VFX + GFX: Rotoscoping and compositing graphics | Motion Design A. | Skillshare

VFX + GFX: Rotoscoping and compositing graphics

Motion Design A.

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13 Lessons (2h 9m) View My Notes
    • 1. H00 intro

      0:49
    • 2. H01 rough sketch

      1:55
    • 3. H02 AE setup

      2:40
    • 4. H03 AE rotoscope1

      8:09
    • 5. H04 AE rotoscope2

      26:13
    • 6. H05 AE rotoscope3

      15:47
    • 7. H06 AE rotoscope4

      7:29
    • 8. H07 AE rotoscope5 can skip this section

      22:22
    • 9. H08 AE rotoscope6

      2:37
    • 10. H09 AE creating graphics

      12:21
    • 11. H10 AE compositing graphics

      14:39
    • 12. H11 AE camera move

      11:40
    • 13. H12 conclusion

      1:52
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About This Class

This course is designed for the After Effects artist who wants to get into visual effects.  Regardless of your background as long as you have basic knowledge in After Effects and a desire to learn about visual effects, this course is for you.

One of the first techniques I learned as a visual effects artist was rotoscoping.  At first I thought it was incredibly tedious and difficult until I got into a good zone with it.  I think every digital compositor should know how to rotoscope and that it's the gateway into the visual effects world.  Also, it useful professional technique to know.  There's a good and bad way to rotoscope, and I'll be discussing some important workflow setups so that you set yourself up for success.  Also, I'll be talking about some important animation concepts that will be helpful for you to learn in order to master rotoscoping.

The other portion of this course will be creating graphics using shape layers and compositing them over the live action footage.  I'll be walking you through our class example project, and I will also be providing my project files for you to learn as you go.

