How To Make A Lightsaber In After Effects | Nick Gulliver | Skillshare

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

How To Make A Lightsaber In After Effects

teacher avatar Nick Gulliver, Motion Designer, YouTuber

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (50m)
    • 1. INTRODUCTION

      2:13
    • 2. HOW TO INSTALL SABER

      4:08
    • 3. SHOOT YOUR FOOTAGE

      0:32
    • 4. TRACKING YOUR MOVEMENT

      12:10
    • 5. CREATING THE LIGHT BLADE

      6:26
    • 6. LIGHTING YOUR SCENE

      15:09
    • 7. RENDER YOUR FOOTAGE

      0:26
    • 8. ADDING SOUND EFFECTS

      6:12
    • 9. FINAL THOUGHTS

      0:36
    • 10. COURSE TRAILER v2

      2:13
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

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

34

Students

--

Projects

About This Class

cf540c6c.gif

In this VFX class I’ll teach you how to make a Lightsaber out of any object. I'll be teaching you the basics of a plugin called Saber, so in turn you make your very own VFX Lightsaber in After Effects.

If you've always wanted to shoot and edit your own Lightsaber fight scene or just create a cool video for social media, then this class is for you! I’ll walk you through all the steps of how to track your sword or stick, create your own light blade and add sound effects. By combining all these elements together, you will be able to create an awesome Lightsaber scene. By the end of this class, you will not only be able to create a cool Lightsaber but you will be able to apply this effect to other special effects or space scenes you want to create.

 So, what are you waiting for my young Jedi? The force is strong with you.

Let’s jump into making cool Lightsabers together. I'll see you in class.

Meet Your Teacher

Teacher Profile Image

Nick Gulliver

Motion Designer, YouTuber

Teacher

Hello, I'm Nick. I'm a YouTuber and VFX Artist. When I'm not producing content for my Tech Channel on Youtube called Tech Space, I'm working in the world of VFX. I decided to create some classes on SkillShare to pass on my knowledge of VFX, as I taught myself watching videos online and thought it was time I gave back! So checkout my classes and shoot me any questions you have. I'll see you in class. 

