yellows and reds. And again, I'm really looking at how much of this background color gets bled into all of these images . So oranges in a good color because that's too close to the almond color itself. Let's come back up here into the violence. I'm gonna choose sort of a medium violet color. Here. Let's click. Ok, Okay. Okay. Okay, again. Now, since we're not seeing the background color bleeding onto the main image, we've got a pretty good key set again. This is too high of a key, but we want to create two of these so we can merge them together. That incidentally, we did shoot this against some colored cardboard that we got from a craft store. If you followed along in the previous video where we did the coffee beans that was actually shot against some fabric. So in this particular case, the colored cardboard actually gave us a much cleaner key. And so now that we have our first key created, let's come down to the timeline panel. Let's select the almonds that J. Peg layer on the Mac will hit Command D on Windows hit control de. This will duplicate this layer. Let's hide the bottom layer and for the top layer. Let's come in here and change some of our key settings. So over here, in the effect controls, let's come in here. Let's bring this down below 100. Let's set this down to 94. This is going to give us a lot more noise, and we're going to be left with some of the keying information out here on the left. Some of the hot spots in the background, However, this is also going to give us some of the details in the glass and a lot more of the shadows around the bowl and the almonds and actually looking at this. Let's come down here and change this from 94 down to 90. It's maybe down to about right here and for the screen balance. Let's bring this down to about 40. So now that we have two different layers of the same J pic file with different keying options, let's come up to the composition menu. First, make sure that you're in full screen resolution in the comp window. So from the composition menu, let's come down to save frame as let's choose photo shop players. Then, on the desk couple named this Almond Stop PSD, and then we'll hit. Save Now You can also save the aftereffects project as well, like going up to the file menu coming down and choosing Save and then on the desk couple named this almonds dot a E p, which stands for AFTEREFFECTS project. And now if I take a look on the desktop, I'll see both the Photoshopped file and the aftereffects file. So let's come over here and let's double click on the photo shop I'll and once this file opens, we'll see the two layers in Photoshopped that we got from after effects, and at this point we're ready to continue with the next lesson and combine these two images using a layer mask 13. Color keying for advanced transparency – part 2: in this lesson will continue from the previous lesson by combining the two keyed versions of the almonds photo in Photoshop. So if you've been following along, you have the almonds dot psd file already opened in photo shop. So what we're gonna do here in the layers panel is Let's come over here and turn on both layers so we can see each of these. The one on the top, which is the one that we had visible inside of aftereffects, is the one that has the extra keying information. We keep this with a value of 90 instead of 100. So we're gonna have more noise on the outside of the image as well as some additional detail inside of the class and the shadows. And then the bottom layer is the one that we keep too much. This will have all of our based detail and some of the main highlights, but it doesn't have all of the extra noise now in order to see what we're doing, let's come in here and create a new layer. So down in the bottom of the layers panel, let's come in here and make a new layer with this layer is selected. Let's come over here to our foreground color in the toolbar. Let's choose a medium violent color. Something around here. Let's choose. OK, then let's go to the edit menu. Let's choose Phil. Choose foreground color mode. Normal. A pass. 100% shoes. OK, then let's drag this layer down to be the bottom layer. So now let's come in here and make sure all of the layers have turned on. So in this top almonds layer, let's select this. Let's come down and apply it. Layer mask. Then what? The layer mask selected and black on the foreground. Let's come up here to edit again. Choose Phil. Foreground color normal 100% opacity. Click OK, so this will hide all of the contents of the keyed image that has too much information in it. And so now what we're able to do is paint back in some of the extra detail Onley in the areas that we want it it's on. The main canvas will come in here and zoom up a little bit like command space bar or control space bar and windows to get the magnification tool. Or you can select it in the toolbar. So all zoom up to about here and then pan over a little bit. So now in the Layers panel, make sure that we have the layer mask selected. Come down to the toolbar. Let's switch the foreground and background colors so we have white on the foreground. Next, let's come up and select the brush tool. Then let's come up to the brushes options and make sure you have the soft brush selected for the hardness of 0%. Double click. And now what we're gonna do is paint white on the mask to reveal the image that has too much detail. Now, if we just simply start painting, we're going to get 100% white. So let's come up here to the toolbar and let's change the flow from 100% down to about 30% . This way. As we paint, we're not gonna be painting. The full set of details will be painting this a little bit at a time, and this will give us the ability to sort of find tune, adding the detail. So now I'm gonna hit my right bracket key to increase the brush size left bracket will decrease. And now I'm going to simply come in here and just start painting. So I know that there's more detail in the glass up here, so I'm gonna come in here and start painting. I'm still holding the mouse and I'm moving around the shape of the bowl and you can see some of the detail coming in. You can also see some of the purple highlighting here as well. So this is some of the extra data that we got from the noise of having the screen game set down to 90. So that's OK. We're going to continue to click in paint, and we're just gonna paint around and get some more of those details into place. So I'm going to decrease the brush size a little bit, and I want to paint around the edge of the glass here. I want more of the extra detailed layer to show up just in these areas. I'll just continue to paint, and then you can continue to increase and decrease your brush size and paint around inside of the image to create the exact effect that you're after. Come down here and paint in the shadow area again the first time. I'm only getting 30% of the brush and let go and click again, like in another 30% of that shadow down there. Increase the brush size and just continue to paint. And all the space bar let's come down near the almonds will decrease the birth size a little bit. I'm gonna paint down near the bottom to bring in some of the shadows again. I'm holding this the first time, so I'm getting just 30%. Make the brush a little smaller. Let's make this a little stronger. And I can see this sort of pink color here, letting me know that I'm getting a little too much noise. Let's go back to the foreground background. Let's put black on the foreground, make the brush a little bigger. And now I'm gonna paint out some of those pixels here, so I'm gonna have the X key on the keyboard, which will switch the foreground a background color. So I come in here and start painting the next almond here. When the shadow looks pretty good on, move onto the next one and I'll just continue to paint in areas that need a little extra detail. So by combining these two effects, I can add as much of the extra detail layers I want, combined with the keyed image that has too little detail. And I can find the perfect balance between the item I want to isolate and the transparency between that item and the original image. And this is the advanced technique that we used for this particular image so that we could use this on a poster to promote healthy snacking at the beach. 14. Creating a kaleidoscope pattern: in this lesson will be creating a pattern from an image using the CC Kaleida effect. Now, if you're following along, I'll be starting my kaleidoscope from the Amsterdam dot jpeg file, located in Folder one inside of the Chapter two folder in the exercise files. However, I would also encourage you to use any image that you have, since this effect can make a great kaleidoscope from just about any image. So from the exercise files, I locate the Amsterdam dot jpeg file. I'll dragged it into the project panel inside of after effects. And then, just like we talked about in the introduction videos, I will create a composition by dragging the JPEG file into the composition panel and then with this selected Let's go to our effects and presets and they'll come down here in search for K L. This will bring up Thesis E. C. Collided effect inside of the stylized group, and then I'll apply this to the J pic file, and now right away you'll see that the effect is creating that kaleidoscope across the entire J peg area. So the first thing we want to do is come back to the effect controls and start playing with the settings. The settings, by default, have the center showing up in the center of the composition. The size is set to 20 the mirroring is set to flower and the rotation is set to zero. So what we want to do is just come in here and start playing with these settings. There's almost an unlimited number of patterns that we can create with just these few properties. So first, let's take a look at the center property. If we come in here and hover over the horizontal centering on click and drag, I can increase and decrease the position there and you'll see on the composition. This shows up as a little target, and I can also come in here and just click on the target and drag it around. And if you're not sure what part of the images being sampled from the center point, you can come back to the effect controls and you can disable the effect. So if I click this icon here, this will take the effect away and we can see the center point showing up here. So if I want to change the center point so that we get mawr, yellows and greens. I can drag this up to this area and then come back and re enable the effect. Next, you'll want to come down and play with the size. The size is set to 20 by default, and this controls the size of the tiles. If we click on this and dragged us down, too, create a lower number. You'll see that the tiles get much smaller, creating an entirely different pattern. And similarly, if we increase the size above, 20 will get much larger tiles. Next, let's come down to the rotation so we can rotate the artwork that is showing up inside of the tiles, and this can also create some really interesting effects. And so, by adjusting the rotation, the size and the center point, you can create all kinds of patterns from a single image, and the last property will take a look at is the mirroring setting. So by default, this is set to flower. But let's come in here and change this. So let's set this toe unfold and to see how this pattern works, let's come down till the rotation setting and let's come in here and just change the rotation, and this will give you a sense of how the tiles are being generated, using the unfold setting for mirroring. Welcome up here and grab the center point. Just move this around a little bit. Then let's go back to mirroring. Let's change this to Starfish. This is one of my favorites again. We'll come back to rotation. We'll move this around, I'll decrease the size. I'll move the CenterPoint around just to get a nice, warm, yellowy green color here, and then I'll go back and adjust the rotation again. Now, as you're playing with all of these settings, if you find any pattern that you like, what I would encourage you to do is come down to the timeline panel. Select the layer. So select Amsterdam J. Peg and hit Commander Control de to duplicate the layer. It will be almost impossible to get back to a particular pattern that you liked earlier. If you don't save it down here because there's so many possibilities with these properties . So now that I've duplicated that file, I will hide the one on the bottom and then I'll come back here and just continue to make changes I'll change to a different mirroring type change. My rotation changed my size. Explore creating a pattern with these settings. If I like this, I'll come back to the timeline panel again, duplicate that layer so like the top layer and then continue exploring more possibilities. So there's almost a limitless number of patterns that you can create just from a single image. And since we build a lot of Web layouts, we used this feature to create a pattern. Then we crop out a small tile herbal portion, then combine this small graphic with CSS to creative, responsive design, so the pattern seamlessly flows to any size to screen that's loading our design. 