Blackmagic Fusion - From Novice to Expert | Eric Eisenmann | Skillshare

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Blackmagic Fusion - From Novice to Expert

teacher avatar Eric Eisenmann, Visual Effects | Motion Graphics

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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

Lessons in This Class

29 Lessons (4h 32m)
    • 1. Intro

    • 2. Text Spotlight Reveal

    • 3. Text Outline Fill

    • 4. Text Along a Path

    • 5. Follower Text Title

    • 6. Cutout Title Reveal

    • 7. Duplicate Text Title

    • 8. Text Reveal with Mask

    • 9. Course Challenge 1

    • 10. Course Challenge 1 Solution

    • 11. Red Arrow

    • 12. Duplicate Circles

    • 13. Circle Shadow

    • 14. Radial Lines Motion Graphic

    • 15. Text Callout

    • 16. Sliced Logo

    • 17. TV Rating

    • 18. Course Challenge 2

    • 19. Course Challenge 2 Solution

    • 20. Tracking Sign Replacement

    • 21. Timeline and Splines

    • 22. Particles Part 1

    • 23. Motion Graphics Track

    • 24. Chroma Key 2

    • 25. Blur License Plate

    • 26. Light Leaks

    • 27. Banana Bob Lesson

    • 28. Course Challenge 3

    • 29. Course Challenge 3 Solution

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About This Class

Do you want to learn motion graphics, visual effects, and compositing but felt held back by the cost of software like After Effects? If you answered yes, than I have great news for you.

There is a very powerful application that is used in both the TV and movie industry called Blackmagic Design Fusion. It is made by the same company that makes Davinci Resolve. It has pretty much all of the capabilities of AE but the good news is you can get it for FREE. They have two versions available, one for free download and another studio version which costs $299. The great thing is that most of its best features are available in the free version. Both versions were recently updated and even the paid version is now 1/3 the price is was available for previously.

This course presents some of the basics of the application, but is mainly focused on teaching more intermediate to advanced elements of both Blackmagic Fusion 9 and VFX in general. We will create real world examples that represent what is actually practiced in video production.

Some of what is covered in the course:

  • Creating new compositions(Projects) in Fusion 9
  • Add visual interest to your videos with Motion Graphics
  • Tracking objects and adding text and other elements that follow them
  • Keying(Green Screen Removal)
  • Stunning Titles and lower thirds
  • Learn to create your own video transitions including the popular Light Leaks technique
  • Learn how to blur out a persons face or a license plate in a video

Meet Your Teacher

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Eric Eisenmann

Visual Effects | Motion Graphics


Hello, I'm Eric.