Transcripts

1. H00 intro: Welcome to motion school. I'm Evelyn Lee and I'll be your instructor for this course. I have over 10 years of experience with various clients, and in this course I'll be teaching you how to make something like this. This class is made for the student who was looking to learn more about visual faxing, compositing graphics. A big portion of this class will focus on rotoscoping and not just rotoscoping but rotoscoping using the correct professional workflow way. And by that I mean using solid mass and pre cops. The rest of this course will be about building graphics using shape layers and then turning them into three D layers and compositing them onto footage. At the end of this course, you'll be able to make this video. We'll all be walking you through how to make this. I'll also be talking about the principles in motion tips and tricks and things that might just come up while working in the industry. All right, I'll see you in class 2. H01 rough sketch: Okay, So, Seder, given this footage and the client wants you to create in composite graphics over it, we're going to start by sketching the idea. Um and we're going to do some R and D and research and design, and basically, with this we're gonna look for, you know, sort of like patterns is the and just something very delicate to kind of give the indication that this person is typing on a laptop screen, zoom in a sketch out the really, really rough idea in Photoshop. And, um, you can just do this really quickly in your sketchbook. But I always like to just have ah, really rough idea of what exactly going to be doing. So have it already selected the brush tool right here. And then I'm just gonna grab something like black and just sketch out. You know what? And obviously this is like, not a very good sketch, because it's really quickly done, but it's just too show, you know? So this is a laptop screen. This is the hands. And then I'm going to have all the graphics sort of in this three d space and, like, kind of floating around, and I want to make sure that it kind of matches the screen of the laptop screen. So now that I have this rough, super rough, I'm not even gonna save it. I'm just doing it so that I know what I'm doing. Um, and I always like to just have a really basic idea before going into aftereffects. I'm gonna go ahead and I'm just gonna close it. Not going to save it and see you in photo shop. I mean, see you in after effects. 3. H02 AE setup: Okay, so we're in after effects, and, um and this is my set up. It's a very minimal set up. I basically just have my project here. My effects here composition. And really the most important part for me is that I like to keep the effects and presets the search. Um, I also have my character and paragraph, and in my timeline render queue. I've had this saved out Evelyn and pretty much the same thing. It's just so yeah, and then as faras importing, um, you can go to file import, or you can double click this project, or you can just drag it in. Um, and once you have it in here, it's defaulted. At 1920 10 80 23 976 I'm actually gonna make this 12 80. So gonna go to new composition 12 87 2023 96 I'm gonna call this camp one impress. Okay, um, we have this fit, and then I'm going to bring my footage in, and then what I'm gonna do, I'm gonna take the sound off. I'm gonna press us and just sort of scale it in a little bit, because I know that this is 1920 10 80. Well, im just have a little bit room. Gonna have it at that. The next thing admitted to you is I'm gonna go ahead and I'm gonna press shift shift Command C, which is a pre comp and just pre combat footage. And this is just something that just from working in a lot of companies, I've learned to do this, Um, because there's always changes and sometimes things get swapped out. And it's always nice to whatever fact you're doing to your project to kind of do it independently to make sure that you know everything is done to the pre calm so that your actual footage is completely how it is. And it's easy to swap every sou. Basically, in order for me to put these graphics in, we're gonna have to do a little bit of compositing. And, um, first thing we're gonna do is rotoscoping, and this is sort of a big part of this class. We're gonna be Rhoda scoping the hands 4. H03 AE rotoscope1: So we're gonna talk a bit about what rotoscoping is, and basically what rotoscoping is, it's separating an object from the background. And in this case, we really want to separate the hands from the background so that we can put graphics kind of around the hands. Um, and how how this is done is pretty much we're gonna be animating masks. So we're gonna be mad. Essentially, what we're gonna be doing is we're gonna be masking out his hands. Most likely it's gonna be the fingers and, um And if you if you have any animation experience or, um, this will probably come really easy and if not, it's no worries. Um, we could just talk about some of the principles right now, but I find that animation really helps to understand how to wrote a school. Um, usually, whenever I get footage, I'll wash it several times. Um, just to see the movement. Basically, what we do here is I'm looking from key key points of action, and by looking at this, I can already see like this. This is definitely one movement, and then it moving here. That's another movement. And you can even make markers and ah, quick tip is if you press shift one or shift to or any numeric key you can kind of It creates this marker right here. And the great thing about it is wherever you go in the timeline, if you just press one, it takes you right back there. So I'm gonna go ahead and I'm gonna do this a couple times. This is sort of it goes back here and river shift to and this is just for this hand. That's another one. Shift three she four Shift five shift six Shove seven A on. All right, so pretty much you're going to make this. We're not gonna make this whole use all five seconds of it. We'll just stop it at three seconds. And so these are key points of action, and basically, it's just win it. When it does a key movement, then you can kind of see what areas I decided to stop it. And I'm just kind of pressing with the American Award and these air sort of my key points of action. And if you're an animator than this is sort of like your main key frames and then after we block out the main key frames. Then we're gonna go in between each of these key frames and fill in the rest of the gap. So now that we have our keys in place, we're going to kind of set up our Matt that you can wrote of this in two ways. You can create a mask and directly road Oh, on this, like that. And, um and that's one way, Jim. I'm gonna duplicate this and keep it locked, and this is the one of them to do to. But you can just directly create this mask and animate this mass directly on top of the pre calm or the second way, which is how we're gonna do is we're gonna create a a solid and I'm just gonna call it Rodeo left hand road. Oh, okay. And then, um, and basically, what I'm gonna do with this is I'm gonna make this an Alfa Matt. And what enough? And that does is what this does is that we're going to animate our mask on here. And if I goto like the first frame, we zoom in really close, but there's a full. It was going, and we're gonna just mask it out directly on top of the hand and I'm pressing comma and period zoom in and I'm using my space bar in my mouse to move myself around. And then, um, how I'm making this a mask is pretty much I'm clicking and dragging this like, So just by using the pencil and I'm just clicking and dragging pressing apple Z if I make a mistake just clicking and sometimes I won't drag. And when I don't drag, it creates this sort of frame just clicking and dragging. And this is sort of the mask, right? And if I take this off because this is what we got and this is anathema if I turn this off the track matte is off. If I turn it back on, it is on. And then another thing to do is what I like to do. I just like to set it to zero and then, um, turn the mat off and I'm just gonna wrote I'm just gonna animate this mask the whole time, right? So the next thing I'm gonna do is one of the things about this solid is that Ah ah, Lot of times when you're growing your you're gonna be moving these points