Learn Visual Effects: Adobe After Effects / PFTrack / 3dsMax | Ruan Lotter | Skillshare

Learn Visual Effects: Adobe After Effects / PFTrack / 3dsMax

Ruan Lotter, VFX and Motion Graphics Artist

Learn Visual Effects: Adobe After Effects / PFTrack / 3dsMax

Ruan Lotter, VFX and Motion Graphics Artist

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47 Lessons (4h 22m)
    • 1. VFX 101: Introduction

      0:56
    • 2. VFX 101: Software Requirements

      0:23
    • 3. VFX 101: 3dsmax - The User Interface

      5:23
    • 4. VFX 101: 3dsmax - Real World Scale

      2:28
    • 5. VFX 101: 3dsmax - Creating Basic Geometry

      6:52
    • 6. VFX 101: 3dsmax - Move Rotate Scale Group and Clone

      5:43
    • 7. VFX 101: 3dsmax - Using Helpers

      4:08
    • 8. VFX 101: 3dsmax - The Modify Panel

      3:53
    • 9. VFX 101: 3dsmax - Subdivision Modeling

      9:01
    • 10. VFX 101: 3dsmax - The Vray Renderer

      3:01
    • 11. VFX 101: 3dsmax - Creating A Camera

      3:32
    • 12. VFX 101: 3dsmax - The ActiveShade Renderer

      2:16
    • 13. VFX 101: 3dsmax - The Material Editor

      12:29
    • 14. VFX 101: 3dsmax - Lights And Shadows

      6:54
    • 15. VFX 101: 3dsmax - Animation and Keyframes

      5:26
    • 16. VFX 101: 3dsmax - The Curve Editor

      6:12
    • 17. VFX 101: 3dsmax - MassFX Basics

      7:21
    • 18. VFX 101: 3dsmax - Rendering Image Sequences

      4:09
    • 19. VFX 101: 3dsmax - Mini Project

      19:53
    • 20. VFX 101: After Effects - The User Interface

      8:30
    • 21. VFX 101: After Effects - Working With Layers

      6:58
    • 22. VFX 101: After Effects - Applying Effects

      6:01
    • 23. VFX 101: After Effects - Animation and Keyframes

      12:24
    • 24. VFX 101: After Effects - Masks and Rotoscoping

      12:45
    • 25. VFX 101: After Effects - Motion Tracking

      7:02
    • 26. VFX 101: After Effects - The Camera Tracker

      3:46
    • 27. VFX 101: After Effects - Chroma Keying

      3:44
    • 28. VFX 101: After Effects - Color Grading

      4:49
    • 29. VFX 101: After Effects - Rendering

      3:11
    • 30. VFX 101: After Effects - Mini Project

      9:21
    • 31. VFX 101: PFTrack - Introduction To PFTrack

      3:01
    • 32. VFX 101: PFTrack - UserTrack and AutoTrack

      16:36
    • 33. VFX 101: PFTrack - Orient Scene and Test Objects

      2:55
    • 34. VFX 101: PFTrack - Export Tracking Data

      1:35
    • 35. VFX 101: After Effects - Convert Footage To Image Sequence

      3:02
    • 36. VFX 101: 3dsmax - Import Tracking Data From PFTrack

      2:14
    • 37. VFX 101: 3dsmax - Import Image Sequence

      3:15
    • 38. VFX 101: 3dsmax - Import and Position CG Objects

      5:56
    • 39. VFX 101: 3dsmax - Apply Animation To CG Objects

      8:59
    • 40. VFX 101: 3dsmax - Adding Lights To Our Scene

      3:22
    • 41. VFX 101: 3dsmax - Create Shadow Catcher

      3:33
    • 42. VFX 101: 3dsmax - Rendering an Image Sequence

      3:17
    • 43. VFX 101: After Effects - Import Assets For Compositing

      3:27
    • 44. VFX 101: After Effects - Match 3D Render With Footage

      3:45
    • 45. VFX 101: After Effects - Color Grading Our Composition

      4:46
    • 46. VFX 101: After Effects - Render Final Project

      2:43
    • 47. VFX 101: Thanks For Watching!

      0:37
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About This Class

Learn Visual Effects: Adobe After Effects / PFTrack / 3dsMax

Kickstart your career in Visual Effects
 - No Film School and No Visual Effects Experience required!

Have you ever wanted to do your own Visual Effects or maybe dream about working for a major VFX Studio in Hollywood? Well now you can learn all the basic skills to get you started! This course will give you the all building blocks that will allow you to start using Adobe After Effects, 3dsmax and also PFTrack to create your own amazing Visual Effects - Hollywood Style.

You will also get to use the amazing V-Ray Renderer for 3dsmax which is used widely in the Visual Effects industry as well as in the Gaming world!

You can download trial versions of the applications used here:

PFTrack: http://www.thepixelfarm.co.uk/pftrack/
After Effects: https://www.adobe.com/africa/products/aftereffects/free-trial-download.html
3dsmax: https://www.autodesk.co.za/products/3ds-max/free-trial

Required assets can be downloaded here: https://drive.google.com/drive/folders/1uKggMSLKItj3chbs9Ifo5i_AQTr8tFl1?usp=sharing

What you will learn:

  • Autodesk 3dsmax
    • Creating Geometry
    • Subdivision Modeling
    • Animation and Keyframes
    • Texturing and the Material Editor
    • The Active-shade Renderer
    • The V-ray Renderer
    • MassFX Physics Engine
    • Lighting and Shadows
    • The Graph Editor
    • Importing 3D Models
    • How to use Tracking Data from PFTrack
    • Rendering
  • Adobe After Effects
    • After Effects Basics
    • Working with Layers
    • Applying Effects to Layers
    • Masks & Rotoscoping
    • Compositing
    • Animation and Keyframes
    • Color Grading
    • Chroma Keying
    • Tracking (2D and 3D)
    • and much more!!
  • PFTrack
    • User Track and Auto Track nodes
    • Solving the Camera
    • Orienting The Scene
    • Using Test Objects
    • Exporting Tracking Data to 3dsmax
    • and of-course much much more!

After each chapter you will do a very exciting mini project with me, to ensure that you understand everything that was covered in that specific lecture before we move on to the next.

I will provide you with sample footage / graphics / 3d models and more, that we will use during this course. You can find these assets in the Class Project section.

The total running time of this course is 4 Hours and 33 Minutes!!!

Get ready to begin your career in VFX right NOW!

Please upload your class project deliverable as mp4 to the Skillshare project gallery for review! You can find the details regarding the project under Class Project.

Meet Your Teacher

Teacher Profile Image

Ruan Lotter

VFX and Motion Graphics Artist

Teacher

Ruan Lotter is a Filmmaker, Editor and VFX Artist from Cape Town, South Africa. He has directed and edited several short films, internet commercials and music videos over the last few years. In 2007 he started experimenting with Adobe After Effects, 3dsmax, Maya and PFTrack to name a few of the applications, and never looked back.

He currently works as a VFX Artist and Editor at Creative Drive, doing post-production on international commercials and video projects.

He also runs a YouTube channel called TunnelvizionTV where he teaches people interested in Filmmaking and VFX (visual effects), from around the world, the secrets to many Hollywood VFX techniques.