See full profile

Class Ratings

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

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

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

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

Transcripts

1. INTRODUCTION: Hey guys, My name's Nick. And in this VFX class, I'll teach you how to make a lot cyber at an any object. For example, this lint roller or is it pretty cool? But I'm thinking maybe you lean more towards dot psi. You can pretty much make a lot cyber out of any objects. For example, this head trauma or is it okay? Maybe I'll just put the hairdryer back there. But all jugs Assad in this class, we're going to have a lot of fun playing around with the cyber plug-in as I teach you some cool ways to create a lightsaber and Adobe After Effects. So in this class I'll be teaching you how to create your very own lightsaber and track it to any object, will work on a project together where you can shoot your own footage and apply what I teach you to your own project. Now if you don't have a camera or you can't shoot your own footage. You can download my project as I have some sample footage you can play around with and create your very own custom looks. So to quickly go over what you're about to learn in this course, we will cover one, how to install the plug-in to recording your scene 3, tracking him movement for creating the light blade. Five, lighting is seen, and 6, adding sound effects. Now with any good special effects, same sound design is a big part of selling that visual effects. So we'll go over how to lay audio of your footage. This is very important as you don't want your footage to end up looking like this. Your father. Yeah. You're going to put some Zenefits in this for me. Yeah. Now part of this class, I'll provide a bunch of free sound effects so you can download, use an add to your project to really sell those affects. You will need to know the basics of after fixed, but I cut through all the jargon to make it as simple as I can feed a follow along with. So if you're up for it and want to have some fun learning together, what are you waiting for? Let's kick off this class together. 2. HOW TO INSTALL SABER: Now before we start the class, I actually need you guys to install a free plugin that we can create the lightsaber with. Now part of this course, you would have actually seen that there's a class project folder once you've downloaded that on EG to open it up, and within that you'll see a text file. Now that text file actually has a link to a website where we can download the cyber plugin. So once you've opened up the text file, just want you to copy it like this. And then move over to your web browser and just paste it into the top. Now this is actually going to take you to a website called video copilot. Now video copilot is an amazing website that actually does a whole bunch of tutorials for free on V effects. And it's actually how I learned the effects. But what they offer is a free plugin called cyber never save a plugin is a very cool plug-in that can create some really cool electricity portals, laser beams. It's a very powerful actual plugin by video coupon. I'm really surprised they've given it's a free, but they want to make sure that everyone can do really cool graphics. I've provided this cyber effect plugin. Now once you've got to the page, I'll need you to scroll down to the bottom. Now, depending on if you have a PC or Mac, you just need to download which whatever suits your computer. Now, I actually have a Mac, so I will download the plugin from them. Then just put it into any little project file that you want to put it in. Doesn't really matter, just put it somewhere safe on your PC or Mac. Now it doesn't really matter where you download this two for this part. But I just putting into my Downloads so I'll just save it to there. Then once it's downloaded, you just need to open up the zip file. And on the zip it just by just double-clicking on it. And that will give you a DNG file, which is the actual cyber installer. Now you just need to double-click on that. And that should open the cyber installer. And then you'll see a little box like this that has Saverin stolen. It just double-click on the sideline stolen. Yes. Do that. And you should have a screen like this. Now you just need to agree, yes, I want to agree to this, to install the plug-in. Now, depending on what after-effects version you have as of recording this vision, I'll have the lightest, which is 2021, but you may have an older version, maybe 20192020, or if you're in the future, maybe it's 2022 or 2023, you just need to click on this and then what this will do is will automatically install it and put the rod plugging path for you. So you just click Install. Putting a little card if your computer asks for one, install it. There we go. And it's quite a small file. It's only 1.1 makes, so it's very small and you just hit Finish. And now the cyber plugin is installed. Now all is you need to do is go back over to After Effects. Now if you have your After Effects project open, you'll just need to save it and close it down. But I've already installed this plugin, so I won't need to do that. So what you need to do now is just go up to Leah and you want to create a new solid layer. We want to make it that comp size. So depending on what you'll comp size, I'm just doing this in 1920 by 1080. But if you're working in full K or eight K, you can just change that to do that and then just hit, Okay? And we'll all this is done as created, a solid laugh for us, which is just a black solid line, which is super-simple. Now to apply the effect to that, we go to a fix video copilot. And as you can see, I've got a bunch of plug-ins right here. Now this folder would've been created for you when you installed it. If it hasn't created a video copilot, you might just need to go through the steps again to re-install it. But once you do, you just need to go down to cyber and click on that. And while our lightsaber created hackles, that tutorial, I've done and dusted. Just kidding, but this is basically how to install the cyber plugin. So let's move on to the next class. 3. SHOOT YOUR FOOTAGE: So now comes to the fun part where you get to shoot your iron footage. Now as you can see, I've provided some stock footage free to use right here. This is just practice footage. But if you do want to quickly go away and shoot some footage, or you might have some footage that you've already shot. This is the time to load it into After Effects. So if you need five minutes, hit stop go, I shoot some footage, bring it back into After Effects and we'll kick it off. So what are you waiting for? Go shoot. That style was saying. 