around, and sometimes a lot of times I accidentally end up moving the solid and, um, we'll show you exactly. It was a passenger back up. I'm gonna go into the mask. I'm gonna talk a little bit about this mass, right? So if I press m basically, I get the mask, um, members. And like, the mask path If I pressed Mm. I get all the the perimeters, and that's a shortcut key, M you get mass path and you present twice. You get all these parameters and in here we're going to talk a little bit about the mask path is what we're gonna be animating on. Then there's the last feather. I'll talk about that in a little bit. The mass capacity you could make that zero the mass expansion you can either contracted so that it goes more inside where you can expand with a negative number, or you can expand it if you go on the outside of it. 5. H04 AE rotoscope2: The other thing about the mask is that there's all these different parameters here you can do in ads attract intersection, light and dark inner difference. I'm gonna put this to none. And basically what that does, is it It just Nothing happens to the mask. It's just there and you can see are solid, right? So a lot of times when you're moving these points around, we rotoscoping you. I know for me, I always end up accidentally moving this around so one a quick way. And this is an expression is that in order to prevent it moving the position around you press p and then over this stopwatch, which is the sort of animation perimeter. If you press all and you process it, it allows you to write an expression. So I'm gonna write an expression, and basically what I'm gonna write is I'm gonna put a bracket left bracket, and I'm just gonna put this exact position in there some right, 6 40 comma, 3 60 right. And so that's the X. This is the why, and then I'm gonna just close it with the bracket. And so it has that, and basically what this is done, is that it? If I go into the move tool, I can't move it. It's It's pretty much walked on this thing, and it's a super useful expression, and it's really simple, and it's very useful for rotoscoping. Now that I have that, I'm gonna bring the capacity back to zero, impress em. And then we was back that ad and I'm also gonna click that as the diamonds, right? Our key friend. And then I'm just gonna animate on top of this. I could even lock this layer as well so that nothing gets moved in. All I'm focusing on is this That so I'm gonna go press one and I'm going to go. And in an imminent tweak this Now you can see that sometimes, um, the mass color, it's helpful to change it. And you can just change it by pressing this going, making it brighter. I'm gonna make it like a bright red or even, like, just so I can see it may be on the good. Think so. I just want to make sure I can see and like, literally trying to get to be the brightest color confined. So one of the things about rotoscoping is that you know, you don't want to move each individual point around because the Maskell wiggle and that's exactly what we don't want. We don't want the mass to be wiggling. What we want is we want Teoh, move this as a group as much as possible and to do our best not to move each individual point. Su To do that, we're just going to grab each key frame. And the other thing about this is when you grab this, if this is highlighted, you're gonna move all the key frames around, so we don't want that highlighted. But we do want to just click this. So we have everything resume out and we're gonna try our best to move this as I go as a unit. Push this down. Okay, so pretty much We're gonna move this other unit like so and then sometimes it's like, hard to see the footage, right? So you can throw levels on it, which I'm going to do real quick, and then I'm just gonna delete it afterwards. If I just put a levels and I'm just gonna make it, like a lot brighter because I can't see and you can see just by doing this, it's way easier to see everything. And now And he's a changed this mass colored, or I'm gonna make it red. Good. So the idea is it is to group these as much as possible. And so I'm just moving this around like that to move it. You don't want to move that individually. You want to move this other group? So you want to make sure all these air selected by pressing this and then you can move it around? All right, so now the other. There's another trick to this. If you pressed apple tea, it's basically the transform tool. And if you know Photoshopped than you know how this works, if you don't, we're gonna talk about this right now. So this when you get these arrows like this, that's a scale you can scale it, more movement. You can scale it in and out. And if you press shift, you can shift, scale it in and out. This is the rotation, and then you can also scale these individually. So as a unit, I'm gonna rotate it. And also I'm gonna skillet a little bit, and I'm shifts killing this and I'm just trying to get as many points as possible. And I don't really need to worry about the arm as much. It's really the fingers that I want to get. And then in order to get out of this box, you just press escape and ah, go away Now, obviously, this is still not, you know, in point yet. And so I'm gonna click out of this and that, and now I can select each one and move him around. But like I said before, you don't you want to group? Keep it as grouped as possible, right? So I'm going to find all these and grab these and move these as a unit as much as possible . And same here. I mean, since these air far apart, they're kind of should be okay, and this one looks fine. We're gonna grab these. It's gonna move it like so. And you can see I'm just like, how I'm doing is I'm just I'm just grabbing all these as much as possible and tryingto keep them as like, a unit grabbing two or three and never just really want, except for these, but because they were far enough apart? No. It automatically created that key frame and you can see what it's doing. You can watch. You can watch if you press zero it you won't see this round. But if you press space bar, Yes, you can't watch with that way there. So we're gonna keep going through, um and I'm gonna go to two, and I'm gonna do the same exact the same deal, right? So I'm gonna go ahead and I'm gonna move it. Try to see if anything could be moved at an angle with this. I don't actually see it. I don't think I need to do any rotation to it. So then the next thing I'm gonna do is I'm gonna grab these as a unit and try to move them around as much as possible. And that's really you know, if you do all these individually, your your road will definitely like wiggle. So you wanna avoid it as much as possible. But with something like this, like, you kind of have to go in and and push it back like that. We're going to grab these these like so this as much of a unit as possible. So now you can kind of see how it is, right? And these air like the key, the main point of action. And then we're going to go in and right in the middle of them and, like, tweak. Um, we're gonna go to three and same deal again, right? So again, you don't. And you don't want to grab this. If it's all blue, you're gonna move all home. I'm gonna make sure you grab this and they look like this. And with this same thing again, it looks like there's nothing no reason to process apple tea. So then I'm going to go in, and groupies is again as much as possible. So I grabbed these. Who's grab him like So grab these. And that's really like the You know, the trick of doing this is just eventually you know, you're gonna have to move him around individually. But the goal is to try to do it as group does possible. And sometimes it's really tempting to just move them one by one. But you wanna do your best to refrain from doing that? I'm never gonna be like points like right here. We're you know, you have to break the tangent. And in order to do that, you're gonna want to go into the pencil, which is this, and you see you can advert Texas, which is gonna happen. You want to delete certain ones. That probably won't be happening. But we're gonna do the convert for textile and what this does. Is it it? It allows you to move it individually, like so. Then I'm gonna go back to the move tool or press V. There's gonna moves around. I think so. And again, it's very, very tempting to even I