See full profile

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Transcripts

1. VFX 101: Introduction: hi and welcome to the introduction to visually fixed course. First of all, I would like to thank you for choosing this course. My name is heroin LOTR number, visual effects artist and filmmaker based in Cape Town, South Africa. And in this course I'm gonna take you through the basic steps of creating your own visual effects shots using the leading software packages such as three DS Max, Adobe After Effects and Alsop of Track. We'll also look at how to use the awesome Virender for three DS max, which is probably one of the most popular renderers when it comes to visually fixing game design and at the end of each chapter will be doing a mini project and then move on to the final visual effects project will be combining everything that you've learned and create one awesome visual effects shot. I'll be available toe aren't any questions you may have along the way, so feel free to contact me and I'll respond as soon as possible. Feedback on the course is also very welcome, and I'll provide you with some footage and three D models so that you can follow along. And in the next video, I'm going to talk about some of the software requirements. So yeah, let's get started 2. VFX 101: Software Requirements: right. So the following softer packages are required to follow along with this course three DS max that will be after effects PF track and also very render for three DS max so you can download some trial versions and even a free educational version off three DS max at the following locations. So please take some time down at them and install them, and they don't see you in the next video. 3. VFX 101: 3dsmax - The User Interface: So welcome to the first video off this Siri's and this is gonna be all about the user interface in three DS Max a Z can see I'm using three DS max 2014. And when you first opened up three years Max, you'll see these four windows. First of all, these are your view ports. So as you can see, this one says top front lift and this one to say to perspective now, Ah, let's just create some objects here so that you can actually see what's going on here. So let's just create a box and the box in the middle so you can see this one year at the top. This is the top view. This is a front view left view, and then you've got your perspective. You and you can change any of these views if you like to. So if you want to change your perspective, you just click on the word perspective, and you can make this one say, bottom or you can make a top or anything that you like. That said that back to perspective and the same with these other windows so you can just click on front and you can see it that maybe two top and let's sit this one year two front again so you can customize this as you like, and what you can also do is you can maximize any of these windows. So let's say we want to maximize our perspective. You you have to right click on this little plus in the corner and then click on Maximize Vieux Port and that will maximize that view port for you to get back to the fore. Vieux Port View. Just writing on that plus again and click on restore Vieux Port. Okay, so if you look at your top to board this is we'll have your selected link tools. You have your move rotating scale tools. We're going to look at those in, ah, new video and you've got your snapping tools year. You've got your rendering tools, you at the top, your material editor and your growth editor. This your massive fixed editor of actually added this year so you might not have this, but we'll different Look at this at a later stage on the side. You've got your creating your modified panels, so this is where you will create all your primitives will also go into the details a bit later on. And the modified panel will look at that a bit later as well. Yet the bottom. We've got some of your camera controls and your pen and your bit tools will look at that in a moment. And then you've got your time configuration, this little button right at the bottom. It's got a little clock next to it. So this is where you said your frame rate and your animation length and all of those type of things. So basically, if you said this to Pell, this will run at 25 frames a second we considered to form, which is 24 we consider to custom or into your C, which is 30 frames per second. So for now it doesn't really matter electricity to power into cedars matter. And then right at the bottom. You got your timeline. So this is your frames in your animation. So currently it's a to 100 frames the length, and if we go back into the time configuration, you'll see the length of from animation. You said to 100. So if he changed his to 500. Click on OK, you'll see that your timeline will update to 500 frames. So let me show you how to move around your scenes. So, first of all, I want to make my perspective you full screen. So I'm gonna go into my perspective. We know you at the bottom, right. Click on the little plus and go maximize Vieux Port. And then, if you holding your middle mouse button or your mouse wheel and you'll move around, you'll actually see that will pan your view side to side and up and down. So it's just like a normal pen. Then, if you use your scroll wheel to scroll in and out, you will zoom in and out, and then another little trick. If you holding alternate keyboard and you holding the mouse button and you move around, you actually orbit around your scene. So that's holding old and in holding the middle mouse button. So try that now and play around with some of these controls. Zoom in, zoom out, pan around and also orbit around your seen another quick trick. If you left, click on an object and you do the Olt and middle mouse button click that will orbit around that object. So say we've got a box in the corner and we've got that highlighted like that and we'll do ultimate All Click will orbit around that object. So if you select maybe everything in the scene, So if you click and drag, select everything holding Ault Middle Mouse button that will orbit around those objects. Okay, another thing that's really important. If you click on this little drop down right at the top corner, you'll get your new receipt open. Save essence all of those things important export really important if you click on Reset and we don't want to save that antique, yes, that will reset everything to default. And let's just create a box and maybe another box on top of that. And if you want to save this, you just going to click on that down arrow, go to save airs, and then you can give it a name seen and you can save, and that will save it. So these are all your normal standard type of options that you get in most RINOs programs, and that is the basic user interface. For three years, Max. So really simple stuff. Just play around with some of these controls and also just navigate around your scene a little bit. Just get used to some of these movements, and that's it for the first video and I'll see you guys in the next video. 4. VFX 101: 3dsmax - Real World Scale: Okay, so welcome to the second video. And in this video, we're going to be looking at working with the real world scale in three DS max. So really simple. Basically, if you trying to create a specific object, you always need to try and work in scale. So let's say, for instance, we are going to be building a house in three years. Max, we've got the dimensions in meters or maybe feet or something like that. Then you need to set up three DS max to work in those units scale so basically, or click on customizing at the top. And, you know, go two units set up and on the units set up window. You can change between metric and US standards. So if you're from America, you'll probably be familiar with decimal inches and fractional feet and decimal feet and all those kind of things. I'm using the metric system. So I'm gonna be using meters for this one and picking, okay. And it's a we've create Ah, we created box now, and we took on the modify it happy at the top. You'll see that all the parameters will be in that unit scale so because I've selected meters. This will be in meters as well. So if I said this to, let's say 555 so length with and height is five meters and if we zoom out a little bit, you'll see that I've got a cube five meters by five meters by five meters. So basically Citrus scale and always try and create your objects as close to real world scale as possible. So if you're gonna be creating a building, don't say to two millimeters set a two meters or feet of something on if you're going to be creating something really, really small, said it to a smaller scale like same millimeters or centimeters, and that will just make it a bit easier. Like if I change this now, if I go back to customize and unit set up and let's say this two millimeters taken OK, you'll see that my boxes now 5000 millimeters by 5000 by 5000 which is correct. But it's really a lot easier if I said this two meters because then I don't need to work in single digits. Five meters. Obviously, if I said this two kilometers, that will be 0.5 kilometers by which is also but of Ah, we had number. So that will just make sense if we say this two meters and then we've got the single digits again. And that's all about working with real world scale in three DS max, and I'll see you in the next video. 5. VFX 101: 3dsmax - Creating Basic Geometry : Okay, so welcome to the next video. And in this one, we're gonna be talking about creating some basic geometry in three years, Max. So, first of all, I'm gonna expand. I'm gonna make this view port full screen, psoriatic on the plus. And you can maximize Vieux port and, um, the way to create some basic job entry Easier on the right, inside, on the first tabs, your creative. And then you've got your geometry, your shapes, your lights, your cameras, helpers, space warps and systems. So we're just gonna look at the geometry tepfer Now, see, if you click on this little swear, you'll get box. Were cylinder all these objects? This is under your standard primitives. And if you click on box and you drag out and you release any drag up that will create a very basic box So let's delete that by just pressing the lead on your keyboard and it's taken sphere and then just click anyway drag and then release that will create a sphere. Distillate that. Ah, you can also let's create a cylinder. So click, drag, release and click again. There's your cylinder and let's create a plane. So list early the cylinder complain and in just click and drag and release. And that will create a flat plane. And let's say you want to create something with specific dimensions. So we quickly looked at this in the unit scale video. So let's click on box and desist. Drag out a box like that, and then in the properties or in the parameter section that will actually give you the length, the width and the height. So let's it the length to two meters. So just typing to and press enter. Let's sit there worth 21 meter like that and it said the high to zero point four meters Brits in tow. And then you know you've got a box with those specific dimensions. Okay, let's delete this box and let's look at the second button, which is shapes so under shapes you've got your line circles are in gone text on all of those things. So let's start with line, so get online and then you can just click a couple of times, and that will create a normal line shape. And then, if you close the shape that will ask you to want to close the spine, click on Yes, and that will just create a very flat basic line object, which is not reasonable. So you can't really render this. You need to extrude this, but we'll get to that later stage as well. So it's the lead that same with circle. So click on circle and then you can just click and drag, and that will just create a line a normal line shape circle for you. This Delete that. Let's look at text quickly, so text and just click. Anyway, zoom out, you're a bit and just rotate around, and then you can actually type something in your so little stipe via fix, and that will create the text line for you as well. This is Go back to the properties and you can also change the font year so you can go through your different funds in that area and let's send it back to Ariel and you can set your size and you're all these other text normal text options. Okay, let's say we want to extrude the text. I'm not really gonna go into detail about extruding etcetera for now, but let me just quickly show you guys. So with your tech selected. Click on the Modify A list drop down here and it's go to extrude, and then you can up the amount of extrusion and that will basically extrude your text so that you can render it. So let's just set that down to, let's say, E 0.5 and there you go. So then you actually give your normal shape layer some depth so that you can you can render that. So let's delete that and it's go back to the create panel. Let's go back to geometry and one more thing that I didn't show you is the teapot really cool? Taken credit teapot. And let's just create something like a severe quickly. So let's set up a sphere. If you look at the perimeters of that sphere, you'll get your radius so you can say this to say, one meter radius and you've got a perfect one meter radius were and then you'll see. It's got a segment section as well. So this is the amount of segments around, so if you lower this, it will actually have less segments, and it will be more kind of blocking so that you can see it's not a smooth. And if we set this to say around 64 something, then it will be quite smooth. Lots of segments. We can even put it up 228 or higher, and that will give you a nice and smooth sphere. Let's delete that. Let's go back to the create panel and let's create a cylinder. So click some way drag and click again. Same with cylinder. You've got your radius, which is the radius off view cylinder sick and lets it that to 0.5 and you've got the height. So let's sit that two meters and then you've got your height segments. So if you up this, this will increase the amount off segments upwards. So later on, when you get to edit these objects did not tell you why this is very important. And then you put your kept segments, which is at the top. So if I zoom in Europe, but you'll see if I up the cap segments amount, it will create Mawr segments here, more geometry that you can later work with. OK, then we also have sites, so this is similar to the segment's off the sphere. So if you make this a smaller number, this will be more kind of blocky, more square. And if you make this number higher, it will give you a smoother object. So if he said this to say, 128 you'll have a nice and round smooth cylinder. Okay, so let's delete that. Let's go back to our create panel and let's maybe try and create a plane as well. So let's just click and drag. That's your plane. So as you can see, this one's got a lengthen with this world. So it's said that to two meters by two meters, and then you've got your link segments and also your with segments. So if you say this to one by one will see that this will only have one segment by one segment. So let's change this to 20 segments on 20 Sigmund's, so it will have 20 segments in the length and 20 segments in the worth, and later on we'll get two subdivision editing. You'll see why this is quite important, and that's basically how you create geometry in three DS max, and I'll see you in the next video 6. VFX 101: 3dsmax - Move Rotate Scale Group and Clone: So in this video we're gonna be looking at moving objects around rotating them, scaling them, cloning them and also grouping them. So let's just create a box. Object your so first of all, if you look at your top to a boy, you'll see that you've got select and move. You've got rotate and you've got scale. So if you look on the move tool, you get thes three arrows, the Y axes, the X axes and Z axes, and if you 30.1 of these, you can move that object on that exceeds. So that's the Y axes. You can also click and let's move the X axes and then also the same with y axes. And you can also click and drag one of these planes. So if you select this plane, which is the why and explain, you can move it around on that plane. Same with the side plane, the Z and X, and same with this one, though z and why? And then you can also click this little box, and that's like a free move so kind of moving around on all the different axes. Okay, let's look at the rotate, so click on this. Select and rotate and you'll get a kind of similar thing also with these different axes. So if you click on one drag, it will rotate around that axes. This one will rotate around that axes, and this one will rotate around that axes. Let's quickly undo that. And then if we look at the last one, which is scale so you can scale it on the Z axis or the Y axes or the X axes, or if you point this right in the center, you can scale it. Uniformly served will scale all the exceeds together. OK, so one very important thing to learn in three DS max or the shortcut keys or the hot keys on basically the ones that you need to remember on the move, Rotate and scale hot keys so really simple on your keyboard. If you pressed W, they were going to move. If you press e next to W, they'll going to rotate. And if you press are next to the, that will be scaled. So let's press w on your keyboard and we can move around. Let's prissy on the keyboard. Then we can rotate around and let's press are on the keyboard, and then you can scale it up and down. So really simple way to just use those hot keys on your keyboard and let's go to move. So press on the w key. Okay, so let me show you guys how to clone an object. So let's select this object on. What you need to do is on your keyboard. You need to hold in shift and then we're gonna move it in their direction while holding shift. Let's release shift and the mouse button, and it'll probably this clone options box. And in this course I'm only gonna cover the copy, so make sure your copy. You can specify name if you want to, but you don't have to do that. Now click on OK, and then it will basically create a clone off that object so you can do that with multiple objects as well. So let's just drag a box around birth. These objects holding shift and in drag them to move them out, release shift and also released the mouse button that's gonna ask you to copy, Click on OK, and then that will create two clones off those objects. OK, lastly, we're going to look at grouping. So let's select all these boxes. So just click and drag a box around these objects and in good group click on Group and it's gonna pop up with this dialog box, and it's gonna ask you to type in a name for your group and let's just call this boxes and then click on OK, and then that will group everything together. So if you click on one object that were automatic, select all of them. And if you move them, they will all move together. Let's go to rotate. Let's just click on one object, rotate and you'll see it will rotate all four objects together because they grouped and the same with scale that will scale or four objects at the same time. So let's say we want ungroomed this, so make sure you've got one of these selected, so everything is selected basically the whole group, and then you click on group again and we're going to click on one group and then you can select one object again, and they will be ungroomed but religious. Reese it. I was seen quickly, licious maximizes view, bought a girl. It's great another box in the center. Something like that. Let's make this 0.5 by 0.50 point five. So we've got a perfect square. And now, if we click the move to weaken press W on your keyboard, you'll see that these axes showing the Y axes, X axes and the Z axis. So let's rotate this box slightly off centre. And if we select the move to again, you'll see that the axes is still showing Why X and Z in that same position but say Wanna move this cube so it actually slides upwards according to the way that this object is rotated. So what you need to do you at the top would say, is your reference coordinate system. Currently, let's say to view. And if we said this to local, that will actually change that gimbal so that it's aligned to that object. So now we can see that the X axes will actually slide on. That exceeds that the object is rotated at same of the y axes and same with the ZX ease. And if we changed it back to view, that will be the view coordinate system against Z will be straight up. X will be sideways. And why will be that way on the X is okay, So that's all about moving, rotating and scaling. And also grouping and cloning some objects in three DS max. Right, So we'll see in the next video. 7. VFX 101: 3dsmax - Using Helpers: Okay, So in this video, we're gonna be looking at helpers in three DS max, and you can use helpers to rotate objects to move objects. So let me show you how you can do that. So let's just maximize the screen. And let's just create a few objects. Discredit box on its maybe created box. They something you something here and let's maybe create ists were as well. First of all, what I want to do on a center this object year to the center off this good and an easy way to do that is click on this, make sure you on move and then yet the bottom your X, Y and Z make sure they all say 20 So just type in 000 and that will center that perfect point to the center of your grid. So now we're going to create a helper objects. So if you click on their helpers, But in here it looks like a little measuring tape icon, and then we're going to create a point helpers or click on point and then just click anyway in your scene, and that will create a point helper. Usually it will be on cross, so it will look something like that. And in the properties or the parameters dollar box, you can change this to box and antique cross. They'll just change your help into a box. So what you can do? You can link objects to this helper. So let's just select some objects and to add more objects to your selection, just holding control on your keyboard and drag to select more objects. And then right here in the corner, there's a select and link. You'll see. It's like a little chain icon, so I'm gonna click on that, and then you can click on any of these selected objects and drag towards your helper, then release, and that's gonna link all these objects to that helper. So now if I go to my move to and I click on the helper and I move that around, you'll see that all my objects will follow along. If we prissy on the keyboard and rotate opa, you'll see that all my objects will rotate around that and the same with scale. If I scale my helper, that will scale all my objects to give up. Okay, let's undo that quickly um, Let's just go back to way. We moved everything. So what I wouldn't do next ease. I want unlinked all these objects from this helpers, so I'm gonna select them all again. So just drag over them, holding control and select your other objects as well. And there, next to your selected link, there's a broken chain. Then you just click on that and it will unlinked all those objects from your help. So if we select the helper again, we moved around. That won't affect any of the objects. The next thing I'm going to show you guys is how to align an object to another object. So let's say, for instance, we want to align this helper to this box right in the centre, off the grid. So what I'm gonna do is I'm going to select my helper and then you at the top. You'll see these two little balls that says a line. I'm going to click on that, and then I'm going to click on the object that I want to align this one too. So I'm going to click on the center box and it's going to open up the line selection dialog box so you can choose what axes you wanna line to that object. So I'm going to click Exposition, Why? And Z And then I'm going to say center off that object. You can also select the perfect point that will actually align the perfect points because this box in the middle, the perfect points, actually at the base. But I want a line into the center off that object. So just click center center, then click on OK, and your help will be aligned to that box. Let's just scale the help her a little bit. As you can see, it's a bit small, so it's inside off that object. There we go and know what I'm gonna do. I'm gonna link all my objects again. So I'm going to click on the center box. I'm going all in control and just select my other objects around it as well. And then I'm gonna click on selected link and then I'm going to drag them to the help. And no, If I rotate the helper, everything will rotate around it. So this is a really cool way, Teoh actually create your own perfect point for multiple objects. So so you've got different objects, anyone? Those objects who spent around a specific perfect point creator helper, link all those objects to that helper and then the helper will be your profit point. Right? So that's how to use helpers in three days, Max, and also how to align objects to each other and I'll see in the next video. 8. VFX 101: 3dsmax - The Modify Panel: So in this video, we're going to be looking at the modify panel something really, really important in three DS max. So first of all, it's just create a few objects. I was going to create a few boxes 123 something like that. And if you click on these boxes and you click on the modified panel, this is the button just next to the create panel. You'll see the parameters, and we actually looked at this in an earlier video week and sit the length and the width and height and all those kind of things in your segments that something really important right at the top. You've got the name off that object, and this is weakened type of name. It's called this my Box one, and it's always very important to try and name all your objects in your scene just to keep everything neat and tidy. So if you click on this one, let's call verse, um, my box to and it's called this one my box three, so they will just keep everything nice and tidy. And obviously, if you have a lot of objects in your scene, it's always best to rename them so that you can find them and know exactly what they are. So another quick thing that I want to show you why it's important to name these objects if you click on the select by name. But in your the top little, uh, stripes with the Iraqi that will actually show you all the objects in your scene. So now you can actually sort by name, and you can see Okay, I want to select my box to can highlight that looking okay, and it will actually select that object for you. Another important thing in the modify list. Ease that you can add modifiers to your objects. So let's select this object. And then in the modifier panel, there's a drop down box that says Modify list. So if you click this, that will actually show you a list of all the modifiers. These almost like effects if you want to think of it like that. So let's say we want to add a bend modifier. So let's click on Bend, and then you can actually change the parameters off that modified. As you can see, you were bending that object and you can do all kinds of cool stuff with it so you can change the been axes, X, Y and Z on the direction and also the angle. So every single modifier will have different properties that you can play with little. Undo that quickly. I'm going to delete that modify. And if you wanted to meet, modify a click on it and then click on the little been yet the bottom and that will remove that modifier. Okay, let's add another modifier. Let's click on the drop down box and let's say we want to add a twist modifier, and I can see there is our twist modifier. So if you want to go back to your box parameters, you'll see in your modify list you've got box and you've got twist. So what you can do is you just click on box, and that will give you all the default parameters of your box so you can change your heighten with and all those kind of things. And then, if you click on your modify a twist again, we can change the parameters off that modifier. Okay, so let's try another modify. Let's go to this box here and maybe let's click on the modifier drop down box and let's try Taper. And then let's see what The's settings will do so we can actually change it, making a bit of a curve play with these modifiers. They're actually quite cool to play with. Let's add another modifier. So let's add a twist. Maybe underneath that, so good anti twist, and now it can add some parameters to that as well. So now if you want to make the box a little bit bigger, click on the box and then you can sit those parameters separately. Go back to twist. You can set your twist parameters there. So that's the basics off the modified panel. Remember to name your objects, and this is also weak and agile modifiers. And just go through this list, play with some of these modifiers, see what they do, and I will see you in the next video 9. VFX 101: 3dsmax - Subdivision Modeling: in this video, we're gonna be looking at subdivision editing or box modeling. So let's start with a box created box. And let's just make this one meter by one meter by one meter. And to modify this object, I'm gonna convert this to an irritable Polly. So what you do is you're right. Click on this object, go to convert and then click on Convert to Irritable Polly. And then it's gonna jump to the modify panel and you'll see that it will have a modifier called Irritable Polly and then below that you'll see you've got Vertex. It's polygon, and I'm going to skip border and element for else. We basically going to look at Vertex Edge and Polygon, so let's start with Vertex. So click on these little little dots and you'll see that all the little dots on your box on the corners will be selectable, and these are your verte sees, so basically you can click on them and I can take the move to and I can move them around. So let's just click on that one. Move down and you'll see that my object will actually start to deform, and I can also select multiple over to see so I can click on one old in control. Click on another one, and I can move. Those were deceased together. And I can also rotate them like that Well, like that and I can also scale them. Okay, Next. Lates have look at the edges. So edge. Those are the lines between those verte sees same thing again. You can click on it and you can move it or you can rotate or you can scale can also select multiple ages. So holding control and click on a couple of pages you can move those four ages around can move in This way you can rotate them where you can scale them. Okay, Next we're of the polygon, which is basically these surfaces between your ages and between. Your virtue sees so same thing again. You can click and move or you can rotate them or you can scale them. You can also select multiple ones the same as the others. And then you can actually move those faces or those polygons together, move them, scale them and do all kinds of things with him. Okay, let's create a new box. So I'm gonna delete this one created new box and let's just make this 11 meter, one meter, one meter. So we've got a square, and then I'm going to right click on the square, go to convert, to convert to irritable Polly. And then we've got our selections off. Verte sees ages and polygons again and what you can do, which is a really fun way off modeling, is let's go to our face selection or polygon selection. And then we're going to use the extrude function yet the bottom. So click on extrude and then on that face, you can just click and drag up and down, and that will actually create some extra faces and some extra geometry for you. And you can also click on another face extreme that way and just carry on building a new object. Okay, lets just click extrude again to switch that off and let's select multiple faces or multiple polygons. So I'm going to click on one polygon old in control, click on another one, hold in control and click on another one. So we've got those three polygon selected, and then I'm going to click on the little window or the sitting button next to extrude, and that's going to give me a dialog box. You in the middle and I can actually use thes arrows to control the extrusion off all three faces or polygons together, which is quite cool. And then, once you happy, just click on the little tick and that what she saved your extrusion sitting. Okay, Another cool thing. Let's select those three polygons again. So click on one holding control. Click on another one holding control. Click on another one and I'm gonna praise are on the keyboard for scale. And then I'm going to scale them and you'll see that it will scale all three together, which is quite cool. And let's just do some or so the side move a tick on that one. Maybe that one holding control, click holding, control Click and its scale them as well, so you can see that all scaling together and let's do extrusion for all three of those. So click on the sitting snakes to extrude and then use your up and down arrow year to extrude them and click the tick mark when you're done. And there you go in skill the donna but So, as you can see, you can create some really interesting objects really quickly. Let me show you just a quick example. I can both something very simple. Like a chair, for instance. So let's delete that and I'm gonna create a box again. So I'm gonna make this one a little bit flat, something like that. And let's just sit the parameters. So let's set the length to maybe one meter with one meter and the height I'm gonna make syrup 10.5 So we've got something like this, and then we're gonna add some segments so length I'm gonna add eight segments. You'll see these little lines going across and Witham gonna add eight segments. And for now, the height segments. We can leave it one. So we've got all these polygons to work with. Then I'm going to convert this into an irritable police or right click on it and go to convert and convert to irritable Polly. And they were gonna click on the Polygon Select Tool and we're going to select all these polygons at the back sold in control. Click them all, zoom out a little bit and then I'm going to click on extrude the sittings button next to extrude and litchis up that value. But something like that. Click on the tick mark and then we're gonna go down below this object and I'm going to click these four corners sold in control. And then I'm gonna take extrude and taken one of them and just move the mouse up. Something like that. And they've got a very basic chair. Just click on extremely going to switch that off and what I'm gonna do next. He's let's take the Verte sees. And I'm going to select all these vortices right at the top so you can just drag a box around them and I'm gonna press are on the keyboard for scale, and then you can scale them in scale and out, and you can add some interesting things to your chain. Another thing that we can do is let's just go to the bottom and go to Polygon select again and select these four polygons right at the bottom. And let's scale them down. There we go. So as you can see, it's really simple to create some interesting objects really quickly with this method off modeling. So it's called subdivision modeling or box modeling. OK, one more thing. I want to show you guys, Let's delete this object and let's create a box again. And it's make this one Mito by one meter by one meter the segments in this example we can change back to 111 and I'm gonna convert this to inevitable police right click convert to irritable Polly. And then I'm gonna go to Polygon Select, and I'm going to select this polygon you and I'm gonna delete on the keyboard to delete that polygon. So as you can see now, we've got a kind of box, just empty box with no side on this side of the box. And then what I'm gonna do next, I'm gonna click on Vertex Select, and I'm going to select these four vergis ease on the front, So just hold in control and select them. And if you remember, we did a clone to earlier in this lecture, So take the move to holding shift to clone, and they just dragged them outwards and you'll see that it will actually move those four points and it will clone them and move them out. So we're gonna clone to element. That's fine. So click OK and say, for instance, now you want to create some new polygons between these Verte sees. So we're gonna go back to Polygon, and then if you just scroll down a little bit, you'll see there's a create batter near, and if you click on that, you need to select four Verte sees, and then it will automatically create a polygon between those four Verte sees. So I'm going to click on this one, and you'll see it will create a line for you and click on the next one. Click on the next one, click on the next one, and then you have to complete. You are your polygon to click on the 4th 1 and you'll see it will create a polygon for you , Kale. It's great, another polygon on this side. So I'm going to click on this vertex that vertex that one, that one and complete. They would go the site again. 