4. TRACKING YOUR MOVEMENT: Now that you've shot footage, it's time for us to track the cyber effect to your lightsaber or sword. Now what I'll need you to do is go up to the top, hit New Composition. We want to start a new comp. Now I'm working in 1920 by 1080, but depending on the footage that you shot, you will need to change that if you're working in for K or AK. But for right now we're just working in 1920 by 1080. The frame rate is 29 frames. Now the footage that I've got in here and he goes for two seconds, so I don't need a long comp, so I'm actually going to change this to three seconds just to make it nice and easy for us. And then I hit Okay. Now we have a blank com on the drag the footage when or if you've shot for each time you drag yours in. Now what I like to do just because it makes my life a lot easier as I actually like to trim the comp to the footage. So if you just go to the end of the footage like that and you hit N on your keyboard, that will trim it down to the end of the footage. And then I can actually go up to the top here and hit trim comp to work area. Now what we'll need to do is we'll need to apply a solid layer to this footage. So we'll go up to the top he Layer, New Solid. Make sure that it is the comp size that are the light at the top. And this is what we're going to apply the cyber plug-in two. So we're gonna go back up to the top. We're going to hit a fix. I'm gonna go all the way down to the bottom video copilot and we're going to hit Save. And now the cyber plugin is now applied to that solid. And you can see that the footage is behind and we've got the sabre plugin on top. Now, when you first load the cyber plug-in, it is going to have black and we will get rid of that in a second. But I just want to show you how the saber effect works. Now the cyber is basically made up of two ends. You have the start of the core and you have the end of the core, and that is what is clued. The core in the middle is basically the core of the lightsaber. Now you can change the glow intensity to how much glow it has. You can also over the side here you can change the core size is a whole bunch of customizations that you can do to this core. But what we're gonna do for right now is we're just going to focus on actually tracking the core to the lightsaber. And then in a few classes, Tom, we're actually going to talk about all the different things that you can do with the live seven really customized put electricity or those kinda cool things. So what we need to do now is we need to get rid of all this black and we need to be able to see the footage behind. So we'll go over to the left here. We'll click on Render settings, will drop down. And then as you'll see right now, it is on black. We want to change that to transparent. So now what it's done is got rid of all that black and it's just lift the sabre lock-blade over the top. Now what we wanna do is we actually want to put this lock-blade over the top of this sword. Now how we do that is it's actually quite simple. What they've done here is how I talked about before, how you have your course start down the bottom here and you have your core end. Well that lines up over here with these two little icons over here that have caused start and end. Now what we wanna do is we want to click on this crosshair on the course start. And we want to move over to the start of the lightsaber. And we want to click the button right there on the crosshairs. And what that'll do is that'll move that little red little cross here right to the start of the lightsaber. And now we want to do the same thing with the core. And we want to go over to this little thing and click on little crosshair, moved to the top of our lightsaber and click on that there. And as you can see straight away, we've created a lightsaber. Now. We will work on the aesthetics lighter. But what we want to do for right now is we actually want to get rid of that glow so that we can really see the salt behind it so that we can track, as this sword moves, we can really track the light side well with that, but with the glow it makes it a little bit more difficult. So what we're gonna do is go up to the top here where it says enable glory. And we just want to click off the tick like this. So we turn the enable glow off so that now we just see a white solid line. And what I like to do is I actually want to make it even thinner so that I can really see that sorts, I might drop that core size down to just one. So now if I zoom in and move up, move up. I can really see that coal of that lotsa. Than what you wanna do is you actually want to open up your comps are just click and drag and a little bit about that so you can see a footage. Now what we wanna do is we actually want to keyframe all these little movements along here. Now keyframes are basically what you're doing is you're telling After Fix at that moment, I want this little object he to be at that location. Then when it said this little section, you would hit another keyframe and you say, I want that to be at this section at that moment. And that's what basically keyframing is. And so what we're going to do to get keyframes up is that on every little thing that you do and aftereffects, There's a stopwatch and that is to apply keyframes. Now if we move to our first frame, so this is where we want the lightsaber to start. We're happy with the location. I might just move the. Frame up. Now what you can do is you don't have to use these crosshairs every time. You can actually just use the mouse and drag them to the locations that you want. And we want to say at this point, we want these keyframes to be happening at this point. So what we'll do is we want to click on the stopwatches, which are right next to call start and chlorine up here. So we click on one, click on two. And now what we wanna do is we actually want to see those keyframes. So if we click on AL, solid Dan he now which we're going to label now, which I want you to hit the Return button. And I want you to type in light saber. And that just helps us know that now this solid is an actual lot cyber. Now if you hit the, you click on any hit the U button, what that does is it brings up all the keyframes. And as you can see now, if I open this up a little bit of in the timeline, you can say that our first key frames have been applied. Now what we need to do is we're actually going to go frame by frame, and we're going to move the stop point and the endpoint. So if we click and we go two frames in front like that, right now we can see that there hasn't been a lot of movement. But what we wanna do is just move it slightly Iowa and just move it slightly overlap that. Then we want to move two keyframes forward. And now you can start to see age, she's moved and we want to move the start of the call. And we want to move the end of the call. And then we want to move to more keyframes and move