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1. Intro: Welcome to Black Magic fusion. Novice toe expert Black Magic Fusion is a powerful motion graphics, animation and digital compositing application. As while DuSable TV and film in the Streets. There's similar to Adobe after effects. It's extremely capable of its best features is the fact that is totally free everything you need to create the stunning visuals talk. This course is available in the free version of Fusion nine. Let me show you both of power and also the ease. Korean dynamic motion graphics calling kinetic shapes and custom transitions throughout this course will penetrate both fruit projects, also going in depth into the tools available, allowing you to create compelling titles and a range of dynamic typography. We'll learn the ins and outs of generating awesome visual effects, including tracking objects and green screen effects. You will learn techniques to combine the assets you create infusion along with real footage using digital compositing. Along the way, I'll be crying tips and shortcuts to speed up the flow of your work and allow you to concentrate more on your creativity. There is basically no risk with the 30 day, 100% money back guarantee. So enroll now and transform the way you make the views expressed yourself 2. Text Spotlight Reveal: in this lesson will be going over eight other title composition. It's very common. It's a lot of people who use fusion for doing titles for movies. TV shows you two videos. So it's something that you really get comfortable with and kind of have different techniques for doing different kind of looks. So in this one, there actually could be doing to serve a spotlight, reveal of the text that goes from left to right. Next car guys fade to it. So it's not a real harsh line anywhere. So we'll start off by creating new comp, and then we'll need a background in a text plus something we use quite quite a lot of. We're doing titles. Put the merge in the second viewer texting first, fewer the multi fit because you common theme of a lot of these things you do over and over again. You kind of just get used to it. That's how you set up your composition. Uh, permit. Any time you start anyone, we're gonna add the text skillet up. When I saw his here over the shading and to duplicate the sample over here, pick a nice orange color darker orange. We go Basically the effect again. Like some while the other cops Are you using a mass thrown up using rectangle or circle Primi one Reggie, our own mass the So we get some angles and it won't just be straight lines up and down or perfect circle. Come over here to the Polly lime. Ask you click on that. Now, at the poly lie mask and polygon, you enjoy your own sheep. So what we're gonna do is your straw kind of a polygon here with a smaller and top larger on the bottom. Click there, Look here. Then go a little wider on the bottom water and does it point up and come over here? And if you hit this button here is kind of looks like a circle you have on top of it that basically closes the poly line and lots of sea air mask and works just like a rectangle master served from. Ask that when the mask is over, it reveals the layer that you have the mask on, or the node, which is the text one here. But from moved off the side, he hides it so we'll move. This idea centered here a little bit and we'll move it up. So it's a little more even there with these animal. But or so it's more of a or slammed line, and also we're gonna soften the edge. And it's also quite a bit to party, like about point on three or so, so that when it does, feed in out will be gradual will be a hard line, so we'll just have to be quick. The three seconds such a 90 frames. It's a complex, too, that we will were to decide talkto in Texas we hidden and we're going to animate the center . Click on that economy and we'll go to Best's 90 free or laps to go to the end, and you will move this cross all the way across to the other side. You know, if you go back and play, the animation feeds in, fades out and I click anywhere empty spot in the flow. Get rid of any of the outlines of safety of a polygon selected here. If you have it selected, you'll see it. If you don't put it in place. They just see the cop, and thats much all there is to it to make a reveal here. Count like a spotlight, reveal mostly techniques or appreciate forward. A lot of it is sort of repetitive. You kind of do the same things. You just make slight adjustments to get to you. Look that you want for against the titles or for whatever Moshe graphics will be doing. So just practice and keep on coming up with variations and kind of play around with it. And I'll give you some ideas and some of techniques. But you could take what I show you. Take what you learn the lessons and then do your own thing with it and come up with the really great visuals on your own. So I think of this lesson, and I'm looking forward to seeing you in the next lesson. 3. Text Outline Fill: so in this lesson, were continuing in the title section. So we creating a title with text plus tool we'll be creating is this outline of red text being filled in by White. So cook here, play that through. So it gets Tilden seats filled in for a while and then goes back two years to play out line from left, right, we'll start off by creating a composition. 1st 1 do without a background and new text class neighborhood. So well, background text plus rearranges will be here. And we just want background to be transparent so we could see the footage now. Maybe time also to load the flu age. So through a folder where we have the footage we need left click and drag it into the flow in general inside here until we need it. Now we'll move the up on the merge into the second viewer, and the text is the first. You were, well, titans and text. Do you want to make sure in each fewer we click on fit here so we can see the entire composition. It will resize. It may be a little bit larger, then we'll go to the shading tab and there's much different presets and create your own presets. But what The first text nude First Texas gonna be this way. So keep that enabled and create what? Actually, copy this text troll, See and left looking to flow, paste it. We'll click and drag from the up of the text in t up into the merge create a new merge that into your to and with this new text we'll change it well in shading I'll change it from white solid Phil to read outline that adds the outline and then basically want to have it again. It's gonna be just the outline text, and then the whites gonna come on, fill it in, gonna wait for a few seconds and go off to the right and the way to go away. And I'll just be that right outline again. So we're gonna accomplish that by putting. They were tangled mask on the original text, the background white text. So let's click on the add a rectangle mass put in here as the rectangle, and we move it off. The left text that the mask is working on, which is a white background, was taken away and then you reveal it by moving the mask. We're gonna keep hearing that. So we're at zero. Here. We'll go to the center, right click on it, click and me and we'll set the length of our compared of 1 1500 frames just five seconds. Some will move forward to 60 frames. Cash will start 30 seconds, three frames and then we'll move it to the middle so that the white text is revealed and leave it on for about two seconds, which is about 60 frames will come into frame 90 and then we'll right click on center. We would add a key. So Seki and so that keeps it centred from 3 to 90 and we will move forward to 1 20 and we want to move the take the mask off so that the light is hitting again. Now if we go back beginning and play through Texas, revealed states or for a second and then goes off. So that's the basic of the animations. Now we just want to add in our footage. So he attracted over here and read the same thing. Left click drag. Yup. With emerge pretty new. Merge. Put that on viewer to here now if you don't see the text. I basically wanted to make sure that merged three is selected and Hit Control T and that titles, which is which note is the foreground, which is the background. You can also right click on it and click on swap inputs, and they'll accomplish the same thing. Staff to go back to the beginning and play through ways filled in. She's filled in for a couple seconds and in the what was taken away you left was just the right outline yet defending this lesson and I look forward to see you in the next lesson. 4. Text Along a Path: in this lesson will be headings motion to text, having text follow the path that we create Example over here. So the word fusions coming up going up over like a hill is pausing at a cop and then going along this hard. And we do that by creating a path within a text nude. They were able to animate that settle started a composition. So we're gonna background in the text plus node. It will just keep background black. No text in the first few were immersion a second fewer Come back the text and we'll choose what tax me one over Eat my jewels Fusion here. Actually both were set to fit. And now for the dude in the text along a path, it's actually in the second tab here the text plus node are tools. There's a button called path. You click on that and if you go over top of your viewer here, you see that you have a cross hairs and X so that allows you to draw the path that you want So you could start off by killing off the outside the compositional left side here and make a point and anyone coming towards the top, make another point and finally come off the edge and make a point. Right now, it's very extreme, cause it's very strong angle. But basic over here and click on this button here that shows that you're done with the path . And if you click this button for selecting in modifying, manipulating a path, you could think up here, click this button here, which will smooths it. We want to make sure you click all slept all points. First story here sucked all points and clicks, moves that rounds it off and basically within that same tab layout tab on the bottom Here. Once you choose path, you have a position on path slider here, as you was that left or right that will move your text along the path. So you want to do is we want to set its length or calm so we'll make it about a second and 1/2 about 45 frames. Make sure our frame zero. Then we will move the word the text off to the side, right click on the visits from Path and Click Ami, and will come towards the end and then we'll have the text go away through Go on field side . Now if we play it through, they're recover animation. But now this is set just linear. So it's going to seem to be the entire time we wanted to kind of pause at the top. And I also have a deal with slower at the beginning and end so we could do that by going into the explain editor. So make sure text tool selected coming to this flying editor and we'll choose. We want to position on path. We're not ringing manipulated path right now, and we'll make sure that we have it set. So you see everything. So for certain you would do is make sure click in the background control weight, just like to two points after flatten and then to slow down the end beginning. Just draw trying out these handles. Check him out of here to flatten battle bit more. We'll do the same with the bottom born here, so it'll slow down a little bit towards getting an end. Now if I play through, take a little slow and speeds up and think it was slow again now to get it to pause in the middle. Basically if you going around on the line, which was shown in people's lesson, you could choose a point and click on that makes a new point. When you want