run into It's just sometimes, but it's always best to group this as much as possible. And there are times, like right now, like I'm kind of like I want Oh, add like an additional Vertex pit. You wanna try your best, Teoh Keep it as all right. So now we're gonna go four. And it's the same Julian, right? So I'm looking at this and I'm gonna press here and I'm gonna press apple tea, do a slight rotation, move it, press escape, and grab many of these again as possible. And even with this part, you know, you you can press apple tea and just move this around as well. So you can do. And then if you press escape, you could do that with all of them. It's just thus to try toe, you know, keep them grouped and again. See, I'm like, sometimes you are gonna have to move it individually, but it's it is quite since I was kind of difficult not to, we're gonna go to five. It's the same deal, right? So I'm going to go in here. We could even, you know, and you can see, I I've accidentally moved that footage, and that's exactly why you want to lock it. And exactly why we put that expression on. So it's kind of a good thing that you guys, I saw that I'm gonna go ahead. I was like all this pressed apple tea Try to transform this as much as possible, some kind of, well, babies individually, just because it's like so much faster. Just and this could be like one of the most tedious things to do. Um, or it can be really relaxed. And it just depends on you know, your mindset sometimes. Ah, what? I'll do this. I'll just put on some music and just zone out and do this so But sometimes it could be really, like frustrating to So, you know, there's times when you can kind of see like it's like not all the fingers are there and they kind of disappear, And this always happens is like, You just kind of have all these extra points And that was kind of just all right, so one of us six run this all down and again, we're grouping this as much as possible. So I don't know if this is like your first rodeo or if you're just doing this as a refresher. But on my first rotoscoping was ah, had zeroed oh, out blades of grass blowing in the wind for Tropic London, which is this movie, um, hands, uh, if you ever wanna find If you ever want to torture yourself, try rodeoing blues A grass. Um, I just kept getting Ah, I couldn't remember. They're blowing. So going in a, um see. And this is like right there would is a good reason why you want to have that expression so that you don't accidentally move. And there have been times when I didn't know that eggs expression existed and I'm just rodeoing it and later on him, like a would accidentally move the mask. And I have to do it over again. Okay, So thin that on. And our next one wanna grab us. I just want to rotation to just this risible t move it. And there are, Like I said, if it's there are gonna be touching. You have to, um you're gonna need Teoh. Know them individually and let's find, But all right, so that's that. And you can see how this is kind of playing. All right, So, Connor there consumer endeavors like this. Then again, all we want to do is we're gonna grab this point press apple tea. Let's escape. You want to go into the close, do it's weak is about Yeah. Nine. You have the same deal, Um, going here and they're going to be tied like this because the hand is so different. Um, you're gonna want to go in and individually move them. - And even in this case, right, so it's like you can add Ah, another point. Just put it here. You want to be careful when you do this? Um, is, but it should be fine for now, then you see, um, kinda. - I'm going to go to zero. You go ahead and escape. And again, this is another, um, example of just adding in the Vertex tool, some v and, um, having these. - Okay , so these are our main. We have our main key friends in, and now we're gonna do our in betweens and basically what? The images. We're just gonna go in between each one right in the middle. They were just gonna line them up so that they match. 6. H05 AE rotoscope3: So what we have is we have all of our keys you put together, and that basically allows us. Teoh, you can see where things are, right. Um, one of the key things about good rodeo is that you know, the masks need to be really tight, and it shouldn't wiggle, right? And so it's not very tight. You can see where it's, um, not really on it, But you can see how these keys we have our main action. And so the next thing we're gonna do is are in betweens and with rotoscoping. I found that, like, just going directly in the middle. Well, axes a good like in between and seven ago. Zoom in that period and then of an impressive space bar. And I'm gonna go in, and I'm literally gonna go into each middle portion of this and tighten up our masks. And then after that, after we do that, then I'm gonna go in between those and go in the middle of those and just keep doing it until we get, like, a really solid road. Oh, right. So I'm gonna go ahead and I'm gonna grab this and again, the idea is to be able to grab as group these points as much as possible. And so you can see just by me doing this I my I was attempting to grab these points, but the best way to select is tohave. Make sure these air highlighted, and that's where that script comes in really handy with the position. It, um there's so many times when I've accidentally moves the ah, the solid. And I had no idea. And it caused so many problems in the end. So something that I learned and became incredibly helpful in something like this. So in certain cases, you are gonna need Teoh kind of, you know, grab these points individually. But it's best to do it grouped as much as possible. And allies have. You know, I get really attempted, um are very tempted to just grab the points. But then, you know, later in when you see you're you wrote, you kind of you know, you end up regretting it a little bit, so try to just group and so you can see that this is where it is, and that looks good. And now we're gonna go to the next one. That's right. In the middle, and then we're gonna go in here thins. Um, I'm gonna go ahead and grab this points like so and again. It's this group selection that really cheese this surrounded. But so gonna continue Teoh movies as a group? Yeah. And I imagine, like, the fingers are where there's going to be the most movement. And, um, gonna continue to keep grouping them. Yeah, you know, I mean, for me, like this stuff, you know, this stuff could be so incredibly Ah, I'm actually believe that the way it is, even though doesn't need to be perfect, because I don't think anyone will really be watching that area. And you can already see, like, you know, we're probably going to need to do the in between you can see where it falls off here, Then it falls off here and here. So, you know, even though we're going in and doing all the middle's, we're gonna go in again and do all the in betweens, and that's really the idea of this whole thing. You know, um, we're gonna zoom out a little bit. I'm gonna go ahead, and I'm gonna grab all of these points because it seems like right here in a press apple tea. And that's again. This is one of the great things about Apple. This apple T is that you can grab the points you want and rotate and scale them, and it allows you. It's one of the most handiest tools and rotoscoping because it allows you to group selected , move them all together as opposed to an individual point. Um, yeah, I don't know if this is like your first roto being experience, and if not, it's, um 70. Not, um, I have known that my first rodeo was, um, using blaze of graph. I had to write a scoop blades of grass. Ah, after an explosion for Tropic Thunder. Trouble Tender was a pre funny movie but wrote that experience of rotoscoping. I mean, if you are looking for ways to torture yourself, try rodeoing blades of grass flowing in the ones I thought it was you crazy. It was my first, uh, first time ever wrote a scoping, I think the second time I had to do it, I had to wrote about a crowd of people, so it was a lot, a lot less brutal. Um, and I forgot this point. So a lot less brutal and totally, uh, doable. So I think that's one of the things. Ah, you know, if this stuff can be really tedious and it could be, um, discouraging as well and always, you know, just to just keep going with