15. Generating a unique texture: Now we'll take a look. In an effect that similar to the kaleidoscope effect from the previous lesson, However, this one has some interesting options. So if you're following along were in Folder two of the Chapter two folder of the exercise files. And so to begin, I'll be starting from an untitled aftereffects project. And then let's grab the file rusted machine dot j Peg. Let's drag this into the project panel. And then, just like we've done a few times already to credit composition, I'll drag the J pic file directly into the composition panel. So now, with our composition created and the rusted machine Jay Peak five selected on the timeline , let's come back to the effects and presets. Let's come down to the search field. Let's type H E X, and we're looking for an effect called CC hex tile in this Die Allies group. It's apply that to our image and will immediately see the default settings taking effect inside of the composition panel. Now, if you watched the previous lesson, this will work a lot like the Kaleidoscope Effect or CC Kaleida, which is the official name. So over here, in the effect controls for CC textile. If I come in here and increase the radius, you'll see that thesis eyes of the tiles will now increase. If I increase these enough, you'll see the original image showing up here. And then if I decrease the radius, the tiles will get much smaller. So I'll come in here and just increase. The rate is a little bit right here to around 71. Next for the center point, we can come down here and change the horizontal or vertical center. Click and drag on this. This will change the area of the photo that's being sampled for the X tile pattern. And if I drag the Y axis, this will change this. You can also come into the company panel. You can click on the target here, and you can drag this around manually and find an area that you like if we come down to the rotate settings in the effective controls. What this will do, which is a little different from the kaleidoscope, is instead of rotating the image, this is actually rotating all of the individual tiles around the center point, and there's a smearing option which will take a look at in a few minutes. So to change some of the behaviors here, let's go back to the render properties and let's change this from tile to fold aligned. So what this will do is change the way the artwork is behaving inside of the tiles. So now if I increase the size of the Radius, this doesn't actually reveal the original image. This changes the overall tiles, but it also changes the effect in the overall pattern that's being generated. And then, similarly, I could make this a lot smaller and see the effect of that as well. I'll bring us up to about 127 and you'll also notice that we can see the outline of all of the hexagons. So what I'm gonna do is come back to the render settings and let's change this from old aligned to fold seamlessly. And so what this will do is get rid of the bounding box of all of the tiles, and this will also sort of blend all of the artwork from the individual tiles into each other. So to see this, let's come down to the rotation property and let's come down here and rotate this around, and you could see how all of these individual tiles, now folding seamlessly together, create a whole range of different effects from this one image. And now, just like I recommended in the last lesson with the kaleidoscopes. If you find any particular pattern that you like, I would recommend duplicating that layer in the timeline panel. It'll be nearly impossible to get back to a pattern that you liked previously if you don't save the individual settings. So I really like this pattern here that I'm seeing in the composition panel, so I'll come down to the timeline panel, make sure that I've selected the arrested machine dodge a pig layer hit Commander Control de To duplicate that layer. I'll hide the bottom layer, make sure the top layer selected. Then I can come back to the effect controls and make some additional changes. So I come in here and increase the radius. After changing the rotation a little bit with my CenterPoint around, find another pattern that I like. Then I come back down to the Timeline panel commander control deal. Duplicate that layer, hide the second layer, make sure the top one is selected and they'll come back here and make some additional changes. So by doing this, I can always go back to the timeline panel, hide the top layer so the second layer, or hide the second and show the bottom layer. And I have all of the previous patterns that I liked saved in the timeline panel. And now there is one additional option my favorite option of the CC heck style. And that is the smearing effect. So to show this, I'm gonna come down here in the timeline panel, I'm gonna show my middle layer here, then back over to the effect controls. Let's come in here and change the smearing option. So this is gonna make this no longer a repeatable pattern, but it is going to give us this really unique texture for this image. So I'm gonna click on here and just drag, and what this is going to do is create this smearing effect where it's gonna basically blend all those textiles together in sort of a random pattern. So as I increased this, you can see how that pattern is being distorted by changing the smearing property, and you can drag this up to a really high value, maybe around 50 or 60. You can also drag this to a negative value. So what brings down to below zero and see what happens with a negative number? And of course, you can come over here and combine this with other properties so we can change the rotation to move our pattern around. We can change the radius, so make the radius much smaller. Move my CenterPoint around a little bit, and you can just see these beautiful patterns and textures that you can get by combining the smearing effect with all of the other properties. And just like the kaleidoscope patterns we made earlier, there's almost no limit to the number of unique textures that you can create from a single image. And we used this technique to create interesting background patterns for all kinds of projects, including presentation slides for both power point and keynotes. Dec's 16. Create line art from a photo: some effects alike to create patterns from the contents of a photo. The CC plastic effect allows you to create and stylized highlights based on the bright areas in your image. So if you're following along were in Folder three in the Chapter two folder in the exercise files and inside of here, What we're gonna do is take the dome dot J pic file and let's import this into after effects. I like to drag the JPEG file right into the project panel, and then, as we did earlier to credit composition, let's grab the J pic file from the project panel and drag it right into the composition panel. And now, with our composition created showing in the composition panel and the composition showing in the project panel and the gym pic file showing as a layer in the timeline panel, let's come over to the effects and presets and let's come in here in search for plastic so I could see that here under the stylized Group CC Plastic, let's click and drag and drop this right on top of the J peg. Now this will automatically bring us over to the effect controls, so it's come in here and open up these three groups we have our surface map are lighting and the shading, So this effect will create some three D effects on the image. I'm gonna come over here to the main composition panel and I'm just gonna zoom up, gonna bring this up to about 50% at the space bar, pan this over to the side here and now over in the effects and presets. Let's come in here and take a look at what some of the settings dio. So the first thing I'll do is come down to this shading group, come down to the ambient light and I'm gonna bring this down to about 30. So driving down to about right here, this will really darken up the image and you'll immediately begin to see some of the highlight areas Now have this sort of plastic effect. We have this highlight that's being cast over top of those white areas as if they were made out of plastic. And now we can come in here and make some additional changes as well. Let's come up here in a surface bump like come in here and just increase the height a little bit. And as we do that you can see the effect of the plastic height is not being modified. We can also come in here and change the softness. Just the blurred that out a little bit. And then we can come down to the light and change the light direction. So negative 45 degrees. That's the default Click and drag this around and changed the direction of the light. You can keep playing with these effects and create all types of three D and plastic looking effects on your image. But what I want to do is I want to use this particular effect to create what will look like sort of a line drawing based on this image. I'm gonna come up here to this center and I'm gonna click on Reset, and that will bring all of the settings back to their defaults. And I'm gonna come down and I'm gonna first make an adjustment to the cut minimum. And this is basically the darkest areas of the image. And since this is set to zero, this means that darkest areas are showing up in full opacity. Let's come in here and just drag the cut minimum up a little bit. And as I drag this up, this will start to pull out the darker pixels. So I'm gonna come in here and set this to about 93. I'm gonna cut a good portion of the dark pixels out, and that's gonna leave me the lightest areas here. Next, I'll come down to the cut maximum, which is controlling the pixels that are the brightest. And I'm gonna come down here and just decrease this to about 82. So since we're pulling out the brightest pixels and the darkest pixels and leaving just a little bit in the middle, this is going to give me that line during effect that I'm after and now will come down here and decrease my magnification. We'll go down to 25% just so we can see a little more of this. Next. Let's come back to the effective controls and let's go over to the light intensity and I'll increase this to about 143. And then let's come down to the Ambien setting under shading. And let's bring this from 75 up to 200. And so with these changes in place. I'll come back here and change my magnification to fit so we can see the entire photograph , and you can now see the results of the effect across the entire photograph. And since the lighting will vary in just about every photograph that you take, what I'm looking for here in this particular effect is a couple of areas where the effect looks pretty uniform, which I can see in these three sections on the left and so to make use of this effect. What I did at this point is chose composition save file as and then chose photo shop players like we've done earlier, and then imported it into in design so I could use the graphic in a postcard design. 