them in. And basically what you're doing is you telling the cyber effect that I want you to be in this location at this frame. And if you load it up really well, then what it's doing is it's actually tracking the sword and we're just moving. Now what you'll see is as you can see, see how this is creating like a line. Well, what's actually happening in the moment is applying motion blur. But right now we don't need any motion blur because we're just going frame by frame. So what I will get you to do is go over to the render settings where you turned off the black and ride up the top here you'll say Motion Blur. And we just want to click on that and we just want to click off. And what that does now is it gets rid of all the motion blur so that can really track this and get it perfect. So as you can see, the stop point is great, but the endpoints moved off that sword. So we just want to drag that over and just make sure that it's on in the middle of the blight. And what you want to try and do is you always want to try and have these two sections right in the middle of the blade. And then we just have to do this for each frame. We just keep going through. But what I might do now is just so you guys don't have to watch me do this on every single keyframe is not just speed it up, so you can see how it looks. And when I see that there's an issue or problem, I'll slow back down for us. Now, as you can see with this keyframe right here, it's starting to move outside of the actual frame of the footage. So always you need to do is just make sure you line it up so it looks like it's probably in the right spot and it's probably where the end is. And long as you keep the blade in the middle section, like that, it should stay rod on where it needs to go. So we just move this again and just move it up. And then we'll go back into it again. Now, there's one will think that I just noticed then that I actually did that you need to be really careful of yada. Make sure that you always just moving the keyframes. You're not moving the whole object because what'll end up happening then is what I'm doing in this section is I'm actually moving the whole solid, not moving the keyframes. So you just need to be really careful that you only ever move the keyframes and not the actual solid. Okay, so now that we've actually done all our keyframing, we go back and fit to window. You should see now when I play it through, lot cyber should stick to two lotsa. Now what you can do is you can scrub through it if you see anywhere that you think slipped a little bit or if it's a little bit off. For example, I can say in this shot here, you can just remove it down lawn at backup and make sure it all looks good. Right here occurs off a little bit. Now you might find as well as you're going through the different sections. If you've, if you've left the keyframes too far apart and might be a little bit off. So I'm just going to go through and special movements because it moves quite quickly. So I'll just go through, as I can see here, it's moved off too quickly, so it is put it back and it's all bad, just eyeballing it and just making sure that it's staying right way you need it to be and it's covering the sword. Now when we do apply things like motion blur, it will hide a lot of this. But for right now we've got a very thin beam and we're trying to get it as accurate as possible. And the thing is, the more accurate you are, the better it's going to look into, the more realistic it's going to look. The more sloppy in a rushed you do it, the less it's going to look like it actually is part of the same. And the thing is, everybody who does this has to spend the time. You have to spend the time going through the key framing, spend the time rotoscoping. So you can imagine what the gods do when they actually make these huge, big fought Sainz. How much time and effort goes into actually making these V effects work really well. So I think that's starting to look pretty good. Not really seeing too much slippage anymore. It's going through, it looks pretty good. So now if I play it in real time, it should look pretty good. I think I still can arise. Well, that looks pretty good for the tracking. I'm pretty happy with that tracking. It seems to be sitting pretty well. I think there's a little bit, a little bit of jump here, the end section that I might just want to play around with. But overall, I'm pretty happy with the y this is looking. So I think Nick's this now is to create the look of this actual lightsaber. 5. CREATING THE LIGHT BLADE: So now that we've tracked our cyber to as sort, it's now time to create the lightsaber look and feel. Now Sabre has a whole bunch of options when it comes to look and feel of your lightsaber. But first of all, what we wanna do is we actually want to expand this course size so that covers the whole blight along because we made it nice and small for tracking, but now we actually need it to cover the lightsaber. So if we come up to the core size up here on the left, we want to probably push it up to about five, maybe six. Actually. Let's have a look. We'll go up to six here. There we go. That feels to me that it's now covering the lot cyber. What you want to actually do with it depending on the look and feel that you want to do. I like to actually make the start of the lot Saber. I'll just a little bit fatter in the end, a little bit skinnier. Now currently you can see the blade kind of slightly poking out the bottom. You don't really need to change us, but if you want to, you could go down into your Sabre and you could just bring down the in-frame just a little bit. But once we apply the glow effect to the cyber, you're not actually going to see that at all. But what we wanna do is you want to come up to the Custom core effect. Up here. We want to look at the start size. So this is the start size. It's here, it's a 100 percent and all the way along the cyber, it's a 100 percent and a 100 percent. I'd just like to make myself as a little bit fatter at one end. So we might just go up to a 120. And that just feels like it's a little bit more like a sword because it's actually I might even push it up to a 130. There we go. Because then what you've got as you got a little bit fatter at one end and a little bit skinnier at the other end. Which is a little bit more like what it is like in the movies. And we go, I'm seeing a little bit of movement on it, but that's okay because once we apply the glow effect, it'll sit really well. So I think it's time now to apply that glow effect that we had on it when we first started. So we'll go up to here where it says enable glow would just click on that. Now we have that really beautiful glow effect that really sells this whole lot Seibel look and feel. Now one of the cool things that you can do once you've