12345 and it's to the bottom as well. Click on the Verte sees, and I think you get the idea. Okay, so as you can see, it's really easy to create some interesting objects using subdivision modeling. So I'll see you guys in the next video 10. VFX 101: 3dsmax - The Vray Renderer: So in this video, we're gonna be looking at the V re render for three DS max. Probably one of the most popular Rangers when it comes to visual effects and also game design just a really, really great render. So basically, you need to enable the Virendra. So if you go to rendering right at the top and you go to ring the set up and then on the common tab, if you go down away and you click on a sign, render and next to production, click on those little dots and then you're gonna select V. Ray advanced on in the version about musing 3.3 Click on OK and the Newell have selected your Virendra as your production ranger gauges some basic settings if you scroll up all the way, so under output size, we will probably use HD TV most of the time. That's your normal 1920 by 18 80 resolution. If you go right at the top, your time up to this, we select if you want to render a single frame or active time segment, which will render your whole timeline from 0 to 100 or whatever your length off the animation is, and you can also select range if you only want to render a certain range off frame. So they say we want to render from frame 50 to frame 60. Maybe you'll select range, but for now, let's just keep it on Single Onda. Then if you go to the V writer, but the top this is we'll find all the Vero sittings and we're not really gonna get into this for the most off the lecture. We're just gonna leave all these settings default for now. And if you click on G I that stands for global illumination. This is where you will enable global elimination. And if you click on basic, you can also get to some of the other settings, like Ambien. Inclusion, etcetera. We'll get into that a little bit later, but just a quick thing on global illumination that's basically a more realistic way off. Rendering light sources and light bouncing obviously have enabled this your endless war look better, but you're renders will take longer to actually rained out. Let me quickly show you how the Ranger actually works, sir. Let's just create a quick floor and it's created box, and I'm going to create a light. So I'm gonna kick the little light I can you at the top And I'm going to go down to my V Ray lights and I'm gonna click very light and I'm gonna draw out a light and I'm gonna move that up. Sir, it actually shines on my seen something like that. And now if you go to rendering and click on Render, actually render that scene with global illumination on as well. So you can see it's doing some global elimination parses pre post for a four and then it where she start rendering the image. There we go. And as you can see, it's looking quite good. Some nice shadows going on your some nice light reflecting on the side off this box. And the shadow quality is not that high, but we'll get into some of those details a bit later on. But I just want quickly show you how the rain drew works very basic stuff. So, yeah, that's the viewer render. And I'll see you in the next video 11. VFX 101: 3dsmax - Creating A Camera: So in this video, we're going to be looking at how to create a camera in three DS max, and they actually a couple of ways to to create a camera. First of all, go to rendering going to sit up and make sure that you're up its size is, say, two HD TV O R. 1920 by 18 80. Close that, and then what you can do easily. Just create a quick senior just like a floor and maybe a box in the middle. The easiest way to create a camera from your perspective. You ease. Let's say you move your perspective, you around and you kinda like this angle, but you can do you can go to create you at the top, go to cameras and then click on. Create camera from view and you'll see it will automatically create a camera with this view . And it will also change this view port to that camera, such actually looking through that camera. So what you can do now you can take the handy at the bottom, which is struck camera, and if you move this view around, you actually seen the other view ports that your cameras also moving around. Next to that, we've got orbit camera, so if you click on that and you drag around your scene, you'll see that your camera will be orbiting around that point. And then you've got this icon year, which is filled of you, and that will actually change the field off view. So wide angle and more of, ah, long lanes and the top one is Dolly so that we actually move your camera back and forward like that. And you've got perspective, which will just kind of create a different perspective of what your camera seeing. And then you've got a role, which is kind of like a rotation for the camera. And, yeah, I can obviously also use your move to to click on any of these viewpoints and just move your camera around. You can click on this little plane to kind of free. Move your camera around something like that and another way to create a camera. Let's delete this camera, and I'm going to go back to perspective. You will see it automatically switch back to perspective, and if you click on the little camera icon at the top, you can choose from standard camera or veer a camera. So for now, let's just use a standard camera, and if we can target, you can click and drag, and that will actually create a camera for you. So now we still in perspective. You year, you can see this, the camera. And if you want to change this view, to look through that camera, you can right click on Perspective cameras and Camera one, and it will automatically look through that camera in this view port. Let's quickly look at the very camera, so I'm gonna delete this camera and I'm going to go down to cameras again, and it's quick to drop down and select V Ray. And then we're gonna create a very physical camera, which is this button here, and I'm going to click and drag again, and it looks kind of similar than the target camera. But you see, it's got this little grid thing going on and let's look through that camera. So, on the perspective, view port writing on perspective cameras and select your very camera. And if you click on your very camera and go to the modify panel where the settings are, you'll see that It's got quite a lot off settings here and this. You can also change between a still camera, movie camera and video camera, and it's got all the settings, like your Fulham Gate and your Zoom factor and ALS. These things like f stop your target distance, white balance, all those kind of things, and you should really just play with these settings and see what they do. But for now, we just can use the normal standard camera, and that's actually good enough for this lecture. So that's basically are you. Create a camera in three DS max, and I'll see you in the next video. 12. VFX 101: 3dsmax - The ActiveShade Renderer: in this video, we're gonna look at the active shade render for very so first of all, the majors quickly explained you guys, what active Shady's active shady is basically a draft render that you can view in one of your four view ports. So let's say we will sit up the front view port this one year. We'll sit there, too. Active shade. So first of all, you need to set up your renderers. So we're gonna go to rendering at the top and then ring the set up, then scroll all the way down, go to a sign, render and then for your production, render click on the road dots and select Vera Advanced Quicken. Okay. And then the next step is under active shade or next to active shade, click the little dots again and then you're gonna select V ray or tea and then click on OK , and then you can close your render set up. Okay. The next step is to change your front view port to perspective as well, so rightly confront and then go to perspective. And that will basically just give you a perspective. You, in this view port as well and Let's just set up a quick seen yet the bottom. So let's just draw a box and literal a severe maybe on top of that, and it's at a quick veer, a light as well. So go to lights and then click on the drop down to select V ray and then click on Veer a Light. And then we're just gonna draw out a beer a light year on top of the box and go to move on . Let's just move that light up a little bit so we can actually see the light falling on these objects right next up on your top view port, you're going to right click on perspective and then go to extended view ports and then click active shade. And then, if you move around in your perspective, you you'll see that your active shade Vieux Port is updating automatically. And this is basically a draw off to render so you can easily see are your scene is gonna look like the lighting will be more accurate here. So if we render this perspective, you, If you click on rendering and then render, you'll see that the active shade is very close to that actual render. So it's just a real quick way to see how your scene is going to look like all your shadows who look like annual lighting, etcetera without going into ranging every time and waiting for your range to complete. So really, Andy and yeah, that's active shade. 13. VFX 101: 3dsmax - The Material Editor: Okay, So in this video, we're gonna be looking at the Material editor in three DS max and also how to apply materials and textures to your objects. So, first of all, let's change to the V Ray renderers to go to rendering arrange a sit up scroll all the way down, go to a sign, renderers, and then your production rendering. Want to sit that to Vera advanced, and then you can close the ring to sit up. Okay, Let's just create an object that we can apply a material or a texture to that solutions create a sphere. We can basically create any object you like, and then they are two ways to open the material editor. So if you go to right to the top, you'll see us icon that says material editor. So if you click on this and by default, it will actually open the compact material editor, which will look something like this. But we're going to use the Slight Material Editor. So just click on modes and then click on Slate Material Editor, and this will just give you some extra functionality. And I find this a lot better than the compact editor another way to open the material editor is to simply press the later em on your keyboard in for material. So just press that and it will open up. Okay, So let's create our first material. So you have to do is you're right. Click in this area in the middle, and then you click on materials and we're going to create a V ray material because we're using the Virendra. And then you've got all these options year and we're going to go with Vera Material Vera mtl. Click on that, and that's going to create a basic V ray material for you and what you can do, you can double click on the name year, and this will open the properties for that material. And if you double click on the little picture you in the corner, it will just make it bigger so you can actually view your current material in this window a little bit better. So I'm just gonna show you guys some of the basic settings here. We're not gonna go through all of these settings, but with the basic stuff, you can create a lot of different textures, etcetera. So, first of all, you've got your defuse, which is basically the color of your material. So if you click on the color, it will open up your color selector, and you can choose your color year. So let's create like a raid, maybe like a dog, create color and then click on OK, and then another thing to take note off is the name of the material, so right at the top you'll see it says material number 25. So let's changes. Let's just call this raid for now and you'll see it will update you on the view as well. And there are two ways. Were there a couple of ways to assign this material to an object? So it's got a little dot on the site and what you can do. You can click and drag, and it will create this little line, and you can drag that right to your object and release, and that will assign the material. Let me just undo that. I'm going to show you another way, So the second way that you can do this, you can select an object, or you can select multiple objects. So let's create another box here, and I was gonna click the select object, and I'm going to click on this one holding control to select that one as well. So I could both of these selected and then what you can do is you can right click on this little circle and go a sign material to selection and that will assign this material to everything that you've got selected in your scene. Okay, lets just move this up a little bit, and I'm gonna create a plane underneath this as well. So let's just draw out a plane and maybe let's just move that down. But that's actually fine like that. Then what I'm going to do, I'm going to create another material, and you can either go right leaked materials, the rain material, or you can clone this material and just change the properties and the same way that you clone objects. Remember their Children shift. So all that you do is you holding shift and you drag this to the side and the new release shift, and that will create a copy off that material with all the same settings. So to open up this material sittings just double click on it on. Let's call this one blue. Just type that in the name. And then let's change the refuse to blue as well. So something pops something like that. Then we're gonna go to the next sitting, which is the reflection properties off that material so currently will see that the reflectors say to black. So if you click on that So basically, if you said this to black, the object will have no reflection. And if he said it toe white, it will be a perfect mirror. So you can basically just play with us and see what works were. So I'm going to sit on, let's say, 75% reflective and I'm gonna click, OK? And I'm going to sign this to the floor. So let's just drag this to the plane and release to assign it, and it just closes down. And I'm going to do a quick render to preview this. So click on rendering and then render. So as you can see, there's a slight reflection they but not really that strong. So let's go back into the Material Editor and make sure we on the blue Material and I'm gonna disable Fresno reflections and that will just give you a little bit more of a reflection. So let's just go into that again. Okay? There you go. You can see the reflection nicely. Looking good. Okay, let's go back into the material editor and I'm gonna show you some of the other options. So we've got reflection, glossy nous. And if you bring this down a bit, you'll see in the preview that it's actually it will look a little bit more glossy, like a plastic or something like that. So let's do 0.9 and you don't have to sign this material again cause it's already assigns. You can just edit it and anything that you edit here will actually update on your object. Okay, so let's render that again. OK, it kind of looks the same. So I want to add this material to the sphere is, well, so delicious. Drag that over onto the sphere, and it's render that. So now I can see the glossy nous a little bit better on the sphere because it's got around surface, so that's looking cool. Let's move on to some other options in the Material editor so still on the blue material, I'm going to scroll down a little bit and then we've got refraction. And that's basically if the object is opaque or transparent. So same principle from black to white. So if it's black, it will be completely a big If it's white, it will be completely transparent and you can actually see in the preview window as I slide that down. He said. This in the middle, you can kind of see through that. Okay, before we render that, let me just move this this box that we ever it's moved in front off that object and let's go back into the material settings and I'm gonna modify the red material. So let's double click on that to go into the settings and then refract. I'm going to change to around 40% so we can see through that and let's to Orender. So now I can see we starting to see through this object, and you can see some of the blue behind it. Okay, so let's go back into the settings. I'm going to change the blue to refraction to nothing, and I'm going to do the same with the rate. So DoubleClick go to refraction say they too black. Okay, Another thing that I want to show you is that you can actually load some textures into some of these maps. So I'm going to create a new materials. I'm gonna clone the red ones. So holding shift dragged it across, and I'm going to double click on this one to edit. And I'm gonna name this one floor, okay? And I want to load like a tile material or texture into this, and the way to do that is next to defuse, you've got a little box. And if you click on that, it will open up a material or my browser. You can actually load, like, a bit map or ah, like a picture or one of the salt in presets or both in maps. So for this one, I'm going to use chika. Double click on that and you'll see that will actually connect was gonna move these others out of the way that it will actually connect a another little box to the diffuse map. So that's the refuse map for this material. And its got a chicken map that's linked to the diffuse map off this material. So if we double click on this chicken map that will open up the sittings and you can change the colors so color one. Let's make that maybe white and color to Let's make that blue and you'll see you've got, like a white and blue tile going on. And then you can also set the tiling amounts. If you make this number bigger, let's say five and five. You'll see that the tiles will get smaller, considered to 10 10 and they won't even get smaller. So now I want to sign this material, the floor material to the floor. So I'm gonna just dragged us across to the floor release, and it's to a quick render. You can see we've got a nice styled floor going on there. And another thing that I want to do over change the reflectivity off the floor so stole on the floor material. Let's change the reflectivity to about 50% and let's make the reflection classiness zero point nine. Also remember to remove the Fresno reflections, so just antique that it has changed the camera angle. Maybe from this angle. And let's do a quick render to see how that looks like so you can see some of the reflection year and below this Swissair's looking nice. And let me quickly show you how to add a picture texture in your as well. So what you want to do you can click on this little line at the top, and that will minimize your material for you. So just to save some space and you can also use your mouse wheel to zoom out and zoom in. And if you hold in the mouse wheel, you can pan around so you can actually move them around. You can also select some of them like this and also dragged him around all very simple controls. Okay, so it's creating new material. So I'm going to right click Materials, Vere E and Vero Material, and I'm going to double take the pictures. We concede a bit better, and I'm going to double click on this one to make sure he selected. And I'm gonna call this one a bit, Mac. So we're gonna load a picture. You can call it anything you like, and next to defuse, I'm gonna click on the little box and then I'm gonna select. But map double click on that, and it's going to give you like your normal browser, and you can browse your computer to find a, uh, an image that you want to load in. So let's just see. I don't really have any great textures here, but maybe let's add this grass. Yeah, I'm not sure what's called Grass, but I'm gonna add this green blob in the open. And that's also gonna add that bit map into the refuse map, and then I'm going to apply it to the sphere so religious link it to the sphere, which is you in your little bit. And it's to a quick render, and there you can see that the picture is actually showing up. It's not a real great example, So let's change the picture. So I'm going to double click on the button, happy on the side, and they can see that is the path to that image files. I'm gonna click that and let's just see if I have anything on the day stop that we can use after Coca Cola label. So this should be interesting. Let's do a quick render again so they conceive, grow Coca Cola texture going on on this were So let's say you want to rotate that label so that the Coca Cola is more on this side. So let me show you how to do that. So still on the bit map. If you double click on that, you've got your offset and you've got your tiling. So if you look at this picture year and if I change the you offset, you will see that that actually turned horizontal. And if we change the value, that will change vertically. Okay, so let's just try something like that to a quick render again and you'll see that the angle off that material is actually changing what you can do. Let's just close the material area to quickly. If you go to your view port that you actually looking at a new click on realistic, you can go down to materials and then you can enable realistic materials worth maps. And if you click that it will actually show the material in your view port, which is quite nice of you trying to line up some materials solutions. Open up the material editor again and I'm gonna go back into the but map. And now if you update this number year, you can actually see what's happening in your scene, and that will make it a lot easier to just change the way some of your materials look. And it's to a quick render again. And there you go, looking good. So that's the basics. Off the material editor in three DS max. Just play around with her, trying at some interesting but maps to some of your objects, and I'll see you in the next video. 14. VFX 101: 3dsmax - Lights And Shadows: So in this video, we're going to be looking at lighting and shadows in three years, Max. So, first of all, we're going to sit our render to V race ago to rendering and ring the set up scroll all the way down. Click on a sign, render and set your production render to very advanced And then we can close this. Okay, I'm gonna maximize my perspective. You so right, click on the little plus and click on Maximize Vieux Port And then we're gonna create some basic object here. So let's create a floor can use a box for that. And let's create a box and maybe another box. And let's create a sweet eras. Well, guys, we've got some objects in our scene and because we using the Virendra, we gonna be using very lights. So if you click on the little light icon year on the right hand side, usually this is on photo metric. So we're going to click on the drop down menu and select very. We'll give you four options, but we only going to look at the V ray light. So just click on that and then you can click and drag to just draw out a light and release , and that will create a V ray light for you. So, as you can see, your whole scene will go dark because that light is right on the floor. So I'm gonna press W to move, and I'm gonna move this up and you'll see that the light will actually start to appear. There we go. And I was going to do a quicker India. So there we go. Got a very nice Orender going on. So as you can see, this is quite a low resolution. It's currently set to 6 40 by 4 80 So it's going to rendering set up or in the set up. And it's just change our output Size two HD TV, which is 1920 but 10 80 enter into that again. So, as you can see, we've got some nice soft shadows going on your They don't look too great there, but noisy. But we're gonna talk about that soon. So let me just show you if we just move our light a little bit to the side and just rotated , start impressing a on the keyboard to bring up rotation. And let's just maybe create some longer shadows, something like that. Let's do a quick render. So first of all, let's talk about the lighting properties. So if you click on your light and you go to the modified panel, this will bring up all the different options for that light. So if it's all, he can change the type between plain domes Rio Mish. So sphere will be a around light like that. I usually work with the planes. They were pretty well. He can also set it to a dome, which is like A offs were something like that, and you can also set it to mish. Okay, so we basically just gonna look at the plane, which is quite simple, and it knew a lot of that. So that's cool. And if you go down, you'll get to the multiplier that's currently say 2 30 that's basically the strength or the brightness off your light. So if I change this to say, let's change to 50 you can see that it actually increased the intensity changes to 100. It's getting really bright, and if you change it down to, let's say five, then it's not that bright So let's say that back to 34 now and then you get the color so you can actually change the color of your light. So it's at a blue light in year, and you'll see immediately that the color of your objects will also start to change because you actually using a blue light now. So let's get that back to white, and then you've got the size of your life. So this is really important if you want to change the way your shadows look. So let me show you if we increase the size off that light. If you look at the light year and if I up these values, the light will actually get bigger and brighter because the bigger the light, the brighter the light. So even if that multiplier is still say 2 30 just because the area off the lights bigger. So let's set that down to maybe often, and then if we do Orender, you will see that the shadows will be really soft. So that's something to remember. The bigger than light that softer the shadows and smaller the light, the harder the shadows. So let me show you quickly. I'm gonna make the light really small. So let's bring that down and let's bring that in as well, so really small light. But as you can see, we losing some of the intensity. So now we need to up the multiplier, So let's make it gay. That's maybe said that to something quite high. Maybe something. It's Dr 1000 because we're using a really small light. So let's to Orender. And there you go. You can see some hard shadows going on so really easy to remember. So the bigger the lights, softer shadow, small light or shadow And, yeah, just changed the size here And remember to change the multiplier or the intensity we need changing this size as well. Okay, you can also switch off the shadows. So if you antique that it will still render the light. But they won't be any shadows. Something like that. Let me just change this size a little bit bigger, okay? And let's sit intensity down to about 700 maybe or even 500. And then let's enable cost shadows again. And another thing that I want to show you. Let's say we've got the light kind off some way they okay? And Irene to this you will actually see the light in your scene. You see that black rectangle year on the scene That's actually the backside off the light. And sometimes you don't really want to see that. So very importantly, then you need to set your light to invisible. The light will still be on, and you'll still have shadows and all of that. But if you render, you won't actually see the light in your scene, which is really Andy. Okay, next, we're gonna look at the quality off the shadows. So if I zoom in your little bit, you'll see that the shadows are quite noisy, okay? They can see shadows on the side. Very noisy, very noisy. So let's close that down. So to increase the quality off your shadows, what you need to do, you need to scroll down to your sampling and in your subdivisions is currently set to eight . And I'm going up there to 30 to and it's to a quick Orender again. And what you will see, it's gonna take a little bit longer to render. So usually only set their subdivisions to 32 once you happy with your your scene and when you're ready to do your final render and then you up those subdivisions to 32 or 64 32 is usually high enough. And, as you can see, if I zoom in, you know, looking a lot better, nice and smooth. And yes to say you can up to 64. But usually 32 is high enough for me. Bear in mind that it will render a little bit longer if you use a highest subdivision for your sampling on the lights. So that's the basics off using very lights in three DS Max and I will see you in the next video. 15. VFX 101: 3dsmax - Animation and Keyframes: Okay, so in this video, we're going to be looking at how to create basic animations in three DS max. So first of all, let's maximize our perspective. You so right. Click on the plus click on Maximize Vieux Port and let's start by creating a sphere. And basically, it's very simple to create a little animation from year to year. So what you want to Dewey's position your sphere at the starting location and then right at the bottom. We have your timeline, where your frames, we're going to click on Auto Key to enable or turkey, and then we're going to click on this little key icon next to it, which is set keys. And if you click that, it's going to create a key frame for that position. And let's say we want to go to around frame 50. So just drag that slider over 2 50 and then move the sphere where you wanted to be at Frame 50 and then Auto Key will automatically create a new key frame at that location. So if you scrub back, you'll see that three DS max actually automatically folding all the key frames between that'll the movement off that sphere. Let's say we want to add another key friends. Let's go to frame number 80 and maybe let's move. This were over to the side, maybe two around there and you'll see it will automatically create a key frame that you can see the other key from that was created. So if we scrub back, you'll see that this we will go that way and back to the start. Okay, and what you can do. So you want to extend the animation from this key frame to that key frame, You can simply just click on this key frame and drag to wherever you wanted to be and automatically update the length off that animation to go out off auto key. Just click on this button again, and then you can carry on working. So let's just delete the sphere and let's create another object. So let's create a box and let's just give it some thickness. They would go and we're gonna go to frame number one, and we're going to select the rotation tool like that. Okay, we're gonna go into auto key, and we're going to click on the key to create a key frame So let's go to frame 100 then let's do some rotation on this, so just spun it around a bit. Let's say like that. And then it will automatically create the key frame so we can switch off auto key. And if you scrub through this now, you'll see that you have a nice animation and to playback you animation, you can click the play button yet the bottom play animation, and there you go. Then it will actually loop through your animation so you can view it from all different sides while it's playing. Okay, let's stop that. So let's say we want to animate this size as well. So I'm gonna press are to go into by scale to, and I'm gonna enable Turkey. And then maybe at frame zero, I'm going to scale this down quite small and let's go to frame 50 and its scale it up quite big. And maybe let's go to frame 100 again and it's scaled that down again. All right, let's disable or Turkey and it's play through that animation so you can actually animate everything or all parameters in three DS max, which is quite handy. So Let's quickly just sit, are injury to veer a and then I'm gonna go into the material editor. So I'm gonna press him on my keyboard. And then I'm gonna create the new material v Ray, and I'm going to create a normal, very material. Let's just minimize that for now and double click on on this to go into the settings and let's go to frame makes you on frame zero. And I'm going to sit the color to Let's create like, let's say the to read like that and I'm gonna enable or turkey and create a key frame and let's go to frame 100 then I'm going to change the color to blue. Click on OK and click on turkey again to disable that. And if you screw up through this, you'll see that the color of this material will actually animate through from red to blue. I'm gonna apply this material to our box. The color in the view poor doesn't really always update. But if I go to say to this frame and do a quick render, you'll see that that's the actual color. And if we go further and weekly, Granger again then it will actually update. So it's not always updating in your view port, but the color is actually animating like If you look at your material in your material editor and you scrub through this, you'll see that that color is actually updating. Okay, let's delete this object and let's create a new object. Let's greatest sphere, and then what I'm going to do. I'm going to animate the radius off this sphere. So let's go to Auto Key and little great a key frame. So click on the key and then let's go to frame 50 and exchange the radius to, let's say, five. That's a big let's change to about two, and then let's go to frame 100 let's change this to 0.5. Okay, let's disable or turkey, and if you play through that, you actually see this number updating your by radius. So, as you can see, it's really handy to be able to animate most of the parameters in three DS max, from the colors to the sizes to the shapes off objects. And in the next video, we're going to look at the curve editor that will actually give you a little bit more control over these key frames. Yeah, You guys found that interesting, and I will see you in the next video. 16. VFX 101: 3dsmax - The Curve Editor: Okay, so in this video, we're going to be looking at the Curve editor, and I can use it to create some more advanced animations in three DS max. So first of all, it's maximize our view port on. Let's just create a very simple animation. So I'm going to create a box, and I'm going to create a spinning rotation animation on this one. So let's enable Auto Key create a key frame and let's go to frame 100 it just spend it around like that. Okay, let's play through this animation. You can see it starts spinning slowly and it stops again, and I'm going to stop that, go back to frame zero, and with that object selected, we're going to open up the curve editor to see the curve animation on that object. So make sure it's elected and then open the curve editor right here at the top. So in the Curve Editor, you can zoom out using your mouse wheel, and you can zoom in again. And if you're holding the mouse wheel, you can pan around and festival. If you look on the side, you you'll see there's an ex rotation y rotation and Z irritation, and they're all three or currently selected. So let's just select one of them and you'll see that's the exhortation. There's no animation on that. The UAE rotation also nothing. And there's irritation. That's the one that we actually created with a key frames. So as you can see, this is not a straight line. It's going. It's a curve that goes in and it goes out again. And if we play this animation, you can actually see that, that it's start off quite slow and it goes quicker and then it slows down again. So as you can see, we've got a key frame year and we've got a key for him at the end. So consider this first key frame, and then right at the top, you'll see the straight line, which is state engines to linear. So I'm going to click that and you'll see it's gonna make a straight line, and it's do the same with the ending key frame like that straight line again. And now I've got a perfect straight line from the beginning to the end, and it can also scrubbed the animation by grabbing this yellow line and just moving it side to side and you can see your timeline at the bottom will also scrub through. So let's close the curve it to Don. Let's go back to the first frame and is it play? So now I can see the animation is actually playing at a constant speed, and I'm going to stop that, and I'm going to go back into the curve editor. So what we can do now is we can actually move this key frame around, so let's zoom in your little bit. And with that first key frame selected, you can actually drag it around. Just make sure that you are on the move to your on the side. And if we move the ski from, let's say, two year and it's just move this out of the way and play that back again, you will see that the animation is actually going to stop you at the new key frame. As you can see, it's gonna animate and it's going to stop right there. Okay, so let's pause that, and I want to increase the amount off rotations for this object. So to do that, we're going to select that key frame again, and I'm gonna drag it up to increase the value. So all the way up, let's take it further around there and it's minimizes and it's playback animation. And, as you can see it spinning a lot quicker now, okay, lets go back into the curve editor that zoom out a bit and I'm gonna take it even further. So let's do that. And if you're holding control, it will actually snap to that line. Good. Let's move it up. It's moving even further. Old in control to snap closer down. Let's played back now and I can see it's really spending very quickly. Okay, let's go back into the curve editor and bring it down a bit because that's a bit quick. Religious. Select that one old in control to snap and bring it down all the way. And if we played back now you'll see it's spinning quite slowly. Okay, so let's go back into the curve editor and I'm gonna show you how to create some new key frames using the curve editor. So all you need to do is you need to right click on that line and you're gonna click on add keys and in your mouse pointer will change to a little dot with a click next to it. So now you can just click on this line and it will actually create new key frames for you. And let's let the move to again. And now you can actually move these key frames around as well. You can also use these handles to change the curves. So if you click on the key frame, you just drag these handles around to change the curve and let's play back and see what happens. Okay, so some interesting animation going on there, and what you can also do is you can select some of these key friends, and you can delete them. If you delete on your keyboard, let's delete that one as well, and we back to the straight line. So if you play that back, you'll have your normal spinning animation. Okay, let's say we don't like the constant speed, and we want to change this to a curve again. So let's click on that key frame, and it's clicking on these curves. There we go, and it's play that back because you can see it's actually speeding up right at the end. Let's try the other curves. So select that one again. Let's click on tensions to slow. That will just change it to slow again. So let's play that back again and you'll see it will slow down right at the end who want to do the same at the beginning. Let's elect that key from and let's do that one. Let's play that back. You see, it will start off slowly and in. It will slowly hold to a stop at the end. Good. It's created another key frame in the middle. And let's just move that up a bit and I'm gonna show you how you can actually delete this key frame. Write on your timeline. So I'm gonna close the curve edited down and you'll see we've got three key frames here, and let's say we want to delete this middle one, so I really simple. Just click on that key frame heat elite, and it's gone, and then you still have your beginning key frame and your ending key frame. So if you play that back, the animation is still they did say, Want to delete all of them? You can just highlight that one to lead it, and it's all at the last one deleted. And if you played back, you won't have been animation, right? So that's the basics of using The Curve editor and three DS max, and I'll see you guys in the next video. 