17. Shapes with radio waves: in this lesson will create a Leinart pattern with a star shape using the radio waves effect and for this lesson will create this serial plane effect using Onley after effects. So, in an untitled project, inside of after effects, the first thing that will do is come up to the composition menu and come down and choose new composition. From this dialog box here will come in here and set the width and height to 3000 pixels. Make sure we're on square pixels. Resolution is full and for the time start code will leave it at zero. And for the duration, we're gonna set this to 10 seconds. This is one of those effects, like earlier ones that we've looked at where the effect is actually an animation. So let's come in here to the duration and let's set the second toe last set of numbers to 10. So this will give us a 12th timeline. The last two numbers here are the frames for the background color early this black, and then let's choose. OK, And so now we have our composition showing up in the project panel. We also have the composition opened in the composition panel and down in the timeline panel , you'll see that we don't have any layers now. This is the first time in this course we're going to be using something called a solid, which is basically a blank layer. It's a way that we can create a blank object inside of after effects, and then we can apply effects to that blank object. So to do that, let's come up to the layer menu. Let's come down to new and choose solid. Now you can name your solid anything you want on the mind waves by default. This will pick up the composition size. You can also click this button here, make com size so it will default to 3000 by 3000 square pixels. She's okay now. It doesn't matter what color this is because once we apply the effect that background color is gonna go away. And so now on the timeline panel, we can see that new solid showing up here as well. This is very much like creating a blank layer inside a photo shop, and I also point out that we get a solids folder in the project panel with our solid inside of there. So now let's go to our effects and presets and let's come down here in search for radio waves so I'll start typing the word radio. Radio waves shows appear under generate. Let's click and drag and drop this right on top of the solid. As I mentioned before, this is an animated effect. So once we apply this, we won't see anything happening. Let's come down here to the timeline panel. Let's grab the play head and just drag this out. And once we drag this, you'll see what this effect is doing. It's creating the Siris of circles that will radiate out from the center point. We're gonna bring my play head to about seven seconds, which I could see here in the bottom of the composition panel. And so now that we can see some circles, let's come over here to the effect controls and change some properties. So for the first few properties will leave these as the default. The producer points thesis. Enter points, the wave types and so forth. Let's come down here under wave motion. Toggle this open inside of here. Let's come over to frequency. This controls how many radio waves are generated. So by default, this is one. But if I click here and drag this up, you can see we can ADM or and Mawr circles that are showing up on the timeline panel at the seven second mark. And if I dragged us down, we'll see fewer circles gonna come over here and zoom up a little bit so we can see these come up to about 25%. Next, let's come down here to the expansion. The expansion controls how wide those circles get over time. So the greater the expansion, the faster they can sort of radiate out. So the default is five. But if I click and drag this up, you see that the expansion is getting much larger for that frequency at the seven second mark on the timeline panel. And again, you could just sort of dragon play around with these settings to get the exact effect that you're after down here under velocity. If we drag this up, we can actually change sort of the offset. It kind of looks like the wind is sort of pushing all of these circles in a certain direction. And so, with a series of circles and the velocity set. We can also come in here and change the direction and change the direction of the velocity against all of those waves. So this effect can be a lot of fun if you come into play with the sendings. So what we're gonna do for this particular example is I want to create a star shape instead of a circle, and I want to rotate this around a little bit so we can use this on the cover of a brochure . So let's come up here to the center of the effect. Let's click on Reset to bring this back to the defaults, come over here and set my magnification to fit in window. And then I'll come down and toggle open the Polygon Group and let's come in here and change decides from 64 down to five. So hit a five and hit tab, and that will change the circles into Pentagon's on the stage. Then let's come down here and let's activate the star option and then for the star depth. Let's come in here and set this to about 2.9 and they'll hit Tab, so that's gonna give me the star shapes here. Next, let's come down to the frequency for the frequency. Let's come in here and set this to five. I'm gonna hit Tab. Let's set the expansion to nine. And remember, our timeline marker should be at seven seconds and not back in the effect controls for spin . Let's come in here and increase the spin. And if I click and drag an increase, this we can see it spins the artwork around as it's being generated. Let's come in here and let's set the spin to six and then finally for lifespan, let's come in here and decrease the lifespan. This means that once the waves are generated, they only live for a certain amount of time. This will give us the ability to fade out all of those individual waves. Let's change this from 10 seconds down to six, a click away, and now we'll see that those waves are starting to fade out at six seconds. And since we're at the seven second mark in the timeline, we have one second of all of those waves fading out, not back in the effect controls will scroll down here a little bit. Let's click on the color Swatch here. Let's change the color, the white let's click, OK, and then finally, let's come in here and change the fade in time. This is the amount of time it takes for the waves to fade in once they're born in the center. I'll come in here and change this to two seconds, and now we'll see that the beginning of the waves will fade in while the lifespan setting is fading, the waves out. Now in my composition panel here, I'll zoom up a little bit. Just I can see this affect a little larger. It can pan around. And once I like the way the effect looks, I can come up to the composition menu, come down to, say, frame as and then choose photo shop players. And this is gonna give me a photo shop file where all of the negative space between the lines will be transparent. Now I use the same technique to create a pattern for the cover of a brochure, which gave us a really interesting texture for the cover photograph 18. Interlocking zig zag pattern: in this lesson will take a look at the CC jaws effect, which allows us to create a zigzag pattern that's fully adjustable. So if you're following along were in Folder five of the Chapter two folder of the exercise files. And now with the new untitled Project Open, let's import the rusted metal J pic file into the project panel. And then, just like we've done earlier as a shortcut to credit composition, let's drag the J pic file right into the composition panel. So now, with our new composition created and R J pic file showing up on the timeline panel, let's come over here to the effects and presets. Let's come in here and type in Jaws. Let's find the CC Jaws Effect, which is under the transition group. Let's click and drag and drop this right on top of R J pic file. Now, since this effect is actually part of a transition, there is a property in the effect controls called completion. So right now the default is zero. Become over here and click and drag this and increase the percentage of completion. You'll see the results of this effect in the composition panel so if I increase this up to 100% that will increase the jaws pattern so that we don't see it anymore. And then likewise, if I bring this down to a really low number, we can see the edges of the effect coming together in the center. Next, if we come down to the direction, we can control the direction of this effect rotating this around for the height. If I come in here, we can change the height of the teeth that are part of the jaws. We can also change the width and all of this is fully dynamic. And so, while you can certainly create the same effect in other applications, I would argue that the settings here inside of after effects make something like this much faster, especially when we come over here to the effect controls and changed the shape. So instead of spikes, we come down here and click robo jaw and again, all of these are fully dynamic, so I can come in and change the height and width of each one of these as well. And our background J pic file will continue to be masked across all of these settings so back over in the shape settings. Let's change this to block. Women can change these settings in here as well. And then finally, let's change this to waves. So you can certainly continue to play with different settings to try to find an effect that you like. What I want to do is go back to the metal teeth and I want to create a graphic that we can use in a poster. Welcome back up here to the center of the effect. Click on Reset. That will give me the spikes. So the first thing I'll do is come down to the completion. Gonna drag this up to about 47%. I'm gonna leave the center point right in the middle. I'll leave the direction at zero. Let's come down to the Heights. I'm gonna set this down to about 9%. Just type that in. Let the tab key that will go down to the whip for the with. I'm going to set this to four Mel tab away. That's gonna give me this nice zigzag pattern and not to make this effect a little more believable. I'm gonna add a second effect here since I'm applying this zigzag effect to the rusted metal. I want to change the edges of that effect. So I'm gonna go back to the effects and presets. Let's get rid of the word jaws inside of there, and I'm gonna type in the word Ruffin. I'm gonna look for rough and edges under the stylized group, and then I'll click and drag an apply this effect on top of the jaws effect on that J pic file. And so now, in my effect controls, I can see the rough edges showing up down here. So under roughened edges, let's come in here and change the edge type from Ruffin down to Rusty. Also gonna come over here and you up a little bit so we can see this. So bring us up to about 25%. Open my composition pen a little bit. Just we can see what's happening back over in the effect controls. Let's come down and change the border from 8 to 20. So type in 20 and hit tab. Next, I come down here to the scale, gonna set this to 115 hit tab and then for the evolution settings. Let's come in here and change this to about 37 degrees. Click and drag this up. So that's gonna give me these rough edges across the CC jaws effect on this J pic file. Next, I'll come over here and set this down to fit so we can see everything. Now. We can also see that the rough edges is cutting into the outer edges as well. And I don't want this. I only want the edges on the inner teeth. So down here in the timeline panel, let's select the rusted metal J pic file. Let's toggle this open open up, transform under scale. Let's come in here with the lock