it. Um, eventually, you're kind of find this Eventually, you'll make your way past that, like hump of learning and you'll just people to be doing it. And it will be really something that's kind of like worthwhile, you know, Um, I know for me, like when I was Whenever I'm learning something new, there's always a moment of, like, incredible frustration, making with stakes, doing things the wrong way. Um, but just going, going through that. And, uh and you know that there's like that, just that Turn one, everything just sort of clicks in your mind. You know that it totally makes sense. And that's what if you're if you're starting out with scooping, that's exactly what this is. It's just, Ah, it's just a matter of of, ah, having this makes sense. And then the things that you can do after that you could just it's just you can do so many things with it as far as like met painting and all that stuff. So it's a great way to t to get in to be a fax. It's like a gateway technique. And in some points, I am going to like, individually movies, and it's OK, um, to do so. And it's always good. Teoh save often is you don't want to redo Rhoda. Um, all right. So again, arm doesn't move, but the hand does and, um, we're gonna go in, We're going, Teoh, grab some of these points so you can see it's getting tighter, you know? And I'm just gonna keep going through I know that for For those of you who know this process of rotoscoping, you know, you might, um this is exactly going to be the same technique over and over again. But for those of you who haven't who have, like no experience in rotoscoping, seeing this process is it might be incredibly helpful for you to kind of get the idea of exactly of what we're doing. And so that's why I'm gonna continued it. I'm just gonna wrote just the left hand, um, for this class and I do recommend if you're going to you do this exercise to take the time to try Toe wrote of the other hands, But I'm just for this class period purpose. I'm not going to out of the other hands. I think just seeing one demo of this hand is probably good enough. And, um yeah, and you know, we're doing these graphics. I mean, I don't even know is the graphics were going to be on top of this, but my main purpose for showing you guys This is just that I just want to show you how rotoscoping works and so we can see here movies dio and again that right there that would have been the solid would have moved. And why that expression is so incredibly helpful. So I wanna make sure this is nice and snow, and then we go ahead and of those This is, uh she said, - and you can even use the arrow keys Eventually. We want to grab in between of this. So see, save often don't want to redo your Oda. I knew this and you can conscious. See, like how quickly it is and after you get all your keys and then your your key in between. Which is what this is then then it's it, Um, most likely, it's not gonna be as it's going to be more like pixel pushing like what we're doing right now and because most of the work was kind of in place. - So there these air all our key in betweens, and, uh, and once again, I'm gonna save. 7. H06 AE rotoscope4: never going to go in and we're gonna again. It's the same process until it's really tight. Um, we're just going to go in, and sometimes I've had to rodeo every single food, so I don't think that's going to be the case in this particular one, but ah, but it it has happened, you know? And But eventually, like, the more you go in and just have precise you want to be And, um, this class it is the effects it has been the focus of it is rotoscoping. So that's really the reason why I'm going in really in depth into rotoscoping so that you guys can see Take This isn't an opportunity to just see exactly how precise we have to go in the mats and and it's the same process, you know, after I do this and this looks good, um, and I go through a round of doing going through the whole three seconds and grabbing the points. Then I'm gonna go ahead and I'm gonna go in, and I'm gonna even check in between this and just keep doing it until I get the result that I'm looking for. Um, it's that's the whole process of this, and it's literally just finessing these pixels, you know? And that's the difference between like in all of inside of my closet. That I do talk about, you know, is that you kind of see it's pretty, it's getting tighter and then, you know, it falls off here because it doesn't have that in between random. And that's the difference between like, something that's really precise is just the artist that who is willing to, you know, put in the details, put in the work and have the right habits. Um, and that's really the difference between like good artists and a great artist is just that discipline. Um, not all people have that, and it's just work out. You want to go in and, you know, even rotoscoping isn't at the top of my list of thing that I find, um, that I want to do. But I find it to be an incredibly important and necessary skill to know, especially if you're gonna go further down the hole, the rabbit hole of composited. I say rabbit hole, but it's not really just being like, you know, if you want to go down his Pathan really rotoscoping is like the beginning being able to. I wrote a something cleanly. I I think it's one. It's an incredibly important tool. You don't want to rely on a road artist Now you can see where it's slipping here, there's some slippage. And again we're going to go in in between that and I'll show you exactly because I could go through this whole thing and and I will. And then you guys will. But I know that some of you might not one to sit through all this and and so I'm gonna go ahead. And, um, I'm gonna continue to do this in front of you guys, but I want to show you right after this one exactly how tight some somebody wrote a you know, a good road is supposed to be, and again that that was another. I keep pointing out the expression because it's it's such a lifesaver. Um, and if you're not gonna have, if you have something and you're not writing expression with it, I highly recommend being really careful that accidentally moving your mass. I also being careful about accidentally moving your footage, something that I happened to me a lot somebody go One of us and it still does happen, but not as much. This is on that frame, and then you can kind of see it's This is really close. Mom actually might not touch that. This is where it falls. And so I'm gonna go in and just fix this right now. I'm doing this right out up until the one just to show you, like how tight we have to bring this. And then after I finish this, some of you can skip ahead to the next section. If you you've seen enough of this road going And for those of you who wanna who this is kind of new to you, I'm gonna continue to keep rowing if it if this is helpful for you to see me do this. But I'll just continue Teoh to do this. But this is exactly like how tight you know we're getting and it's almost frame by frame. We've got to skip one, and you know, we have to go in in this You scrabble these. And now you know when when we're this close, I just Sometimes I just use the air. OK, um and it literally is just nudging a couple pixels here, there. And Ah, I'm just trying to get it as tight as possible, Moving as many points together as possible. And now you can come to see exactly, like, you know, up until here. This is an example of, like, a good a good key. A good road. Oh, sorry. And, ah, then you can see it. If I pressed, he and I've really a passer de all the way out. And then I make this to take this, unlock it, making alphabet. You know, this is our road. I'm gonna go ahead and do this. I'm gonna save and, uh, monitors back down. Unlock this, but none. And just keep plugging forward with it. Um 8. H07 AE rotoscope5 can skip this section: really make it tight. You can skip to the next section if you want to keep watching. Um, I'm a fast forward through certain sections of this just because I know that this is gonna be incredibly tedious to watch. And this is exactly why you need to lock your footage there so many times when you know I've accidentally done this and I can't stress enough how important it is to Tom Lockers to save Often there's nothing worse than having to read you, Rhoda. Um and you know, with