applied your lightsaber effect and you kind of looking at it and going, I can't really happy. You can change your presets. You can basically say what the blight is. So currently we've just got a glow light blade. But if we want to turn it up here and we want to turn that into a fire. We can just click on the preset burning. And now all of a sudden we've got more of a burning lightsaber. If you want to go more to say a firestorm. So it's really far. We're just click on fossil bananas. You can see we've got this huge, big burning blade, which is really cool if you want to create some kind of sci-fi looking film where maybe you've got like a burning acts or even a hand is on phi, you can apply this effect. And this is what I was saying is once you've learned the cyber affect, the possibilities are endless. And what you can actually apply this to really create some very cool looking kind of graphics. So if you look here, yeah, look at that. That's awesome. So we might just go back to, Let's have a look at a few more. We've got in third eye, which is more of just fine. Then we've got sola, which is more of a like a kind of warp effect. But one of the other things is just because you liked this effect, but you mana like the color. You can actually go up to the glow color and you can change it. So you can change it to blue or to read. And so if you've got, let's just go back to our default setting, which is the lightsaber. And every time, just so you know, every time you change a preset, it does change the core size to the default size of that preset. So right now we've gone back to a three core size, which we originally had was a six sawdust, pushed that back up. And you can change your core size to whatever suits best for your lats. For me, I'm going on a six. Then you can change this to look. If you can just go on and read and all of a sudden you're in the dark side, or if you want to go purple or you want to go grain, or if you just want to go, the traditional lights have a color of blue so you really can change the look and feel by just changing the color as well. Now there's a whole bunch of different features that you can play around with this Flickr as well. Flicker, if we turn up the intensity is say 80. What that does is it 800, that'll be pretty intense. That just gives the lightsaber that little bit of black lot save a Flickr. So if you can see now it's kind of flickering a little bit, which most lot sizes do. But I might just drop that back down to say 50. So she's got a little bit of flicker and creates that cool kind of effect. Now this doesn't really apply to this affects because we're using the default. But distortion is really good if you're using a lot of the like, energy or fire kinda presets, you can really play around with the distortion, how much it's distorting, how much the fire is kind of like, is it big, is it small as a compact? So that's where you can play around with that distortion. And then if you click on the next one, It's glow settings that this is basically kind of telling you like how much glow you want on the outside, how much glow you want on the inside. So like if you guy, for example, glows size one, maybe we push that, add a little bit or we can pull it in a little bit. And it just kinda creates that look and feel that you want. And a lot of this is really, to be honest, it's just playing around with what you think is looking best for your scene. If your scene has a lot, a lot, a lot in it, maybe you don't need as much globe, but maybe if it's Dhaka, you might want more glue. It really just creates that cool effect for you. So now that we've created ablate affect, our next class we're going to talk about is actually launching the same. Now you might be saying, well Latinas saying this scene's already shot. Well, I want to talk about, for example, when this lightsaber goes past her face, currently there's no real reflection hitting her face. It's just I mean, we've got this glow, so it's Connie giving a little bit. But if you were actually have a real life life cyber there, you'd actually see the light going positive face. And also as you go to the floor, you would see a little bit a lot. And that's what we're going to talk about in our next class. 6. LIGHTING YOUR SCENE: Now that we're happy with our lot siren the way that it's looking, It's now time to lot as saying, now you may be scientists, civil. How do we load a scene that's already shot? Well, what we're going to do is we're going to use some adjustment layers. We're going to use some brightness and contrast because what we wanna do is as this light saver comes positive face, the face needs to be lead up a little bit because right now it's actually if I turn off the lightsaber, it's dark the whole time, so there's no actual interaction of the lightsaber. And so for me, it doesn't really sell that this lightsaber is in the same. So what we wanna do is we want to go back to the first little scene right here. And we want to get ourselves and adjustment last. So we'll go up to the top new adjustment layer. Now what we're going to do is we're going to also apply a curves to it. So we'll go to Effects, Color Correction and we'll go down to curves. Now what I wanna do is I actually want to apply a brightness to certain parts of her face. But what we're going to do for now is we're going to brighten up the whole scene and then we're going to mask out the different sections that we actually want to be illuminated by the cyber. So we go up to the curves and we want to push up the brightness. Okay? So I want to lift the brightness up a little bit. And what I also want to do is because this lightsaber has some blue in it. Which I'm just going to make it a little bit more blue here. Because there's lots have, has some blue will her afflictions need some blue saw go to the RGB and I'm going to go to the blue curve. And I'm just going to push that up a little bit lot that just to grab some extra blue. Now right now you're going to sell the whole scenes lit. Well, what we wanna do is we actually want to mask out probably just the side of her face. So if we zoom in like this, now we want to apply a little bit of a mosque and basically have some lot spill. So I'm going to click on the Adjustment Layer. And when he got to the pen tool, and I'm basically just going to mask out where I feel like the light would be in the hottest area and just move it like this. Like so. Now right now we've just got the mask, it's got no feather, we've just kind of credit that. But as you can see, what I'm trying to do is I'm trying to create this little section to be a bit more, while this section will be a little bit dark. But what I wanna do is I want to apply a feather to this mask. So we just click on the Adjustment Layer, click down, we click down on the mosque. We could