17. VFX 101: 3dsmax - MassFX Basics: So in this video, we're going to be looking at the massive fix physics engine Bolt into three DS max. So if you want to do any physics simulations, you'll use the specifics physics engine. So let's get started. I'm just going to maximize my perspective. You're right. Click and maximize Vieux Port and they were going to create a simple floor. So just create a box and we're gonna apply some physics to some tea pots and let them fall onto the floor and bounce around. So let's just start with one teapot. Let's creativity but in the center and let's move it up a bit. So I'm pressing W on the keyboard, and I'm moving it up on the Z. Axes about that high should be fine. And then we need to tell the message Fix engine. That this will be a dynamic object on the floor will be a static object. Basically, you get three different types of objects. When using message fix, you get your dynamic object. That will be any objects that you want to apply physics to or dynamics to, and then you get your static objects. Those will be static objects that don't move around and they will interact with your dynamic objects. And no gravity or dynamics will be applied to your static objects. And then thirdly, you get Kinnah Matic objects that will be objects that will be pre animated within three DS max that will also interact with any other dynamic objects. So I know that's a lot, but I'm going to show you the functionality of all three those different kinds of objects. So if you look right at the top on the tube or in three DS max, you'll see your massive fix tools. These ones are circling right now. If you don't have that, you can right click on your toolbar and make sure that massive fix to bore is enabled. So first of all, we're going to select our teapot and on the little sphere icon, if you click and holding it will give you the three objects. Basically, the 1st 1 is say this dynamic object. 2nd 1 is schematic object, and the last one is a static, rigid body. So the teapot we want to set us a dynamic region body cause we want to apply dynamics to that, and then we're gonna select the floor and we're gonna click in the hold that button again, and we're going to set the floor as a static, rigid body. So to preview your simulation, you can just hit the play button right here at the top, and this will actually play back your simulation. As you can see, it's looking quite cool, and you can just click that again to stop and then click on the reset simulation. But it makes to that, and it will sit back to the front. Another thing that we can do is to dock the Pacific's tools on the side, and you can do that by clicking on this button. Here. This will open up the mess, affects tools, and if you drag to the side of your window, it will actually dock on the side. And then you've got all the properties that we're gonna be using right here on the side. So let's create another teapot. So I was gonna create a teapot on this side. Let's drag it up, and I'm gonna press E and just rotate that around a bit, so we get some interesting dynamics from it, and it's creating another teapot. Maybe something like that was gonna move it up, and it's just rotate that around as well. And I would need to sit thes two objects as dynamic objects as well. So what? You can do this? You can highlight your first object holding control your keyboard, click the other object and then holding this button and say to dynamic region body. Okay, let's play back our simulation. Cool. Now what? You can see there's a problem your way. This is actually not falling off from this floor object. So I'm just gonna reset the simulation and then on the side, I'm gonna antique use ground collisions and let simulated again. Okay, Now you concede, actually falling off our ground object, which is great. And I'm going to stop that and just reset that again. Okay, Some other settings that you can change is if you select all these teapots and you go to the third tab, the multi object editor, you can actually sit the physical material to something specific, like God board concrete, limestone, Robbie, etcetera. Or you can change these settings manually down year. Like the density, the mess of the static, friction, dynamic friction and also the bounciness So maybe let's set this to rubber for now and you'll see that it washing. Lock these parameters because it will sit it accordingly to that preset. And let's start this simulation again and you'll see that they bounce a little bit more because we sent them to rubber. So let's just stop that and reset and let's click on this lock so that we can open up these settings and change them ourselves. So I'm gonna say my priest back to none, and I'm going to change the bounciness to around one. Let's play that back again. Okay, Now I can see they balancing quite nicely, right? I'm going to reset the simulation again, and I'm gonna create a few more teapots. Okay, Let's just sit our new teapots to dynamic objects as well. So I'm holding in control, clicking on them, holding in on this sphere and sitting them as dynamic region bodies. Right. Let's just simulate that again. Okay, there we go. And I'm gonna I like all these teapots and I'm just going to sit a preset. Let's change them to a concrete physical material on. Let's just play that back again. So what? I wanna do next. That one at a cinematic object to the scene on the kinetic object will be pre animated, and that will also interact with our dynamic objects. Okay, so let's create a sphere. Could make it quite big. So what I want to do with this fear is I wanna pre animate it so it actually moves through the scene. So I'm gonna make it start over a year, and then I'm gonna create some key frames so that it animates just across this area year. Okay, so we're gonna started from zero, and I'm gonna say it auto key and click on the key to create a key frame on Let's go to around frame 50 and I'm gonna move this fear over to around there, and I'm going to go out off Toki. So now we've got this animation with a sphere, and then I need to say this were as a cinematic object. So with a spear selected, I'm going to click on the bully at the top and I'm going to click on set, selected a schematic region body. All right, let's do a quick simulation now gain. As you can see, that sphere is actually interacting with those teapots. It's actually bumping them and in the birth, fall off the ground. Okay, so once you happy with your simulation, you will need to bake that simulation. So what you need to do is you go to the second tab on your specifics, tools you on the side, make sure you researcher assimilation, and then you just click on the Baycol, and that will actually create key frames for your simulation. Actual record to me at the bottom. And once that's done, you can scrub your timeline and your animation will be baked and everything will be key framed accordingly. So let's say we click on one of these teapots, you'll see that it's got some animation yet bottom. And if we open up the curve editor, you will be able to see all those key frames recorded in there as well. So that's Ah mass effects in three DS max. At the end off the first chapter, we will get into more details and use that in a real world simulation. So I'll be guys enjoyed this video and I'll see you in the next one 18. VFX 101: 3dsmax - Rendering Image Sequences: In this video, we're gonna be looking at rendering image sequences from three DS max. So they're basically three main reasons why we render to image sequences and not to a movie files or a V I files when you render and image sequence that will basically render one image file per frame off your animation. So the number one reason off rendering image sequences is basically, let's say you've got 100 frames in the animation and you start rendering a a movie file or a Navy I file and halfway through your render your PC crash or you've got a power outage or anything like that, you will lose your entire render because that file will actually be corrupt. But if you're in the an image sequence, each frame will be recorded separately as image file. So if your PC crash in the middle, say it from 50 then you will have frame 1 to 49 that will actually be saved, and when you boot up your computer again, you can actually carry on and render from from 50 to 100. So that's reason number one reason number to ease the Alpha Channel. So basically, when we rented to an image sequence format like PNG Files. There's PNG Falls will have a Alfa Channel that's always useful when compositing later on reason number three is coded compatibility. So which means, basically, if you use a movie, follow FBI file. Some compositing software won't be compatible with those critics, but when you're rendering to an image sequence such as PNG files, then you should be safe in most compositing applications, such as off terrific for any other composite er that you might use. So let me show you how to render to an image sequence. So let's quickly set up a very basic animation. So I'm just gonna create a cube and I'm gonna click on Auto Key, said a key frame on Let's Go to Frame 100. And I'm just gonna move the Cube across the screen. Switch off Turkey. So we've got a basic animation, and then let's click on rendering Render sit up. So first of all, we want to render the entire animation, so we're gonna click on Active time segment 0 to 100 because we want to render every frame from 0 to 100 gale, it said. Output size two HD TV. Make sure it's 1920 by 10 80. So that's the resolution off your frame. So let's scroll down a bit. And when you get to render output, you're going to click on files. And this is where you can tell your ranger way to save these files. So I'm just gonna go to my desktop and I'm gonna create a folder and let's call this surrender and I'm gonna go into that render and then we cease Avis type. We're going to change that to PNG image, and we're gonna give it a name. Little school, This taste Orender for now and then, very importantly, click on set up and you want to ensure that Alpha Channel is ticked and then you gonna click on OK and then save Okay, back in ring to set up. You want to make sure that safe file is ticked, and then we're going to click on render and your image sequence will start rendering. So let's just make this a little bit smaller so we can see what's going on your so you can see that your render is actually running and you on this side. It's saying that your total animation is busy rendering current task. That's the frame that's being rendered, and it also give you time remaining, which is quite quick now because it's a very simple animation. No lights, no nothing like that. And time remaining is about 40 seconds, and you can see it's rendering 101 frames because we're entering from 0 to 100 which is 101 frames. So if I go to my day stop while that's actually rendering and I go into the Render folder that we created, you can see that it's busy ranging all these frames as PNG files. So if I double click on one of these, it's a normal image file, and these files contain an Alfa Channel as well. So that's great. When you compositing and they go, you can see it finished up the render now. So we've got 100 and one files here and now you can basically just drag and drop The's falls into your composite ER, which we will look at later on in this lecture, and you can start compositing, so that's rendering an image sequence from three DS Max and I will see you guys in the next video 19. VFX 101: 3dsmax - Mini Project: so welcome to the first mini project in this series. So in this video, we're gonna be looking at creating a bowling alley with some bowling pins, a bowling ball and then also applying some physics simulation to are seen. First of all, we're gonna sit up our renderers so we're gonna go to rendering ring to set up, scroll all the way down to a sign, render and said that to be re and then scroll up again and said our output size two HD TV. So make sure it's 1920 by 18 80 then we can close that down. Another important thing before we move on is this Sit safe frames a view rightly gone perspective. Here you can click on show safe frames, so we're going to start with modeling off the bowling pins. And if you look in the project files, you will find a bowling pin dot p and G, which is just a picture that I've downloaded off Google off a bowling pin and you can go ahead and either use this one. We can use your own one. If you just Google bowling pin, you will find many that you can use. First of all, if you look at this image information, it will show that the dimensions are 263 pixels by 800 pixels. And that will be important when we create a plane so that we can model this off this picture. So back in three DS max, we're going to create a plane in your front view. So just drag out a plane like that and we just need to make sure that our unit set up you set up correctly. So if you go to customize units set up, let's make sure this is on millimeters, and then you can click on OK, so if we look at our picture again and we go to the dimensions will see its to 60 by 800. If we look at the length and the words off this plane, we need to match that. So let's say the worth 2263 and we said the length to 800. So then we know those dimensions are exactly the same as our image. And another thing. I want to move this plane down so it's at the center of our scene and an easy way to do this. Just press w on your keyboard so that we've got to move controls and in your right at the bottom just sit the X 20 Why? To zero and the Z 20 and that will just snap to the center of your scene. Next, we're gonna create a material. So we're gonna press him on our keyboard, right? Click materials, V ray, and we gonna create a V rate material. And if we double click on this, we're going to click on the Diffuse. But we're going to use the little box next to defuse because we want to load a material onto that and they were going to select but map, So double click on but map And then we're gonna browse to our bowling pin, click on open. And one more thing that you want to do literally name our material and it just call it bowling. And they were going to assign this material to our plane so you can just drag that little line to a plane release. So if I render this quickly, you'll see the bowling pin on that plane. But we still cannot see that material in our view port. So we're going to be modeling in the front view. So we want to enable this view port so that it actually shows the material in years. Well, so the way you do that is we click on y from me at the top and sit that too realistic, first of all, and you can click on realistic again, go down to materials, and we're going to set this up with shaded materials with maps. Next, we're going to use a cylinder to start our modelling process. So in your perspective, you were just gonna draw out a cylinder, drag it up, and then we're just gonna position it in the front view just to kind of match our image. And as you can see, we currently have a shadow. They That's not really helpful at this moment. So we're going to switch that off. So in your front view, click on realistic and then go to lighting and shadows and then antique shadows just to disable that in the view port. Okay, Next, we want to sit the height and width for the cylinder to match that plane. If we go to the plane properties, you'll see that it's 263 and 800. So let's start with ICT for our cylinder. Let's set I to 800 then for the radius, which is a bit tricky. If we set the radius to 263 you'll see that it's way too big because the radius is from the center to the outside. So we need to half that, which is 1 31 from correct, and then it should be exactly the same with So what you gonna do is just zoom in your and try and align your cylinder to that plane in the front of you. Next up, we can increase the height segments on our cylinder so that we have enough. Vergis is to work with. So let's increase the height segments of a cylinder and maybe, let's make eat. I think 16 should be fine for this, as it's not a riel. I detailed model that we require gave the last step before we start to model is we need to be able to see through this object because we can't see the image so therefore we can start to model, so the best way to do that is just rightly on your object and then click on object properties and then enable see through, then click OK, and you will see that you can actually see through your cylinder and you can see the image in the background. OK, then we're going to maximize our front view just to make it a bit easier to work. So you can right click on the plus you at the top click on Maximize Vieux Port. So we need to convert our cylinder to an irritable Polly. So right, click on a cylinder, go to convert to and then click on converting irritable Polly and we're gonna be using the Vertex mode to edit our object. Okay, so let's start right at the top with your selectable. We're going to drag a box over all these purchases right at the top and then press R on your keyboard full scale, and then we're gonna just press in the middle and hold and scaled down and we're gonna try and scale it. We can actually zoom in your a little bit so you can scale it down, and then we're gonna move it down as well. So it's actually touching the top off our bowling pin, so pres w new keyboard for move and then move their down. So it's touching that top area, and if you just give it a few seconds, you will be able to see the background image again. So let's zoom in your little bit more on Let's press are on the key word again and it's make that quite small so that we've got the top off our bowling pin. Okay, next, we're going to select the next row off verte sees we're going to scale them down and was gonna move them up a little bit some way around they and scaling down so they can touching the sides off our burning. Okay, next, we're going to go for the next row, and we're going to scale them down. And they were gonna move them up, such as priest w on your keyboard and let's scale him in again just to get a rough shape going. Okay, we're gonna grab the next row, go to scale, scale that down. Let's move it up. Maybe two around there. It's scale it up again, somewhere like that, and let's go into the next row and we're going to do the same thing. Let's scale it down and it's moving up a bit. Let's scale it outwards. Slightly like that. Okay, let's go into the next row. Scaled that down. And as you can see, you condition model something quite quickly using this process. Okay, let's go into the next row. Skill the down, and let's just maybe moved it up a bit. Scale that in. Okay, that's fine. Next row, scale it down. Move it up a bit. Skill. The Doan. Something like that. Let's move on to the next road. Scale it down. That's fine. Scale it down. So you just trying to kind of create a rough model off that image, and we're not really going to go very high detailed on this one. Just something. Something basic should be perfect for this mini project. Okay, next row, skillet down. That should be fine. Next row skated down. Okay, We're almost there. Skill that down. Scale that down. And that's the last row. So we're just gonna move that up a bit and it's cool it down, so let's go out off the front view. So right, click the plus restore Vieux port. And if we maximize our perspective. You So next I want to delete this plane. So we just need to go out off this irritable polly mode. So just click on this first tab, the creator, and then click on your plane and then just hit delete on your keyboard. So there we go. We've got our first bowling pin created, and next up, I just want to move this up. So it's actually sitting on the grid. So I'm going to go out of my perspective. You and I'm going to go into the front view this. Just maximize that one, and then I'm gonna move this object upwards. So it sits nicely on that grid, zooming they and just try and lining up perfectly, kind of just above that line. Okay, next, we want to rename this object. So with this object selected, we're gonna go to the modified tab and right at the top where it's a cylinder one. Let's start being bowling when one and then press enter and then your object will be named . Okay, Next, we're gonna go out of front view, and we want to go into top view to clone and create the other bowling prints, so maximize our top view and what I'm gonna do. I'm gonna holding shift, and I'm going to drag upwards to create a clone, select copy and automatically rename the Knicks object boiling point number two, which is great. And I'm going to drag up one more time, and then that will be bowling pin number three return. Okay, Okay. I'm gonna holding shift again. Move on the X axes. Select copy. That's bowling pin number four. And we can move that down a little bit, so that will probably be in this area here. And we're gonna hold on shift one more time, go down. That's burning for number five, and we need one more. So holding shift drag this way, fighting for number six and then just move there into place. Okay, lets go back into perspective. You so we can see what we have. If I maximize that and you can see we've got some basic burning prints going next. I want to create the floor section, so we're gonna go back into perspective. You. So I'm gonna go back to create box, and I'm just going to drag a box out like that and just give it some thickness, Just something like that. You re perfect. Okay, let's go into our top view. And I'm just gonna move this box into place, maybe something like that, And let's give it some dimensions. So for the width, I'm gonna make a 10,000 and for the length I'm gonna make that 2000. Okay, I see that our bowling pins are still say to see through. So I'm just gonna select all the bowling pins so you can just highlight them like this, right? Click and go to object properties. And in just antic see through. OK, And there we go can see them a little bit better. Okay, Next up, we're going to create a bowling ball. So let's go to create and politically Con Sphere. And I'm just gonna draw out a sphere year in the front view. And let's just do something, something like that. Let's go to our properties and lets it the radius to 2 50 And then I was in a position to do in the front view. So it's gonna in the center, maybe something like that. Then on the top for you, we can just pull that back so it's not inside the bowling pins and let's put it at the front of our floor. Okay, let's rename our floor quickly. So with a floor selected, I'm just gonna type in floor and they were going to do the same to the bowling ball. So click on the sphere and it just call this ball. Okay. Before we start assimilation, we need to create the animation for the ball. So with a ball selected and we still on frame zero, I'm going to click on Auto Key and create a key. So press on the key to sit a key frame. And then I'm gonna go to frame around Friend 50 and let's just dragged the ball right through the bowling pins to the other side, and it automatically create a key frame for that. So let's switch off turkey. And if you just scrub through your timeline, you'll see that we've got an animation on the ball. OK, next up, we need to sit our dynamic objects. So, first of all, let's select all these bowling pins so you can do this either from the top view or from perspective, wherever you want to, so just highlight all of them. Make sure you're not selecting the floor or the ball. And you, by the massive fix toolbar at the top. We're gonna hold in on that sphere, and we're going to sit thes as dynamic region bodies. Okay, Next, we're going to select the floor, and we're gonna sit that to a static, rigid body. And lastly, we're going to select the ball and we're going to set the ball as a kid, a Matic rigid body Because we've added in animation to that, it will be a cinematic object. Okay, Next, let's Doc our massive fixed tube or to the side. So click on this icon year to open it, then just drag to decide to docket. Then we just need to disable use ground collisions because we actually want to use our ground that we created as our ground and not the grid. So just disable that and let's maximize our perspective, you and let's resume our little bit something like that. So we click the start, button your top and let's see what happens. Okay, there we go. So let's just stop that and re sit are seen. So let's try and move some of these bowling pins a little bit closer to each other, So I'm going to select this one, and I was gonna drag it a little bit closer to that one. Let's do the same with this one and let's see what happens. So I'm going to click on start simulation and there we go. So if we happy with our simulation, we're gonna bake that. So let's reset the simulation and enormous affix tools on the side. We're gonna go to the second tab and we're going to click on Baycol, and that's gonna record key frames for everything. They would go. It's done. And if I screw up through the time line now, you will see that we've got the animation baked in. Going next up, we're gonna create some lights. So let's just go to the lights and select very, very light and then just drag out a very basic light in the middle of our scene. Let's move that up. Maybe let's move it a little bit higher. There we go. So let's apply some basic materials to these objects, so press them on your keyboard, and because we've done with the modeling, we can actually go ahead and delete this material. So just selected and heat elite on your keyboard and let's create a new material for our bowling pins. So let's go very, very material. And let's just minimize that double click on the picture, double click on this one and we're gonna call this Burling opens. Okay, for the fuse, we're going to select the white color. So click on that and make it white. And for reflection, we're gonna add a little bit off reflection to this material. So click on the black and just pull that down slightly. Maybe something like that. And we're also gonna disable frizz Nall reflections. So antique that and we're going to sit the reflection glossy nous to around 0.9 to have a nice, glossy finish. If you zoom in here, you can see how that looks like. Another thing that you can do in your material territory can right click on this and you can say show background in preview, and that will actually show a background and you can see the reflection on the material. Okay, Next up, we're going to select all our bowling pins, so just drag a little box around them. Make sure you're not selecting the floor as well. And we're going to right Click on this little circle year and click on the sign material to selection. Okay, for the floor, we going to create a new material so right, like materials veer a very material. Minimize it. Double click the picture on double click this material. Let's give it a name. So I'm gonna call it floor. And for this one, we're gonna add a wooden material to the diffuse channel. So next to defuse, click on the little box and then we're gonna look forward. So scroll down and double click on the wood material and then you'll have a very basic wood material. So it's double click this material going to make sure we in this properties. Okay, next, we're gonna set the reflectivity off this wooden materials or click on Reflect and it's just bring the down little bit. Click on, OK, disable Fresnel Reflections. And it said the glossy nous to 0.8. Okay, we're gonna drag this one onto the floor, So drag that dot to the floor and release, OK, lastly, we're going to create a material for our bowling ball. So we're going to right click materials veer a very material, and it's minimize that DoubleClick DoubleClick again. And let's just call this one ball and let's make this one red. So on the diffuse color change that to read, click on OK, and it said the reflectivity. So let's just make it a slightly reflective click on OK, we're gonna disable Fresnel Reflections on Let's Change the glossy nous to around 0.95 That should be fine. And then you can select our bowling ball right click on the dot and click on a sign material to selection. Okay, let's do a quick test renders so close that down. Pick on rendering and then click on Render Gate. As you can see, that's looking pretty nice. We've got some nice reflections on the ball, and we also have some nice reflections on the bowling puns. If we zoom in year a little bit and do a new render, so festival. The shadow quality is not very good, and also the quality of these bowling pins they very low police, So let's see if we can do something about that. First of all, the shadows. What I'm gonna do, I'm gonna zoom out, click on the light, go to the modified panel and let's change the subdivisions under sampling this change to 32 and then we're gonna go and select one of these bowling pins, and we're gonna add a modifier to it. So on the modified tab, click down on the drop down box, scroll all the way down and look for turbo smooth. So once you on turbo smooth, you can change this. It orations number 22 and that will add a lot off polygons to your object. So if I zoom in, you can actually see that object is quite smooth. It's a lot smoother than the other object and what I'm going to do. I'm going to copy the turbo smooth from this one object and paste it on the other objects. So easy way to do this is, let's highlight this object. Click on Turbo smooth, then right click on it. Click on copy and then I'm going to click on the next bowling pun and then right click on one of these items in the modified panel. Click on paste and let's do the same with the next one so right, like they based next one right click based that one rightly based that one erotic paste. And if we scrub through this, we should still have the same animation. That's all good and what we're gonna do now we're going to set this up for rendering so religious zoom out a bit and sit your angle that you want And they were gonna go to rendering ring the sit up, and we're going to select active time segment because we want to render all frames from 0 to 100. Make sure you're up its eyes on HDTV 1920 by 10. 80 and we're going to scroll down to surrender output, click on files and we're gonna go to our folder. So you can either go to your day stop for anyway, I'm gonna go to my video projects and then I'm gonna create a folder called Renders Going to Go into that folder and I'm going to give it a name. Let's call it bowling and the save as type. I'm gonna change to PNG because I want to render this as an image sequence on its we consider up to make sure that we've got an Alpha channel. Yes, we do that sticked Click on OK, think like save and then taken Render. So I will be guys enjoyed this mini project and also the chapter on three DS max. And in the next chapter, we'll be looking at after effects. So you guys in the next video? 20. VFX 101: After Effects - The User Interface: welcome to the first video in the off to fix section festival. Make sure that you've installed after effects. You can either use a trial copy if you don't have the full version of after effects installed. That should be good enough. And also make sure that you download the file in the project files called Eyes don't in before. We're gonna be using this video in some of the examples going forward. So in the first video, we're gonna be looking at the basic user interface in after effects. So festival amusing after effects CC and it should be really similar fusing anything from CS five CS six and upwards. So, firstly, on the left hand side, you've got your project window, and this will be where you will import your footage, your graphics, all of those kind of things. You also create your compositions in your you can create folders to just create a structure or to keep things tidy. I'll show you guys now to create a new composition from this window and on the tab next to that you've got your effects controls, and this will be where you'll see all your effect control. So if you hadn't a specific effect to a layer. You will see all the parameters for the effect in this window. So let's just click back on Project and the middle section is your composition window. So this is where everything's gonna happen, where you will be working and view your composition. And then if we go to the top area year on the site, you'll get your workspace presets. So if you click down, make sure this is on standard. We will mostly be using this standard workspace. But if you click something like all panels that will actually just give you all the different panels like the trackers, their lines smoother all of those things. But mostly we're gonna be using the standard workspace right on this side. You've got your effects and presets. This is where you can find all the different effects built into after effects and in character. That's your text properties or your text settings. So if you're working with text layers, you'll use the square. But then at the bottom, you've got your paragraph. We just also linked to text, and then we've got our tracker window, which is your camera tracker and your track motion will also look at that a bit later and then at the bottom of the screen, you've got your timeline. So this is very similar to a normal editing system timeline, and we're going to get into that shortly. And then let's go back to the lift inside way. We've got project, and there are few different ways that you can create a new composition. So first of all, you can right click, and then you can select new composition and this composition settings window will pop up. We can actually give you a composition and name. We're gonna leave. It is comp one, and then you've got a few different presets here, so we're gonna be mostly using the HD TV 10 80 p 25 frames per second. So it depends on where your eye view in America. You'll probably use the 29.97 We can use the 24 as well. Well, mostly used these HD TV presets. And then, just below that, you've got your resolution. So if you select HD TV 10 80 this will be said to 1920 worth by 10. 