to do is flatten out. This middle part will come up here and then dragged us off to the left. Now slow it down the middle and try together right point here and drag it out and we will have our play head around the center, which is around 22 or 23 and then went this point to be so that will be directly in the centre at that point. Now, if we play through the animation, he comes up, slows down top and then goes off. She could actually read the text. You come back to the flow because of getting and play it. You can also make this full screen by putting our mouths over the viewer. Two. Hitting the F four key that makes it full screens we get there. Look at it. So I'm looking pretty good. And also, if you want, you could add motion blur by coming to this tab over here, clicking on it, we click the motion Blur Cab says it please through when the Texas emotional actually blurred a little more realistic because most things when you film them and have them in a video and they're moving will be blurred Now we can also manipulate these points if you want change it afterwards. But if you basically right now, if you are making changes with the path if its own anything are zero, you'll actually animate the path caused by default. Fusion has thea me sheep animation on any changes you make to the path you made will be animated. So if you go halfway through and then change, why these points? When you go back to beginning, it will be down at the bottom here and then would move up and be animated as you go along. So what you can do is go back to the start and then changed your start pointing Here. Now take it, move it up and take this Point it up a little bit. Now if we play to the animation starts a top goes halfway through and then goes down, you could go through when add more point, sir. Manipulated any way you want to get the look you're looking for But that's the basics of doing on a main text longer path. So hopefully found this lesson useful, and I look forward to seeing you in the next lesson. 5. Follower Text Title: So in this lesson of the title section of the course, go be going showing a title which basically the text will come in from what seem to be behind the camera and come into view here. I should example of it. This is what will be creating. It comes into view from the right and behind the camera. Then each letter comes in by itself and the whole thing fades out. We could see that kind of coming one at a time, and each one's following the other. So we're gonna be using, uh, text nude gonna do another mask, which again I said was common. We use that a lot of the compositions we do could be introducing faster. Always explain what that is, and then we'll at me at all. So get started here. We're starting a composition. First thing we do is that text plus node Anyone makes you click out of it. So it's not selected then, right next to the text. Plus is Thea fan, which is faster ways. Now if I just put that in window one basically kind looks like cloud there and you change. There is promise here. That's what you could do. You could put textures on different objects in different, like we're gonna add text kind of texture to the text. So a change in detail it can change the darker. Why today's that's That's what the contrast of is only make more names dark or predict apartness up will make more of it light. We'll see if he changes scale, go more from a cloud looking or two of a texture, more fine detail. So keep want that you could also have it through. He's too proud to receive and see. The rate could change its that it's actually animated and will change over time. And you see right here. So then, as it goes through the animation, you can see it kind of changes and kind of oils. The nice effect. So basically, we're going to pipe the up of the text, so we'll click on the tax type. Some text in here. We'll put that into the second window way more up the size of it, and then we're going to take the output, the text and right into the fasten ways, which then cuts out the text, and you only see the fast always where the text is so put that in the second row put the text in the first The fact of the second. So this is what we're gonna be at a meeting. So we're gonna add a masked the text. So click on the text. I'm ask anyone size it. So that's a little wider than text and fits in the middle there. And give a soft edge that when it comes through, the text come from behind. A camera comes in, you know, kind of defeated before comes into the center. So what we're gonna do to get that effect? Where the Texas coming in one letter at a time. And coming toward the center, the modifier you could do for text You have all the different parameters you have. You can see here under tools 100 tabs within your different tools, different nodes. But you also have certain modifiers there, available two different tools and usually gets them by right. Clicking on a parameter so little to the style text here, right Click on it. We're gonna go to follower, look like I'm found Where then his turn that blue and you'll see that the modifiers tap. Now this looks like it's activated. So you click on that and then click on Follower. You have seen new tabs that pertain to the text. Happy. So what a follower does is it allows you to create animations. Where with the text. Basically one letter will follow another in the animation so far as to make the F scale it up in size and it would scale first. And then they'll be followed by the U in the S and the rest of letters within. In turn, after a certain play would follow along with the F. You'll kind of see what I mean when I actually get along to Amin this But you want to send a delay, which is the time between each character that the animation is acting upon it. So we're gonna set this up to you, say, six frames and then we go to the shading and very bottom of the shading. There's a transform section allows you to change angle and size. And what we're gonna be doing is changing the offset and the offset Z offset is left right up and down for X and y know, Set Z is actually further away from the camera or from you, Joel Cumming, Look smaller. And also then bring it back toward the camera and behind the camera. So basically right, click on each one of these, ramming it and change these parameters before, um, have them set up to be animated. You will actually see any kind of difference in the screen here, and you're in the modifier for the follower. You wanna make sure that if you want to see the effect that you're gonna be making sure its enemy to first and then you can change it and see what kind of effect that has so but a fault, we're gonna have it start off to the side and back behind the camera. So we're changing. Offset 1.5 that's off to the right. And they were changing offset Z to negative four. That puts it back behind the camera. They were come forward to about 60 frames. And when I said the offset, see, 20 you just hits the white dot here now said choose default value. Now you'll see that actually didn't go to zero. But that's because of that delay and is delayed by about six frames. So once all the letters have been affected, then this will go a zero, and we'll also change your offset to zero. And again Right now, it's not gonna be zero, but that's cause it's still has a delay. So physical, back getting of the animation timeline it play, she text comes in and you also see because of the mask that's coming in kind of has that feed look around the edges. So we're gonna have a go along and finish up. Did I mention And after it's been centered for a little bit? That's when we'll meet the mask to cook a Mac back on tools. They were gonna animate the height. So we're gonna high academy, then go to the end of the composition and take the height zero. Now we go to the king of the cop and play through text comes in from behind camera, see there for a second, and then fate out from top to bottom. Now the original. I also had some color that's basically in the fast, please. So I'll do that here. You also had a background so fast in where you should go to the color changing color. You know, kind of the same thing will make it sort of a yellow. I could see that the faster it is actually colored, and then we could have a background. So just click anywhere on the slow, their hit background and then left, click and drag that will create emerge. Put that on viewer to switch inputs so that the Texas in front of the background and we go back to the getting and we'll play through. So let's basically how you can use some other notes to kind of give some or interest to your titles into the work you do with text by using fast noise, a kind of subtle texture to the Texas. So just haven't be a flat color. And then, by using the follower, were able to do some interesting animations. They played it. Was it different parameters couples of fast in ways and a follower and getting get very interesting results. Just go through play with these different settings and see how they affect what you're doing. So that is the end of this lesson, and I'm looking forward to seeing you in the next lesson. 6. Cutout Title Reveal: okay. And this lesson will be creating a title which is basically text cut out of this black background which reveals a video behind it. Footage and demonstration over here obviously get cut out of the text, wiping from left to right and shows thieve video, whatever food you want behind it. So we'll be creating that will start a new composition. And first you don't want a background and the taxable choose a background here. Then we'll have the text plus tool here, and we will keep the background, the default black. And you also want a text to be white tightens and text here. And if you do this in the merge and probably text a little bigger so that it takes it more of a screen reveals more than you behind it. So obviously, by using a, uh, changing the apply mode, the next step will be able to see through the white and leave the black. So we're gonna do is at in the footage now taking some footings you want use the same footage here. Well connected footage up to the merge green emerge. Here we go and we'll view that in to do the original one in Turn One, and we're gonna stop the outputs here and basically the Kita released E. Seeing the video behind is We want to change the apply mode of the second merge from normal to multiply. Then I'll see the footage behind it when we come back here and tweet detects, make that still a little bit bigger. Thing else once said this to fit on both. So you want me quite a bit bigger here. It looks about right, and we can kind of. It's a delightfully composition, years old. Oh, say five seconds. They'll be about 100 50 frames. Change at 1 50 and kind of play through here just to get the suit now consists of the video from behind the text there cut out. Now we want to add the wipe on of the text that it's just black background. Begin with you solely, the text revealed. Its where basically do that with a a mask. So we'll do that in first merge because that's where the text is buying in the background. So then we'll go over here where two rectangle mask and change side up size up here a little bit I'm gonna make it big enough that you could see the entire word, all the text. You can zoom out here a little bit and we're gonna basically me too. Movement the center of the rectangle. We'll come over here, make sure we're on the first frame, right click on center gammy, and we'll move the center. All the off screen, so not text is revealed, and we'll have it come through a reveal it and then see on for a little bit of time here so we'll have it go take two seconds. Come on and then we'll move it. Mask the centers. We could see the text, and the video will just play on the background for the remainder of it when we come back to the beginning and give you it. So they're tux, Texas coming in. There it is. Salt. Full speed, 30 frames per second. Playing through that, you could keep it. You have the mass with the hard edge, Regan. Also, if you want to solve fun and a little bit so it's not such a harsh edge there. You go back to the beginning and play through, and it's a little softer. Reveal It's not like it's not obvious that it's a straight line, their hard line. So that's kind of personal preference. Hiding would look. But that's the basics of how to do this effect. So this kind of title to reveal the view in the background from any change, of course, the color of the background. Here's whatever you want. You just don't if you if you make it white. If I wait here, made it white the background and that's all you see was the video behind. So it has to be a darker color. Black is the best. So if I changed to say Dark blue kind of see through it, you know, that's a kind of a nice look. We're gonna actually go back. Here's what that would look like so you can kind of see it and then the text comes along. So again you could play around different settings to get the look you want. But that's the end of this lesson, and I look forward to seeing you in the next lesson. 