set and let's change this to 103 and it tap so that will just increase the scale of the J pick a little bit so we don't see the roughened edges on the outer edges. We only see it in here on the teeth. And now to add a little dimension and to be able to see that the CC jaws effect is transparent and come down here to the timeline panel gonna toggle all the properties closed . Then let's come back to the project panel. Let's grab the rusted metal J pic file again. Let's drag this on the composition again. So now we have two layers. Let's drag that second instance down below the J Pic file that has thean effects apply to it. It's now this is the background layer. I'm also gonna make sure that my composition background is black, so let's go to the composition menu. Down accomplishes and settings. Make sure this is that The black click OK, in the timeline panel, let's grab the background J pic file. Let's it the letter T key for rapacity and let's come in here and change this to 70%. That will make that background J pic file a little bit darker than the J pic file in the front with the Jaws effect applied to it. Next, let's select the J Pic file that has the effects applied to it in the effective controls. Let's toggle closed the CC, jaws and the rough edges. Then let's go back to affects and presets. Let's come in here and look for drop shadow. So under perspective, let's grab the drop shadow. Let's make sure that we apply this to the Top J pic file So now we have three effects on here and let's come in here and change the opacity to 45%. Let's change the direction to zero degrees. Let's change the distance to 100 and let's set the softness 235 and then it tap. So now we have this nice drop shadow effect being applied to what looks like the bottom of the jaws, which in reality, it's being applied to the entire layer. So now let's come in here to the drop side, a listing in the effect controls. Select this it command or control de to duplicate this, and then we'll come down here to direction and change this to 180 degrees. Then it tab. So now we'll get the effect of a drop shadow being applied to both the top set of teeth and the bottom sedative. And then finally, let's change the background J peg to be reversed so that we don't see the patterns matching up. It's come down to the timeline panel. We have the capacity still open here, so let's close the toggle and then open it again and down here for scale. Let's unclipped the link, which locks the height and the width. Then let's come in here and change the first property to negative 100 press return. And that will flip the background image so that the pattern doesn't match across the top and the bottom JPEG files. And then So at this point, I'm ready to save this back out to photo shop so I can create my final project. So just like we've done before, we can go to the composition menu, come down to, say, frame as and then choose photo shop players. And so this is the technique that I used to save out a photo shop file, that I could then add some copy, too, and then create a poster for a local art show. 19. Enhancing an illustration with lightning: There are lots of effects in after effects that can generate artwork from nothing but a blank layer, and this example will add some lightning to an illustration. Now, if you're following along will be in Folder one of the Chapter three folder in the exercise files, and here I have to aftereffects project files. The E P file is for those using the 2018 Creative Cloud version of After Effects, and the E P X file can be imported into earlier versions of after effects. And since I'm using the creative cloud version 2018 version of After Effects, I'll open the E p file. And so now, once you have the file opened or imported, you'll see in the project panel, we have a folder called Linked Art. You also see we have a series of ping files imported from the Assets folder in the exercise files, and there's also a composition showing up inside of the linked art folder down in the timeline panel. You'll also see that composition showing up here on the top layer in addition to some additional ping files. Now, this is the first time in this course that we've seen a composition nested inside of another composition. And as I mentioned in the introduction videos, this works a lot like smart objects in photo shop or symbols and illustrator, where if I come down here and double click on this composition, we can see that this contains another timeline with another set of layers. And so here we can see all of the pink files that relate to the front buildings. Now, to close this, I'll come down here and click on the X, and I'll leave open the original composition called Kaiju Project. And before I continue, I would like to take a minute to thank Race Bird, who gave me written permission to use and include this illustration in this course. So thanks again race. And now to begin adding lightning two races illustration. Let's come up to the lighter menu. Let's go to New and let's choose solid. And this is the same thing we did earlier in Chapter two with the radio waves so inside of solid settings. Let's come in here and name this lightning. We'll make sure that this is set to the comp size and they will come down and click. OK, that's gonna add a new layer with the solid in the timeline panel, and we'll also see a new folder in the project panel named Solids with our lightning solid . So now let's go back to the effects and presets and in the search field, let's start typing the word lightning and we're looking for lightning Dash vertical under this synthetics group and let's click and drag this and apply this to the solid in our composition. And now, just like we've seen earlier in the course with the shatter and radio waves effects, the lightening effect is also animated. So if we come down to the timeline panel and jog the play head, we can see that this animates over time. Welcome down here and bring the plate back to zero. Now, if you go over to the effect controls weaken, see an origin property here. This controls where the lightning starts. So if I click and drag the horizontal here, you can see the target just outside of my cop area. So to make this easier to see, also amount to 50%. Welcome back here and move this some more. If I move the Y axis, we can move the origin inside of the composition area, so I'll leave this outside of the composition area. So why is a negative number? You can also come over here and grab this and moving around. So this controls the beginning point where the lightning originates. There's a second target, which is the contextual control. The lightning attempts to start from this control and go through this control. So if I grab the contextual control and move this around and you can see that over here and the effect controls, contextual control is changing. As I drag this around, we can sort of control the direction of a lightning. Now, there are a lot of controls in the effect controls for the lightning. I want to come down here and play with a few of the options down here toward the bottom turbulence, forking in decay. The turbulence controls how sporadic the lightning looks. Higher numbers make the lightning more sporadic, and lower numbers make the lightning less sporadic. You can come in here and drag those settings up and down. I'm gonna drag this up to somewhere around 92. But right there next is the forking. This controls how often the lightning will split from its origin. If I increase, this will see more and more forks being created up 200%. Or if I come down here and bring us all way down to zero. We get a single fork from the origin through the contextual control. And finally we have the decay sending. So I'll come in here and bring the forking up a little bit so we can see the forks being created. And the decay works a lot like music notes where once the fork is created, how long does the forked item take until it disappears? So if we come in here and increase the decay, that means the fork items will decay or go away quicker. So as I drag this higher, you'll see that all of the forked items will disappear much more quickly. And then, if I dragged the decay down to a lower number, this means the items will not decay. Suffering is down to zero. Every forked item will stay on the screen the entire time and at the bottom of the lightning strike, all of the fort items that are not decaying will then start to build up and create this really intense hot spot down at the bottom. So for this illustration, I'm gonna come back to the forking settings. Gonna bring this down to about 26 or 27 right about here. We're gonna bring the decay up about 81. I'll increase the turbulence a little bit. Mostly gonna come down here and grab the contextual control. I'm gonna drag this over and I want to see some of the lightning in sort of this negative space here. Then let's go over to the glow settings. Let's talk all these open for the glory radius. I'm gonna increase this a little bit. So if I increase this a lot, you can see this creates a glow around the lightning. Gonna bring this down to about 56. She'll just type that in for the glow opacity. I'm gonna bring this down to about 29%. And then let's come over here to the glow color. I'll click on this watch. I'll set the base color to a medium orange. Did not come up here and just select a lighter orange color. So something about right here. Then I'll come over here and click OK, and now my lightning created. Let's come down to the timeline panel. Let's grab the solid, Let's click and drag and I'm gonna drag this behind the layer called Kaiju dumping. This way, the Lightning will appear in the background now. I used these techniques to add lightning. Two races, illustration. Then I created a Web based animation from these assets for the W. Max conference, and this animation was used to promote Russell Brown's pre conference session titled The Kaiju Project. I also use JavaScript to randomize the different lightning strikes and to randomize the rain drops that were falling on the monster. 20. Enhancing an illustration with rain: in this lesson believes the CC rainfall effect toe add rain to an illustration, and if you're following along from the previous lesson, you can keep working in that same file where we added the Lightning. However, if you're just joining us, I'll be starting from folder to in the Chapter three folder in the exercise files where I have to aftereffects project files. The E P file is for those using the 2018 Creative Cloud version of After Effects, and the A P X file can be imported into earlier versions of aftereffects. And since I'm using the 2018 Critic Club version of After effects, all double click on the E. P file toe open that. And so once you have this file open, you'll see that I have files imported into here in the project panel. It was a folder called Linked Art, which contains a series of Pink files, and we also have a composition here, and this composition is placed. That's a layer inside of the Kaiju Project composition, so we can have compositions inside of other compositions. And we talked about this in the previous lesson where this works a lot like smart objects and photo shop or symbols and illustrator. And before we continue, I would like to take a moment to thank Brace Bird for his written permission to include this illustration in the course. So thanks again race. And so to create the rain effect, we're going to add a new solid tour composition, which will give us a blank object in which we can apply an effect. So let's start by going up to the layer menu. Let's come down to New and let's choose solid in the dialog box. Here, let's name this rain. Let's make sure this is the size of the camp so I could make com size and then let's come down here and make sure that the color is black. We're going to use a blending mode so that we can get the light areas of the rain superimposed over top of the illustration. So quick on