down again. And we want to apply a feather. So if we feather this out, what you'll see now is now it's kind of feathering as edges out a little bit and we're not getting such a harsh edge. But what we're starting to see now if you look at it, is that we're getting a bit of light spill on that side of her face. So now it feels like this actual lightsaber here is giving off light and it's hitting her sought of a face. But as the lightsaber moves, well, the mask just stays over here. So what we need to do is we need to do similar to what we did with the lightsaber is we actually need to apply some keyframes. And we need this mask to not only move, but we want it to animate as it's going along. So to do that, we do similar to what we did with the keyframing. We go up to the mask path. Now the mask path is basically this is the path of where that mosque is sitting at. So if we click on this keyframe like that, so that means that keyframe one, the mass is, it's going to start there. And then we're just going to move through, we get to about this and then we're just going to move the mass slightly so that as you can see, it's moving with her. And then when we get to about this place, we're going to actually go back up to our pin tool. We're going to click on the plus. And we're going to click on these and we're going to start to actually move the mask itself. Now the way you do that is you just click on a new point in the mosque. And then as it goes through, we wanted to now move this mass slightly like this, because we don't want it to lock the background footage and we want it to be mainly just where the light would be going there. When you do this, you just kinda want to eyeball it because there's no set method to exactly where this mass needs to sit. You just kinda wanna show it so that it's really kind of interacting with the lot. So right here, nav, this would probably be the hotspot, this would be the dark spot. But as we move a little bit further along, we now changing sides. So we want to move that mosque down like this. And we want to start to actually lot this part of her because the lightsaber now is should be lobbying the right side of her body and no longer the left side body. We're still getting a little bit of school because it's kind of still in the front. So we'll have that over a little bit about that. And then we want to move a little bit further in our keyframes. So now the last step is he. So what would be hot this little section here, we might get a little bit on her face, but the backend of her would be pretty dark still. And we're just moving the mosque alone, lot v's. And then we would probably loading up a bit of this. He a hand would be pretty lit corner of her little komodo or whatever that is, cold day would be getting lit. And so I'm just moving the Mosque around, creating a keyframe in that spot. And then move it along. I think this would now come off her face. It be mainly might be a little bit just kind of I don't know if I want to go completely a face because it would just be spilling up there, but this would be getting caught brought, this would be started. And so you just moving this this mask path around to kind of reshape and then you move along a little bit. Now it makes sure that you don't just keep moving the mosque on the one keyframe because once from here to here, that's a movement. But then once I stay there, I need to actually move on to the next pot for there to be another movement. So I would say that that would kind of come down. Now, I'd be a bit more maybe this little bit of her would be a bit more lit up. We're still getting a little bit of spill there. And we're kind of moving down a little bit more. So now it's kind of a lot of their face, it's more kinda moving down. Her actual outfit would be getting a little bit of lot spill on it. That would not be getting lot spill. And so you can add little, little, little bits and you can take away little bits and then I'll just move a little bit more. I would say that's probably coming up a bit now. If we have a look at it now let's see what this looks like. We've got a lot and as we move through, the lot now moves with that and it's on the other side. And so now we're getting a bit more of this lot. It feels like this lot is loading have body. Now if I was to turn this off, you'll see the difference. So if I turn this off, see now that has no loading on it. And if I turn it back on, we have a bit more lobbying. And so it's really just loading up that saint. But I think what's happening is it's getting a little bit hotkey. So what we'll do is we can actually create a keyframe that we're going to bring the brightness down a little bit. So it's not so broad in this section. So if we go up to our curves and we click on the stopwatch, which creates a new keyframe for just purely these curves. Then when we go back here, sorry, I probably just credit the keyframe in the wrong spots. I'm just going to turn that off for a second. We probably need the brightness to start coming down from this section. So we're going to click curve here, up there. And we'll move it down. And then we're just going to bring this brightness down a little bit just because I don't think it's going to be as brought in that section. And so now that should bring the brightness down a bit. So now when we look at this and we go through really starting to lot hers, now we are seeing a bit of movement. So what I would probably do with me just render this through. This is what I do whenever I'm looking at projects, I'm always looking at the faults in it. So you can really see that lot moving over. So what I'll need to do is, uh, probably need to soften the edges a bit more. Maybe put that Tibet a 100. So now the Fed, when we do it, the feather is a little bit less noticeable. And we're really creating. And so like if you see here, if I turn this off, see it's doc. Now we have a bit of, bit of light that's being thrown, which would happen, this would actually be throwing lot onto the jacket. And so it's a little cheat way in which we can just, just makes it feel like the light savers a little bit more. I guess in that same. Now if I pull out, if I zoom out a little bit, now, what would be happening is see, we've got shadows here. We've obviously got some kind of blue light that's hitting, but we would probably see a little bit of this reflection. So what I'd like to do for that section is just basically we're going to duplicate this lot cyber like so. And what we're going to do is just turn that off for a second. We're going to create a little mat around. He said that basically this lightsaber only gets shown in this little section because we don't want it flying up in the air, because we want to use it as a reflection. So the best way to do that is to create a solid protosolar