80 height mixed up. You've got your frame, right, so you can set your frame rate here. And just below that, you've got your duration. So this is way said the duration off your composition. So let's say this to 20 seconds for now and background color, you can leave us black and then just click on OK, so this will automatically create a new composition. You'll see. We've gotta play it at the bottom in our timeline and you've got your black window on the side. Okay, Next up, we want to import some footage. So the clip that you have downloaded from the project files Let's import that so you can just go to your Explorer or your finder, and you can simply just drag that video file into this project window and will load that file now. What you can do, you can drag this down to the bottom, and this will be placed as a layer in your composition so you can see there is the layer, and in your timeline, you'll also be able to view that layer. So you scrub through this. It will play the video, and if you press the space bar, that will just play forward because as you can see our clip is actually a lot shorter than our composition because we set the composition to around 20 seconds and our clippers just under six seconds. So this is not really the best way to do this. So let me show you the second way off creating a composition. So let's go to our project window and delete the composition one. So just click on that and then click on the lead select elite, and that will be gone. So what you can do once you've got your video file in your project window, you can simply drag the video file and over over this little icon year and when you release it will automatically create a composition using the sittings from that video file. And as you can see, our composition is exactly the same length as our video file, which is pretty nice, and it will also look at the frame right and the resolution of your video, and it will match that when creating that composition. Okay, next, let's have a look at some of these icons here at the top, so the 1st 1 is your normal selection tool. So this is just where you can select different layers. So I'm gonna undo that on the second icon is the hand tool, and this is basically like a pen we can actually paying around and see different areas off your composition. Next one is the zoom. This will basically just zoom in. If you draw a box and it will zoom into that location and just below your composition, you've got your resume sittings as well. So if you click on that percentage, you can say to fit, and that will fit your composition to this area. Okay, the next to is the rotate tool. So if you click on that and this will actually just rotate that specific layer that you select, let's under that next one is your cameras. So we're not really gonna get into this now, But you'll use that when you create a camera in your scene. Okay, next is the pen behind tool, and this is when you want to change the perfect point off your layer. So as you can see, there's a little dot here in the center, and if I click on that, then I can actually move this pivot point around. So let's maybe sit that right on the eye in the center. And if I go to the rotation to know, you'll see that that layer will actually rotate around that prove it. Okay, Pretty cool. I'm gonna undo that. Okay, Next, we've got the rectangle tool. So if you click and hold, you actually find different options here that you can use and this we will be using when using mosques in after effects. So we're gonna get to that a little bit later. Next, we've got the pain tool. We're also going to use this when we looking at mosques. Next, we've got the text to This is basically for creating text layers. And those are basically the icons that you're gonna be using most often. Okay, let's click on the selection tool again. And let's look at some of these sittings just below your composition. So we've looked at the 1st 1 which is just the size or the zoom. So if you sit this to 100 this will actually display 100 pixel size off your video of your image. And if you sit this two foot, this work she didn't just fit to the screen, get the next one is your grits. So if you take on this, you can enable title actions safe, and it can also enable proportional grid, which is sometimes nice if you try and sent the stuff in your frame. So let's switch that off again. So the next one is basically if you want a toggle, your mosques off and on and the next one is your time code. So if I scrub through year, you'll see that that we actually count. So let's go back to the beginning and they were gonna jump to where it says full. This is basically the preview resolution, so sometimes when you're working with lots of layers, the playback will become really slowly, and a way to increase the speed is just to sit your resolution to off or maybe even 2/4 and you'll see that the resolution off your image will degrade. But when you do your final render, that will always be rendered at full qualities. So this is just something to use when everything is slowing down and you need to do something to speed it up a little bit. So I'm gonna set this back to full game next we've got active camera, and then we've got the one view or two views or four views. You can click this if you want to have different views off your composition. And this you will only use when you've got a three D camera set up. And maybe you want to have a top view off your scene and maybe another view on the site. But to be honest, I don't really use this. Let's just say there's 21 view for now. Okay? Yet the end. We've got our exposure so you can change your exposure off your composition viewer, and this will only affect this viewer, and it will not affect your final render. So I usually just said this to zero, and that's where it stays. Okay, so that's the basic user interface in Off Trafficked CC and also you guys in the next video 21. VFX 101: After Effects - Working With Layers: Okay, So in this video, we're going to be looking at working with layers inside of after effects. So basically off perfect is a layer based composite er so if you ever worked with something like photo shop or one of those applications, you'll be familiar with working with layers. But let me just show you guys how that works. So first of all, we're gonna create a new composition. So just right. Click in your project window, click on new composition, and you don't have to give it a name. It's fine and can leave it at Camp One. And I'm gonna be using the HD TV 18 80 25 preset. And I'm gonna leave it a 20 seconds for the duration and I'm going to click on okay. And let's just import one video as well. So the video that you've done noted in the project files called Eyes Just drag that into your project window as well. Okay, so let's drag our eyes video into our composition, so just dragged all the way down and release your mouse, and that will bring in your first layer. So it's always important to rename your layers. So just to keep things neat and tidy, and also that you know what's going on in your composition. So an easy way to do that just highlights your composition and press enter, and that will enable renaming and licious. Cool this eyes for teach and just press enter again, and that will save the new name. Okay, next, we're going to create a new text layer, so there's also a few different ways to create a new layer. You can either go up here and click on layer and include new, and you can select your layer from year or a really easy way to do. This is to just right click in this area at the bottom. I didn't go to new and in Select your Layer, so we're going to create a new text layer. So just click on text and it's automatically going to place your cursor in the middle of the screen, and it's just type something year. Let's type eyes okay, Something like that. My frontal probably look a bit different because it will use the last front that you used and it just clicking at the bottom to disable the cursor. Okay, so let's rename that new text layer. So click on the text layer, press enter and it's called that text on presenter again. So if you want to rearrange the order that your layers are in, you can simply just click and drag, and that will place our footage above our text so you can see that we can't see below our footage. Let's place our text above the footage against the drag it up, and then we'll be able to see the text. So always remember that your top items will be visible and you cannot see through different layers unless you change the opacity, of course, and all those things. But we'll get to that. Okay, so let's create one more layer. So right click, Go to new on Let's create a solid okay on the solid settings window will come up and it's going to ask you for the size of your solid. So currently it's set to the same size as our composition, which is fine, and it's also going to ask you for the color. So this has changed this. Let's make it red and then click OK, and then click OK to confirm. Okay, you'll see that you'll have a raid solid that's actually filling your composition. And let's rename that. So just click on rates solid and press enter and it's just call it red and presenter again . Okay, so what I want to do actually want to move this layer to the site? So I'm gonna select my selection toe right at the top and with my red layers selected, I'm just going to click and drag anywhere in the composition to drag that layer around, and I can see that our text is below our rates solid and the footage is below our text. So the same way that you can see in this area yet the bottom rate solid at the top, Texas in the middle and the eyes footage is at the back. So if we should drag this ice for teach up, they now text will disappear and it's drug text up again. There we go. It can see the text, so that's basically how layers work in after effects. It's really simple if you want to delete a layer just highlighted and press delete on your keyboard, and you can also duplicate a layer. So if you highlight a layer go to edit you at the top, you can click on duplicate, or you can use the shortcut, which is Come on D. If you're using a Mac and I think it's controlled the if using a PC, and if you duplicated it will just clone that layer on it will create a new layer. So let's see, if I drag this one layer down, you'll see that it's got exactly the same text color, everything. And now we've got to text layers. So let's duplicate the ice footage as well. So I'm going to use the short cut this time. So I'm gonna press. Come on D on my keyboard while that's highlighted and it automatically rename the new one as eyes footage to. So with that lay selected, I'm just gonna drag and you'll see that we've got two layers off the same footage. Okay, I'm going to delete our eyes footage to soak selected and he delete on your keyboard, and I'm also going to delete the text to so click on it and impressed elite. Okay, Next, I want to change the opacity for our text. So with the text selected, I'm just gonna make the text a little bit bigger, so you're on the right inside under character. You can change the size of your text year, so it's gonna make it bigger, and I'm gonna drag and move it. So it's kind of in the center and then what I want to do. I want to change the opacity off my text so you'll see It's got a little arrow year on the side, and if I click on that, it will open up the properties for that layer. And if I click again next to transform, it will open up the drones form settings and year. You've got all these different settings that you can change, so you've got position. So if I click and drag on one of these numbers, you can actually adjust the position off your text and the same with scale so you can make it bigger and smaller. Let's undo that, and you get rotation so you can sit the rotation years well and below that you've got capacity. So currently that say to 100%. And if you drag this down, you'll see that your text will become invisible, wouldn't say 20 And if you bring that up. You can actually see through that text. So let's set the past 2 to 50 so you can just click and then inter a value and press enter and it will save that value. So let's click on this down arrow again to hide all those settings. And now we've changed the opacity off that one layer. Okay, let's do that on a different layers. Well, so let's duplicate our eyes footage. I'm going to click on it and income on D on the keyboard to duplicate it. And then we're gonna offset that. Trump's gonna click on it and drag it, and now I want to sit the opacity for that layer. So let's click on the drop down and then let's click on the drop down next to transform on . Let's say the capacity to around 40% or type in 40 and press enter, and now I can actually see. You can see through that layer, and you can see the footage at the background litchis, Heidel these sittings and we move that around. It can actually see through that layer, which is pretty cool. So that's the basics of working with layers in office effects, and I'll see you guys in the next video 22. VFX 101: After Effects - Applying Effects: So in this video, we're gonna be looking at applying effects two layers in after effects, which is probably one of the core things in after effects. So first of all, we're gonna bring in our footage called Eyes. Not in before. Just drag that into a project section, and they were going to create a new composition using this video. So I'm just gonna drag that down and on this icon I'm going to release and it automatically create a composition using the sittings from that clip. Okay, next, we're gonna create a text lay again, so right to get the bottom click on new and in select text, and we're just gonna type something in its type effect. So as you can see, it moved outside of our composition. So we're going to click on the text layer, and we're just gonna drag and reposition the text somewhere in the middle of our composition. So really simple to add effects to your layers. So let's say we want to start adding in effect to our text layer. So I like that layer and there a couple of ways that you can add a new effective that So you can go to the top under effect, and you can select all your effect years. So let's say we want to add a blur effect, go to blur and shopping, and then let's elect a fast blur. So just click on that, and then the effects control next to your project tab, you at the top will open up, and it will actually contain that forced blur effect. And then you can adjust the settings accordingly so you'll see it's got a blurriness, and you can just click on that number and drag to decide to increase it. You can also just click on it and then type in a number and eat enter that will also work. So let's delete that effect. So I'm going to click on the Force Blue. You're a top and I'm gonna eat the lead on my keyboard, and I'm gonna show you an easier way to add in effect. So simply right, click on your layer. Yet the bottom go to effect, go to blur and shopping, and then click on forced blur that will apply the effect on Now you can change the sittings right here at the top. OK, let's quickly delete that effect again. So click on it and press delete on your keyboard and is 1/3 way that you can actually add in effect, and that's you on the right hand side of the screen. If you click on the effects and presets step and now I can actually search for effects. So let's say we want to add a fast blur again. I'm gonna type first, and all the effects with the word forced will come up and you'll see it's got a fast blur right at the bottom, and now I can actually just drag that onto the screen, and I can release it over the text, and it will apply that effect to that layer cake, and then you can adjust the effect you're on the side again. Same story, but you can. Also do is you can expand your layer, so click on the little triangle next to that layer and you'll see that you've got effects. Now. Save expand effects. You'll see that you were forced. Blur. If you expand that, you'll see that you'll have the same parameters that you live here in your effects controls you'll have in your timeline right at the bottom. So if you adjust the settings here, it will also update the sitting at the top. It's the same thing. Okay, let's set the blurriness toe around 20 and they were gonna add a new effect to that same text layer. So we're going to right click on that layer we're going to go to effect, and we're gonna go down to style eyes, and then we're going to select the glow effect. So just click on that. And as you can see now, it will actually add your glow effect underneath your forced blur on that same layer. So first you got your forced blur. Then you've got your glow, and it's all on your text layer. Okay, you'll see that you've got different options under your glow, so each effect will actually have its own sittings or parameters. And now I can go ahead and actually change some of these settings to influence your glow. Another thing that you can do is you can rearrange your effects. So let's say you want to put the glow above your force blow. You can just click and drag and release, and sometimes the order is very important As you can see, the effect looks different if the glow is applied first and if I move this down, you'll see that the effect looks completely different. Another thing that you can do is you can disable in effect impressively, by just clicking on the effects button next to that effect. So you can see I can switch off the glow or I can switch off the forced blur. Why can switch off both of them just to see my layer without any effect on him? Okay, let's enable our forced blur and glow again. And you can also minimise all these parameters so that you only see the effects like that. And then we're gonna add, in effect to our footage layers. So let's click on the eyes footage and I'm going to right click. I'm gonna go to effect. And let's add a color correction effect, maybe a tent effect. Okay, that's gonna turn our image to black and white, and it can change the amount of turned by just sliding this percentage up and down. You can also copy effects from layers to another layer. So let me show you how to copy this tent effect from the footage layer to our text layer. So I'm going to click on the tent effect and I'm gonna go to edit and copy. Or you can use your shortcut. Come on, sea or control, See? And then we're gonna click on my text layer, and then I'm gonna go to edit and paste. So, as you can see, it added the tent effect to our text layer as well, and you can rearrange it if you want to see what the difference will be. So what I want to do next is I want to copy the fast blur and the glow effect from our text layer to our footage layer. So what you can do is you can click on your force, blur old in command or control, and then take on glow and I'm gonna go to edit and copy. Let's go to our footage layer. So click on eyes and then I'm gonna go to edit and paste NLC. It'll actually placed the force blur and the glow effect under the turned effect on our footage layer. So we expand one of our layers timeline. Now, if I click on the little triangle and I click on the little triangle. Next to effect, you'll see that all your fix will show up. So now I can go into these settings and you can change all these parameters in your timeline. So there was the basics off using effects in after effects and how to apply them to different layers and also have to copy them and paste them between different layers. So I'll see you guys in the next video. 23. VFX 101: After Effects - Animation and Keyframes: Okay, So in this video, we're gonna be looking at animation and key frames within after effects. So, festival, let's create a new composition. So right, click in your project area, take on new composition, and I'm going to use the HD TV 10 80 25 frames a second, preset. And let's use a duration off 10 seconds, then chicken. Okay and festival. Let's create a new text layer. So right clicking at the bottom, select new and then click on text are delicious. Type something, your let's type move. Okay, what you're gonna do, click on that layer and with a selection toe, just move that into the center of your composition. So, in after effects, you can set up animation and key frames for every parameter. Basically, that you can get it. So if we expand our text layer and we go to transform, you'll see that there's a position parameter here that we can change the position off this text lay. If you move it around, you'll see you at the bottom that these numbers will change. So we're going to sit a key frame, basically at the first frame off our animation, and then we're also going to say that key frame at the end and in after effects will fall in all the blanks. So let me show you what I mean. So make sure that your played on your timeline is set to the first frame, and we're gonna move our text to the side of our composition and the next to the position parameter. You'll see there's a little stopwatch now. If we click this stopwatch, it will actually create a key frame. And on your timeline you'll see a little yellow diamond, and that indicates that there is a key frame created day. So let's drag the plate over to the end of our animation, and I'm going to click on the text and just move it over to the side and you'll see that a key frame will be created automatically on your timeline. Because we change the value off that position. A key frame will be created and also because that stopwatch was enabled. So let's just scrub through the timeline and you'll see that the animation was actually folding. And if we eat space bar, then you'll see that we've got a little animation going on. Okay, so Let's say we want to speed this animation up. What you can do is you can actually drag these key frames around as well. So let's say we want to complete the animation within two seconds. So goto around two seconds on your timeline and then just drag in key frame, drag it across to that location on your timeline, and let's go back to the beginning Press space Bar and you'll see that your animation plays a lot quicker now. Okay, let's move that in key frame over to one second. So let's destroying positioned under the one second mark. Play that back and you'll see you've got quite a quick animation. It's animate this scale parameter. So at the beginning of animation, we're gonna click on the stopwatch next to scale, and they were going to set the scale to around 50%. So just click on your 100% and type in 50 it. Enter now. Let's go to the middle about 30 seconds into the animation. Let's sit our scale to 100 so just type in 100 presento. You'll see that a key frame will be created, and if I play this back you'll see that the scale will change from 50 to 100 it will move to the site. Okay, so let's say we want to go back to the starting scale that we've got in year, so we can either go to this key frame and we can sit this down to 50 or what you can do. You can actually copy this key frame. So if you just drag a little box around that key frame, or if you click on the key frame and on your keyboard press, come on. Sea or control, see? Go to the location. We want to paste it and in press command, V or Control V, and then it'll actually paste that key frame value into that location. So if he played back, you'll see that will scale up to 100% on down to 50%. Again, it's at a rotation as well. So it to stopwatch next rotation and then right at the end of our animation in one second, I'm just going to change the value off the rotation, so that's just spend that around to run 360 which is stopping. So click on the value type in 3 60 Press Enter. Let's play that back and you'll see you've got a nice little simple animation. Let's zoom into a timeline a little bit more. Yet the bottom you'll see a little slider, and if you slide it over to the right inside, it will zoom into your timeline taken. Just work a little better with this space provided. Okay, let's say we want to make this animation start off slowly and then go quicker and then end kind of slowly into these key frames. What we can do. We can add Eazy E's to these key frames, So what you can do is you can select all these key frames like that, and then you're right. Click on one of them, click on Key Frame Assistant and then select Eazy E's. We can use the shortcut if nine and that will create Eazy E's key frames. And if we play this back now, you'll see that it will ease into those key frames. Okay, let's delete this layer. Let's start with a fresh one, so we're gonna create a new solid, so right click new and solid and let's choose a like a dark blue color click on OK, and OK again to confirm that. And I want to go into this composition and I want to animate the opacity. So currently, that capacity you say to 100 and let's see if we can do something with that. So on the first frame, I'm gonna eat this stopwatch, and I'm gonna leave the best year 100 let's go over to about five seconds and I'm gonna drop their best T 20 Okay, let's go to the first Roman. Play that back and you'll see that the best you will actually change from 100 down to 0/5 seconds. Glitches. Minimize those parameters and create one more layers. So click on new and create a text again. Andi, just type something. There we go, which is position there in the center of a composition and its place that below the solid. So just dragged that layer underneath. And let's play that back from the beginning, and now I can see that it's actually revealing the layer below that because we're changing the rapacity. Okay, let's delete our solid layers, so click on the solid layer it delete on your keyboard, and I want to apply a blur effect to this text. So I'm going to right click on this layer, go to effect, go to blur and shopping, and then I'm gonna click on Fast Blur. And then here at the top, I want to animate the amount off Blur or the blurriness off this effect. So we're gonna start at zero and make sure you're on frame zero as well. And you can also click the stopwatch year at the top next to blurriness. So click that and then let's go over to about one second. And let's sit that blurriness to let Syria to around 100. So just topping 100 press enter and then let's go over to about two seconds on the timeline . And it said that blurriness down to zero again press enter, and if you play this back, you'll see that the blur will increase to 100 then it will come down to zero again. Okay, we can also animate the color of our text, so to do that, you won't expand your text layer here and then for a text layer, you'll have this animate section year on the side. And if you click that, you can go in here and you can animate quite a few different parameters for text. So we want to go and we're gonna change the full color, and we're going to use RGB values. So click on RGB, and that's going to open up the full color for us. And when you click on this rectangle year, you can sit your color. So don't sit back to blue and click. OK, and then we're gonna clicked the stopwatch next to the full color. Okay, let's go over to around two seconds on. Let's change this to read. He took a and let's play that back so you'll see. It will actually gradually change the color from blue to red. Quite cool. Okay, so what else can we do? Let's add another effective the sticks layer. So right click, Go to effect. And it's at a glow effect to go to style eyes and then blow. And then I want to animate the intensity off this glow, so make sure you on the first frame and eat the stopwatch. Next. Duke low intensity and it's changed the starting value to one. Okay, didn't go to around two seconds. On day, we're gonna change the intensity to around 100. And let's also change the radius. So go back to the first frame. Need to stopwatch next to blow radius and leave that a 10. Let's go to two seconds on our timeline, and it's changed the radius, too. Let's say to around 400 or something. It's typing their 400 it enter. Okay, let's play that back, and we've got an interesting effect going on there. Let's say you want to go in the and change some of those key frames. So what you can do? Let's just move this up a little bit, so we've got some space to work with you in the timeline. If you expand your text layer, you'll see all these dots so you'll see you've got some dots under effects. And if we expand effects and you'll see you've got some dots under fast blur and also under glow. So let's expand forced blur and let's expend glow. It's move this up a little bit, okay, so you can see all your key frames. You'll see you've got key frames for the glow radius, the glow intensity for the blurriness, of course. And also the full color. So what you can do now, you can take some of these key frames. Let's select those key frames and just drag them over to around 10 seconds. So now I've got a slow animation because you moved or your key friends to the back, and it's gonna basically take 10 seconds for their strangers to take effect. Okay, let's delete this layer and start with a new layer. So I'm going to right click new, and then we're gonna create a solid again. And this time I'm gonna change the dimensions off the solid. So for the wood, I'm gonna make it 50 pixels. And for the height, I'm gonna also make that 50. So we've got a little square and exchanged the color to something bright. It's okay and in OK to confirm, and it's going to see the square is a little bit small, so religious it that so an easy way to edit the solid East to click on the solid and then at the top, click on layer and in solid settings that will take you into that parameter again. And we can change the width to around 150. And the height? 250 as well. Okay, then click. OK to confirm that. And now we've got a little square in the middle off our composition. So what I want to do, I want to go to the position parameter off the solid, and I want to enable animation for that. So just expand your layer, expand, transform, and then next to position, I'm going to click the stopwatch. Okay, So that created a key frame for us at the first frame. Okay. And then make sure you on your selection two, and then we're just gonna click and drag the box to the top corner. Okay, Let's go over to around three seconds on our timeline and then just drag that box over to the side. Let's go over to five seconds on the timeline and in drag that box downwards. And let's go over to seven seconds. It's taken this side and the net. 10 seconds. We can take it back to the top. Okay, let's play that back from the beginning again. You see, we've got a very simple animation going on, so let's say you want to compress that whole animation over just three seconds. Are we gonna do that? An easy way to do this is just I light all these key frames, So just draw a box around all these key frames and then you holding all turn your keyboard , and then you just click one of them and drag and you'll see that it will actually compress that whole animation all the key frames together into the new duration that you give it. So let's drag it to around three seconds. If I play this back from the start, you'll see that the animation will play back a lot quicker because it's not compressed over three seconds. Okay, let's add a quick rotation animation to this box as well. So on the first frame lit enable the stopwatch next to rotation on Let's Go to the 3rd 2nd mark and let's create a 360 degree rotations. So just type in 360 it into Let's go back to the beginning and press space to play that. And there we go. We've got a very simple animation, so that's working with key frames and animation in off to fix, and I'll see guys in the next video 24. VFX 101: After Effects - Masks and Rotoscoping: Okay, So in this video, we're gonna be looking at using mosques and also rotoscoping in after effects. So first of all, let's import our eyes Video that you can find in the project files dragged it into your project section and drag that onto a new composition to create a composition using the sittings from that clip. The easiest way for me to explain how a mosque works is think of a mosque as cutting a hole out of your video footage. So let me show you what I mean. Let's create a new solid, so right click New solid. And we want to change the size of our solid, and we want to make it the same as the composition, so you can just click on this. Make comp size and it automatically take the sittings from your composition and make it red click OK and in OK to confirm again. Now let's move that solid underneath our footage, and then we're going to create a mosque on our footage layer. So click on the eyes footage, and then there's a couple of ways that you can create a mosque. So first of all, you can use the rectangle tool to create a mosque. So click on the rectangle and then click and drag, and that will create a rectangle mosque on that footage. So as you can see, the mosque area will review the footage, and anything outside of that mosque will see through that footage onto the raid layer so we can also invert that mosque. So if you click on inverted next to that mosque, one that will actually do the opposite. So basically, we cut a hole in our footage, so everything else is visible except the section year, which is actually looking through onto the rate solid. Okay, so let's delete that mosque so you can just click on the mosque underneath your footage and he delete on the keyboard, and then you can holding on the rectangle to and let's select the Ellipse tool, and then you can drag out a circle to create a circular mosque on your footage. Another thing that you can do is you can feather the mosque to just make the ages off the mosque a bit softer. So if you expand the sittings underneath your mosque, you'll see that you've got a mosque further and increase that value, you'll see that the ages off the mosque will become soft. Okay, so when do you actually need to use a mosque? Let me show you an example. So I'm going to delete this mosque, and I'm also gonna delete the rate solid, and then I'm going to duplicate my footage. So on my footage, I'm gonna press command D or control the if you're on a PC, and then I'm gonna use the pen toe instead off the rectangle, the ellipse to to create a custom mosque, actually want zoom in your little bit on the eye. So I'm just gonna zoom in on the eye area and you can use the hand to just depend around, or you can hold in space and then just click and drag to pan around and with the mental selected, I'm just going to click around the eye area to mosque that out. So just click, click, and then close your mosque. So basically, we've got to lay is now. So if I hide the bottom layer, if I click on this little I on the side to hide it, you'll see that that's the one layer at the top which is only showing that mosque. And then we've got the normal layer below that, which is just a normal footage, and now we can go ahead and apply an effect to only that section. So let's right. Click on the top layer go to effect and it's go to color correction and maybe, let's add a brightness and contrast effect. So let's change the brightness down and you'll see that will only affect that section off the footage because we most it out it will only affect that area. So, as you can see, the ages are quite hard, and the way to soften that is to use a feather, of course. So on that layer, what you can do is press MM on your keyboard to expand it. Or you can just expand the layer and go down to mosques. Look for your mosque, and then you can change the amount of feather on that. So let's change that to around 15 case. As you can see, you can't really see those injuries around that mosque anymore, so that's actually working pretty good. What you can do, you can add more than one mosque onto one layer, so with their top players selected. We're gonna create another mosque over this I. So let's get the pain to again and it's drawing mosque around this. I It's close that mosque and you'll see that it will automatically apply the same effect to this mosque because that effect is applied to the whole layer. As you can see, the second mosque is not feathered at all, so I'm going to expand that layer, and I'm going to look for mosque number to expand most to and also set the feather amount to around 15 case. You know, if the two mosques sit up on that layer, they both favored and looking good. But now, when you play a video back, you'll see that you'll have a problem. Because there's mosques are not really moving around. They're staying in the same place. You can see that the effect is not really working. So that's were rotoscoping coming to play. Okay, so let's go ahead and delete our second mosque. So I'm gonna expand mosques, click on the second mosque and delete that just so that we can concentrate on one mosque at a time. So rotoscoping is basically when you create a mosque and you animate the shape off that mosque to actually follow along with an object or something in your footage. So this is a very good example, because we want to have that mosque follow the shape off the I. So I'm going to show you guys three ways off doing rotoscoping in after effects. So the first way, which is kind of the manual way, is if you go into that mosque and you animate the mosque both. So if you clicked the stopwatch next to a mosque bath, you can actually animate the shape off this mosque over time. So let me show you what I mean. So I'm gonna go around to about two seconds, and I'm going to double click on this mosque to select the whole mosque, and then you can actually move that mosque around, so it's going to readjust it to go over the eye. And if we scrub back, you'll see that that mosque is actually moving around. So let's go around to four seconds. Double click on the mosque again and move it into place. Let's go to five seconds. DoubleClick move it into place. So if I screw up through this. Now you'll see that that mosque is kind of following the I, but it's not really accurate. What you can also do is you can animate these individual points, so if I click inside the mosque, you can animate these points individually. So let's go back to the start and let's say we want to start animating some of these points . So let's go to one second, and then you can click on these points and drag them around to adjust your mosque. And that will actually animate as well, because we've got to stop watch next to a mosque port enabled. So let's do something like that and let's go over to two seconds and then readjust those points again. And as you can see, this is a Realtor time consuming process. Sometimes you'll have a video of about 1000 frames, and then you'll need to go through this and just adjust and refine thes points to make sure that your mosque stays on track. So if you play this back, you'll see it's kind of following the Iran, but it's not really accurate to be jumping around etcetera. So rotoscoping is basically going frame by frame and readjusting all these points to make sure that your mosque is staying in the replication. And as you can imagine, this can take some time. Okay, So let me show you the second way, which is a little bit easier. Doesn't always work, but it's actually just quite nice to know about it. So I'm gonna delete this mosque. Let's disable the effect on the stop play as well. So just click on the FX next to brightness and contrast, and then we're gonna be looking at the road airbrush to add some rotoscoping to the eye. So to do this, you need to double click on your layer. So I'm gonna double click, and it's gonna open up in a new tab and then year right at the top. You'll have a little character with a paintbrush next to that, and I'm going to click on that and make sure you on the first frame. And then I'm gonna draw with this just a shape inside the eye and that will try and detect the lines around the eye. So, as you can see, that wasn't really successful. So we can try and refine this by holding an assault on the keyboard and you'll see that your cursor will change to a red circle And angels drew a line outside of the area where you don't want your mosque to be and you'll see that that will go into the area again. Another thing to check before we start. Is this timeline you at the bottom? We just need to extend that to be sure that our rotor brush will be animated all the way. Okay, so now I've got the basic shape set up, and you can press space on your keyboard to play ahead, and that will try and automatically detect way that mosque area should go. You can also readjust to refine this in the middle, just press space bar to stop. And as you can see, we've got a bit of a problem going on your so I'm just gonna draw a green line on this area to expand it a bit. Something like that. And then I'm gonna need spaceport again to continue. Okay, so once that's finished, we need to freeze our rotor brush. So click on the freeze button and that's just going to go through all the frames and just save the mosque shape. Okay, Once it's done with a freeze, you can close this tab, You at the top to go out of the road brush and then if we so low that layer. So just pick on this little dot next to that top layer. You'll see that it actually most out the eye. And if we play this back, well, see, that's kind of moving around, and it's following the I. So as you can see, we've got some hard ages around the eye, and we can also add a feather to the road of brush. So if we expand that layer, we go to effects and we go to rotor brush. Expand that and they were gonna expand the road of Brush Matt. And in the amount of feather we're gonna change to around 20 so you'll see that's just going to soften that out. So if I play this back, you'll see that that looks a little bit better. Okay, let's just scroll up here and let's minimize the sittings underneath that layer, and then I'm gonna unsold. Oh, that layer again. So we've got our normal two layers, so the top layer I'm just gonna rename to I and the bottom layer I'm gonna rename to footage just so that we know which layer is which. So on the I layer, I'm gonna enable the brightness and contrast effect again and you'll see that's our brightness off minus 80. So let's just say that to minus 100 and then you'll see that the mosque area is following the I around. So I'm going to show you the third way how to do rotoscoping in after effects. So first of all, I'm gonna disable our brightness and contrast effect, and then I'm gonna delete the road of brush effect on the top layer. Okay, then let's go to the first frame. And then I'm going to draw a mosque around the eye again, the same way we've done it in the first example. So I'm just going to click around the eye to create a mosque, something like that. And then I'm gonna expand that layer. And on that mosque, I'm going to right click, and I'm going to kick on track mosque, so this usually works based. If your shape stays the same, it can be moving around the scene. But if it's going to change shape, then tracked. Mosque does not work that well, so just test it out and see what works best for you. So now on the bottom, right inside of your screen, it will open up the trekker and you'll have four buttons. See that you can track forward either by frame or you can just track forward all the frames . So I'm gonna click this button track selected mosques forward, and it's gonna go through each and every frame. And it's gonna try and track that mosque to that shape so you can see the video playing and you can see the mosque is actually following along. Okay, once it's done, you actually see if you expand your mosque that it's created all these key frames on your mosque, both which is great. And now we can enable our effect again. The brightness and contrast letters enable that and let's enable some favor on the mosque again. So let's say that to around the strike. 