this watch. Let's come down here and make sure that the colors that the black what shoes OK, she's like a little more time now in the project panel will get a new folder called Solids , and we'll see our new solid here, and we'll also see the new layer showing up in the timeline panel in the composition panel . We can see our rain solid showing up here. So now let's head over to the effects of presets. Let's come down here to search. Let's type in the word rain and we're looking for CC rainfall inside of the simulation group. So let's click and drag on Sisi Rainfall and let's apply to the solid in the composition panel. Now, in order to see the rain drops superimposed on top of the illustration, we're going to need to use a transfer mode. Or if you're familiar with the term blending modes in illustrator Photoshopped, it's the same technique. So to turn on blending modes down in the timeline panel, the first way we can do this if you're using older versions of after effects, is in this layer here across the top, you can click come down two columns and you can turn on modes If you're using a creative cloud version of after effects in the lower left hand corner, you'll have this little icon here which says expand or collapse transfer controls. So if I click on this, or if you right click on columns and turn on modes. You'll see the blending modes showing up here in this column and again, these work exactly like blending modes in the other designs holes. So with the rain solid selected, let's come in here and change the mode to add. So we're basically adding the lightest pixels to the composition and making transparent all of the dark pixels. So now, with this in place, let's go over to the effects and presets and start playing with some of the properties for the drops. This controls how many drops are being generated. And just like with the lightning and some of the other effects we've seen in this course, this particular effect is also animated. So if I come down to the timeline panel and jog the play head, you'll see the animation taking effect. So I'll bring this back to zero. Let's go up to our effect controls and for drops. This controls how many raindrops are generated over time. So if I increase this from five up to 10,000 if you look in the composition panel, you'll see the number of raindrops has now increased. And then likewise, if I dragged this down to a low number. You'll see fewer raindrops in the composition panel, so I'll come in here and increase this up to about 5800. Next, we'll take a look at the size of the rain drops three is the default. I can drag this up to make the raindrops larger or smaller. So for this illustration, I'm gonna come in here and type in the number six. That's gonna look pretty good with the illustration style Here. Next speed is going to control how quickly the raindrops are falling. If I increase the speed, you'll see that they actually will sort of stay on the screen longer and have more of a blurring effect. And then similarly, if I drag this down to a low number, the rain jobs will only be on the screen for a quick second. And this is used in combination with the animation effect. So I come down to the timeline panel and jog the timeline. You see that these fall much faster. So for the speed, I'm gonna leave this at the default. So put that to 4000 and now the wind controls the direction of the rain drops. So I can click and drag this, and this will affect all of the rain drops as if the wind were blowing. So for this illustration, I do want to set a negative number here, so I'm going to bring this down to about 2190 and then let's come down to the opacity and let's set the opacity up a little bit, maybe to something that's a little above 40%. And these settings, they're gonna make the rain more closely match the illustration style. And now, as I mentioned in the last video, I used this technique along with the lightning effect to enhance races original illustration so that I could create this Web based animation to promote Russell Brown's pre conference session at the W. Max Conference. 21. Creating a water surface — part 1: for this next effect will create a water surface texture by blurring and stretching some fractal noise, applying the CC glass effect, then adding a color grading over the top of the texture, creating this graphical effect and will complete this texture over the next three videos. So here, in part one, let's begin with a new project inside of after effects. And so, now back inside of after effects with a new entitled project, Let's come up to the composition menu. Let's come down and choose new composition. Let's name this water for the within the height. Let's set this to 1500 by 1500 square pixels. Color doesn't matter, then we'll choose. OK, so now we have a new composition. We can see this in the project panel that's also opened in the composition panel as well. So now we're going to create a new blank layers. We can apply an effect to this, and we've done this a few times already. Let's come up to the layer menu. Let's come down to new Let's choose solid. Let's name this fractal. We want this to be 1500 by 1500 as well. You can also click make com size. With that in place, let's choose OK, and now we have a new solid showing up in the timeline on a new layer. We also have a folder in the project panel with our solid inside of there as well. So what? The solid selected? Let's come back to the effects and presets. Let's come down to the search field and let's start typing the word fractal. Once we do that, we'll see in the noise and grain group Fractal noise. Let's click on this dragon. Drop this and apply this to the solid in our composition. Now this works a lot like the render clouds or difference clouds in Photoshopped. However inside of after effects, we have a lot more control over how the fractal noise has generated. So with this selected, we can come over here to the effect controls and see all of these properties here. So for this particular water effect, we're going to start with going into the transform. Let's come down to scale and let's scale up the fractal noise. So as I drag this, we can see that the actual pattern generated gets larger inside of the composition panel, so Let's bring us up to about 220 right to about this point here. And this is all I want to do with the fractal noise at the moment, we're gonna make more changes later. But what I want to do at this point is with my solid selected down in the timeline panel, I want to wrap this solid into its own composition so that we can have a nested composition with our fractal noise to work from. So what we're gonna do is with the solid selected in the timeline panel, Let's come up to the layer menu and let's come down and choose pre compose. So basically, what this is going to do is take that solid and wrap it up inside of a composition and weaken nest compositions inside each other, which work a lot like smart objects in Photoshop or symbols inside of illustrator. So inside of this pre composed dialog box, let's come in here and name this fractal for water and we're gonna come down here and choose the second option, which is to move all of the properties inside of the composition. This means all of the effects that we've applied to the solid will also be contained inside of this composition. And we're doing this because we're going to add hourglass effect and we want the glass effect to be compounded or applied on top of the fractal noise. So with these options set, let's click OK and now down in the timeline panel, we can see an instance of our composition called fractal for water, which we can also see here in the project panel is inside of our original water composition . And now what I want to do is I want to change the dimensions or the size of the original water composition. Since the fractal for water is set to 1500 by 1500 I want to come in here and make the water composition smaller. So that is the competition we're looking at here in the composition panel. Let's come up to the composition menu. Let's come down and choose composition settings and let's come in here and change this. So we're gonna change this to 900 for the with and 450 for the height and then click OK, so that's going to change the size of our water composition So in order to see what's happening, I'm going to come in here and change my magnification down to 12.5%. This way I can see the entire composition, which is the 900 by 4 50 then I can see the composition that's inside of here, which is 1500 by 1500. And now we can see how much larger the fractal for water composition is from the water composition that it's placed inside of. And so now that we have are nested compositions in place. Next will convert the fractal for water composition into a three d layer, then will apply RCC glass effect. 22. Creating a water surface — part 2: This is part two of the creating a water surface texture, and we're continuing from the previous lesson where we nested the fractal for water composition into the water composition. So now we're going to continue by creating some perspective for our fractal noise. So what we're gonna do is come down to the timeline panel. Let's select the composition fractal for water, and let's come over here and activate this option here, which converts this into a three d layer. So this little cube icon showing up here being activated will then give us the ability to come up to the tools look like on this fourth tool here, the rotation tool, and then be able to rotate this particular layer in three D space. So in order to see what's going on here, I'm just going to zoom up in a short cut. Presuming up inside of after effects is you can hit the greater than sign or the period to increase the magnification. Or you can press the comma or the less than sign to decrease. So I'm gonna come up here a little bit just so we can see this sort of triple axis showing up here by over, Over. The center will see the Z axis If I over over the Green Arrow. This is the Y axis. And by over over the red era, this is the X axis. So what I want to do is sort of tilt this away from me as if we were sitting at the surface of the water looking into the distance. So what I'm gonna do is come in here and click and hold on the X axis, and I'm just gonna move my mouse upward holding the mouse button down. So this will give me the ability to rotate this around in three D space. And so what I'm gonna do is rotate this to about right here. And if you want to see the exact number we can twirl open the properties for this composition. Let's go into transform and let's go down to orientation, which is available because this is a three d layer. And here we have the degree settings for the X Y NZ, so you'll see that the X axis is 288 degrees. If I hover over this and scrub the number higher you see, we can rotate this around just like we did by clicking on the arrows with the tools. I'm gonna bring this back to 2 88 You could also come in here and rotate the why access and easy access. But for the moment, I just want to leave this at 288 degrees for the X axis. Then let's come up to the composition panel. Let's change our tool to the move tool and let's click and drag and let's move this around so that the fractal noise will still fill the entire composition. So move this to about right here. And so now the fractal noise down at the bottom appears closer and the fractal noise at the top appears further away. So again, this is going to give us that perspective for the water texture. From now, we'll go down to the timeline panel. I'm gonna just close up all of the options here. Then, with this selected let's come back to the effects and presets, let's delete the search for a fractal noise and let's come in here and search for CC glass type in the word glass. We're gonna go for this one here under the stylized group called CC Glass. Let's click and drag and drop this and apply this to the composition. So, as I