7. Duplicate Text Title: okay. And this lesson on titles could be retreating. This title sequence here worthy text comes in for the top is actually multiple copies that come on down in the one. Then there's a little rotation, and again you can see that there's multiple copies rotating here and the no, basically, uh, zoom in at a frame on the graphic sort of be using text mode Text last night would like usual. We're giving adding any duplicate node, and so you have that works and give you an example of it. So start off by starting in composition, having a text plus node and typing some text. You put that in the first you were priests are just a little bit. And then we're gonna add the duplicate node already hold hit shifting in space. That brings up the known search tool search and typing duplicate. You want the regular duplicate not to do get three doing, uh, sort of similar functions, but ones for just two dimensional graphics and text. You know, the one is for the three days were to do normal one click. OK, if you look over here into our here two men, you, you have copies and time offset gonna just center pivot size angle, a lot of different parameters you can with normal mood. But this fool. So if we set this like the example gonna send the three, so I will create. So there will be three copies of the tax? No, here. And if you just animate or changing these settings without doing anything with the original node, you really won't see much of anything happen. So what, you first want to dio we're gonna be basically having its position change. So we're gonna have wanna have it center animated. They were also didn't do that little wiggle in the middle. So I'll be angle So a lot of meat that it was come out here and said the length of our compositions or instead, to five seconds, 150 frames. Okay, so we have our text there, So we're gonna also worker first of the enemy. The main note here that's being duplicated. Let's go to lay out, we're gonna want to animate the center in the center z. The center will be the up and down the centers. He will be the one where assumes and towards the camera and goes out of frame. So we'll click on center economy. Right click on right click on centres e click at me. So I started zero. So I want the text to be out of frame. We'll pull up on that and take it out of frame. And then in 60 seconds, actually 45 seconds or 45 frames, they will have it come down to center. It also going now and to duplicate it makes you do the same thing he's going to do. This is to come into the text. Copy the wife. Why coordinate here? Chelsea Then go into duplicate and do the same thing. Highlight the Y 12 e. I think going forward to the 45 go to where the motion graphic is. So it's a 0.5. We're going to be OK. Don't click on why 10.5. She was just play five to enter. It's not me. Both line up. Play the animation and quit Duke it in the second window. Second viewer, it's it and it will play. You'll see that the text new has been duplicated and we get three copies of it and they all come down and join in the one. Okay, so then this point is when we want Teoh, have it stay in the center for a second, and then it's gonna do that wiggle. We'll right, Click on angle and click, Set key and more forward. About 15 frames. They will change the angle first to beg in 15 years. Go forward about a full second. So that 105 and change that positive 15. Now, playing through the animation comes down from top, does its little chic and we're gonna want it to Theo back to center. So have come down the cheek and they don't want to have it to him towards the camera and go out of frame. This will go on laughter 1 20 There were 1 25 and then now will go to the text and will change Center city. We were set key to keep it there. Then we go to the end and go negative until it goes out of frame. Well played by the entire animation comes in, goes right, was left and then zooms in and goes out of frame. So that was at a background to it emerged. Make sure that the text is in the foreground on playing animation and which Rex comes down to his right, left and then resume an ANC was out, Frank. So that's how you used the duplicate node again. You want to make sure that you're gonna be animating both the original node and then the duplicate node so that the copies will follow and do what the original one is doing. But this allow you to very quickly create multiple copies of whatever. No, Do you do this with most graphics text pretty much any of the nodes, and you could again quickly duplicate, so you don't have to create multiple copies and go through each one of them and change the parameters you just do it wants, create, duplicate and then have it change and create the copies that followed the original one. So that's it for this lesson and look forward to seeing in the next lesson 8. Text Reveal with Mask: okay. And this lesson will go over the compositing effect where text comes up from behind a mountain range and musically Yeo or behind, like a style light of a city on this example be come out from behind this video of the road houses on a lagoon. And I'm sure it looks like here you see, the text looks like it's behind me, the houses, and then it comes up. I kind of stepped through it here. You could see that it's it looks like it's behind and cut off for the houses. Along here, as I stepped through, comes into view over above him. And when she basically technique used to accomplish that is masking and war. The police of the called rotoscoping, which is basically going frame by frame and doing a mask around anything you want to your hide or reveal. In this case, we're hiding the text below the the houses. So everything, anything below the mask. So even in this example, here I have the mask in the viewer one. So anything in the black text won't show up, and then anything in the white All right, well, so you basically just do that by using the Pilon mass tool and drawing on your mask Free my frame. Well, so surely technique, which leads it up a little bit, so it doesn't take quite long. So if you have, say it's example and I do the new example to be about 59 frames long or 60 frames long that you will have to go to every single frame you go, maybe five frames at a time, a just a mask and then the massively animated by a falling mask. You make his enemy throughout composition, so we'll get started here. So you bring in your footage that you wanna have a background. I already have it in this one's a little copy from here and then created a composition and paste it in here. And then we want to do the poly line mask over here. Look. All married. Well, this is the first you were. Now you want to to be able to see what you're doing our best to invert the mask over here to the tools looking bird. Now you could see what you're gonna be masking out. Make sure you're on frame zero, and you could actually hover your mouse over top of first. You were F four now maximizing so you could kind of see everything and little easier to roast up this way cause you're more zoomed in. You basically go from one side to the other and mask out Joe Line, kind of separating from where you want the text to be hidden where you want to be revealed . So it has come along here. Now it's gonna be coming come from the middle. So that's right part. Does it really matter? Is much closer than this footage since is going pending from right to left. So all this is gonna be moving this way. So the taxi club kind of behind this house and then move over, but will still start. See around this top of his house here Could go on a flag for now, and you just left click. And that's the first point. And just putting points. Wherever you see a change, we're gonna be D marking a certain area. So in a roof hero, click again. Come into the tree line. You can come over this whole come down here and you can follow the contour. Now, if you have a lot of curved lines. It also come in, and after you put a point, you can adjust the spine after it's all done and get the curves. This is mostly straight lines, so it's a little easier this way. We're just going, clicking and go. He's not exactly where you want to be, where we could clean up later adjusted points kind of still in quick and dirty now. And this is one of the most tedious parts of the effects of scoping. It's a very good skill to have to come pretty proficient at it because a lot of the FX houses have a need for a lot of people. They're gonna rotoscoping. You might have a team of 8 10 people working on one big feature film, so he figure a lot differently. Effects houses, a lot of movies being made. So it's a pretty in demand. Skill is usually the lower people. They're kind of test with it again with but again, if you come fishing at it, I can definitely get jobs based off of it. Now what you wanna do towards the end? You come on a zoom out a little bit cause you're gonna take the mask beyond your footage. And then you could just come out here and do a few points here. Just kind of finish it off, I think. Just hit this. Close the pylon button over here. Now finish it off. That shows you. Now what? This is the places where the Texaco be hidden and spread it. It'll be revealed now, the basically you wanna go frame by frame and finishes off. You basically just keep on as a foot is moving. You have to adjust your a mask to fit. But something that fusion has that story helpful that is, over here. Over here, this bottom button left sides called Rodeo assist. So it's an assistant for the rotor scoping. If you click down here, you get a little contextual menu. You have different options here. I give roto assist, multiple points. You could change the distance, but I would just leave that unchecked and just leave the distance at eight. And then just make sure that it's enabled to come over here and actually click on the icon itself. And then you'll be able to see your footage. And then now the road resist is enabled. So that does as you're going along. So we'll move forward a few frames and see that the mask has moved. So here it's not on the edge of the house here. That's lose along here. My one of really nice things with the Red Assist is it could tell, at least to some extent the difference. In contrast between, say, this hard edge detectives edges. When you go to move a point, it'll have the real precise and all kind of snap it to it. So instead of you had to go in there and