30 k Let's minimize that, and it's play that back. Okay, that's looking pretty good. Litchis, adjust that feather. I think that he is a little bit too much so Let's just expand that. Let's sit there down to about 15 and let's play that back again. You can see that's looking pretty good. You can't really see the mosque moving around. That's pretty solid. Okay, so that's the basic uses of mosques. And also how to roda scope in after effects and I will see you guys in the next video. 25. VFX 101: After Effects - Motion Tracking: So in this video, we're gonna be looking at Trek motion in oft effects and off supplied you guys with a file called motion Tracking Not in before. So make sure that you download that and then just drag that into your project area in off two effects. Drag that into a new composition, and if you play through that, you'll see it's a handled shot and we're going to do some motion tracking with the shot. OK, so let's say you want to add an element to your scene, but you want that element to move along with something else in your scene, you will do motion tracking. So basically, we gonna track this poll year right at the top, maybe the top lamp, and then we're gonna add some text, and we're gonna make that text move along with the motion off this shot. So before we start trekking, basically we need to create an object that's going to keep all the tracking data, and that's called a no object, so you can use the no object for other things as well. But in this video, we're just going to use the no object to store the tracking data. So to create a no object just right click yet the bottom go to new and in select no object , and then we're gonna give it a name. So I just click on that layer it enter, and we're gonna call this tracking. Then we're gonna start tracking our footage. So first of all, let's rename this layer, so click on it it enter and let's call it footage. It ended to confirm that. And with the footage layer selected, we're gonna go down to the bottom year on the right hand side and we're gonna click tracker . So we're gonna be looking at the track motion. So you gonna click the strike motion, but in to enable that and this will create a tracking point in your scene, you'll see two squares, and if you click on it, you can actually adjust the size. If you just drag out on these little dots, the inside square is basically your tracking point and the outside square is your search area. OK, so we've always thought just make sure you on frame number one. So just drag your play it back to the beginning, and they were going to drag the striker over this lamp here at the top. So just drag it over and look for that lamp and place it in the corner like that. You can make the search area, but smaller. When you have a clip that's really fast moving, you will increase the size of your search area if you have any problems with the track. But for this one, that's really slow moving. So we're just gonna make it a bit smaller. Something like that should be fine. Okay, so now we're ready to track. So yet the bottom you'll see you've got some controls. We can either track frame by frame or we can just click the analyze forward, and it will actually run through the entire clip and trek all the frames. So we're gonna go with this one and lies forward to seat that and you'll see that it will actually start going through all the frames and this will stick to that point. So let's just give it a few seconds to finish. Okay? Once our track is finished, you can scrub through the timeline and you will see that your tracker should be sticking to that one point and Now we need to tell the tracker way to store the striking data. And that's why we created the striking No, at the beginning. So to do that, we're going to click on it a target yet the bottom. And they were going to select that layer. So in this instance, it's called tracking. So just select that click, OK? And they were gonna click apply at the bottom. Okay, Now it's gonna ask us, what do you want to apply? And we want to apply both the X and the Y dimensions, so lever as ease and clippers. Okay, Okay. You can minimize you footage at the bottom. You don't have to worry about all those key frames that it created, just closed it down. And if you look at the tracking knoll and if we open that up, you'll see that it's got some key frames here that had created automatically taken close. They're down again. And if we play through off with this, you'll see that a no object that square is actually sticking to this lamp. So we know we've got a good track gay. Next up, we're going to go and create a new layer So go to frame number one again and they were going to right Click new and we're going to create a new text layer. Click on that and they were gonna type something. Let's type trekking, and you can adjust the size of your text by just highlighting that text layer and you can change the size over here. So once you happy with the size, we're gonna move the text to this area off the screen, and then we want to link this text layer to the tracking layer so that it will actually follow along. So to link this layer to the top layer, you're gonna click this little spiral next to that layer, and he's gonna drag it out and release it over the tracking data. So as you can see the Texas actually following that point. But it's not really rotating in the same manner that I was seen is rotating. So let me show you how to do that as well. So, first of all we're gonna delete are tracking data, and we're going to create a new North to save the new tracking data. And for now we're gonna hide our text. So just click on the I next to the text layer. Okay, we're going to right click. We're gonna click new and then create a new null object on. Let's just call that tracking data for now. And they were going to click on our footage because we want to track the footage again and then make sure you're on the first frame of your clips. I just drag your plate back to the beginning. OK, then we're going to click on tracker yet the bottom. By the way, if you don't see the track a tab, you at the bottom, just go to your workspace at the top and click on motion tracking. But if you understand it, you should be able to see the tracking at the bottom. Okay, so we're gonna go back to Trek Motion, and this time we're gonna enable rotation as well. So currently it's analytic at position, so we're going to click next to rotation as well, and that will create two tracking points. OK, so we're going to click on the first tracking point. We're going to resize it a bit, just make it a little bit bigger, and we're gonna drag that to the same position that we tracked the first time. And we're gonna click on the second tracking point. Just resize that as well. And we're gonna put this at the base off this pole. So it just dragged that up and try and position it over there. So we've gotta tracking point right at the top. And we've got a tracking point. You at the bottom and we're gonna click this button again to analyze forward and let's see what happens. Okay, once that's done, we need to tell the track away to save the tracking data. And we want to save it in our new no local tracking data. So just click on it. A targeted at the bottom. Make sure that's on tracking data and click. OK, and they were gonna cook and apply. So we're gonna use the same dimensions x and Y and include okay, and then we should have our no object right at the top. Legis minimize all these things. If we scrub through the footage, you'll see that tracking no is actually sticking to the footage, and it's also rotating accordingly. Okay, so let's unhygienic our text layers. So just like the I next to that takes layer again and let's go to the first frame and it's just reposition our text. So let's put it right there. And then I want a parent my text to the tracking data again. So I'm going to click this little spiral, hold it in and dragged to our tracking data release, and it's play forward. Cool. Now I can see that the Ticks is actually rotating along with the scene. Okay, so that's Trek motion or motion tracking an after effect, and I'll see you guys in the next video. 26. VFX 101: After Effects - The Camera Tracker: So in this video we get, I'm looking at camera tracking or three D camera tracking in after effects. Usually, I won't used after effects for camera tracking. I will use some dedicated tracking software for that something like PF Track or Boo or they are quite a few out there and in the next chapter, we actually going to look at B of track. But sometimes it's just nice if you want to do something really quickly in after effects and you need to track your three D camera. So I've given you guys a clip. Just go to the Project files and download camera tracking dot mp four, and that's a clip that we're going to use for this. Listen, so just dragged that clip into your project area and then dragged them into a new composition. And if you play this back, you'll see it's a nice and smooth clip. Actually used a glide came to form this, and we're gonna use the camera tracker to create a three D camera from this, and then we're gonna play something in the scene, so there's a couple of ways that you can enable the camera tracker on this layer. First of all, you can right click on the layer, and then you can select track camera. Or you can go to your tracking turbie at the bottom, and you can click on track camera while you've got that lay selected. Or you can go to your effects and you can type in camera and you'll see that it's got a three D camera tracker, and you can just drag that onto your clip. So I usually just rightly on this layer, and then I select track camera so it's going to start analyzing in the background, and this usually takes a minute or two, depending on the length off your clip. So let's just give it a moment and I'll be back in a second. Okay, so once that's done, you'll see that it actually created some tracking points in your footage. So if you scrub through this, you'll see all these colored dots all over the place. So what you need to do is you need to select some of these tracking points, and then we're going to create a camera from that. The easiest way to do this is just to click and drag, and then just highlights some of these tracking points, then release and it will actually create like a flat circle on the floor. And then once you've selected all these tracking points, you can right click on one of them and then we're going to go with create yxta and camera. You can either create some text and a camera. We can create a solid and a camera, or maybe even know in a camera that you can later on use and linked to another object. But for this example, we're gonna click on, create text and camera. Okay, So, as you can see, it created a text layer for us. And what you also notice is that text layer is actually three d. It's got this little cube enabled next to it, and then it also create a camera for us. So what we can do with the text let's rotated into place. So with that text selected, go up to rotation at the top, and then you can use these different exceeds, like the ZX ease the X axis and the Y axes to rotate your text. So we're gonna rotate on the Z axis first, so just point to Z and then just click and drag until you happy with the alignment of your text. Okay, let's play through a scene and you'll see that the text is actually sticking to the floor in three D space, which is pretty cool, so you can also move your text around. So let's just click on our selection tool, and then you can move it along these axes, so we're gonna move it on the Y axis. So just click on that one and dragon upwards to drag it away from the camera. So when you happy with the position, let's play that back again. Okay, pretty cool. Let's rotate our text so it's actually upright. So let's select the rotation tool again. And then on the X axes, I'm going to rotate it. And if you olden shift on your keyboard, where she snapped in 45 degrees segments. Okay, let's play for do that. So, as you can see, we've got some three D text and it's looking pretty cool. So, yeah, that's Kevin or tracking in after effects, and I'll see you in the next video 27. VFX 101: After Effects - Chroma Keying: So in this video, we're gonna be looking at chroma keying. So I've given you guys to files, so make sure that you download the green screen footage starting before and then there's also a J pig spaceship interior. So we're going to select both these files and we're gonna drag them into after effects into the project section, and then we're going to drag in our MP four file onto a new composition to create a composition. So, as you can see, we've got some green screen footage and this was actually just shot on a very bright green screen. As you can see, if you need to shoot the green screen stuff yourself, make sure that you have a consistent color throughout the composition and that you don't have any shadows or anything like that on your green screen. Okay, so the easiest way to get rid off this green area so that we can replace it with anything else is to right click on your footage and go to effect on Go to King and we're gonna use the key light 1.2 effect So really great effect when it comes to chroma keying and they were going to use this screen color the color picker. Next to that, we're going to click on that. And they were going to select anyway on the green screen, so it's gonna click here on that will instantly remove most off the green. Okay, usually you need to adjust your settings, but before we adjust it, I'm going to bring in the background so we can see what we need to adjust. So let's go back to our project, and I'm going to drag the spaceship interior. I'm going to drag that in, and I'm gonna put that below our green screen footage and then you'll see we've got a nice spaceship background. If I play through this, you can see there's a black line going around the actor that we need to remove. So let's click on our green screen footage again, and let's go to the effect controls here at the top and in What you can do is you can expand the screen met, and you will find most of the sittings that you need to adjust. So first of all, we're gonna use the clip black, and I'm just gonna drag that around and you can see that it actually changes a little bit, is actually shrinking that black line around the actor, so that works well. But I'm going to leave it on zero. For now. What you can do is also the screen shrink and grow. If I pull that into the positive, it will actually grow that screen around him. And if we take it into the negative, that will actually do the opposite, so we can use this one to correct that as well. So let's just put it back a little bit until we can't really see that black line and then the screen softness is also awful. Sometimes if you expand this, this will just soften those ages again. So maybe let's put the screen softness to around two, and that will just make it slightly soft around the ages. So let's play through a clip. Okay, so another thing that weaken Dewey's weaken try and match the background a little bit better to our actor. So let's right. Click on the spaceship interior, go to effects, got a blur and shopping and click on forced blur. And let's just add a one pixel blur. So just typing one next to blurriness hit Enter and maybe let's change that to to just to blur the background, even Mawr, and you can see that's matching him a little bit better. We can even go. As for us changing their toe around five to create some sort of depth of field in our scene , you can also see that the Blur is not working really well around the ages. So what you need to do is you can take this repeat age pixels, and that will just resolve that problem around the ages said It's play through this again. Okay, so that's not looking too bad. Obviously, you can go in and tweak it a bit more, but I think you get the basic understanding off using chroma, keying in after effects call. So if you guys enjoyed this video and I'll see you in the next one 28. VFX 101: After Effects - Color Grading: right. So in this video, we're gonna be looking at different ways to cala grade your footage using bolting effect in after effects. So if you go to the project files, you'll find a file called Color grading that in before, and it's drag that into our project window in after effects. And then let's drag that into a new composition. Okay, so the first way to can degrade your footage is to add a curves adjustment. So litchis right click on our layer and go to effect on go to color correction. Andi in select curves. Now, with curves, you can actually do quite a bit. So first of all, you can create an S curve, which will basically just give you some extra contrast to your footage. And then let's say we want to remove some of the raid in this footage because it's quite a bit off rate going on here. So right at the top, which say's RGB. We're gonna change that to only work with the Ray channel, and then we're just gonna pull that down slightly and you'll see that the raid will actually go away. And then what we can do is we can boost the blue a little bit. So let's select blue and it's boost that slightly. And then let's go back to RGB and just adjust our S curve not to be too contrast e. Okay, something like that. So let's disable this effect and see the difference. So that's the original shot, and that's with the S curve adjustment. Another thing that also used when doing color grating is the tent effects. So if you go to color correction and you go all the way down to tent, this will basically removal the saturation. If it's said to 100% and if you bring this down, the saturation will slowly come back. So usually just want to remove some of the saturation if you shooting with something like a DSLR just to get a little bit more of a foam look. So that's a justice to around Let's around 20% of a tent, and if I just toggle between this, you'll see that will just remove some of the saturation and to look a little bit better. So let's disable these two effects and let's see what are the effects we have to change some of the colors. So if we go to color correction, you can actually use the brightness and contrast, which is just a really quick way of adjusting the brightness of your clip and also the contrast. Okay, let's delete that effect and let's see what else we have. Let's go to color correction and then we've got exposure as well, which is very similar. Teoh the brightness effect and this will basically adjust your exposure. You can also go into the negative values if you want to bring the exposure down, so this can also come in very handy. It's delete that. Okay, let's add another effect. Let's go to color correction and then we've got you and saturation. So this is basically if you want to boost or take some of the saturation away in your scene . So if you change this to a positive value, you'll see that the saturation will increase and you can also take that into the negative values and that will decrease very similar than the tent effect. This will also give you some other controls, like the master lightness. You can also colorize it using some of these you and situation and lightness controls your at the bottom. Okay, I'm not really going to get into that. So let's remove that one on. Let's enable our curves and turned again to get back to this look. So just remember that color grading is not always a correct look. It's just a style that you apply to your video so you can go with any style you like. Color correction is more where you try and fix some of your video like a white balance, etcetera. But we're gonna not really going to color correction. This is more about styling and getting a specific look to your video. Another thing that you can do to add some style to a video east to add a vignette. So I'm gonna show you guys how to do that. So basically, what you want to do is go to your layers, you at the bottom and rightly new and create a new adjustment layer. Okay, just make sure that that adjustment layer is above your footage and they were gonna add a curves adjustment to that layer. So right click on your adjustment layer, go to effects, go to cut a correction and then click on curves okay before we actually change any settings on this curve adjustment? We want to add an Ellipse mosque to this composition, so go to the top, select your ellipse tool and then just double click on your lips, too Icon, and that will create any lips that were actually fit your composition. And then we can adjust our curves adjustment. Right? So we're just gonna pull this down a little bit just to make it a bit darker. Something like that. And then we want to invert this mosque so it will only affect the outside area off the mosque. So go down to your mosque and right next to the mosque you'll see inverted. Take that and you'll see that it will only affect the outside. Then we also need to fill in this mosque, so going to the mosque sittings. And let's change the feather amount to around 250. Press enter. Okay, lets you see the difference when I disable this, so that's the basics off color grading using after effects, and I'll see you guys in the next video 29. VFX 101: After Effects - Rendering: So in this video, we're gonna be looking at rendering from after effects. So, as you can see, I still have my kala grading project open. So festival make sure you on your correct composition that you want to render out, and then right at the top, you'll click on composition, and then we're gonna go to air to render cute. This is where all the rendering happens, so right at the bottom. First of all, you can sit your output file, so we're going to click on this, and then it will open up the finder or your explorer if using windows, and then you can just choose a destination. So for this one, I'm going to click on the day stop, and I'm just going to give this a name. I'm just gonna call this surrender one, and then I'm gonna click on save, so that's basically your output file. Next, we need to change all the codex settings. So what you can do is you can click on lossless and this will open up your Orender settings . So, first of all, we're going to select the format, and this is where you can select between a quick time movie or a image sequence or anything like that. So I'm gonna go with quick time for this one, and then we're going to click on format options. This is wheeled. Select your video Codec. So let's click on this drop down and he will see all the installed critics on your machine . So if using a Apple Mac, you can select one of these apple progres codex, which are really good if you're trying to keep the quality as high as possible. H 264 is really very good when you delivering to the Internet, or if you actually just gonna give the father's someone to watch. You can also use animation, which is a very high quality Codec. But yeah, As I said, if using a apple, try and use one of these apple progres, I will usually go for the Apple uproarious 42 h. Q. If using a PC, you can also try and use one of these Evert Dnx HD Codex. You can actually install them from the average website. If you just do a Google search on Evert, the UNIX edge decode IQ, you will actually find that for free, so it really good if you on a PC and you don't have the pro wrist to up to. So let's just recap that if you want to just deliver to someone for a preview or if you want to upload straight to the Internet from after effects, use HD 64 If you want to take it into another editing system, either try and use every dnx, HD or Apple Pro raise if you're on a Mac, and then you can also use animation, which is really good if you also want to go into another editor or add some effects. So for this demonstration, I'm just gonna use Apple priorities for two to H Q. And I'm going to click on OK, and then everything else. You can usually leave as default. This will automatically pick up on the sittings from your composition, so I'm not gonna resize. It will stay at 1920 by 18 80. The resolution and I wasn't gonna crop anything, and yet the bottom you can select if you want to export audio with your export or if you don't want to export any audio so you can just change us to audio output off if you don't want to add any audio, or you can just set this to audio up on and then you can actually just your audio settings here and usually just leave this default. That should be good enough. And then you can click on OK and to start your render. You can click this Render botany in the side on the rendering process will start. So that's all about rendering from after effects and I'll see you guys in the next video. 30. VFX 101: After Effects - Mini Project: so welcome to the final video in the aftereffects chapter. This is the mini project. So before we start, make sure that you download the project files. So we're looking at a file called footage and then also to muzzle flash files. And I want you to drag these into your project area, and then you also going to drag your footage into a new composition to create a new composition. So if we quickly play through this, you'll see it's a guy just standing on the side of the road looking around, and then he whips out a gun and he fires some shots. So we're gonna add some muzzle flashes to this, and we're gonna add some light flashes to his body, into his arms and to his face and let me show you guys how to do that. So, first of all, we're gonna find the position we fires the first shot. So let's just go through this and you can use the page up and page down on your keyboard to just go frame by frame backwards and forwards and let's see around that we fires the first shot. So on that frame, we're gonna drag in our muzzle flash number one, and we're gonna drag it on top of our footage, and then you'll see on the timeline that it will actually go to the beginning. So we need to just drag this to that area where the play it is at, and then you'll see that we'll actually show the muzzle flash on the screen. And obviously, this is the wrong side around. So let's take our rotation to and just spend that around and then we'll send it to scale it down. So let's take the Selection two and just click on one of these boxes on the side and then just holding shift to make sure that the aspect ratio stays the same and then just litter scaled down to around that size. Cool. And if we play that back, you'll see we've got one muzzle flash, and then we just need to go to this second shot so you'll see. There's the second shot, and then we're gonna bring in muzzle flash number two. Let's drag that on top and then also just slide it over on the time line like that. Okay, let's rotate this one around as well. So let's grab the rotation to spin around, and then we're also going to grab the selection two and just size that down, holding shift again and in just position it into place. So let's quickly play that back. Okay, so that's not looking too bad. And the next step is we are going to change the transfer mode for these two layers to add, so you can easily change the transfer mode off your layers under the MoD column. And if you don't see these, just make sure to click this toggle switches or modes yet the bottom until you see the modes column. Then, for both of these layers, let's change them to add. So just click on that and select. Add on the next one and select Add. Okay, let's play that back quickly and you'll see they will look a little bit better than the normal transfer mode. So let's just make sure that those ones are in the correct position like that. So next we're gonna add some light flashes, Teoh these arms into his body and also to his face, because if you shoot a gun in a dark environment like that, it will actually reflect onto your body as well. So to do that, we're going to duplicate our footage. Layers, sir. Click on that and he'd come on D or control the and let's just rename this one to arm, and then we're gonna mosque out a section off his arm. So just take the pain to right there at the top. And they were just gonna draw a quick mosque around these arm just very roughly. Maybe something like that. And they were gonna add a curves adjustment to that late. So go to effect, go to color correction and in curves. And then we're just gonna boost the curves adjustment a little bit just to get a bit more exposure in that area. And then we're gonna change. The feather amounts are going to the mosque properties, and it's just up the feather amount. Let's say two around around 100 should be fine for that. Okay, let's have looks. You'll see it psyllid with brighter in that area, and we're gonna do the same for his face. So let's just duplicate the footage layer again. And it's called that face and they were gonna do the same. We're gonna take the mental and just draw a very rough mosque around his face. Something like that and what we can do now We can actually go to the arm layer, and we can copy this curves adjustment. So click on that it. Come on sea or control C on your keyboard. Go to the face layer and place that annual Syria. She just placed that effect. So next we're gonna go into the mosque properties, suppress MM on your keyboard on the face layer, and let's change that feather amount to around 100 Case of that's looking pretty good, and it's at a little bit of light year on his body as well. So let's duplicate that layer once more and it's rename it to body, and we're gonna do the same. We're gonna take the pen tool and let's just draw a mosque around this area. Okay? Something like that, they were gonna go to the face layer. Copy that. Curves go back to the body layer and based it. Okay. We also need to adjust the favor on that one. So pris m. M. And it suggests that further amount to 100 K That's looking right. Another thing that we can do is just add a little bit of a flash year on the wall area. So let's duplicate that layer once more and let's rename it to war. And then we're going to draw a mosque year on the wall, just something like that. Let's go to the body Copy that curves and pasted on the wall layer. And I'm just gonna just this this curvy adjust to be a little bit less than the other flashes. And they were going to go into the mosque properties by pressing MM and its feather that to 100. Okay, so that's looking pretty good. So next what we want to Dewey's. We want to change that. These four layers only show up when the muzzle flashes actually on screen. So on the timeline, let's go to the frame, which shows the first muzzle flash and with all these layers selected, let's just from that down. So I just click on the beginning off those clips and just drag them in and you cannot sold in shifts, so it snaps to that plate. Okay, so now, before that, muzzle flashes weren't show those light flashes. And then when that muzzle flash goes on, it actually show those affected areas. So what we need to do is we need to switch these four layers off again when the muzzle flash goes off on. Then we also need to switch them back on. So we can't really just cut these layers. So we need to find a different way to do that. So I'm gonna be using the opacity parameter on these layers to to do that. So with these four layers highlighted, you can actually just press t on your keyboard and that will expose all these capacity controls. And as you can see, that will set to 100 which is cool. So what we're gonna do is we're gonna create a key frame for these capacity parameters, and then we're gonna change their values to animate them often on. So let's just clicked the stopwatch on all of them. Then let's go to the frame way. This is supposed to be switched off. So let's change these values to zero, and you'll see that all the light flashes will be off and let's go a little bit further. So just before we see the second muzzle flash, if you go one frame backwards, we're gonna set these values to zero again. And then we just need to create another key frame. So click on these little triangles to create another key frame. They and then go one friend further where we see the second muzzle flush, and then we're gonna sit these values up to 100. Okay, go one frame further when the muzzle flashes off again, it said this back to zero. Okay, let's play through that. Okay, so that's looking pretty good. Okay, next up, we can add some color grading Teoh the shot. So let's just minimize all these opacity parameters, and they were gonna make use of an adjustment layer. So we're gonna write Leak, go to new go to adjustment layer. And let's rename this to color grating on that adjustment layer we're gonna add in effect, so rightly go to effect, go to color correction, and it's go to curves. Okay, First of all, let's add some contrast to this shot. Services dragged it down a little bit and let's just do something like that and they were going to go to the Ray Channel and let's just remove some red from the shots alleges dragged the rate down a little bit. And it's give that some blue sir just used to blues a little bit. And maybe we can even take some of the green out of the shot. Just likely like that and lost, But not least, let's at a vignette to the shot as well. So I'm gonna add another adjustment layer. So let's select the eclipse to you at the top, and I'm going to double click on that. And then I'm gonna add a curves adjustment to that layer. So let's go to color correction curves, and it's just drag that down a bit. And they were going to invert that because we only wanted affect the area outside off this mosque. So it's invert that, and they were gonna go into the mosque properties and exchange the mosque feather amount to around 250. Cool. So there you go quite a realistic muzzle flash effect using oft effects. And yeah, you guys enjoyed this one and I will see you in the next video 31. VFX 101: PFTrack - Introduction To PFTrack: so welcome to Chapter four and this is where we're going to start the final project. And what we will be doing of the next two chapters is we gonna create a helicopter, take off seen using PF track and also three DS max. And then we're gonna composite everything together using after effects. So before we start, make sure that you download ALS the required project files. So if you look at the project files, you'll find the footage. First of all, it's called Final Project on the school footage dot in movie, and it is also a zip file that's containing the helicopter model and some textures. And it is also a folder