this, you can add points. Um, Presby pushes down. You can go down here to the convert tool and just to move these individually there is good . We look at everything else. Press B two movies all together. I think when points are so far apart like this, it's okay if you want them individually. The other thing that's really good about this hand is because it's moving so much. You know, I don't think it will be hard to tell whether or not the it's wiggling or not, which actually gives a lot of we were. You could kind of see him. This is a really tight mask and a lot of it has to do with the fact that we're like going through this frame by frame, and this is how precise that it needs to be. Though you know, you you want toe, you're doing this stuff. You want to make sure you keep the quality really good, they said. It's having a really meaty type mask, being able to people who are really good at what they do. They're very disciplined. You know this stuff if you eat, it's like a habit. You. So even with Rhoda scope something, I was like rotoscoping, you know, it builds, builds character. It feels good habits you if you kind of go in and you start off and you and you take the time to go in my frame because not everyone's gonna put this amount of care and see something like rotoscoping. But I think it's a habit. Once you was used to, um, making things look as good as possible, it'll it'll be. It'll affect you all the way through all your choices in your life. And now it seems something like so basically rotoscoping. But I think it's just that idea like, you know, being disciplines, so I mean, we could go in, and I think this is pretty tight. So you keep going. I'm hoping that, you know, as you guys were watching this, you're not just watching this, but you're doing this alongside, um because no, I know that that you guys were pushing these pixels alongside as I'm doing them. And if you're just watching, um, you have boarded a list I remember to save often. You don't want to redo. Always. Like, I think, whatever. I'm doing something. And I know it's, like, so tedious, and I'm like, I don't want to redo this. I just save a lot of times I'll say that. Well, I mean, rotoscoping is pretty. Can be congee. Pretty tedious task. Um, great skill to know, but, uh, very tedious. - Well , I'm here. I was gonna grab that in between. So you can see you can see here. The key friends are actually pretty tight. I'm surprised about now. Here it's not as much this tweak it and again, saving often 9. H08 AE rotoscope6: All right, so that's pretty much trim. I come to work area just so that I can see how this is. And then I'm going tiu C and unlock this off about it. Bring up the capacity to 100 because it is our mask. And then just watch what happens but that we can turn this off and you can kind of see Rask pretty tight. I mean, obviously there there are things like here that could be fixed, but I think for our purposes, I think we're pretty good. Um, I'm gonna put this out of 100 1 thing that you can also dio This is usually I'll put a feather What a father does. Is it what a father does? Is it pretty much softens the ah, a mask. And if I press command shift each command shift each my shift command age. Um, all my controls are gone. If I press it again, show up. But what I'm gonna do is I'm gonna add a feather, and you can see what the feather does is it just softens it. But it also could keeps things on the background. Um, normally I like to put it at like one, just to give it a slight feather. Um, sometimes I'll do it between one and three. So in this case, because it's hands, it's moving a lot of motion blur and see what it looks like. The three. And I think it's three is the appropriate amount. Until you are there, certain frames were, you know, I can see where I'd want to fix it, but I think we're good for now with this and we've got our masks and everything, so I think we're good, and I'm just going to save this, and then we're gonna go ahead and we're gonna build out the graphical elements to this. Okay, so I was looking at this footage. It was Agwai Soup, right? But I realized I had the levels on it, so I was gonna delete the levels. Now we're here. We are 10. H09 AE creating graphics: Okay, so we're gonna go ahead. We're gonna build the background, not the background, but the geometric, um, shapes that are gonna go and float in between here. So saving this, let's go back to our project, and I'm going to create a new composition. So composition, new composition. I was okay. And then I'm gonna go, and I'm gonna build out our geometric patterns using the shape tool. And what I'm gonna do is I'm gonna grab the Ellipse tool. I'm gonna put the stroke 20 and I've been a shift. Then select. Make it very little make something like that that I might want to make it a little bit bigger in this shift. It's like that. All right, so we made a little tiny little ellipse. And one of the great things about the shape tool is that there's all these parameters right here, and we could go in individually an enemy this, or we can go ahead and we can create a repeater. And what a repeater does is well, it copies that three times, and so I'm gonna talk all down the repeater, and I wanted to fill the whole screen, so I'm just gonna keep until those two there. So what is that 18 then? I'm gonna go ahead. I'm gonna move this back, and and that's a quick way to kind of repeat shapes. Now, I want to have this scale up. So what I'm gonna do is I'm gonna go into the contents. I'm gonna go into the transform Ellipse because there's to transform. Right now, there's one that's to the overall layer, which, if you if I scroll down here, you see that there's a transform, and that is going to be done toe everything. But if we go in here and we go into the contents and you see the lips path a stroke, the Phil will transform. We're gonna go ahead and we're gonna animate this scale. So I'm gonna start this at zero. But that does. Everything goes to zero and a process diamond, and then I'm gonna go to 12 seconds and I'm gonna bring with all the way up to 100 not to 301 100 and then I'm gonna go back to one and put the scent zero. And if I ever end be an end, this is our work area. So you can see being a and I'm just gonna watch this. So it's nice. I wanted to have this these, um and, um in a press. And if you go select all of them And if you go to right click, you'll see that there's all these extra parameters on here you can. I rarely use any of these except for taco hold, key frame, which basically stops the key frame. Find it. And then once you you can change each key frame and I'll just stop and live and stop and move. Um, there is also key for him assistant, which I use a lot. And umm, I used these easy, easy zin and he's out. Um, I'm gonna use easy, easy or F nine. And what that does, is it? It just sort of eases the movement. You can even do this further. If you press a graph editor, you can tweaked these curves. But Fred, right now I'm just gonna leave it at this and then another really awesome shortcut is if you select all these in a few possible, you could extend use. So whatever. If you have, like a taunt, a key frame that needed to speed of mother shortened them. This is like where the greatest short cookies you could probably work with. So then I'm gonna go ahead on for us and processor. And that's the country I'm looking for. Right? So now that I have this Well, what I'm gonna do is I am going to go ahead number to duplicate this and then move it each one down ever so slightly don't impress you. And I'm impressed you again. And they go, It's press K s K. I just want to make sure that the zero okay. And then again, I'm gonna apple de duplicate that layer shift, press the arrow key down and just moved down ever so slightly. Do it again. Apple de shift. Do the same deal. If we watch it is sort of what we're getting. I'm gonna move this down just a little bit more just to kind of give it a little bit of a break. In fact, I've actually gotta delete this. I'm gonna grab all these guys, for example. D no, all these up. So So that they're grouped and then just shift. Select these all the way so that these feel like just a different different part of the Now I'm gonna grab everything, never go ahead and remove all this down. It