get exactly right, it kind of knows where the edges are. It'll snap the points come along and that speed it up to you. You don't have to be precise. It could be a little quicker about it, and it kind of the points in the vicinity of where you want him and the rodeo assists what kind of snapped him in the place? But just come and look around anyplace where you see that the points need to be adjusted. You bring him in. It's like it points adjusted. So what you get kind of looking we want got everything fitting where it's supposed to be forward. A couple more frames, you see that was framed. Six. To come forward. A few more frames. They usually don't want to do too many unless, especially if you have a lot of movement, usually anywhere between, Well, 15 frames do about five frames in this instance by nothing to do with the kind of shortcut . If your background the overall shape is really changing is just kind of panning from side to side, like in the shot over here and use the button that she just select all points. Click on that and they can move the entire mask It once especially with the rodeo, insists enabled When you move it, you know, kind of stop where you want it to be. You kind of see all these points kind of moved Teoh to the edges where they were, and he might still need to just a little bit. Here he's right to the edge, but again, the roadways sisters a pretty good job of, especially when you have a nice contrast difference between on the edge between where you want the texture be revealed and where you want to be masked. Eso didn't just go a couple more frames forward again and make sure all the points are still selected and double check. Click over here, make sure they're all selected and it's crap on the points and move it over and I'll stop into spot place. It's kind of one of come here and again, just looking areas, but it's like this is coming pretty good. Now, we're just gonna come out of this for a second, and we're gonna change the length composition to just 59. Work to change. The 59 will be 60 frames here with you, 59 and go back up and finish alerts, hoping here it's a little jump ahead. A few more frames here. Make sure that is not a huge gap. Something like this is probably about as much as you want to have a change again. And that's if the general shape of what your mass is gonna be is gonna be the same ah times that there's gonna be fairly big changes that you have to make you have to if you have to be a little more precise than you, but I only want to go maybe two or three frames and then adjust. But then again, the Roto assistance and help after seeing now, this left side of the mask here is kind of getting close to the edge of the footage. So what you could do with a drop box draw here and select these last two points and then just kind of move them out so that they're gonna see outside of the frame of your footage and come back up here again, sucked all points and then move them all over again, getting you can see if you look right there. The snap There was a little bit off Lewis left and a stack right to the edge. Do you travel? Call. We long for your mass. It could be. And then you could just a little bit if you need to do this one more time here. So go forward more times here were frames and make sure that everything all the points still selected and grab one and warm all over and again. The road assist stops him in place. So I will finish this and go through the rest of the frames. Basically, just want to what I'm doing here, and I'll skip ahead to the point. Where are you? Do the text. So I will be back in a second when I'm done with that and we're going to the next part and finish the room scoping here. So we'll down actually the key frames here. All the different places where I just is a mask. 10 here. Some ask still Sit to the houses here back, Gettings. Now we'll add in the text so we want It's like text plus tool Texans and text. We're gonna merge that with our footage I got here. Emerge. You know what this merge? The second view were her text for an hour. First you were You kind of just decided it. Desecrating to get a little color here shows up a little better. Go. That makes it The key is way to make this not show up. Below. The mask is to put on the mask into the text into its ah, mask input. So they do. Here is a free. We wanna click on the road to assist again to turn that off to see now that that part of the footage is actually cut off here. What? We could see the text because we don't really want this polygon. This mask into the footage we went into the text is all you have to do with Hook it. Welcome back into the text here, but we want to be able to see kind of where we want the texts to go where we're ramming it for right now. Keep it like this. They want to text to start its animation down here will come over to the text, come out to its center Here are eclectically gatame and we wanted to take now about 40 frames to come up into view and then we'll seek over Maybe we'll me 30 frames halfway for it's about 30 frames about halfway through and then we'll move it up and of you. So if we go back the gang and play it, it's coming up as the footage and moving along. And what we want to do is we want to take DD mask from the footage on hook it and looking into masking. Put the text now. You were in the texts below here. You can't see it. If you play it through in, the text will come up and it will show up in the part. We didn't mask what little there is to getting that effect. And again, the most important parts of the rotoscoping part of it did as precise as possible loss of the most tedious part such if you have, if you had, like 10 seconds of footage, you had to do this without me 300 frames and even with the rodeo assist and going along 3 to 5 frames at a time, that's still a lot of, ah, manipulating of the mask. But there's just something that's good practice and get good at. And then it will become easier, easier as you need to use except something that's used a lot in the visual effects industry . So hopefully found this lesson useful and look forward to seeing you in the next lesson. 9. Course Challenge 1: right several times throughout this course and will be presenting what I'm calling a course challenge, which is basically a test to see if you've are able to apply what we've learned so far in the course, it will basically be based on what you've represented up into the point that's presented to you. So here's the first example. Just go over sort of things you've already learned and see if you create recreate. But I have here some of you to show you an example of it. It was basically a title. Thanks. See text on there and the text coming in. It has different colors, disinviting and a short little clip shortly composition 12 40 frames long. But the challenge I give you is to recreate this as close as possible. And then in the next video, I will show you my solution to it and kind of go go over the parts of it and how I created it and see how close you got to. It may be what you might have came up with a different way of cream. The same thing and I did, which would be good shows that you're basically able to apply what you've learned on your own. So good luck on quickness. It's a good luck. I'm cleaning this course challenge and extra you. I will give you my solution. 10. Course Challenge 1 Solution: Okay, This is the completed no tree of the first Court Challenge, which I'll play through here. Actually, they had to cut out the text kind, the outline, and then the center fills in, comes in from behind the camera, and you can see, like, oversight aside. And then the letters all shrink down towards their centers, play through here. So this is basically set up, are used, start off with a text node and techniques and text, and then right clicked on that text and I had a follower pushing. That's a modifier here. So within the first half of timing Tab, I change the timing, Teoh a delay of 12 frames. Basically, it affects all the characters. And I had set the random one by one. So that wouldn't just see come on from the left to go to right or right left, but that it's coming in from while in a random order Jixi here that the letters air coming in behind the camera, coming in randomly to the all come into their position. The center here you conceive depleted word and basically, to create that effect under sheeting. I was going to transform parameters here, makes a change offset, See. So I have to start off with negative four, which again brings others letters behind. Basically your view the camera. And then they go down to zero. So I create key frames within the follower to have them come in and come into zero, then takes nor toll frames complete. That's what the completed look is. And to get this outline went back into the tools tab, it came up to the shading under here, not modifiers on her tools and are the second time here in sheeting I am able to read outline. So if you actually look at the text over here, this is the red outline and then risk using that as a a mask for another background. So that's why it's a different color. But that's how I created the outline here and obviously kind of out of focus. Begin with blurry and then comes into focus and that had to come down here, have the softness, parameters, office accidents office. Why? So I keep framed those by right clicking on them and enabling the key, and then same keys still had a kind of blurry to begin with and comes into focus before the other letters come in now for the background basically used a linear ingredient. They went from blue to kind of lavender. Here they also key frame that so I would kind of get this look, of course off, like a light going from side to side that you could see here. That's your space of the changing. The decision points here, the greedy in two of the blue and then the lavender, so that the points how much of the images Grady or the ingredient is blue or violet changes with the key frames. When were the background looks like without the text, like disconnected text here. And that's what the greedy it looks like, so that as it it was through, you see it's changing, but that chose through with the text. So I'm connecting that text to the effect master the background. I'm also FEMA into then into a glow and then did a master on that, and that kind gives us again. This adds to that look of a light going from side to side, panning from left, right and back along the word. Do all that and put it into emerge with another background, just a black background that's to see here can feed into the merge. And in the final thing I did to get the letters to all shrink down. Let's go back to the text, go back, follower and for under transform modifiers on the character size X, I just took it from a size of 0.93 and then key framed it and at the very end here had to go down to zero. So all the letters, one by one, randomly, with down to within zero and has appeared final flourish, I added, was to add a lips mask to the text and get a soft edge so that when the Texas coming in can see it's faded and get a nice look as it's coming in to view but on the edges. And that's a nice touch, kind of finished look to it. So that's the basics of how I create this the course challenge again. If you want about in a different way, it got the same result. That's fine. It's good to have different ways to figure out how to do certain effects and have your own way if you need to. But that's it for this course challenge, and I will see you in the next lesson 11. Red Arrow: okay. And this lesson will be starting the motion graphic section of this course. I'm going to start out with just a simple animated red arrow pointing to say something in everything you have