with the image sequences for that footage. You don't really have to download the image sequence because I'm going to show you later on how to actually create an image sequence from your footage. So but if you want, you can download it, then use this or you can create your own image sequence later on in this chapter. So first of all, we're gonna look at PF track, and we're gonna start doing our camera tracking and all of that. So once you in PF track, you will see the screen and I'm going to show you just how to create a new project in this video. So festival right at the bottom, make sure you on the P or J icon right at the bottom left. And this is where we're going to create our new project. So you can then click on the create button and it's gonna ask you where do you want to save this project and also to name your project, which gonna call it really copter track and then also give it a both. So you can sit There's any way you like self set. There's to my ve drive to introduction to via fix. And then I'm going to save it under a folder called PF Track. Okay, then you don't really have to worry about all the other properties because the clip that we will import it will actually take those settings from that clip. So to confirm all these settings, just click on the yellow confirm. All right, so next step, we need to find the footage that we are going to track. So if you've downloaded the project files, you're gonna be looking for that movie file. So I'm gonna browse to my re drive and then introduction to via fix project files 4.1. Yours might be in a different location altogether. And then once you've brought to you ah, Videophile just dragged that into this middle window and release. And then from year, we're going to drag it into our tree view on the left hand side. So just dragged the video clip from their two year release and then that will be loaded into your project. So if you double click on this note, it will show you the properties off that nerdy at the bottom. And as you can see, we've got 200 frames from 1 to 200 which is correct, and everything else is fine. You don't have to change anything you're and that's basically how you import your footage into PF track. So in the next video, we're gonna go through the whole process off actually tracking the shot using different nodes, and then we're also going to export that tracking data to three DS max. So I will see you in the next video 32. VFX 101: PFTrack - UserTrack and AutoTrack: so welcome to this video. We're gonna be doing all the three d tracking in PF track before we start. Let me just quickly explained you guys, what pf track ease and what you can do with it. So basically, if I just play through this clip quickly, you on this timeline If you press space bar, this will play says you can see this is a handout shot and basically using PF track, you can create a virtual camera from the shot. And then you can take that virtual camera into your three D program like three DS max, and you can create some CGE objects inside this scene so that it's actually sitting on the floor, and it can actually interact with other objects in your scene, and you can cost shadows on the walls on the floor. And that's how they basically do most of the V affix in Hollywood. So, yeah, let's get started. So before we can actually track the scene, we need to add some contrast to this image. As you can see, it was shot on a very flat picture profile, so it's not really that contrast is so, First of all, what we're gonna do, we gonna right click on this Nodia at the top and we're gonna create a image manipulation note. And on this note, we can actually manipulate the image so we can change the colors or creator Isgur for whatever. So what we're gonna do is we're gonna enable curves ready at the bottom, so just take curves. And they were going to create a s curve just to create a bit of contrast. So just click with your mouse once and then dragged down and then click with your mouse again and then drag it up. So just something like that to create a bit of contrast, and then that will be easier to track. Okay, let's just load our footage into cash. So what you can do on the timeline just press space bar and you'll see that it actually load everything into memory. Okay, next up, we're going to create a user track node. So what you need to do is right. Click on your image manipulation node, and then you're going to click on Use a track, and this is basically a manual trek. We're gonna create the tracking points, and we're gonna select how many tracking points we want, etcetera. So let's create our first tracker. So make sure you on use the track by double clicking on it on. Then you hit the bottom, we're gonna click on create, and then we're going to look for a point in our scene that we want to track. So let's try. You can just click and drag around to select your point. So let's try this corner. Right? They So yet the bottom You can see ah zoomed in version off the tracker. And you can also resize the tracker by dragging these points around. So the center is your actual tracking point, and the rectangle around that will be the search area. Okay, Before we start tracking, let's just set some parameters. So first of all, by de Formacion, we're going to sit that to rotate, and we're also gonna take scale and we're gonna take skew. And one more thing that we want to Dewey's. We want to sit this elimination on. So with elimination ticked, it will actually just look at lighting changes in your scene. So it will really help you with your track. And they were going to sit these settings as default. So we don't have to say this for every single track we create. So just click on Sidi 40 at the bottom, and then you click on Yes, to confirm that says you can see are played is not really at the beginning off our sequence , so that's fine. You can actually start tracking in the middle so you can track forward and then you contract backwards. We can actually start at the beginning. It doesn't really matter. So for this one, we're going to start by tracking backwards. So yet the bottom is your tracking controls, and you can either track one frame at a time or you can track backwards or forwards all frames. So we're gonna start with this one, track backwards and just click on that and you'll see it will track backwards and your this little window, you can just monitor your track. Okay, there we go. That's looking pretty good. And let's go back to where we started, and then we're gonna do a track forward. Okay, so that looks like a good track. So if you just scrub through it, you'll see that that curse will actually stay on that point. And what you want to try and do is you want to try and track points closer to the camera, and you want to try and track points further from the camera and never track something that actually moves around. So you don't want track one of these trees O r. Anything that's gonna move around in your scene, stay away from them. So we only one track static points. So let's track something a little bit closer to the camera. So let's try and track this little dot right there. So I'm gonna click on, create again. And then I was gonna drag this around, and yet the bottom you can actually find shooting so you can click and drag around just to sit your position perfectly. Something like that. And you can also zoom in you at the top. If you hold in your mouse wheel, you can zoom in and out, and then if you hold in your right mouse button, you can pan around. Another cool trick is if you click on this Centerview year, the bottom that will actually center your tracker in this view, and it actually obstinate when you're doing a tracking to see the tracker staying in the center of this view. So again, we're not at the beginning of our clip. So we're gonna start year and we get a track backwards. So let's do that now and then Just keep an eye on this monitor at the bottom, and if it goes off, you can just press escape, and then I'll show you how to correct that. Okay, That's a good track. So let's go back to a starting position and its track forward. Okay, so we're gonna try and get about 10 years the tracks before we go on to the next node. Okay, so that's looking good. Was gonna zoom out. You're a bit and just drag this to the center. So now we've got to tracking points. And also remember to disable the scent of you yet the bottom. Okay, so I'm going to zoom in your and I'm gonna create a tracking point right here on this corner off this roof. So I'm gonna click on create, and I'm gonna select that point. And for this one, I'm just gonna make this tracking point a little bit smaller, and you can actually make the search area smaller as well. And for this we actually going to start at the beginning of our clip, which is fine. And then I'm going to click on track forward. You can click on center view again to just center the tracking marker. Cool. That's looking like a good track. So let's zoom out. Year analysis. Able the Centerview. So let's look for another point to track. Okay, so I'm gonna track this little dot on this wall, so I'm going to click on, create click on that. Just make the tracking point a little bit smaller. Search area smaller as well, and it's track forward. Cool. That looks like a good track again. So I'm gonna show you quickly what will happen if your tracking area actually goes outside of your frame. So just as a quick taste, you see the shadow yet the bottom. I'm going to sit a new tracking market to that position, and I'm gonna just zoom in there, but so that you can see what's gonna happen here. So I'm gonna track forward and you'll see that the shadow area will actually go outside of the frame very soon. So let's just give it a few seconds. There we go. So it will actually stop your track so it will tell you. Okay, can find that tracking point and it's going to stop it, so that's fine. But what you need to do is you need to tell pf track that this is the end of your track for that specific tracking marker. So what we're gonna do right at the bottom, you've got hide and then also removed key. And you've got a minus to remove everything before the plate, and you've got a plus to remove everything after the play it and the same with the height that H minus four before and H plus for after. So you want to hide and also delete or remove all these data on this side off. This played. So just stand on that played at a position where that marker went out of the screen and every first gonna click on the R plus because we wouldn't remove everything off. That played confirmed that by clicking again and then we also want to hide and confirm that side as well, and you'll see that we'll just change back to a great color and their tracker will actually disappear off to that point. So that's actually fine to to do that. But for now, I'm going to delete the striker just to make sure that we only creating very accurate user tracks. So to delete their tracker, we're gonna just click on it and then you're on the site, click on delete, and then just click again to confirm. Okay, let's find something else to track. So I'm gonna track this side as well, so I'm going to click on Create created tracking point right there. Just make that a bit smaller. Make that smaller as well. And they were gonna click on track for it. Okay, We also need to track back. So let's just go back to the starting position contract back and let that run through. Okay, so that was striking. Number five. We need to create it. Least another five years. The tracks. Okay, so let's zoom into this point on the roof right there, and I'm gonna click, create. Let's create a tracking point right there. Just make that a bit smaller. Make that smaller as well, and it's track forward. Okay, That looks like a cool track. So Let's zoom out again. Let's Zabel Centerview and let's see what else we can track your. Maybe. Let's track this poll right year, so I'm gonna go to the first frame and I'm gonna click on Create Let's create a box around that area and you just make the search area smaller as well. Something like that. And let's track forward. Okay, that's looking good. Litchis quickly scrub through. You're looking good, Let's zoom out. And it's just able Centerview. Okay, we need to create a few more. So let's zoom in here and see where we can create more tracking markers. So that's maybe create one on this corner of the shadow. So I'm gonna click on Create. It's create one, right? They just make it a bit smaller. And this one is, well, something like that. And let's track forward Cool, that's looking good on its create a fume or okay, maybe let's create one on this corner of the shadow as well. So create right there, make this bit smaller, something like that. And because we right at the end, we're gonna track backwards. Okay, cool. It's create another one. Um, so let's just create one on this little dot right day, so create right. They make this search of a little bit smaller that as well and trek forward. Okay, I'm sure you get the picture by now, but it's really important that you do a really good job with your use the tracks. So let's just see what else we can track. Okay, maybe let's track this dot right there. So creative dinner right there. Make it with smaller, this one as well. And track forward. Okay, lets great one more user track. So let's see what we can do. You Let's create one on this side. So maybe this little small little bush going on year. So just click on that something like that and less straightforward. Cool. So that should be enough user track points. So next up, we want to create an auto track node, and that will actually create points automatically. But the reason that we use the user track first is that thes points that we created now will be first looked at by P of track and they will be interpreted and a much more important than the other tracks. So always try and get your user tracks as accurate or as perfect as possible before moving on to the auto track. Okay, so to create that new node on your user track nerd year in the tree view, you're going to right click. And they were going to click on auto track and in double click on auto Track to open the properties. Okay, so let's just go through these sittings quickly. So first of all, the candidate number that's the Mount off track is that we want to say that to 150 target number. That's the amount of good tracks that you want. So let's put that on 60. And they were gonna change the failure threshold to 0.900 which is basically 90%. And then you can leave your search mode on better speed. Sometimes I put this on better accuracy, but for now, you can just leave it on better speed and information. Very importantly, make sure that you take rotate scale and skew, and also make sure that you take this elimination yet the bottom for those lighting changes and didn't make sure you on the first frame and then click on auto track you on the right inside to start your water track. I will just forced forward through this s o. It might take a few minutes, but yeah, not too long. Let's see what happens. Okay, so our auto track has completed, and if you scrub through, you'll see all these little dots and these yellow lines going behind them. So what we need to do now is we need to clean up this auto track. And remember that I told you not to track any moving objects. Well, the outer track might have tracked some of the trees in the background, so we need to get rid off those bad trackers. So a little tip, What you can do is you on the side. You'll see a D for Doc in, and that will actually, just talking your footage of it so you can see all the tracking markers a little bit better . And if you scrub through year, you'll see at the back. We've got some tracking markers right in those moving trees. Also, you at the top. So the best way to get rid of those is to click on this marquee batting you on the right inside. And if you see those which gonna click and drag a box around them and in on your keyboard, pressed, delete and then just delete again to confirm. So just do that for ALS. These tracking points that you see in the trees. So I'm going to scrub through again. I'm just gonna look at this site first. I'm going to see if we have any tracking points in that area. And and that's actually King, right? So we've got this little one year gonna delete it. Just double tap your delete button. Maybe this one is a bit risky. Year on the side off that bit of cross years. I'm gonna delete that. Also, you can just look at some of these tracking points. And if you see any of those, that's not really sticking to the location, Indeed, eat them as well. Anything that's not really accurate. I'm a bit worried about these two as well in the grass. I'm gonna delete them, just quickly. Scrub three year a few times. Cool. So once you happy with your water track, we're going to create a solve camera note to actually calculate all these strikers from our user tracking. Also the other track, and then that's gonna work out the camera move, and it's going to create a camera for us. So let's go ahead and right click on auto track, and we're going to create a camera silver node. So in the camera solver properties, they are a few things that we can change nothing to Actiq. So what we can do is these translation and rotation. We can actually sit some smoothing to this. So basically, if you are 100% sure that all your tracks are perfectly 100% accurate, you can leave this on no smooth. And it will actually use the tracking data on your scene to create your camera movement, but usually will have a few trackers that might be off by a few pixels. And then I will say this to a low smooth, both on your translation, the movement and also the rotation rotation of the camera. So next step to solve the camera is to click on solve all year, right at the bottom, and this was she go into Elise tracking points and create a camera for you. Okay, once that's done, you can scrub through your scene and let's see what's happening to You'll see all these little dots moving around. And currently this grid is not really sitting on the floor, so you can see these dots. They actually sliding over or across the script doesn't look too good. So what we can do is we can sit the origin off this grid. So what you can do is just click on any of these little dots. So I'm gonna click on that one, and I'm going to click on Save Origin. And that's going to set my grid origin to that point. And it's gonna make sure that it's actually on the floor so that you scrub through that and you can see that's looking a lot better. So they just play through that by eating space bar and that you see if that looks all right , Cool. That looks like a really solid track. In the next video, we're gonna look at some other notes just to orient are seen and also to taste our trek by using some taste objects. And yeah, I'll see you in the next video 33. VFX 101: PFTrack - Orient Scene and Test Objects: right. So in this video, we're gonna be looking at how to orient our seen correctly and also how to use some taste objects in PF tractors to make sure that our track is perfect. So, first of all, we're going to right, click on the camera, solve a node, and we're gonna create an orient seen node. Okay, just make sure we are connecting those two notes together. Double click on the Orient scene, and they were just gonna start aligning the grid. So I find the easiest way to do that used to change the edit mode here on the right inside to excess, and they were going to use these lines to actually align our grid. So let's zoom in a little bit and then we're gonna take the rate lines, and we're gonna just align them horizontally. So for the scene, we're gonna use thes thes white lines on the floor to a line. So just grab one of these red lines and in just click and drag to align them to create little dots on them. So it just aligned them like that and they were gonna take the one of these blue lines and just aligned them also on this axes like that, and they were gonna take the green line and use something vertical seen something like a war going up and a line that like so just trying Get two lines going on, then your grid will be automatically aligned to your scene. So let me just scrub through this quickly and they can see that our group is actually sitting on the floor nicely. And if we play through this, that's looking pretty good. Case of what we can do is we can actually just hide thes grid lines, So just click on these little ticks to hide them. So there we go. We can see our grid nicely now. We can also hide the horizon. So just click on show Horizon to switch that off and lets us play through that quickly. Okay, so that's looking pretty good. So next up, we're gonna create some taste objects just to taste are seen and see how everything looks so next to going to right. Click on your orient seen node, and you're gonna select taste object and just connect that to your orient. Seen note. DoubleClick contest objects. So let's create some mushrooms, so click on the mushroom on. Then you're gonna cook on air to senior at the bottom and then make sure this is said to place at selected feature and just click on one of these tracking dots in your scene, and this will actually place it on that dot. So let's create another one. So click on air to seeing again on Let's elect another dot on. Let's do that again at you seen. Let's create one year right in front on Let's just play through our scene quickly says You can see our test objects are looking pretty good. They sticking to the floor. So yeah, I'll see you in the next video way. We will be exporting the tracking data to three DS max. 34. VFX 101: PFTrack - Export Tracking Data: So in this video, we're gonna be looking at our to export our tracking data from PF track 23 DS max. So, first of all, we need to create an export notes. So you're gonna write, like, on your test object node and then click on export, then double click on export to go into the properties for that node and then yet the bottom make sure that your former TSA to Autodesk three DS max 2011 script so you can just select that from the list if it's it to something else and then which has filed them. This is where you're gonna be exporting the script to so you can click on the browse button and then you can actually browse to a folder on your computer. I'm going to save it in my PF track folder and you can give it a name. Some is gonna call it final project under school footage, and this will have a dot Emmis file extension. Let's click on save, and then before we actually export, we are not going to export our mushroom taste objects. So what you can do is on these tabs. Just click on objects. And then you can antique these three mushrooms. Okay, You can actually export them and then delete them in three days, Max, But we're not really gonna need them. We know that our track is working, so let's just select our camera. Make sure that your camera selected and you don't really have to worry about anything else . You can just click on export seen. Okay, that will give you a message box saying exports exceeded. You can click on OK to confirm that. And that's how you export your tracking data. So that's basically it for this video. Exporting your tracking data to your hard drive so you can import that into three DS Max and I will see you in the next video. 35. VFX 101: After Effects - Convert Footage To Image Sequence: So in this video, I'm going to show you guys how to convert your footage into an image sequence. So the reason we're going to use an image sequence is because we need to import that into three DS max to actually match up our CG elements to our footage. And most visual effects applications or three D applications actually require you to use an image sequence rather than a movie file when a V I file or something like that. So I did provide the image sequence for this clip that we're gonna be using if you go into the project files, you can actually down at them. But let me show you actually, how to create them. So the easiest way I found is just to use after effects and let me show you quickly, hard to do that. So, first of all, we're gonna drag our clip into after effects into the project area, and they were going to drag that into a new composition. So all you have to do is go to composition and then go to air to render queue, and then yet the bottom click on lossless and then we're gonna change the format from Ah, quick time to PNG sequence. So we're basically going to export as PNG image files and channels. You can leave that as orgy because we don't have any offer channel on our footage, and then we're gonna click on OK, and we're going to specify an output folder. So just click on the output too. And I'm just gonna create a new folder here just to show you guys how to do this social Call it. I am G click on create and then you can obviously give it a name, and then it will number those frames off to the name. So that's fine. And then make sure you antic this save in folder or saving sub folding at the bottom because you actually want to save it right into the AMG folder and let's click on Save On Din literally can render Okay, our render has completed. So let's just go to our folder that we created and check if we see all these images. So yeah, we can see it starts at frame number one and if we scroll down your we'll see it ends at frame 200 so that tells us we've got 200 frames in our shot. So very importantly, you need to double check that and make sure that you exported exactly the amount of frames that is actually in your shots. So go back into your composition and I'm gonna quickly show you how to double check this. So festival. You can see just below this number, you can see the frame number one, and if I just scroll forward, you can see that's on 200. Now, sometimes your composition will actually start at frame zero. If that's the case, I'm going to show you quickly how to change their to start on frame one instead of zero. So right click in this area, click on composition sittings and then make sure that your start time code has got a one at the end and not a zero, because if he said it to zero, let me just show you this will start at zero, and it will just make it a little bit more complicated to calculate. Basically, just need to plus one. But it's just so much easier if you just say this to start at number one and then you can see exactly that your footage is 200 frames. So that's how you export your footage to an image sequence to use in three DS Max and I will see you in the next video. 36. VFX 101: 3dsmax - Import Tracking Data From PFTrack: in this video, we're gonna be importing our tracking data that we created in PF track into three DS max. So it's really simple. Let me show you how to do that. So, first of all, you need to go to that folder where you actually exported that dot MX file from BF track. And once you've located that file, you simply just drag it into three DS max and release, and that will create a camera. And if you scrub through this, you'll see that you've got some camera movement going on you as well. And then what you want to do is just go to the end of your timeline and make sure that you've got 200 frames. You'll see it says 200 slash 199 Kind of weird, because it's going over the last frame. But you've got 200 frames, which is perfect because it's starting at frame number one. That's why, in the previous video, we looked at the amount of frames, and that's obviously very important, cause if you're missing one frame, maybe one friend from the beginning or one in the middle, some way, your whole track is just gonna be out and your video is not gonna work. So okay, so next thing that we're gonna do is we're gonna set up our very renderers, so go to rendering you at the top and click on renders set up and scroll all the way down. Click on a sign render and in situ production Renderers to rear a advanced click on OK and then just scroll up. And the script that we imported should actually sit your resolution. You are put size automatically, so just make sure that it set the width and the height to 1920 by 18 80 everything else is fine for knowledge. Closed that down, and then one thing you can do in your camera of you just right click on your camera and then click on show safe frames. And that will just make sure that everything is inside this frame. When we add our background footage later on, it's just a safe way off working. So once you've done that, we're going to save our scene so cliquey at the top and then go to save as and then I'm going to find a location quickly. Um, let's just say I'm gonna create in your folder here, and I'm going to give your name. I'm just gonna call it Final Project and I'm gonna click on save. Okay? So once you've saved your project, we are actually done with this video. Really simple to import your tracking data, and I will see you in the next video. 37. VFX 101: 3dsmax - Import Image Sequence: Okay, So in this video, we're gonna be looking at how to import our image sequence into three DS max so that we can actually match our footage to our CG elements that we are going to import into three days. Max, So not really that difficult. So first of all, we need to go to rendering you at the top, and then we're gonna go to environment because we want to load an environment into our scene. Okay, Then you're gonna click on this environment map Weight says none. Just click on that, and it's gonna ask you what type off I really want to load. And we weren't alone. An image sequence, So we're going to double click on the map. Okay, then what you need to do is you need to browse to the folder where you export it, that image sequence from after effects, or the one that you've downloaded from the project files. And then you click on the first image, which is frame number one. And then very importantly, make sure yet the bottom that your sequence is stick because that will actually tell three days Max to use every single frame in this sequence. Okay, so that selected we're gonna click on open this window. You can just leave everything default we're gonna click on, OK, And then your map will be loaded into your environment map. Okay? The next step is you wanna press em on your keyboard to open your material editor, and then we're gonna take this environment map that we've loaded you and we're going to click and drag this into our material editor release, and then we're gonna choose instance and click on. OK, so this is just so that we can change some of the parameters on this map, so make sure you double click on this map to going to the properties. And in the first thing we're gonna change is the type off mapping. So currently it city spherical, and we don't really want to wrap that material around our scene. We just want to display it as a background for now. So just click on this drop down and we want to select screen and then one more step we're going to go all the way down to time, so just click on time to expand it. And then very importantly, we want to set the starting frame to one. And the reason for that is that our timeline Yet the bottom is actually starting it from one. And by default, three ds Max starts on zero, So we starting at one. So we're going to set that to one as well. Okay, let's close down our material editor. We are done with over settings, and it's also closed down the environment in effect Window. And then make sure that you click in your camera view party at the bottom to select it. And then we're gonna go up to view you at the top and go to view port background. And then we're going to sit there to environment background. Cool. Then your image will actually show up in your view port. And if we scrapped through this, you'll see that all these little dots are actually sticking to the floor, and it's going to our time configuration. There's icon, you at the bottom, and then we're gonna disable this real time playback. So just take that take off and then take on okay and let's do another play through. So just click on this play button and it should play back a little bit slower, but it's actually going to show you every single frame. And yeah, I can see that these little dots actually sticking to the floor So the track is looking good, and that's basically how you import your image sequence into three DS max in the next video , we can actually start to import some geometry and placing that into our scene. Cool, so I'll see in the next video. 38. VFX 101: 3dsmax - Import and Position CG Objects: Okay, So in this video, I'm going to show you guys how to import the CG helicopter into our scene and also just to position that object, And then we're gonna be looking at how to link the materials and just make sure that they linking to the correct both on our computer. So first of all, make sure that you've got your project open in three DS max and thing. Before we start, make sure that you un compressed your three d model dot cept that came with the 4.1 project files. And then once you unzip that if you go into that folder you'll see there's a folder called Helicopter Inside that you'll have a helicopter with helpers that if b x and then you've also got the materials folder that we will link in three DS max. So festival, once you have your seen open, I'm just gonna drag this. If the x file, just click and drag and just position it over your camera window release, and then we're gonna select import file. Okay. Once you've done that, you can just move your mouse around and you'll see that the helicopter will actually appear and just move around and you can position it anywhere for now, we'll actually just find showing that in a few moments. So let's just put it some way around year, and I'm gonna click once, and that's gonna drop it in. Okay, Next, I'm gonna click somewhere in my seeing to de select it, and then we're just gonna double check that the materials are actually linking correctly. So to do that on this button, your top left and then go down to references and then click on asset tracking. Okay, Once that's open, click on the refresh button this one year on the side and this was she. Just refresh this window and it will show you all the materials for this helicopter. Okay, now, because I'm using a specific drive and a specific folder for these materials, this might actually not link directly on your site. So what you need to do is let's take the 1st 1 which is fused dot PNG and this one might actually say that the material is missing or that there's a problem with this material. So it's conceive. Mine is actually linking fine, but let's say that one is not linking fine on your side. You just going to right? Click on that and then you're gonna go to sit both and then this window will pop up and you gonna click on this little brows, But in these three dots and then all you need to do is need to browse to your three D model folder and going to the helicopter folder and then go into the materials folder and then just click on use path yet the bottom and didn't click. OK, okay, that should then update that material for you. And you need to do that for all these materials. So in total, they should be five materials. Let's just do one more. So let's say this one is not thinking correctly, right? Click on it, go to sit, both click on the browse button your and then just make sure your brows to your materials folder under your three D model. So helicopter materials and just inside this folder you don't have to take any of these files and then just click on use both and then okay, and that should think it. So just go through all these, make sure they're all linked up and then you can close this. Okay, so that's basically how you import and how you link it. So now we're just gonna try and position our helicopter in the area that we would like it to be. So, first of all, what we're gonna do is we're gonna try and haidl these tracking markers. You'll see all these little excess just all over the place. The reason we're gonna hide them is when we try and select all the different parts off the helicopter, those little markets might get in the way, so we might actually select them. And we don't really need them anymore. So I'm going to show you a very easy way to select them all and in to hide them. So let's zoom in a little bit to one of these excess on. Let's just select a few of them those those three and then you right click on them and then go to select similar. And this will actually select all similar geometry. And you're seen, which are all these tracking markers. And then you're gonna right click and we're going to go hide selection. Okay, then we're going to try and select our helicopter. So in this left view, or find this to be the easiest. So zoom out a little bit. You can see our camera year. And this is the helicopter, of course. And with your selection tool, just drag a box around your helicopter, make sure that you're not selecting anything else. Like the camera. And they were just gonna group a twin are so right at the top. Click on group and in Group again and little stopping helicopter And Chris. OK, all right. So I helicopters been grouped. So now I can just click anyway, and that will select the entire helicopter. Cool. So now, in the top view, let's zoom out a little bit. You can select your move to, and you can move it around and you can see in the bottom section that is actually moving around in your scene and because it's on the floor like you can see in the lift view years actually sitting right on our floor, it's not really perfect, so we can actually move it up a little bit. So I was gonna move it up in this view just to get it kind of on this line because that's the floor that we aligned it on. And then I want to rotate it. So it's not just pointing that way. So I want to maybe look at it from this side through the camera. So without rotation tool, I'm going to rotate it around like so maybe something like that, and then grab the move to begin and just move it slightly over. Maybe this way, and I think that's looking pretty cool. Let's do a quick frame taste render. So click on rendering and then render. Okay, so there you go. You can see obviously the lighting and all of those things are not done yet Will do that in the next video. Just look at the materials. Make sure that you've got all the materials. If we zoom in your little bit, you'll see the text year on the helicopter and also this little arrow you at the back and also the colors here in the front. So just make sure that you've got ALS those materials loaded. Let's save our file. So I'm actually going to go file save as to save a new version. So click this button you at the top and then click on Save as and then I'm just gonna call it Final Project. And I'm just gonna put a underscore and a number two So you've got version to and then click on save. Okay, so that's it for importing your model into three days Maxine into your scene and also positioning it on. Also making sure that your materials are linking I'll see in the next video. 