mentioned in the last video the reason that we put this into a composition and so that the cc glass effect is affecting all of the fractal noise settings. If we had the fractal noise effect and the CC glass effect on the same solid, the CC class effect would not affect any of the pixels from the fractal noise. They'd be added together, but one wouldn't affect the other. So to see what this allows us to do, let's go back to the effect controls. Let's toggle open the surface properties and down here, let's come in here and change a few of the properties inside of here. So let's start with softness. If we come in here and scrub softness to a lower number, you'll see that the effect is actually much stronger or makes crispier edges. I'll come in here and him up a little bit so we can see what's happening. I'll come back up the softness and let's increase this. The I R increased this thesis or of softer. The effect is across the dark and light areas of the fractal noise. The height setting allows us to control how tall the effect is, basically modeling the surface of the fractal noise. So the higher I make this in conjunction with how soft the effect is, we can get some of the light effects here, toe look really sort of spiky or hard edged. And then we have the displacement amount. This controls how much movement we have from the effect across the darkest or lightest pixels. So the higher the displacement, the more differential we get between those different contrast ing areas. And as I've mentioned a few times throughout the class, one of the best things about aftereffects is you can just come in here and play with the different settings. If you're not sure what they do, just come in here and just scrub the numbers around and just see what effects you can get in. Other properties that I want to use for the water surface texture are setting the softness to 17. Let's hit tab that will bring us the height. For the height. We're gonna set this to 100 than a tab. We're gonna set the displacement to about 167. And then let's talk will open the light properties and let's come down toe light intensity and let's bring this down to about 60. So this is going to make the overall effect a little bit darker, but this is gonna play really well with degrading overlay that will do in the next video. And so, with this set, I'll come back to the composition panel and I'll change my view to fit in window. So now we have a texture that looks pretty good for maybe a swimming pool or a small body of water. And so what I want to do at this point is stretched the waves out a little bit, so they look like waves that might be in a larger pond or maybe even a river. So to do that, we're gonna go inside of the fractal for water composition, and we can do that by double clicking on the composition panel here. Or you can double click on the composition in the timeline panel, and in either case, we're now back inside of that original composition that we created that has our solid with the fractal noise applied. And so now what I'm gonna do is come up here and select the fractal noise solid. Then let's come down to the timeline panel. Let's talk will open the properties. Let's toggle open transform. Let's find this scale. Let's uncheck the link between the height and the width and let's come in here and just increase the scale of the whip. So I'll come in here and drag this. I'm going to drag this to about 600%. She'll drag this up to about right here and now with the fractal noise stretched out. Let's come up to the contrast settings for the fractal noise, and let's just increase us a little bit. Let's bring us up to about 145. This way we'll get some of the contrast back that we lost by stretching out the window. So once we have that in place down in the timeline panel, let's come down here and select the water composition, and we can now see the effect of the stretched out fractal creating much longer waves that we would see in a larger body of water. And so now that we have our water surface texture, next will add some color to this overall effect, 23. Creating a water surface — part 3: This is part three of the creating a water surface texture lesson, and all we have left to do is apply a color Grady into our texture. So we'll be continuing with our nested three D enabled composition layer. And in order to apply our grading, we're going to use the radiant ramp effect, which we're going to apply to another solid so inside of our main water composition. Let's come up to the layer menu. Let's come down to new Let's choose solid. Let's name this Grady int. We'll choose make comp size, which is 900 by 4 50 Let's shoes OK, we'll see that showing up down in the timeline panel. Let's go back to our effects and presets. Let's clear out our search for glass and let's come in here and search for the word Grady int so I'll start typing g r a. D down here under Generate, I can see this effect here called Radiant Ramp. Let's click and drag and apply this to our Grady and Solid and will immediately CIA, Grady and created that goes from black to white. Now over, the effect controls the way we work with radiance inside of after effects, as each radiant has a target very similar to some of the other effects that we've seen throughout the course, and each target has a color associated to it. So if I come in here and change the why value of the start ramp, for example, which is black, this is going to be this target item here. If I come in here and just drag this around, I can change the direction of the Grady int and I could do the same thing for the ending Radiant. So I grabbed the second target and move these around. I'm gonna undo this. We'll get back to the beginning. And what I want to do is I first want to change the colors. So for the start, color the color at the top. Let's click on this watch. Let's come in here and change the start color. So I'm going to use the Hexi Decimal down here. We're gonna set 65 for Red, see A for green and two F's for blue. That's going to give us this light blue color. I'm gonna click. OK, next, let's come over here and click on the swatch for the end of color your sex decimal again. Let's come down here and set red to 19. 54 for green and 87 for blue. That'll give us this darker blue, and I will choose OK, and now, with these two color set, we're going to apply this into the texture, and we're going to use a blend mode to do this now. Earlier, we enabled blending modes in our timeline panel. So if you don't see the mode category here, if you're using a creative cloud version of after effects, you should have a blending mode option over here in the lower left hand corner that you can turn on and off to enable or disable modes or in all versions of after effects. In the top most titling layer you can right click come down two columns and you can turn on modes. In either case, you'll end up with this mode column here. So for the radiant solid, let's come in here and select the mode and let's come down here and change this to overlay . And as soon as you select that, you'll see that this color is now being applied to the texture giving us this really beautiful water surface effect from that Sisi glass and the fractal noise. Now I use the same technique when creating a design element for a design conference. We used artwork generated from after effects on a 38 inch by 58 inch poster, which had a copy of the entire event schedule. And we also animated the same artwork for the mobile Web application that showcased all of the design work created by the attendees of the conference. And that Web application is still available online if you want to check it out. 24. Making realistic melted chocolate - part 1: in this lesson, we use a similar technique as we did with creating the water surface. But instead of using fractal noise, we're going to use a radio wave pattern and will complete this lesson in two videos. So for this first video, we're going to start with a blank aftereffects project. So inside of after effects, let's come up to the composition menu. Let's come down and choose new composition. We're gonna name this chocolate for the with. We want this to be 900 for the height. Let's set this to 4 50 Make sure we're using square pixels and we also want to come down here and make sure that the duration is set to about 10 seconds. If you remember earlier when we used radio waves, the radio waves effect creates an animation. So we'll want to have some time on the timeline so that we can find the exact spot that we're looking for. And finally, we're gonna want to come down here to the background color and we're gonna want to set this to a dark gray and so down here in the hash area, we're going to use six threes, 33 for red, 33 for green and 33 for blue. Let's click. OK, let's click OK again That will have our first composition showing up here. Now we're gonna create another composition so we can put it inside of the chocolate composition. So back to the composition menu, new composition. We're gonna name this one waves. We're gonna keep 900 by 4 50 square pixels will keep the 10 duration and the background color, and then we'll click. OK, so now in the composition panel, we're looking at the waves composition. So inside of the waves composition, let's come up here to the layer menu. Let's come down and choose new and let's choose a solid. We want to create a new solid. So we have something to apply our radio wave effects, too. So for the name of this new solid, let's call this radio waves 900 by 4 50 Or you can click make com size, then let's click OK, and the color of the solid doesn't matter here because the effect is going to wipe out the background so that in place, let's click. OK, we now have a new solid inside of our radio waves composition. Now let's come over to the effects and presets. Let's come down here and search for radio waves. It's under the generate group. Let's click and drag this and apply to our solid. And now, if you remember from earlier, the radio waves gives us the ability to generate shapes from the center. To see this all come down to the timeline panel, drag the timeline out. The default is a circle, or at least what looks like a circle. These air actually polygons. So if we come up to the polygon setting in the effect controls, toggle this open. You'll see that these air polygons with 64 sides, so to create our chocolate effect, let's come in here and reduce this from 64 down to 15. Let's click away and you'll now see in the composition panel. These have 15 sides. Next has come down here and change the frequency under wave motion. This will change how often individual radio waves are created, so let's increase this up to 10.2. Next. Let's change the expansion. Let's come in here and set this to 8.2. So as they're created, their spreading out as well. Next, let's change. The velocity will set this to 75. That's going to make it look as though all of the waves are sort of being blown by the wind a little bit. And then to make sure that all of the angles don't line up perfectly. Let's come down here to the spin property and let's set this to about 70 and then click away. That's going to give us the sort of wavy pattern over here on the left. Next, let's come down the lifespan. Let's change this from 10 to 1, so each radio wave only lives for one second. Let's scroll down under the stroke area. Let's come in here and change the color of the stroke. We're gonna change this to a light gray, so we use 89 for Red, 89 for Green and 89 for Blue Down here in the Hexi decimal area, let's click OK, and then finally, let's come down to the fade in time and let's set the fade in time to about 0.3, then click away. So that's gonna make the radio waves that are being born here in the center, fading a little bit. And so, with these properties in place, let's come down to the timeline panel. Let's activate the three D option for the solid, so we'll click this little icon here. Then let's Tuggle open the