and you wanna draw attention to it, create arrow that goes and moves and points to it. So what you hear? So it's transparent background, whatever was going through and you could change the speed and duration of it fit what you need. That's just a basic demonstration with this example. We're gonna recreate this, so come to file new for new comp. Now, we're gonna need a background for the arrow and we're changes color to red. So going to pick nice red color here. Click. OK, And then, as you were using a mask, so put the background into if you were one here, click fit, and then you want to use a poly line mask here, click on there and then background will disappear until you finished drawing your shape. At which point, then you'll see the background cut out the shape of your mask. So where Start up by just doing the tried to try have a center so that when you're animating it. We have a lot more control over if you want to rotate it. If you have, the middle of the arrow in the middle of your computer of the background will be easier to rotate in to maneuver. So sort of Thebes point of their own and go over to the top part and come down a little bit . And you could always modify these points later to refine the shape or just kind of the basic shape. Now and come over here. Do the left side of the arm here, come back in, go out and finish at the point. An alternative circle when you're ready to finish the poly lines. So there's the arrow. Thank you. Come in here and refine its by left clicking on any of the points, straighten them up and refine it a little bit and get this point more a little more. The center here and I think that's good enough for now. So then, basically, what you want to dio two Enemy is what transformed the background because that's what that is. You don't want to do it to the polygon. You want to do it to the background itself. so the whole thing moves. So click on the background and come up to the top here and excess, visit the transfer, transform running that nude. And we're gonna put that into the second viewer and hits it. Now you can determine how long you'd want the animation to be on my do it for about 1/2 seconds. That's about 45 frames. Now, I don't want that. When this one I'm just gonna enemy it from left to right pointing. Do you do it at an angle anyway you want and we will be enemy in the center point for emotion. So left click go and me and then we're starting on the left side. So what? We're left here That will go through to about freeing 43 9 or so and then we'll have a rooty other side of the frame here. So if we go back to the beginning and play it air goes through the cross. Now things if you want to leader on, if you wanna re time it so that maybe it comes across quicker, so less than 40 frames, you could basically change where the key frame is now down here in the flow. You said there's different tabs. One says Console. As for air messages and other text related things to do with your comp is the timeline and the spine. The timeline allows you to readjust your keys, your key frames. So we basically animated the transform, so have that select it and come over to timeline. And this is basically the representation of timeline off your comp and you have your different nodes over here on the left, and right now we have transform. Is it when we want to be working with? So we hit the arrow here on a roll down, and this gives you the view of how it's changing over time in your timeline. And this is your key frame, which we said 39. So if we want to speed this up peacefully left, click on this, select it, hold down and then you can move. That left, which will have that key frame happened sooner. So that'll speed up. Have your animation complete quicker, or you can move to the right to have it. So you take a longer time complete. So we had 39 so if I was knocked, it down to 20 with over 20 and then go to the beginning and play it. See, that's much quicker. Now comes across very quickly. I move this back 2 39 and now it's slow again at the original peace. Now, if you have multiple nodes like here, but now these these have key frame is so we're really, really not gonna do anything with them. Let's ask he frames, Let's say you have if you have multiple noted, have key frames. If you slept multiple ones. Looks like these two here. Go back into the timeline and he had this button here. This has selected tools that way. Only show the ones you've selected. So click on that and you could see that the one that we did not select is now off the screen. So it helps cut down on clutter. And then you could also hit this one right next to it, which is basically best fit and kind of makes everything fit. If you have a longer timeline, it will make everything fit nice, and if you were to where you could work on it, I also slept multiple nodes by clicking anywhere that's not on a nude. It makes me making a selection box and then make sure includes the frames or the key frames that you want now when you move from the both move in tandem. So here I could have the started the animation, the first key. Frame up a couple frames or go back to zero at the start. So that's the timeline that gives you a lot of control after the fact on how you want to keep frames to be timed and where you want them to start and finish and has one more thing that you could change all interest issue here, which is thesis plein. Basically, the timeline and the key frames tells you when something will change, but right now it's very linear, so real change of speed a little bit, but mostly it's just starts and goes through with the exact same speed so that no acceleration is changing speed. But basically, by going to a spine, it's kind of similar looking, but this will actually allow you to change how it kind of moves or the rate of change. You could have it start off slowly and then speed up at the end or be very quick of the beginning and then slow down. So we to the transform. So you want to put check box in that and this is your spine. So we wanted to fit Gonna hit this box right here, which holds him to fit. So I put those two key frames and this is his change over time. So you see how it's a straight lines, very linear. So it means it's basically not accelerating or decelerating from, you know, the exact same speed always throughout. So I have to do. If you want to change, that is hit control in a That's Lex Ballsy points. And then, if you hit, see the F key that flattens it out. So now basically does is it's gonna go a little bit slower beginning that speeds up towards the middle and then slows down again. So I kind of demonstrate that here. Good getting. So you see, it's kind of slowed gang speeds up toward the middle and slows down again. Now you control that amount by what these little points here called handles. This allows you to manipulate the curve kind of how you need to In spine City Council lines . You're able to change the amount of curve to keep it from just linear. So if I left click on this point here, this is an actually key frame. This is a handle that allows me to flatten this out more so that to slow down at the end will be much more than the beginning. So now if I play it through slow, fast and then really slow at the end, and then you could add new key frames in between to say, If I wanted to have a little bit different, the middle here just left click. That's a new point, and that could change. Curve with the spine handles here even more to flatten it out or to increase it more. So if you want to be really fast in the middle, I can hit the fit here. Now it's going slow, so it's rampant very slowly and accelerates very quickly and go slow again. You have a plan, and I could actually see that the curve cause the way I did changed here actually went up above. So we want to bring that down so it stays within these two lines or we're gonna get some strange behavior. It will actually go backwards. Affords a little bit. But now if I play it through it slow really quick in the middle and then slows down a lot at the end. So it's the basics of the spine editor timeline. So you could I have little control over the duration speed of our animation and after you've created key frames, have little control afterwards on the timing of urination. Okay, so now we have the little animation of the arrow, so we'll show you examples how you could then add some footage in and have the arrow actually pointing to something. So she's a clip here and left, dragged at toothy flow here and comes in is a loader. Now, to match the size of this to your footage up, I don't want it like this will be This is 1920 10 80. So this could be quite large, so might want there to be much smaller. So one thing we could do is add another transformed this transformer just for the animation . They were at another transform, and this will be for this overall size so that we shook it down. Animation will only happen over a small portion of the screen. So we're gonna add has come in and merge this with the oceanographic. We just made that scream to, And then we're going to switch inputs and I'm not sure why that kind of glitch there is happening. I've seen that a few times, but if you just click on the Transform and come back to the Merge, you'll see it full size. Now if you look here. The error was quite big compared to the footage, and I have it basically come in and pointing to the stop of the speed limit sign. So that's what the second Transformers four. So just go in there and we come into the size and shrink it down. You know how to come to the end of the animation? We'll shrink it down and then we can move it over. True Talbot. More doors left side here animating this motion of this sighs change. We're just having it fit the footage we have now if I come back to the beginning of it and play it through there comes through and points to the sign they could again go in there and just the timing of it and its placement. I speak sleeve. How with infusion you could add any of your motion graphics to your footage. I just wanna make sure that the background is transparent. You can also have the stand alone motion graphics. If you wanna have a color background and they have the animations go over top of that. But this example I'm showing you how you can add it to other footage. You have interviews that you've already made that you imagine motion graphics to. So that's the end of this lesson. Hope you learned some things, and I look forward to seeing you in the next lesson. 