like that. We just want to let just change to red. So another that's not going to be see-through. Then what we do is we hit T. We just lower the opacity. And then I just want to basically mosque at a section where we'll see the sorts, I think we'll see this lightsaber kind of come down this little section. Probably see a little bit of reflection. And he, so that's just going to be now the area that will only get to see the sorts. And when it goes up in the air, we're not going to say it. So how we do that is we create a little mask plate here. Then we're going to turn a cyber on. Now what we wanna do is we'll turn us Moscow for a second and we're going to move the sidebar. We're just going to move it off down here. Now we're actually going to move the whole cyber. Now we're not going to key frame because we want to keep the keyframes so that it's still matches, matches the look. And, but the differences is that we're going to say with this mat applaud that basically it only shows up when it gets into that section, which would be reflection. So how we do that is if we toggle down here, a little switches here, we click on this button. We actually want to create a alpha matte. And what Alpha Matte does, when I click on it is it only shows this clip here, as you can see in that section. So that's the map that we created. So it's only showing whatever is below it when you create an Alpha Matte in that little section there. So what that allows us to do, and what we probably want to do is we want to feather out these edges. I'm big believer and feathering, if you fed the stuff, it always sells it because it kind of just blended into the background. We don't want these edges to be so harsh. We want to fill these edges out a little bit like that, right? And then when we got back and I'm taken off the PSM mode so we can say it. We probably want to move this lot cyber over slightly, down, slightly. So we're just getting this reflection. So now when we look at it, it should come along. And now we're just seeing the reflection there, okay? Now obviously the reflection is Y2 brought. We want to drop that rod down. We want to drop the opacity down to lack maybe even like 15 percent, right? And then one of the other things we wanna do is we want to apply a blur effect because this is not a huge Shani floor now have the floor was really shiny. We wouldn't apply blow but because it's pretty matted floor, we just want to go up to here, we want to go, we just want to hit Gaussian Blur. Gaussian Blur, whatever way you want to say. And I just want to push this up until I feel like it's a bit blurred out because all I'm wanting to say is just that law and it has that bit of reflection. So it feels like, like This Cyber Is, is, is actually a part of this same. So if I go like this now, you should see cyber heating or reflection and it's hitting a little bit of reflection up there. So what we might do so much, just bring this down a little bit. Because a car and you want it to be seen when it's on the edge here. And a lot of it is just playing around with the same. If it's your project is China work on like what works for you now I feel like that's a little bit bright still, so we might just drop that down to about 10 percent. And it's just the subtleties. Yeah. It's amazing that your eye how it picks up the subtleties in a Scenes and bike might just be the smallest thing and it goes all that's not believable because it's not saying reflection or that's not believable because it's not moving like it would in real life. So to me that now is kind of, it kind of has a little bit more reflection. Now I thought it would work up there, but I think I might just bring this down even a little bit more just so that it's Khan of really hitting that floor section. Now, I think it might be a little bit more of a there we go. I think that kind of feels like that now is is part of the same. Now one of the things that I forgot to do before that we want to do to make this lightsaber effect really fit into the environment, is we actually want to try change to transfer mode of the cyber never fall when we first started with it from being on that black solid to being transparent. But what we wanna do is we actually want these edges to glow more. So we want to change this to an actual ad mode. And if you see that now, when we try that, now it really feels like it's part of the environment because you starting to see the highlights through this. And now when I play it, and I might even do this down here on this as well. And change that to add is you'll see it feels like even more like it's in part of the environment now because we changed that transfer mode, it's now kind of showing a highlights through there. And we're really starting to get a good look of how this lightsaber is starting to interact with the environment. Because now we've got the lighting on her face. We've got the lighting of the lightsaber and now we've got a little bit of reflection. So I'm pretty happy with that. So yes. So hopefully in your footage, whatever your playing around with your able to con a composite a little bit better and kind of have it sitting there and really make that lobbying work for you. 7. RENDER YOUR FOOTAGE: Now that we've finished with our graphics, it's time to render it out. So hit render on this. And what we're going to do is we're actually going to jump over to Adobe Premiere. Now if you don't know how to use Adobe Premiere, it's okay. I'm actually just going to teach you the fundamentals of had a light audio. And if you use faunal COD or other programs, you should be able to apply the same principles to your editing software. So let's render it out and let's jump over to Premier. 8. ADDING SOUND EFFECTS: So now that we've moved into Premiere, we want to put F for each in the timeline, like so. Now for this clip, I didn't record any audio. It's a straight video clip so I can actually remove the audio line. But if you have short urine audio, you might want to leave that in. But I'm just going to unlink our audio like that and get rid of it because we don't actually need any sand. Bar, the sand off the lightsaber. Now if you go over to the project fall that you've downloaded, there should be an audio file where I've got a bunch of different audio saber sounds for you. Now as you go through this, you can see a whole bunch of different ones from cyber Hume's save a throw swings, blocks, the flex, ignition n ignition start impacts spots. So this should be a whole bunch of sound effects that whatever project you work in, this should really cover you guys. So hopefully you are really appreciate me giving you all these sound effects. But for this project, I've already loaded in a bunch of sand effects for this. So what we're gonna wanna do first is if you ever watched Star