39. VFX 101: 3dsmax - Apply Animation To CG Objects: So in this video, we're gonna be looking at how to apply some animation to our helicopter. So first of all, we want to just click on our helicopter and because we grouped it, we just need to open that group first. So we're gonna take on groups at the top and then click on open, and this will just allow you to click on the different parts of your helicopter. But you can also just click on the box around it, and that will select the entire helicopter. So first of all, we can apply some animation to their blades or the rotor at the top. I'm not sure what the technical name is, but we just gonna call them the blades for now. And let's just go to the left of you and join animating the side so you'll see. There's a little box around this area off this blade section, so that's basically called a helper object, and the blades are connected or linked to that help object, and this just makes it a bit easier to Teoh. Control some stuff in your scene, so we just need to rotate that box, and that will actually rotate the blades as well. So with this helper selected, make sure that this is said to local cause. We want to rotate it around their local axes off that object and then click on rotate. And let's just do a quick taste, too. If we rotate around this middle access, you'll see that those blades will actually just spend, which is correct on. Let's just undo that quickly. Okay, so let's enable Toki the bottom. So click auto key and then click on the key to create a key frame on the first frame. And then let's go to frame 200 it just spend this around a couple of times. So just hold in your mouth and just move it to the right. So we've got a spinning motion on that, and it's click photo key off again. We're gonna zoom out a little bit, and if we scrub through year, you'll see that we've got some spinning animation on that blade. So the next thing that we want to animate are these blades at the back there also linked to a helper. So just click on the help around them, make sure that this is said to local year. The top. So what you can do with that? Help us select it. Just click on one of these axes in your camera view and might be a little bit easier to rotate it in this view. So if you click and drag and just make sure that it's rotating around the correct axes, so we've got the right one day, so it's gonna undo that and make sure you on the first frame, click on Auto Key and let's sit a key frame. Let's go to the lost frame from 200 let's just spend that around a few times, OK, and then click on Auto Key again to disable that. So let's just preview that quickly. If we look at the left of you and I just scrub through your you'll see that Blade is actually spending. And now we're just gonna find tune these animations cause obviously we only gave them a couple of rotations and we will probably need to up those. So first of all, let's go to the top blade section and click on the helper around it, and with that selected, we're gonna open the curve editor so quickly curve unity at the top, so it's going to start off slowly. It's going to spend, and then it's going to slow down and then stop, so that's not really what we want. So we want to just select this key frame right at the top and then click on this set to Linear. So I'm gonna take that and I'm gonna do the same with the bottom one. So just select that key frame and pick this linear line day. So now we've got a constant speed off that played on, and that's exactly what we want. Okay, we also want to increase the amount of rotations. So with the stop key frame selected, I'm just going to try and move that upwards so you can just click on this key frame, drag it up, and you can also hold in control on your keyboard. To snap to that line was gonna move it up a bit. Just drag this down, holding down the middle mouse button, and you're gonna click that again and just drag it up some more. And this is gonna be a trial and error just to get that speed right? So I'm gonna close the graph it too quickly and I'm gonna play this back. You'll see that the animation is gonna play back quite slowly because we've got this image in the background. So to disable this background, I'm gonna click on rendering and then I'm gonna go to environment. And then we're gonna disable this use map just like that for now. And that will just disable the temporarily. So if you scrub through this now, you'll see the animation will play a lot smoother. And we can even play the animation back yet. The bottom. Just make sure that you on your camera views. I just click inside your camera view and then just play that back. And we've got a nice and smooth animation going on, and you can see the blades are spinning nice and quick. Okay, so let's select the helper around this back rotor. Just click on it. And then we're gonna open the curve ity at the top again. And we're gonna do similar thing. Yes. So let's just select the first key frame. Click on linear and it's do the same for the 2nd 1 Click on linear just to make that constant. And they were gonna zoom out of it, using my mouse wheel to zoom in and out here, and I'm going to select this key frame and I'm going to drag it down, holding control to snap, and it's just move this up a little bit. Spend around and it's just drag this down. Maybe some way they that should be enough. It's closes down and it's played back. Okay, so if you played back, it actually looks like that Blade is spending really slowly. But if you look at the help of box, you can see it's it's moving really fast. Okay, let's just save our project. So I'm gonna go to save as again, and I'm gonna call this one version three, Okay. Just so that we have different versions. If we need to go back to a previous version, click on save. Okay. Next, we want to animate the entire helicopter so that that she just takes off and goes out of the view of the camera. So let's go to the side view so much gonna zoom out a little bit and then you can click on this box around the helicopter, so just click on that box and it will select entirely copter. And if we move this, you'll see that everything will move together. Guess I was gonna undo that move and let's enable or turkey for this one. And let's go toe around frame, Let's say from 20 and I'm going to sit a key. So click on the little key icon and do me for a key frame. They and then let's move forward to frame 200 let's move our helicopter up and just have a look at your camera view on this side. So I'm gonna move it up. So it's just outside of the shot, and then I'm gonna rotate it on the correct access and make sure you're rotating on the correct axes, so that should be the tilting forward axes. Eso is gonna tilt it slightly forward like that and in most gonna move it in a forward direction. But also make sure that you're controls you at the top. Is it to local? And we want to move it in their direction, which is the green arrow. So I was gonna pull it forward, like in that direction, something like that. And as you can see, it's coming back into the shot, so it doesn't really matter. You can play around with this. You can create your own animation. This is just a guideline. So I'm gonna move it up a little bit like that, and it's just disable took you look at our animation. Okay, so I was gonna play that back quickly. Okay, so my top rotors, actually not moving fast enough is again. See, it's it's going around, but quite slowly. So let's speed that up a bit. Make sure you on the rotates selection yet Top click on that help at the top. So it's this one year and then we're gonna open the curve editor again. Okay, so we're gonna zoom out a little bit and you'll see this blue line is basically our rotation said it Zoom out away and like that, and you can see we currently at a value of 2300. So I'm gonna select that key frame, and I'm gonna drag it upwards, holding control, key to snap. And it's just move it quite high. Okay, so I'm pausing for 1000 year on the side. Let's take it up to about 5000. Should be enough Okay, let's close it. And it's just preview that again. Okay, let's play back. Okay, That's looking much better. The rotor spinning nice and quick. Let's just put our background in the shot again. So I'm gonna go back to rendering and an environment, and then I'm just gonna take this use map that will place that background back into the scene. So if we scrub through this, it's not looking too bad. Um, it looks like it's gonna eat this metal structure year, but I think that's actually fine. So yeah, you can obviously play with the animation. You can make a takeoff on this side or even towards the camera. That's all up to you. So this is just for demonstration purposes. All right, so let's save a new version. So I'm gonna go to file and then save as on Let's call this one version four we can save. And that's how you add animation to your scene. So I'll see in the next video 40. VFX 101: 3dsmax - Adding Lights To Our Scene: So in this video, we're going to be looking at how to set up our lights in the scene. First, you need to try and figure out where the sun is in this shot. So as you can see at the bottom, we've got a shadow coming from a light pole or something. And obviously the shadow is going in that direction. And if we look at these buildings, you can see that the shadows also going kinda in that way. So we know the sun is basically behind the camera kind are to the writer inside. And that's what we are going to try and create just using normal lights. So in our top view, let's zoom out a bit and then we're gonna go to create and click on your lights and make sure you on the very light section and we're gonna click on very light, and then you just gonna draw out a box on We're gonna make it quite large, like, kind of bigger than the helicopter, actually, and we're gonna take the move to and just move it backwards, and then in the left view, yet the bottom we're gonna rotate this light so I'm gonna press E on the keyboard and I'm gonna rotate at something like that and let's zoom out here but as well, and then we're gonna move it up. Okay, let's move it back some mawr. And you can see in this view that the lighting is actually changing on the helicopter. So that's looking cool. Case alleges. Zoom out here, but and let's scrub through the footage, Shia, to see how that looks like So you can see you get some nice shadows off the blades on the copter. And don't worry about the shadows on the floor. We actually gonna look at that in the next video. So for now we're just looking at the lighting on the helicopter. So that's looking pretty good and actually want to create one more largest to get a little bit of light here at the bottom off the helicopter. This part is a bit dark for me, So let's create another view, a light so you can very light and it's create another rectangle, something like that here in the top view. And then I'm also gonna move that backwards, something like that. And then, in this view, I'm going to rotate it again. Just gonna straight on something like that. And we can probably move it back a little bit because it's a bit bright and I'm gonna leave it on the floor plane like that. Okay, let's quickly scrub through you and see how that looks like. Good. That's looking pretty cool. And let's do a quick taste render with this. So I'm gonna go to rendering. And first of all, I'm going to switch off my environment because I just want to see how the lighting effects that helicopter for now. So I'm going to click on environment, and I'm gonna click on this year's map just to switch that off and let's go into a rendering set up and then, very importantly, go to your G I tab and we're gonna enable global illumination, which is basically just a more realistic way off calculating the lights and shadows. So we're gonna enable that and then where it says basic, we're gonna click on that. So changes to advanced on then was gonna enable ambient occlusion. Okay, so let's do a quick render and you'll see when you switch on the global illumination, it will do a couple of pre passes before it actually doing the render, so it might take a bit longer. But usually it gives you better results. Right? So that's looking pretty good. You can cook your and zoom in a bit. Just look around. You're looking pretty cool so you can see you get some nice shadows year off this fun area onto the helicopter. Right? So let's save our scene. So could you at the top and go to save as. And I'm gonna give it a version five. Right? And then click on Save. So that's it for setting up lights in the scene and I will see you in the next video. 41. VFX 101: 3dsmax - Create Shadow Catcher: So in this video, we're gonna be looking at how to create a shadow catcher. Which means we are going to create something that's actually gonna catch the shadow from the helicopter That will help us to cause they shadow on the actual footage. So it's not that difficult to do. First of all, we're gonna create a plane, and you in the top view, that should be the easiest. So just drag out quite a big plane just around the helicopter where the floor will actually be. And it obviously make sure that the helicopter is right on that plane. So if using the left Vieux port, you can see that they look up there sitting nicely on that plane, so that should be fine. Just very importantly, make sure that it's big enough to cover the area where you want to cost that shadow. Okay, next, we're gonna open the material editor, so press him on your keyboard and you're a few steps that you maybe need to write down on day. After a few times of practice, you will get it right. Okay, so we're gonna right click, and we're gonna go to Materials V Ray and Then we're going to select the V Ray Material Rapper and double click on that to go into the properties. And in this a few settings that you need to change here. So, first of all, we're gonna start with Alfa contribution, and we're gonna change their two minus one. And then we're also going to take Met surface, this one next to it. And then we also gonna take shadow, see at the bottom, and we're gonna take effect Alfa. Okay, we're almost done. So then it is based material. We're gonna click on this None button, and then we're gonna expand V race that just click on the plus next to V Ray and they're gonna scroll down and double click on Vero material. Okay, Next, we want to apply this new material to the plane so you can just click this button on the side, dragged to the plane and release. Okay, let's close down the material editor and let's do a quick render submission clicker in the camera view port, and I'm gonna go to rendering and click on render. Okay, so the render is looking good, And if we zoom in your you can see something going on here, but it's not really that clear. So what you can do is you can click on this little white circle, you at the top, which is switched to offer channel, and then it'll actually show you the Alpha Channel, the AL format. And you can see a nice shadow year below the helicopter. And this will mean that you can actually composite this image in after effects and you'll have a shadow to work with. So that's looking good. Just one thing to notice you. If you look at the shadow, too, but noisy, it's not looking that smooth. So there's one thing we can change to make this a little bit better looking shadow. So let's close that down. And then in our scene, we're gonna click on one of these lights, so I'm gonna click on this one. I'm gonna go into the modified panel and then scroll down to sampling, and I'm going to change the subdivisions to 16. I think 16 should be I enough and then I'm gonna do the same to the other lights. I'm gonna click on it and changed that one's subdivisions to 16 as well. Cool. It's to a quick test renders. I'm gonna click in the camera view port rendering Orender. Okay, there you go. You can see the shadows looking a little bit softer, so that's quite nice and well being. The lighting video I spoke about how to get your shadows to look either softer or harder to increase the size of your life or to decrease it. So if you make the light smaller and brighter, the shadows will be harder. And if you make the light a little bit bigger and just reduce the intensity, you'll get something soft like this so you can play around with those settings as well and try and match the shadows in your seen as close as possible. So I'll see you guys in the next video. 42. VFX 101: 3dsmax - Rendering an Image Sequence: So in this video we're gonna be looking at the rendering from three DS max. We're gonna render and image sequence that we can use in after effects when we do the compositing. So before we start, let's just save our project again. So I'm gonna go Teoh this button at the top, and then I'm gonna go to save us. And it's called this one version six. Okay, they would go it save. Then there's a few settings that we're gonna check just to make sure everything is perfect . And then we're going to do the render. So first of all, go to rendering you at the top and then go to render set up and physical. We're gonna go to the common tub and we're going to scroll all the way down to assign Narendra. So you we just want to make sure that our production render is said to be rate three or whichever version you are using. And then we're gonna scroll up again, and we're gonna make sure that our resolution is 1920 by 10. 80 which is full HD and then you at the top, where it says time output. We want to make sure that it's said to active time segment. So let's go to the next time. Which is the very tab. The only thing that you want to change you. If you go down to image sampler, you'll see that the type will probably be on adaptive by default. And we're gonna change this to adaptive subdivision. And the reason we change it to this is because this will give us great quality in our motion blur. Right. So that's it. We're gonna scroll down and then under camera, we want to enable motion blur, and we're gonna leave all these sittings default, so that should be fine. Okay, Next, we're gonna go to the G I, Ted with a global illumination. And you were gonna enable g I. So just make sure that sticked and then yet the bottom make sure that ambient occlusion is also take. If you don't see the MBI inclusion boxing at the bottom, just make sure that you click on this basic button at the top and it will give you the advanced options. Okay, Lets just move that out of the way. And they were gonna go to ranging again. You at the top, and we're gonna go to environment, so make sure that your environment might be switched off here. So that was the background here in the view port. And we don't really need that for the render. Okay, So with that switched off, close this window and let's go back to our render set up, OK, then we're gonna go back to the common tab, and then we're gonna scroll down a little bit until we get to render out. And this is basically where you'll tell the three DS max way to save your renders case. You're gonna click on files and that should open Explorer or your brows window. And then I'm gonna go to the folder that I'm using. And I've created a full two year called Renders so you can obviously save it anywhere you like. And then under windows, I'm just going to create a new folder and call this 01 So if we need to re render, then we've got different versions off our render as well. So let's go into that folder and it's given a name. Surrender 01 that should we find. And in which says save s type we're gonna change that to PNG image file. So that means it's going to save an image sequence with the PNG extension going next. You wanna click on set up here on the side? Very importantly. And we want to make sure that Alfa Channel is ticked. And this will obviously give us an Alfa Channel to work within off two effects and then you can click on OK, then you can click on save. Okay. Before you hit the render button. Just make sure that you have your camera view port selected, so you can see there's orange box around this and then we're gonna click their render button yet the bottom. So I'm gonna get a few minutes or a few hours? Probably. And I will see you guys in the next video. 43. VFX 101: After Effects - Import Assets For Compositing: so welcome to Chapter five, and this is way we will be doing the compositing and after effects. So hope you're renders came out okay from three DS max. And first of all, what we're gonna do is we're gonna import our footage again. So if you go to the project files under 4.1, you'll see the final project footage that a movie, and we're just gonna drag that into the project area in after effects, and then we're gonna drag that into a new composition. So we've got our footage on the timeline. Next, we're gonna import our Orender. So what we're gonna do, we gonna double click in this project area such as DoubleClick, they and then we're gonna browse to the render. So I saved mine under, renders a one, and then you should see all your render files and everything went smoothly. You should have 200 PNG files. Okay, So what we're gonna do is make sure you go all the way up to the first file under one and just selected Just click on it once and then Yet the bottom make sure that your PNG sequence is ticked and that will actually tell off to fix that. It's, Ah, part of a sequence. An ankle automatically load all the PNG files. Okay, the nuclear on open at the bottom and that will load your render as an image sequence now, just something before we start. Something very importantly, if I just highlight my footage that a movie. Yet the topic will show you that it was recorded at 25 frames per second. Now, this is really important. When you're importing an image sequence cause event sequences, they don't really have a frames per second, So you need to make sure that your image sequence is set to the correct frames per second. So the way to check that is to right, click on your render, go to interpret footage and then click on Main. Then in this window, make sure that this frames per second year is the same as your footage. So because our footage was recorded the 25 make sure this is 25 as well. If you use footage that was maybe recorded a 24 or 23.976 or anything else, just make sure that your render is set to the same. So you can just type it in your to match it and then click on OK to confirm that case the next we want to drag our render to the timeline. So we're gonna pick and drag and make sure you put it above the footage layer and you'll see that you'll have your render in your scene. Okay, so I was going to do a quick ramp review. So obviously, if you play this back, it's gonna play back very slowly because it's actually loading this PNG files. And the way to kind of render this timeline is you can either use this button you at the top, which is preview and ah, ram preview or the shortcut on your keyboard is just zero on the num pad. OK, so the ramp review as completed. And as you can see, it's looking pretty cool. There's a few friends there at the end where it looks like the helicopters actually stopping in mid A and hopefully you did a better job in three days. Max for that animation, I think I did a bit of ah ah curve at the end, so it looks like it's stopping, but it's fine. We can actually still use the most off this shot, like everything up to around year, is actually perfectly fine. So play through it and you can see we've got some nice motion blur on those Roeder's. So that's basically I just bring everything into after effects and before we start compositing, which is going to save our project. So let's just go to save as. And I'm just gonna create a full year and call it comp for compositing on delicious Call this final project and I'm gonna give it a version number as well. So it's gonna put under school one and click save course. Also you guys in the next video. 44. VFX 101: After Effects - Match 3D Render With Footage: Okay, So in this video, we're gonna look at how we can actually start to match our elements together. So try and match the render to the actual footage. What we're gonna do is we're gonna start renaming these layers. So the bottom one, the project, final footage just press enter on that, and we're gonna call it plate. We can call it footage. Doesn't really matter. And in the top one, I'm gonna call helicopter. Okay, so on your helicopter layer. So we're gonna right click on that, and we're gonna go to effect, blur and shop in, and we're gonna select fast blur. So if we zoom in your little bit, let's just go up to quite big, like, 400%. You can see that the helicopter looks a little bit shop in comparison to the ground and to everything around it. So what I'm gonna do, I'm gonna add a little bit of a blur to the helicopter just to try and match my footage. So this false blow, I'm gonna give it a blurriness off one, and you can see that it actually blurred the helicopter choir. But so let's zoom out here back to put up to 100%. Maybe let's do 100%. That's feeling a bit better to the scene so you can play around with the bloodiness. Sometimes you need to make it 0.5 or sometimes even like to. But obviously to is a little bit much for for the footage. So I'm gonna leave it on one for now. But just try and play with that and try and match the sharpness off your footage and your render elements as big as possible. Okay, Next up, we're gonna add some grain to our render. So once again, if we just do me a little bit and we look at some of the ground area and I play through this, you'll see you've got all these noise going on your I just look at the nice shadow in the background. I didn't even notice that it's looking pretty cool, so that's a shadow from the rotors that's actually on the floor. But anyway, if you look at this area and you play through this, you can see there's some grey near a lot of grainy and the dark areas, but even your in the light areas you can see some some noise. And what we're gonna try and do is we're gonna try and simulate that noise onto the helicopter, cause if I play this back in this area, you'll see there will be no noise or very little noise on the helicopter itself. That's actually the shadow that's that's flickering. They so that's pretty cool. So you're going to right click on your helicopter layer, go to effects, and then we're gonna go to noise and grain, and then we're gonna select match grain. So much grain. It is quite a cool effect that you can actually tell off to fix, to match the grain from one layer to another. So the first parameter, that's his viewing mode. I'm going to change that to final output and then where it says noise source layer. We're going to select plate because we want to actually sample the noise from that plate and then apply it to the helicopter because you, as you can see immediately, we can see some noise on the helicopter. And if I play through this, you can see this quite a bit of noise, and it looks like it's actually more noise than the footage, so obviously we need to try and match. That came the easiest way to match it. Ease to expand this tweaking perimeter. And then you've got the intensity in the size and the softness and all of these parameters for your noise. So I'm gonna change the size to around 0.5 and this again just try and match it as closely as possible and in the intensity that's actually the amount of noise. If I put this up to five, you'll see that it will be crazy, noisy. So I'm gonna bring this down to 0.5 as well. So slight noise there on the helicopter. So I was gonna play back a little section. Okay, So as you can see, we've got some nice noisy on the helicopter is looking pretty good, probably matching it quite closely. Let's zoom out here and see how that looks like. It's obviously you can't see the noise that clearly on the small screen, but you're just try and match it as close as possible. And once you've got that down, we can get into some color grading. So I'll see in the next video 45. VFX 101: After Effects - Color Grading Our Composition: So in this video we're gonna be integrating our shot. So first of all, let's start with the plate and then we can actually calibrate that first, and then we can try and match the helicopter to the plate. So I'm going to right click on my plate, and I'm going to go to effects and color correction. Now, you've got quite a few different effects that you can use, such as the brightness and contrast. And you can use the curves, adjustment, exposure, all of these things. So first of all, we're going to look at the curves effect, just click on curves and we're gonna try and give the shot a bit of contrast because it's a fix a bit flat. So on this curves effect, we're just gonna draw a basic s curve. So just do something like that just to get a bit of contrast in our shot, Something like that. And then I'm just gonna add a tent effect. So rightly complaint again. Go to effect color, correction and tent that you can change from 100 to 0% 100 will be completely black and white and 0% will have no effect on that shot. So it looks a bit video wish and very colorful and very kind of bright. So I'm just gonna drag this up. Let's say to around 20 that's looking a little bit better. And then I'm gonna give it some mawr contrast. Religious? Pull this down slightly. Something like that. Yeah, that's OK for now. Okay, Now we're gonna add some color correction to our helicopter. So right, click on your helicopter, go to effect color correction and go to curves as well. And you can actually just minimize thes two effects at the top of the blur and the grain. Just click on the little triangles next to them to minimize them. And for the helicopter, we're gonna also create a s curve. So just pull it down slightly and try and match it as good as possible to your footage. Okay, not too dark. Something like that looks pretty good. And as you can see, the raid and everything is a bit saturated on this model, so I'm gonna add a tent effect as well. So right, click on the helicopter, go to effect, go to color correction and in select int. Okay, we're gonna bring this percentage down and again. Try and match it. So I'm gonna bring it down to around around 35. 36. Let's make it 35. OK, so that's looking pretty cool. And we're almost done with our basic color grading, then actually want to create a vignette around both of these shots. So what I'm gonna do, I'm gonna create an adjustment layer so rightly go to new and select adjustment layer and make sure that adjustment layer is above all your other layers because an adjustment layer will actually affect everything below it. So let's rename that adjustment layer. So I'm gonna click on it, press enter, and I'm going to call it a vignette. So what we're gonna do is we want to create any lips mosque on that layer. So right at the top way you have your mosques, I'm gonna click and hold, and then I'm going to select the lips to and make sure that you haven't yet layers selected , and then you're gonna double click on the lips and it will create any lips in that window. Okay. And then I'm going to right click on vignette and I'm going to go to effect, and I'm gonna go to color correction and two curves, and then I'm just gonna put it down to make a docker. Obviously, we want to affect the outside area of the mosque, so we need to invert our mosque. So the mosque under vignette just click on it and then next to it, there's a invert button. So just click that and you'll see that it will actually invert the mosque so that we only affecting the outside area. Okay, Obviously, we need to feather this mosque quite a bit because you can see some very hard ages in year , So we're gonna expand the mosque and let's change the feather amount to around 250. Okay, As you can see, that's looking much better. You don't have those hard lines anymore. And if we just switch this later on and off, you can see the difference that the vignettes giving us. So let us enable it on. And then you can play with the darkness off this one yet, So I'm gonna bring it up a little bit. So it's not that dog. Maybe something like that. I was gonna ran preview this from pressing zero my keyboard. And I'm just gonna forced forward through this rendering process. Okay, so they we have a preview clicking pretty cool, as you can see, how early rendered the first section off my timeline because of that little slow down at the end, which is a bit weird. But as you can see, the color grading is looking cool. The vignettes actually working. We've got some noise on the helicopter. If you look really closely and a bit of noise in our footage as well, obviously that's from the camera. So all in all is looking cool. Um, yeah. So that's your final shot. And using this technique that we followed during the course, you can create so many different possibilities in the visual effects world. You can create any object and then integrate that into a live action scene. Have your shadows interacting with your life for teach all of that. So, yeah, if you guys enjoyed this and in the next video, we're gonna be looking at how to render this out. Cool. And I'll see in the next video 46. VFX 101: After Effects - Render Final Project: So once you're compositing eyes done after effects, we need to render our clip because obviously you need to upload it to YouTube or you need to give it to someone on a disk or email. It may be so to start the rendering process, you're gonna go up to composition rightly at the top, and then you're gonna click on air to render queue. Okay, so that's going to open up your end, acute and right here at the bottom is going to say output to and that's the file or the location where it's going to save your render. So, very importantly, click on that. And then you gonna tell aftereffects way to save this. So I'm gonna put it on my desktop for now, and I'm gonna call this final Orender, okay? And then I'm going to click on, save you at the bottom, and then we need to go into the settings and choose the Kodiak and all of those things. So your weight is lossless. I'm going to click on lossless, and that will open the output module sittings. And this is where you configure all these different Codex etcetera. So right at the top where it says format, you can select your video format. So obviously I am working on a Mac so you might have a few different settings. If you're working on a PC, you might have something like a V I So for now, I'm just gonna use quick time, and you should have quick time on a PC as well. And then we're going to click on the format options. But a year. And this is where we select our video Codec and usually for delivery to something like YouTube. You will use the H 264 Kotick. So let's look at a few other options that we have you on A Mac. You've got your apple progres Codex. Really, I quality really good, like your Apple priorities for two to H. Q. Case, even a PC. You can download and install the effort the UNIX HD Codec, which is also a very good lossless Codec for editing etcetera on. Then you can actually use the ever UNIX HD Godek. Okay, so as I mentioned before, we're going to choose HD 64 which is really good for delivery to the Internet, etcetera. Make sure that your qualities say to 100 then I'm gonna click on OK, at the bottom. Okay, Next we not really going to resize or crop our image. But you can enable this. If you want to resize your video, maybe you want to help put this at 7 20 p, which is 1 to 80 by 7 20 Or maybe even something smaller if you wanna email it to someone etcetera. But we gonna keep it the same output as the original comp, which is one on 20 by 1 80 And then we've got our audio settings at the bottom. Obviously, we didn't do any sound on this, so you can either leave it on auto where you can switch it off. Doesn't really matter. Okay, then I'm gonna click OK to confirm all those settings and then all you have to do is click on the rain, the button, you're on the side, so click that on your render will begin. So that's basically it. And I hope you guys enjoyed it and I'll see you in the next video 47. VFX 101: Thanks For Watching!: So, first of all, I just want to thank you guys for taking my course. Thank you very, very much. It really means a lot to me and I'll be Guys enjoyed this course and our guys learned a lot from the course and just keep on playing around with off defict and three DS Max and PF track and you guys create some amazing amazing visual effects shots. And secondly, if you're interested in watching some of my other tutorials, maybe on YouTube, you can go to youtube dot com fort slash tunnel Vision TV and you can also have a look at my website, which is tunnel vision tv dot net. Thanks again, and I'll see you guys maybe very soon in a brand new course just by