properties. Let's open up, transform And inside here we have the orientation properties. The first value is the exploitation. The middle is the why, and the 3rd 1 is dizzy. Let's come in here and we click and drag on the X axis. We can rotate this around so it's come in here and set the exportation to about 286 degrees . Then let's go over here to the Z axis and let's scrub this up and let's rotate this around a little bit so that the closer parts of the wave that were created by setting the velocity will be in the background so it looks like the closer waves are further in the distance. Let's come in here and let's rotate this around to about 60 degrees, and then we'll increase the scale, which is the property right above orientation. Let's come in here and you can drag you to the X, y or Z. I have all of these hooked together and let's bring us up to about 200%. So once you're shape looks something like this, let's come back to the effects and presets. Let's come in here and remove the search for radio. Let's come in here and search for Gaussian Blur. So I'll type G a U that will show a breakdown here under blur and sharpen. Let's select this effect. Let's apply this to the solid in the effect controls. I'll come up here and toggle closed the Radio Wave properties and then for the Blur. Let's come in here and set this to about four. Then I'll click away, and that will soften all of the edges on the radio wave shapes. So now that we have our base pattern created, let's continue in the next video, where we'll add RCC glass effect and then we'll apply some color using a Grady, in effect, 25. Making realistic melted chocolate - part 2: This is part two of the creating melted chocolate lesson and will be continuing from the last video where we have our three D enabled solid containing our radio wave pattern. So inside of the radio waves composition, Let's come in here and toggle closed all of the properties. Next, let's come back to the chocolate composition. So now we're looking at the chocolate composition here in the composition panel, and this particular composition is still empty. So now we're going to do is come over to the project panel. Let's select our waves composition and let's drag and drop it inside of the chocolate composition. And so now we have our waves composition nested inside of the chocolate composition. Not to see our artwork. Let's come down to the timeline panel. Let's drag the timeline panel out to four seconds, and what's happening here is not only are we seeing the four second mark of the chocolate composition, we're also seeing the four second mark of the waves composition that's nested inside of this chocolate composition. So once we can see this, let's come up here to the effect in presets. Let's clear our search for the calcium blur and let's come in here and search for CC glass . So just type in the word glass under stylized We'll see, see, see glass. And so let's click and drag this and apply this to the waves composition. And so we talked to pretty extensively about this particular plug in in the creating of water surface lesson. So what we're gonna do here is going and set some specific properties so that we can get the effect for the chocolate. So in the effect controls, I'm gonna toggle open the surface property here and let's come in here and start by setting the softness. I'm gonna bring the softness up to 27 for the height. Let's come in here and increase this. I could increase this up to about 72 and you can see the effects showing up immediately here in the composition panel. And then finally, for the displacement. Let's bring this down to about 80. Just click and drag and change that. And now, to make the light a little bit stronger and to reduce some of the inner shadows, let's come down to the shading properties and let's increase the Ambien property up to 200 . And so now, with these property set, let's create a new solid so we can apply a four colored radiance. So let's come up to the layer menu. Come down to new choose solid. Let's name this greedy int. We'll make it come size. Let's choose. OK, then back to the effects and presets. Let's come in here and remove our search for glass. I'll type in the word Grady INTs, and what we're looking for here is the four colored radiant under the generate group. Let's apply this tour solid, and that's going to give us a four color Grady Int, where each color in the Grady INT is specified by these individual targets. So if I click these targets and move them around, they actually change the way the color blends into the other targets on this Grady in effect. So the first thing we'll do is come over to our effect controls and for color number one, Let's come in here and click on the Yellow Swatch and let's change this to a dark brown color. So we're gonna put 34 for red, 16 for Green and 04 for Blue. Let's click OK next Let's go over to color, too. Click on the greens watch, and we're gonna change this to a lighter brown color. So we'll use 87 for Red, 52 for Green and 20 for blue. Let's click OK, next, let's come over here and change color. Three. We're gonna set this to 67 for red, three F for green and 22 for blue click. OK, and then finally, for color for Let's come in here and set this to 30 for red, 14 for green and 04 for blue, then click OK. Next. Let's go down to the timeline panel and change the blending mode. Now if you don't see the mod column here. If you're on a creative cloud version of aftereffects, you'll have this little Modi can over here that you can click on and off to turn on and off the modes. Or you can come over here and right click in the title layer here, come down two columns and make sure that modes is checked. Once you do that, you'll be able to change the blending mode. So for the Grady int solid, let's come in here and change this to vivid light. So it's like this item here. And then once we do that, we'll now see that that colored radiant is now being applied to that texture that we created inside of the waves composition and someone's your colors applied. You can come back to the effect controls and start moving around those color points. You can also come down to the timeline panel, select the waves composition and come back to the CC glass properties and come in here and change the different properties here as well. So if I increase the softness, for example, this will make the individual waves blend in together a little nicer. And then if we lower this, this will create harder edged waves. We can also come in here and adjust the heights and the displacement so you can play with all of these different settings to get the exact texture that you want for your chocolate. And we used this technique to create a chocolate texture for an advertisement. We then composited that texture with a photo, made some color adjustments so that the texture matched the color of the chocolates in the photo, and then we set the text to complete the advertisement 26. Creating bubbles for champagne — part 1: in this two part lesson, we'll take a look at using a particle system to create bubbles for a champagne glass, and we'll start by creating particles and after effects. Then we'll bring our particle artwork over to photo shop and apply some masking and three D effects. Now, if you've been following any of our studios animation work, you'll see that particles are one of our favorite features and after effects, because you can achieve just about any effect from underwater light reflections to snow, rain bubbles, water, anything you can imagine. So if you're following along, we'll start this lesson with a new untitled aftereffects project. Then we'll import the file named Champagne Underscore glasses dot jpeg from Folder five in the Chapter three folder of the exercise files. And once you've located, the file will import this into the project panel and then create a composition by dragging this over into the composition panel. And so once you have your composition created, let's start by creating a solid so we can assign the particle effects to the solid. So let's come up to the layer menu. Come down to new choose solid will name this particles. We'll choose Make comp size, then click. OK, the color doesn't matter. And now we're gonna go back over to the effects and presets and let's come in here and search for the word particles. So type in particle. Here we can see. See, see particle systems to under the simulation group. Let's click and drag this and apply this to the solid. Now, just like some of the other effects we've seen in the course, this particle system is actually part of an animation. So to see the animation, let's come down to the timeline panel and click and drag and see all of the particles being born in the center of the screen. If you don't have enough time in your timeline panel, you can come up to the composition menu, come down to composition settings and make sure you have at least five seconds or so in the duration. So mine has 10 seconds, so click OK. So again, if we come down here and scrub this back and forth, you can see all of the particles on the screen. So what happens with particle systems is basically if I come down to the zero mark, there are no particles and particles are born from a center point. So as I drag the timeline, you can see all of the particles being born and sort of spinning out from the center point and then animating across the composition and the speed at which they animate the speed that they fall. The number of particles and where they're created are all controlled in the effect controls and particle systems can be a rather complex effect to master. So what I'm going to be doing in this lesson is focusing specifically on the properties that will give us the bubbles effect. So let's go over to the effect controls and let's come down and first go to the particle itself. So will toggle open over the properties for particle under particle type? Let's change this from a line, which is the default down to shaded sphere. So that's immediately gonna change the way the particles look on the stage. And then if I come down here and jog the timeline, you can see what that changes. And now, before we continue changing the particle, let's come back to the effect controls. Let's open up the physics group and let's come down here and change the animation type from explosive down to fire. So changing the animation type automatically change a bunch of the environment properties which include things like the gravity in the direction of the particles. So now, if we judge the timeline, you could see the particles are born from the center point and now they flow upward. So this has the same motion that we're gonna be using for the bubbles. So at this point, I could just leave the play head at around the three or four second mark. Now let's go back to the effect controls. Let's close up physics for the moment, let's go back into the particle settings. Let's come in here and change the birth size. I'm gonna seem up here a little bit just so you can see what's happening on my screen. So for the birth size, if we come in here and drag this up, this controls the size of the particles when they're born, which is at the center point right here and then Similarly, if I make this smaller, the particles will be born at a much smaller size. So for the birth size, we're gonna come in here and set this 2.15 and press return. Now that will show in the interfaces 0.1 But if you select the number, you'll see the 0.15 and then for the death size, which is the size of the particles at the end of their life. Let's come in here and set this 2.3 So now, at this point, it's getting pretty hard to see the particles. So let's jump down to the birth color. Let's click on the yellow Swatch. Let's change this to black. Let's click OK and let's go to the death color and we're gonna set this to be black as well . We want to have strictly black artwork because we're going to apply some effects later in Photoshop, and