Wars sane or you ever watch a light sensor being used, there's always a lightsaber hmm, that is softly in the background. So what we wanna do is we want to lay in the Hm, first stop. And if you have listened to this, you already hear that hum. But we don't want it to be so far because basically depending on how close the lightsaber is to the camera is really how loud you want that home debate, because she's quite far away. It can be a little bit more ambient, so we just want to bring that audio down a little bit. So it's just a slot hum in the background. There we go. That's much better. Probably been a little bit more. There we go. Just so we know it's there in the background. We'll just cut that off. So you just hit the B button for blade and that slices the sound. Okay? Now whenever someone's swings a lightsaber, there needs to be that little Swain sounds. So if we just click up here, we should hear the sound I k. So you can go through and just see what swinging sand you want. I think I'm going to use that one because it's a little bit slower. So we're going to lay that in. So we're going to look, she starts his swing there. So we're going to lie the audio in this section because it goes a little bit far, goes to about there. I'm actually going to hit Command J. And what command J does is clip speed, and we can actually slow down the audio. So probably wanna give it about 1 second, because right now it's 0.21. There we go. So that's kind of swing by that. Now we want to drop the volume down on. Let's have a little listen and see how this sounds now. Probably bring that down a little bit more. We'll bring that up a little bit. So it's just kinda having a listen and hear what works best for your sound. And you kind of just playing around with it. Yeah, I'm pretty happy with that sand effect. One of the cool things that you could do, potentially if the lightsaber is starting, as you can use some of the kind of ignition sound effects that are really cool where they kind of sound like this. Or if you're using the doc sword and you really want to have it sound with that kinda thought Othello sound. I also have that as well. So for example, if I go back to the sound effects in here, we go to save as sounds. And we want to go to Save a homes. So we actually want to use Kylo Ren's hmm, cause his lightsaber sounds a little bit different. So let's put that in there. If I was to get rid of that out of there and just put that humming, you'll see now that this has a very different sound to it. But if, see if I've still got that swing Stan in the background, it's still sells the illusion. So in this scene, there's not a lot of sound design in it. We've pretty much got a moving from left to rot is a slight hum underneath, but there's not a lot I can actually do to the same. But what I want to show you is I'm actually going to show you the intro to this class and how I built the sound lies in that. So let's jump over to that project. Now, once you jump over to this project, you can see there's a lot of light is going on and it's quite complicated. But what I'm gonna do is I'm actually going to turn off all the sound to the same. I'm going to show you the power of using sound design compared to not having any sound is on. So this is the same with just my audio and no special effects sounds are really cool way of thinking. Maybe you lean more towards the Dasa. Now as you can see with this scene, it's quite flat. It doesn't really have that impacts. Now if I turn on all the salmon this by just unmute all of these. And now you have a listen to this. You'll see that it is dramatically different. Pretty cool. But I'm thinking maybe you lean more towards you can pretty much make a lot cyber added any objects. Now as you can see, I've used a whole bunch of different sound effects that I provided from you guys. So in this way here I've got the ignition, Santa Fe. And then what I've done is I've paired that with the swinging sound effect. Then below that I've actually added the lightsaber hmm. So as you can see, when you add great Sam is on, it can really bring your whole visualization to live in, can really add a lot to your visual effects. 9. FINAL THOUGHTS: Well that's the gods, That's the end of the class. Thanks so much for coming along the journey with me. Hopefully I've been able to teach you guys some new skill sets. You'd be an autocrat. Some real cool looking lot sizes. Now if he did create a project, I'd love you to upload to the project section of this course because I would love to kinda look at them, check them out, see what you guys have created. Now if you do have any questions, feel free to hit me up in the discussion section, I will try and get back to you if you've got any problems or you just want to show me something, feel free to reach out to me there. Well, thanks for joining me and hopefully I'll see you in my next class. 10. COURSE TRAILER v2: Hey guys, My name's Nick. And in this VFX class, I'll teach you how to make a lot cyber at an any object. For example, this lint roller or is it pretty cool? But I'm thinking maybe you lean more towards dot psi. You can pretty much make a lot cyber out of any objects. For example, this head trauma or is it okay? Maybe I'll just put the hairdryer back there. But all jugs Assad in this class, we're going to have a lot of fun playing around with the cyber plug-in as I teach you some cool ways to create a lightsaber and Adobe After Effects. So in this class I'll be teaching you how to create your very own lightsaber and track it to any object, will work on a project together where you can shoot your own footage and apply what I teach you to your own project. Now if you don't have a camera or you can't shoot your own footage. You can download my project as I have some sample footage you can play around with and create your very own custom looks. So to quickly go over what you're about to learn in this course, we will cover one, how to install the plug-in to recording your scene 3, tracking him movement for creating the light blade. Five, lighting is seen, and 6, adding sound effects. Now with any good special effects, same sound design is a big part of selling that visual effects. So we'll go over how to lay audio of your footage. This is very important as you don't want your footage to end up looking like this. Your father. Yeah. You're going to put some Zenefits in this for me. Yeah. Now part of this class, I'll provide a bunch of free sound effects so you can download, use an add to your project to really sell those affects. You will need to know the basics of after fixed, but I cut through all the jargon to make it as simple as I can feed a follow along with. So if you're up for it and want to have some fun learning together, what are you waiting for? Let's kick off this class together.