was a side. No, you watch. All right. And with this, I'm gonna call this shape one, and I'm gonna go ahead, and I'm going to make this a different color. Um, I like Teoh. If you click that you got all these different colors, I actually like the color Coordinate some of these because I like to know, um, what are the circles and one of the lines? So we're gonna go in and we're gonna grab the pencil. This time, we're gonna go really close, and we're just gonna draw was gonna connect the dots, right? And a quick way you can press Apple are, and you can just create gods. Um, so now I'm gonna go ahead and you can go and you can Good of you. And you can lock these guys so they don't affect you. And yeah, and basically what I'm doing is I'm just gonna connect thoughts, and I'm gonna make sure my fill is set to nothing. That's if you If you know Photoshopped, then these are all kind of you'll know what all these are the This is the options for the Phil. Um, you can if you press here, you can change the color of it. If you go into here. This means nothing. There's nothing there. This is a solid color. This is a linear. And this is a radio. Grady, Um, we're gonna go ahead and we're gonna have no Phil, and then we're gonna want to have a stroke. Um, the stroke is sort of the outline. That fellow is the pill. If you go here, it thickens it. If you go here, you can change the color. And if you click here, you can put it to nothing. You can have all these different parameters with the same ones with Phil. All right, so I want to continue Teoh, connect the dots that I'm literally I'm doing this really randomly. Um, - okay . So if I move out of here and, uh, I'm gonna put the stroke very delicate, right, I'm gonna give it, like, a stroke of one hands. You watch this. You can see that this is sort of what it looks like. I want these to draw on. So in order to have this sort of like, right on happen. I'm gonna go in here and I'm gonna do a trim paths, all right? And so, basically of it. Put the start here, and I would have put the start. I'm gonna innovate this start. You can either animate this start or the end. I'm gonna animate the start. Put a key frame there at the start. I'm gonna make this 100. Now you can see it's destroying it on. Then we go to two seconds and turn it off. So we have a kind of, ah, crazy little animation going on here, right? We want toe select all this press F nine. Okay. No. Another thing I want to do with stroke is that I feel like it's almost too. I was wanted to be like 0.5. So it's It's very barely noticeable. Um, and a quick way to access your key frames and suppress you and check it against this. Right? So, looking at this, I'm like, I could probably put this year. There's like, um, so now, while this one is very disorganized with this section, I'm going to try to make it, like, really organized, so I'm gonna go ahead and I am going. Teoh, just click and shift. Click Teoh here. Shift Click to here. Shift click to here. Shift click to here. And I'm not trying to be exact. Um although it probably will be helpful for you guys. Or if that's the style you're going for for me, I'm just huh? All right, so this is our background. 11. H10 AE compositing graphics: on. The next thing we're gonna do is we're gonna make these three D layers Reason why we're making this three dealers is I'll explain to you how three d layers work, right? I'm gonna bring our shape and and you can see this is what it looks like right now. If I go into ah, horizontal view and I one I have I'm gonna say this real quick. So I click here and I'm gonna make this my active camera. This I'm gonna make a custom view. And basically, all accustomed view is is that it allows you to see things at a different angle, especially if there are three D angle. But ah, there footages to t and the shape. Right now it's two D. But if I press this three d but in you can see that it looks different in the custom view and automatically changed. Actually, a lot of it, um, could even barely see it. But there is. So while the custom view isn't picking up r two d layer, it's definitely picking up our three d layer, and it allows us to see what we're doing. So if we put like something in an X like a Y rotation ex rotation. You know, this Z rotation is only the only thing we could do in a two d plane. It's moving at X and why? But in the UAE rotation, you can see what it's doing really clearly in the custom. You. So I'm only showing you the customer, because to me, it was what made the most sense when I was starting with after fucks learning all this stuff. So that's why I'm I'm showing it to you guys. But basically, my our goal here is we want to make this on the scent on the same plane as a three d layer . So in order for us to do that, we're gonna be working with all the rotations. We're gonna be going in pretty close, and we just want o do our best to make it on the same axis that is most likely gonna be and commit shift. Command H will give us our controls back. I realized that we took them off a while ago. Now, even if you see this, right, I mean, right now we're still kind of and seriously, this is like one of these things that we could tweak forever. Now you could see, like I've just put this on top, right of the whole thing. But if I put this underneath Girodo which is the reason why we did spend all this time doing the Marotta? As you can see, it's behind it, and it kind of gives it this nice feel of it being underneath. We don't want this to be so big. We want this to be a bit smaller, Sabrina. Scale It is, though, ever so slightly. Next thing we're gonna do is we are going to mask its parts of this out because we don't want this just to look like some sort of square. We wanted to look like just his unique shape. And then the next thing we're gonna do is we're gonna feather it big time. And what feathering does is it softens the edge. And it also kind of gives this nice sort of feel to the graphic as well. If we play it, you kind of see that it's sort of appearing ever so slightly and delicately. So this is shaped one. I'm gonna actually duplicate this comp. And what what I'm doing as I duplicate this complicit. It's giving me a different, completely different copped to it and basically the reason why I'm doing that. And you can also do this in the time remapping it happening, that's all. Okay, so now when to scale this up a little bit, that's with the rotation. Just a little bit more. You could see how are Odo is kind of making it appear like it's it's almost like it's floating. Okay, I'm gonna go ahead. I'm a duplicate this. And with this sort of like here, those are move the rotation a little bit in particular. And why, Lindsay, Then I'm gonna skills up, and I'm also gonna drop the opacity down quite a bit. Next thing I won't do is home. They were watching this All the innovation is sort of at a similar rate because it's all all the animation is at a similar rate because it's all on the same. It's all the same. Calm pretty much one trick, Teoh Changing the speeds of these issues time remapping and basically what time remapping is If we go in here, we press, you go here, you go into time and you can see there's time Reverse time stretch. Freeze frame freeze all last time. And to what time reverse does is it plays a backwards time stretch, makes it slower or perhaps faster and freeze room. But time remapping allows you do allows you to, um manually controlled the frame by using the key frames. Now, one thing I realized what this is that I want this to actually be three seconds long to end , and I'm gonna go to composition true council work area. The reason why I'm doing this is just because I want to be able to see the other key for him. So motion and delete time remapping for now. Go back in here. Where does it cut out and actually cuts out here? So when a Chris and opposition true, come to work area and go back to her calm. Okay, this is what So what? This I'm going to do a time. You mapping. Okay, so I'm gonna go in here a time in evil time mapping, and you can see automatically. What this has done is it's created these key frames. And the great thing about this is that well, I can push this key frame and And what does it apply it faster so you can see. Well, this one's already blinked off that one. Still hasn't. I