then let's come up to the size variation and change this from 50 to about 75 Right about here. This will change the size of each of the individual particles and make them just a little more random. Now let's go back into the physics. Let's open this up. Let's come in here and change the velocity. The velocity is the speed at which the particles air coming out of the center Point. Let's come in here and increase this up to about four. I'll just drag this up, and as I increased this, you can see the particles spreading out along the composition. Next, let's increase the gravity. So we're gonna set this from one up to six. And since we're using the fire animation type, this is gonna make the particles move upward a lot faster. And now to get more bubbles on the stage, let's come up here to the very top property, the birth rate and let's come in here and increase the number of particles that are being born. So as we increase this, you'll see that the number of particles is increasing and we're seeing Mawr particles throughout the entire area. So let's come in here and set this to 36 then click away. And now we'll see many more particles showing up because more particles are being born per second. All of the other physics are still taking effect, including the gravity and the velocity. But since we have so many more particles being born, we're seeing more of them on the screen and Now let's go back down to the particle section . Let's come down to maximum opacity and let's increase this up to 100%. We want to make sure that there's no transparency for any of these particles. And now the last thing we need to do for the particles is come down here and change the producer or the center point so you can come in here and click on the center point. Let's click and drag this to the bottom of the glass, and I want to make sure that there are particles all around. The outside edge of the glass will mask the particles inside of the class when we get to photo shop. So at this point, let's first save our aftereffects project. So let's go to the file menu. Let's choose Save will name this bubbles that e. P Come down and click Save. And now, with our aftereffects project saved, let's save a version of the photo shop so we can apply the final effects. So let's go up to the composition menu come down to say frame as choose Photoshopped layers and we'll name this bubbles dot psd and then it saved and now on the desktop, we have a brand new aftereffects project file as well as a Photoshopped file that we're going to open in part two of this lesson. 27. Creating bubbles for champagne — part 2: This is part two of creating bubbles for champagne. And if you've been following along, we've completed creating a particle system and after effects. And now we're ready to mass. Can apply special effects in the photo shop file that we export it out. It's on the desktop. We have our bubbles, not PSD file. So let's open that up in Photoshop. And when you have the photos on file open, you'll notice in the layers panel we have a particles layer which matches the name of the solid we created in after effects that contains all of the particles. And we have the champagne glasses from the J peg that we imported. So the first thing we're gonna do is select the particles layer. Let's come down here and apply it layer mask. Then we're gonna make sure we have black on the foreground and white in the background. We're going to select our paint brush tool. Let's come up to the brush settings. Let's come in here. Make sure we have a soft brush selected double click on soft ground click away. Gonna zoom up here, and what we're gonna do is we're going to mask out all of the particles that appear outside of the glass. So if I come in here and start painting, I'm painting black on the layer mask, which is hiding all of the particles outside of the glass area. So I want to paint across the top here, make sure these bubbles are going away. Then we're gonna come over here and paint down the side. And I'm painting with a soft brush so that any of the particles on the edge of the class will get a little bit of effects apply to them so they look a little more natural. Then we're gonna paint across the bottom here, then over here on the left hand side and then lose him out. I'll make my brush really large, and then I'll paint across the top here to get rid of all of the particles in the top of the composition. Now, across the top of the liquid. I do want to set a harder brush so that we can get a sharper mask, because we're gonna add bubbles to the top of the liquid in a few minutes. So let me decrease my brush size. Let's go back to the breast settings. Let's get a harder brush. Let's come back over here and what I'm gonna do is click on the left hand side. Once hold the shift key, move my cursor all over to the right. Click the mouse ones, and that would give me a nice straight line across the top. Now, if you want to see the mask you've drawn, you can hold the option key on the Mac or Alton windows. Come over here to the layers panel and with that key selected, let's click on the mask, and this will reveal the mask that you've painted. And so if you want to modify the mask, you can come in here and continue to draw and paint in any missing areas not to view the original image. Let's go back to the layers panel. Click on the thumbnail icon here to the left, and that'll bring us back to the original image and not to create the bubble effect. Let's come over to the layers panel on the particles layer. Let's come in here and change the fill opacity. Let's come in here and change this down to zero. This is not the opacity for the overall layer, but it is the fill opacity of the individual pixels on the layer. This way we can apply an effect and will only see the effect. We won't see the original particle pixels. Welcome in here. Move my a glass of beer to the right, then in the layers panel with the particle layers selected. Let's come down to the effects. Let's come in here and apply a bevel. And in Boss now, when the default settings are applied to those particles which have a zero fill opacity, you'll see the effect showing up on the canvas so we don't see the pixels from the particles, but we see the results of the effect. So this already looks a little bit like bubbles. So let's come back to the bed linen boss settings for style. Let's come in here and set this to em, boss, for the depth. We're going to set this to just 1% for the size. Let's come in here and set this 20 same thing for Soften. And by setting this 20 we're gonna get a much harder edge around the effect as it's applied to all of those pixels. So back in the bevel in both settings under shading, we're gonna keep this at 90 degrees the altitude of 30. The gloss contour as a diagonal line, which is the first option here. Next for the highlight mode, you want to set this to screen. You want to make sure that your color is set toe white and you're gonna set the opacity to 50%. And for the shadow mode, let's come in here and change this from multiply to screen. Let's change the color toe white. Let's click OK and let's at the opacity up to about 85% giving us the effect that the light is highlighting or shining on the inside of the bubbles and now inside of the layer style dialog box. Let's come in here and add a drop shadow. Let's go over here and check the check box. Then let's select the drop shadow for the blend mode will set this to multiply for the color. Let's click on the color Swatch. Let's move into the canvas area. Let's select the sort of tan color of the champagne, and then let's come over here and diagonally dragged this down to the lower right making this darker and more saturated. I'm also gonna come in here and just warm this up a little bit by dragging the slider down toward the Reds. So once we have this sort of dark brown tan color, let's click OK for the opacity. Let's bring this up to about 38%. Let's leave the angle at 90. Let's change the distance to to set the spread to zero and then, for the size will set this to zero and then we'll click OK for the layer style. So these are all of these styles that we're going to be applying to the particles layer. And now, before we make the overall effect stronger, one thing we want to do is add some extra bubbles near the top of the liquid to make this look a little bit more realistic. So I'm going to zoom up here so that we can see at the top of the liquid a little bit better. Let's come over and make sure we have the particles thumbnail selected, so we're not painting on the mask, but we're painting on the main layer. Let's go back to our paintbrush. Let's go to our brush. Let's make sure we're on a hard brush and just so we can see what we're painting, let's temporarily come back down to the fill opacity. Let's bring this back up to 100% so we can see all the black dots again. We're gonna have the letter D on my keyboard, which will put black on the foreground and white in the background. So painting with black, let's come in here and decrease the brush size using your left bracket key. And I'm gonna come in here and just start painting a bunch of bubbles by single clicking that brush along the top of the liquid. I'll hit my right bracket to increase the brush size a little bit. They don't decrease this a little bit. I just wanted vary the size of all of these individual particles that were painting. And then once I have a bunch of particles like this, let's come up here and select on marquee Tool. Let's come in here and click and drag. I want a marquee. Select a bunch of these particles. Now I have this one particle. Half selected hairs will hold the option. Can the Mac or Alton Windows and remove part of that selection. And now welcome up and select the move tool. I'm gonna hold the option key on the Mac or Alton Windows and click and drag to create a copy of all of those bubbles. I'll just drag this one's let go. I'll drag this again. This look at me. Another copy with this still selected, I'm gonna hit command T on the Mac or control T and Windows to transform these. I'll just flip these around. I hold the option or Ault Key. I can flip these around from the center. I can press return and still on the move tool can move these over a little bit. Hold the option key. Let's drag another copy. Move these over and then we'll do this one more time. I'm just creating a series of bubbles across the top of the champagne. Next I'll hit Commander Control DE to de select all of the particles. Now back in the layers panel. Let's set the fill opacity back to zero. Then I'm gonna come in here and select a layer mask. I'm gonna make sure I have white on the foreground. Let's elect our brush tool Let's come up here. Make sure we have a hard brush. Selected Could increase this a little bit. I want to make sure that I don't have any masking happening inside of liquid area. So now is the amount a little bit. And to amplify this effect to make the bubble stronger, let's come back to the layers panel. Let's select the particles layer Pick Command J on the Mac or control J and windows to duplicate that layer and then on the duplicate. Let's come back here to the main opacity, and let's just bring this down to about 65%. And so now we've added bubbles to our champagne class, making use of particle systems from after effects, as well as a masking and layer effects inside a photo shop. 28. Where to go from here: So I hope you found some of the examples in this course inspiring, and I hope that they motivated you to try to create your own unique artwork inside of after effects. And don't limit yourself to only the effects and settings that I used in this course. Experiment with different effects and settings on your own photos and artwork. And remember to ed enough pixels to your composition so you can use your artwork for any medium. And so with that, I'll conclude this course on using after effects for graphic design and, as always, thanks for watching.