12. Duplicate Circles: Okay. This lesson is kind of a follow up to the previous lesson which showed you how to use the duplicate duplicates node to I used to repeat the text to make multiple copies. I just want to go a little further into that and used to kind of show what it does. So I was having something pre made here. So I have a background within the lips on it, and I just produces Sozzi lips down. So they had made a blue circle and then I went into it, had a duplicate node after the background and came over to its tools menu over here. And I changed number of copies to eat at the time. Offset alone that much. Everything else alone. Expert Down here, you see angle. I change the angle of 45 degrees. If you look at it right now, doesn't look like really, like much of anything happened. But that's if I go to the lips of enemy. The center have also he going modifiers z rotation and displacement, which is what moves it from the center. So see here as I move forward here as it's displaced from its centre point, you could now see the duplicates. And so I mean e copied in each 45 degrees apart. That told up to 360 degrees. So they're all going off the different parts in complete, complete circle. And I also added a rotation. That's what it's the rotations for which the rotation is. All of them are going around. If you look here, never came around a center point, and then I'm having displacement go back in and come on animal into one. But that's kind of where I didn't really need to do much. But the duplicate node it basically just made it multiple copies you can change for changes size that will basically modify it so that each successive one gets larger. So that changed kind of shape of the circle here. Well, certainly here and get back to zero, and I could change angle. So for change this to 20.5, they're all just on one side is being evenly spread out. It also change the time offset, which creates more of a swirl than that. Even circle change number copies down to say, four and again, that's only half a size 45 degrees now since four times 93 60 farms make this 19 hearings that may be four different corners. He's a complete circle, but mostly animation years being done through the actual I know that you're duplicating became a circle and by changing the angle number of the displacement and its angle and then by displacing, are changing its position. The in this case to circle, to use position from the center. Then take so the duplicates and moves them out. And you can actually see different duplicates to use this to have something saying the left and the right and then create animation that then, just by ramming one circle ableto have multiple copies of it performed that action that would give a quick example well, further into what the duplicate does. And it just kind of playing around with all these different settings again. You have all the tools here. You know something. Our tab here for Geter, which then we'll add a little bit of roundness in. So if we dicked, excise and change it here to see that now they're not all exactly even. And as I increase Atmore that increased more so if I so damaging to getting and go. You see how that changes, and you can change the angle here in the blend and change the seed and kind of playing with elite different trolls Under duplicate, you can also go into the lips and change. He's going to modify or change knees and see how they affect Thea. Duplicated nodes and duplicated sheeps here should get some really interesting effects, so he has tend to play around with it and spend a little time and just try different things . Try different shapes, try different nose and kind of get a feel for it, and you'll probably find a lot of uses for it. But I just want to give you a quick follow up to the in duplicate text in the title Medial better feel for the controls of the duplicate known. So that's the end of this lesson and look forward to seeing you in the next lesson. 13. Circle Shadow: can. This lesson will be delving further into motion graphics and will be creating this composition here. So demonstrate that and basically to have an ellipse and they both curved in toward the center and come together in the middle of the comp and expand, and you get the either logo where he or just have, ah, the text be amount for black magic fusion. They always have another outer circle that kind of expands really quickly and kind of fades out. And we also have these shadows on the side. It's considered on often referred to his long shadow and see that lot in both still graphics and emotion graphics. So you could see that these compositions are getting quite a few news. But as you see in a lot of motion graphics ah, a lot of it just built upon previous. So you'll create part of the graphic and those copy it, manipulate it and then add so that you can add different parts of it. But you don't have to recreate everything from scratch all the time. You can anything that again, if you going to do a lot of lips with a lip sees, you could just copy and paste and create multiple copies of it. And they combine them all with merges, and they all combine to make the final product civil. The clerk appear starting composition. Now we're starting off with a background. I just want to make sure the athletes down that it's gonna be transparent. We're gonna add a paint note. So ship in space just type in paint, okay, But that time here, off society to be going from left to right. So we wanted to ourselves in room paint in the first you were here? No, there were modifiers. And we're gonna do is I'm gonna start within the lips. We want hope piling stroke here. Click on that and then right click right in the center and come down the menu. Here comes the second from the bottom, says Polly, line anyone come over towards his cree and then click on the lips. I should get it cooking a lips and just accept that and click fit. So there's our lips. That's where we start off with its expand this on the right side of the tools menu and the modifiers expand the Russian trolls in strict controls changing color. Begin with here. Simple to start off with, say, a kind of very bright violet here. So we're gonna have the edges of the lips, be a little less office will creases office down. I'll take the size down so it's a little bit thinner. It's look about right now, we're gonna have it start off with half a circle and then it's going to shut down to the well. One side would give me the top of one of the bombs was first part of the left side. So if you look at the original here, go back to the getting it's going to the bottom to the top on the left side. So we're gonna come back here now to do that, we're using the right on, and, uh, right on, start around end. African will reach the right and bring that over. You see that? It's open it up there, but it's opened up from the wrong side. We wanted to be kind of to start. We wanted to be fully on the left side. So we changed that by the angle down here, so so we could get a look at it. Take it down about halfway and we want to rotate this bottom part until it's on the left side. We come down angle and we rotated to negative. And we just take that to negative 90 and it takes tow left side. And then we can also take this end and make exactly 0.5. And that way it will be exactly half half an ellipse. So we're gonna basically create the full left side of the graphic of the photographic and animated it. And then you could copy it and repeat it on the right side. And I'll see there's a lot of work. So right now we want to do the animation of it coming from Go back to beginning here and see it's coming from the bottom and shrinking down to the top. You basically just have to further shrinking the right on. So I have to 0.5. We're gonna right click on this and click anime or make the whole start group, and we'll set the length of our composition. So the other one I made about 70 frames long, a little over two seconds. Come forward. Say we want to have me half a second will take it to about 15 frames and, well, take it back to the top. Now. We don't want to have it totally disappeared because of the original. There's a little circle left up Top soldiers take it down to 0.1. And that leaves a little dot leftover Look over here, you can see what's left over, so it's looking good. So if we come back and play that through, see, it shrinks down and he was up the top there, so that's fine. Now we'll go back and basically copy this. This is the basis of the animation for these 2/2 circles. But we want to create this inner black part that will come back to composition. Copy these two. Hey, sit. It will combine the two and with Emerge, then we have emerge. There were you put this pain. All right. Now, this paints exactly the same, but we're changes color to black and decrease its size. And if we now view the merge, see that the black is inside the purple and we are going to shrink that down a little bit more. So the more the purple sizzle. Okay, there we go. Now we have 1/2 the left side. Done. Now we just basically where duplicate this. So it's like the old troll. See, Come over here to the right click covie Peace at all and we're gonna checked it to merge is up, and that merges them all together. So now we're looking at the duplicate copy. But now we want instead of it to be on the left side from bottom to top like this, we're gonna have it be on the right side. From top to bottom. We come to the paint node Pete news. Put that in the first window. So you want to animate this? We want basically the opposite. So instead of it raining on, we'll basically have a right on be the same, but some negative 90 to 90 degrees that switches a t other side. Well, that's another pain. He's come out here to the angle and change up to 90. And when you do that emerge, see, that is both. Play it through. So if he comes to the former here, the two together see, one comes from the top of goes up and one comes from talking goes down. And now we just change the color of the 2nd 1 here. So that's this new here. Animal changes to company Have a break Blue. Now we confirm a few more together and play through the animation. So that spaces. So the beginning of the animation. So that's the first step. Okay, now we continue with the animation to the point where the dots come towards the center and converge. We're gonna do that by animating the paint nodes and entering their centers and moving them toward the center. So we'll start off by setting the mold enemy center. So well left, click on paint. Come over to center. We're click and click anime and I won't do that all the Pinos here. So we'll click on Senator A. Me, you know, the other two. So they're all set to their zero point getting with. We're going to start, and you're gonna want basically all four of them both the colored and the black ones here to converge towards the center. And we don't want to do that after C 10 frames will take up to 27. Can't will start this. First. We'll start this first paint node. We'll bring it down to the center do the same thing with its center making. Also, if you wanna get me directly lined, you could look at the Y value here, copy for the 1st 1 and come to the 2nd 1 and paste it in That way, it will be exactly both their centers will be exactly the same. And then we'll come to bottom line here. And if you don't see arrow to manipulate how to move it, you could left click and drag myself since elected. And then you'll get your arrows. You can move towards the centre. We've been up towards the center and the copy its Y value, we'll see, come to the blacked out on the bottom and take its why that you paste it. And I was strictly in the center now reviewed his final merge Excuse doubles in the center . You don't have to be perfectly lined because they're only gonna be on the screen at this point for a fraction of a second, and that white circle is gonna grow out of it and cover them up and be covering up the rest of time. So, as this is right now, it's perfectly fine. You have to come together. So right about that point. Now we're gonna add thesis Urkal that grows out the middle. So we looked at the original animation here. Once you come together, wealthy white circle and then the red lips comes out of its will work on the white circle next. So to create that, we're gonna have another background, no paint node. Such space pain. We're gonna take that into the merge Pre emerge. Now you paint this one. We went background to be. His parents will take the Alfa down. We'll click on the pain. We're gonna add a circle. So if on the tools and left here, right towards the middle, it's a circle. Do you click on that? And you might not see anything. You might just have the arrow here. You basically control it on the right tool over here. Could a radius control the radius of the circle? So we'll bring it up to about the size of the gate. We changes later in tweak animation. How we want it to basically won t circle Toby at zero. To be