actually want this to start a little bit later? Then I'm gonna go ahead and I'm gonna duplicate this and have it start somewhere else. Move this further back and, Z, I can't see what this is doing. Someone actually push this and I'm gonna move, is here so that it appears. Bread. Oh, this in top, actually, see what this looks like? The other thing I can do is, uh I can delete this mask and create a different mosque. Press farther. And, father, another thing I could do is press. Mm mm. M gives you the mass path, and m, once you go in and I'm gonna use the mass expansion. Except this time I'm gonna put it in a negative number. You can see that It kind of is erasing some of it. Now I'm going to grab another would pressed apple D. But this war towards here sensor would be this. And this is ah, you know compositing in this case is, since we're using graphics to do this, it's a combo of a lot of different things would make sure that several d that is us. Screw it up and then kind of messed with the mask juice a little bit this, but I was slightly. We don't need all these to start right at the same time. And something so simple as just pushing it back a little bit could make a huge difference. There's another one that I want to put. Grab this with the this put right here one of the nice things about our road as we can just put it right behind it. And I kind of want to make this tweet the mask a little bit. Said the expression to nothing. Um hands Grauer pencil. It just sort of create. Ah, rough mask. Press F two. Father, it press s skill it up a bit. The processor. Now, I want to really offset these times, right? So I'm gonna push this. I don't want all these guys on at the same time push this back here, so it really seems like, you know, there's like that all this data going on, um, and it's not we're not using were just using patterns to really illustrate this one so it was going here. Grab this one again, Crispy. These guys come out at same time. No free press. But this to fit. Watch it again. So it really gives you this sort of feel, you know, the next thing we can do to save, um, and we can add some slight camera move and a little bit of a blur. 12. H11 AE camera move: I am looking at this and thinking home. Maybe I want to move us. All right, so I'm gonna make a layer. But new new knowledge of and then what I'm gonna do is I'm gonna go ahead and I'm going to attach all this. Couldn't miss everything to this novel objects. And I'm doing this because I want to create a slight pan with all these objects. So I'm gonna soon out and I'm gonna kind of move this footage because I know it's 1920 by 10. 80 and this is cough is 12 80 by 7 20 So we're gonna go ahead and I'm gonna take the position that go all the way to the end. I'm gonna go ahead and remove the position ever so slightly. You can see we've just a little bit of a camera drift. In fact, I'm gonna take this and a quick way to select all the key friends. You compress this and you see that it turns blue. Well, that means all of them were selected. I'm gonna press f nine and give it a little easier. You can see it's so subtle, but it's such a nice touch and It's just it works so well with this sort of tech iconographic having the road. Oh, allows us to put some of the graphics behind it, some of them right before it, and it allows us to sort of play an experiment. And that's sort of what all this stuff is about. It's about playing. It's about experimenting. It's about, um, doing something different, trying new things. And and one thing that I realize that happened as we were adjusting that no. Is that a roto fell off. So what areas like what it was. So we're gonna have to do something about that I'm gonna do and watch this and make sure. Yeah, because I was wondering why we were It was looking the way it waas even this guy. I want to see what it's like if I put it behind a rotor. Hetero. Okay. No, we have it. Sorry about that. Didn't realize I had that. Rollo. All right, so I want to add this camera move, and I think the best way to go about and do this is to pre complice impressed community. See pre comp it then. So I had to make sure it worked. Then I'm gonna grab all of this. It attaches to the null. We're gonna watch it. Yeah, So you can see how it's working. Um, one more thing. I wanted Teoh, but this is out of this a little bit. It's here, but, uh um it's really want this to be a little bit more apparent. Are okay now that slope him sweeter. Other position here through the end and just shift. Drag it circles with this. Then again, a quick way to select all is to across the position. You see, everything's blue press f nine and we get our Sly Kim even closer so we can see. Okay, so next thing we're gonna do is we're gonna go ahead and we're gonna add an adjustment layer. So the fact their new adjustment layer or you can create a solid because the only thing nearly difference between this and a solid this is what makes an adjustment layer. Anyways, we're gonna add a little bit of a blur going to effects presets got a camera lens blur, which shows up right here, and and you can see what it's done. It just kind of gives it this depth And what I'm gonna do is I'm gonna go ahead and grab the pencil, and I want a mask certain portion of this out. What is done with the mask was done in this added it. What we want to do is we want to subtract it. Which means since his dad and yet this is what showing up and these edges air clear, we're gonna do a subtract, so it's the opposite of it. Next thing we're gonna do is we're gonna do a feather because it has a bit of a harsh edge . Feather it out up until whatever looks good to your eye. I think a very strong father would be good. Um, and then you can kind of tweak this mask around a little bit. We get in now, I kind of see. - And as I'm watching this, I I think it looks pretty good. I just want to add one more layer of that shape right there. So what I'm gonna do is I'm gonna save it first. Then I'm gonna go ahead and I am going. Teoh, grab this one possible d to bring it all the way to the foreground. X You see subscribe The wrong Go ahead press. Are your attitude a little bit? Why, This is actually gonna put before Rhoda? I don't hear Yes . Oh, that looks pretty good. And I think this is good of you for today. Um, so it we have our depth. We have our patterns. It feels like this person's typing, and you can really feel like the tech field to it. So I think we're good to render it. Alright, Somebody file, save composition. That's a render queue. Um, I'm gonna make this Perez high quality. Yes, OK, press. OK, um, render it where you want to and, um and then ah, Richard out. 13. H12 conclusion: Okay, so this is our final render, and you can kind of see how we created what we created from this footage. In particular, we we learned a lot about rotoscoping. Ah, we've gone in depth and how to create a really tight mask and you can see how it's paying off on the left hand. It really gives this sort of some of the graphics really stand out behind it. And a part of me wishes that we we had the time to wrote a scope, the right hands, and I encourage you if you do have the time to go and wrote a scoop that out as a practice . In addition to that, we've created thes nice geometric patterns by using Shea players in in those shape Lear's. We've used the perimeter trim paths, and we use repeater to create these graphics relatively quickly. Had we done this without those two tools, we would have been doing this long way, which could have taken a really long time. Also, we credit created a faked up the field by using camera lens blur, and we did a post move by pre Coppinger Rhoda than attaching all of our layers on to annul and then creating a simple pan using two key frames. So these are the techniques that we've learned in this class, and there's some pretty key techniques. And I hope that you guys do this lesson you that you learned a lot from this lesson. But not only that, that you can take these key concepts and apply them to your successful careers. I'll be learned a lot in with close, and if you did, please recommended to a friend. And also please take the time to leave a positive review. It will be greatly appreciated. Thanks for spending your time with me, and I hope to see you in my other courses.