invisible. It's really has to be zero when starts off. So we're gonna enemy three years. Gammy We'll bring that down to zero, then can do the final merge here in the second window. So that's at the point where these two combined and we went to. Maybe after 20 frames or so come up to full size. So we'll take it to, say, 47. Make sure on the paint note. Here it will come up and will increase radius to about the size you want. We always tweak it. Later, I get to rent a size that we want. Now I see that these two come together, come to the center and the circle comes out. So as that's coming up, we want the outer lips do come into view. I have it radiates, grew a little quicker than the white Circle and have it kind of grow out. Come back in Gretel, but less and they kind of bounce back and be in that line for the circle. This will create that part now so can get to the end here, which is a point we're gonna want it to be around the edge so we'll create the lips through a green other background. Another painting. Oh, come on. He's together and create emerge well, we've been in the second window. Can we want to make the background transparent? Cools after zero on the paint? Now we want to create a lips. We won't come back to the Polly line stroke. Select that right click directly in center command to Polly Line create and then a lips. Then click. OK, that creates our lips and we continue color to red like the example, and we're gonna open up modifiers. No place for US controls and stroke controls we want. It's obviously it's not a hammer and have the circle to speak right around the edge of the weight so will decrease it down till it's just on the outside the way. Okay, that looks good. So right click on size and click anime, so let's will be its final point. Then we won't come back to win the circle for starts forming. I don't want this to be a zero to, so we'll take it size down to zero in the game. We wanted to go a little bit quicker in the circle, so what can come forward? A few frames and we'll have the size grew bigger. Mukul Few frames further. We'll have a shrink down a little bit. A couple more frames forward, grow out and have it shut down to its final size. So again, go back to the getting and play animation. Is your house looking a little too fast? But the general look, If it is good kind where we want it now, we could go in and tweak that speed if we want, so we make sure that that's selected. And also we want to circle to be selected so we could see them both hold on control. Then we're going The timeline. Click Select, and we'll just see those two nudes. Thank, expand them and they kind of look at how it's coming through. So is growing up coming down, going out again and coming back in to the kind of Spacey's element firmer. So it's not quite as quick someone has moved. I just want to say move this 12 frames forward. Maybe this 11 frame forward. It slows that down a little bit to go back to the flow back to beginning and play it. That's a little little better Guinea coup in spending a long time tweaking it. But for this demonstration I think that should be good enough right now. Case we would have the text of now, so we just make sure nothing selected hit text plus note here. Well, come on. That with the previous graphics here in tow, emerge, Do that. Merge, click on attacks to come tools. We'll do the same thing the IMF for, like, magic fusion and will change the colors will come sheeting that would change the color black. Okay, we'll come back into text and go to the text tab and will change a sizable bigger can't Looks fine. So we wanna a key frame that so right click on size, Sammy. We're ready down to win the way circle for starts forming, and we'll bring this size down to zero. And as an enemy, it's on the text. Lana me up with the circle, so it looks fine. And we just had the one last circle, which kind of is a circle made up of dots that that kind of explodes off. So I kind of look out of here. If you look at the end here as the find its size, we have this ring of circles here, so we'll recreate that now. So we'll do that with another background and our paint for our food together. Change the background, Teoh Transparent Merge window here, Gold to paint and we're making a lips will come to the piling stroke. Go in the center right click She's Polly line create. He lives ticket default size. Now this, we're going to make. So this we're gonna make thinner signs down here. Animals could come down to the very bottom. Here, changes spacing. And that's what turns into his old circles and also change its color. We'll make it red as well. So kind of color she's read. Probably make a little thicker. That's we could see a little better, and we're gonna want it just kind of constantly grow and keep on growing and eventually fade out. So as circles getting bigger, we wanted to kind of grow, so we wanted to start out about zero here, contented size right click. Clearly you will bring size down to zero. Then, as the everything comes together at the end here, and there's a few a few frames past that what size grow out here, then we also want to fade out. So what companies are tab here where we have a blend or right click on that. An immediate. We'll bring this down to zero and want to start feeding a little bit after their we were able to see its. We'll have start feeding right about here. So that's what we're have it one that way. It comes out and then kind of feeds out and we wait. Wanted to see it out a little earlier? Simple. Choose it clicking timeline and when it's from these display and out a little bit here. So this couple frames forward back here. And then if we play it through right because he comes out and then expands and feeds out as it's expanding. So that's the main part of the animation. It's now we want to add a background and in the shadows so we'll come over here and to create the shadow. What we do is basically wouldn't could emerge here at a transform I actually can manipulate , transform it all but we're gonna be able to do is split off the output we're gonna have one way, is gonna be creating the shadow and the other one is just gonna be this graphic or the the motion graphics untouched, and then we'll combine them into another merge, and we'll have this on top and we'll have the shadow underneath. So actually to create transform grand at a directional blur. And we give you that. First you were here and coming to its tools and we won't increase its length blurs it. We want change his ankle. So it's down to the right so increased up to about 14 years. So we went the length to be longer, so we set up to a point seven. So that goes off the screen. It was just a little bit of glow. And now we're basically gonna take away the color and make it so that the shadow So we'll do that with a color corrector. So hit shift in space Start typing in color. What color corrector Click OK within the color character. It's like that. We're gonna take the saturation down all the way and view that in the first few were here so you could see that turns a black and white. Then we also want to take gain all way down and a lift that lift contrast all way up that creates the shadow. So we're gonna want emerged this together. So we're gonna create emerge Ever emerge the original which is gonna be in the foreground. We right click cling to transform here Would that be the foreground and we'll take you out Put of the shadow Make that the background and will view that you were So you see that we have, like, shadow play through the animation You can see the shadow there and it will add the late background Finally, some things we have had one more merge civil created background Okay, emerge, connect motion graphics to the foreground. You don't create one last background here, just car white the collective as the background and use final merge And that's basically the complete graphic. Now you could tweak the shadow that more and also if you wanted to feed a little bit more. But you do to this final merge cream, ask anyone rotated. So come angle Did you work drag it down over here and then went to invert it and want to increase the soft edge Quite quite a bit. Me like 0.3, the virgin that makes the shadow a little more gradual and kind of goes away. Is it? As it goes off the edge of the composition, not only play through a little softer Macy, that's all there is to it. I guess you could tweak this and get everything exactly the way you want it. Just the timing. Play with shadow or play with any of the components you want. But this gives you the basis for doing this kind of animation. So that's the end of this lesson. I look forward to seeing you in the next lesson. 14. Radial Lines Motion Graphic: okay. And this lesson, I'll be showing you how to do a road radial like Starburst Motion. Graphic demonstration here and play through. See this in a lot of the view was where you have a little get a little starburst. You could have it run quicker than this and have a beast bigger, Smaller, But this is just the demonstration, but we'll be showing you how to make this. So what started in composition and basically start out with a background, they were gonna turn the Alfa all way down. So it's transparent. We'll put that in the first window here or come up here and she's paint and move over here the hey down underneath the background. And they were choose Polly line stroke to draw a straight line and keep it free, small and kind of start from the middle here. We kind of try to center it up, click the first point and come over a little bit. Click the second point, and they were gonna want to view the paint and fewer one we're going to. The settings were coming. The modifiers coming to the high line struck. One brush controls strict controls, and we're gonna take the size down a little bit, so it's thinner line. Or also, take this office all the way down ST the line down tell us a little bit thinner of the line . Now, as a shown in previous years, you could probably use the duplicate note here and just create circle lines and have them coming out. I want to show a often that way of doing it. So one thing to do is if we want to mere this on the other side. We could use a transformed node, transform mood and bring that out over here and have that beauty in second. You work. Right now. It's just to see exact things. We haven't changed anything, but you go into the tools because these two different boxes appear flipped horizontally or flip vertically. Virtues flipped horizontally, and that puts it over here. Now there's one copy on the left side with center and one on the right side of center. Now what we wanna do is combine those two so we do that with emerge so cool she's emerged node, and we'll bring the output of its original one, which is the one that left this painting Bring that into the merge Robin Wright Clicking, Letting go with that background Am I right? Click from the transform Dragged into the merge Choose that in the foreground and we're take this out Put in place If you were to I make sure it's selected I share would choose and click on Merge the new merge that into Now we have the two different lines So to kind of start to see the animation we're gonna have we'll just set this to 30 frames. Quick animation one second long with the burst will come to paint one And the way we're gonna do that is we're gonna animate the right on start hammering on end to have the line draw on and draw off within that one second. So always right, click on round. Start here. We want to make sure we click on enemy right on start route. That is both sides. So we could write it on and write it off and we wanted to start at being off so you don't see it start well, just dragged us only over. And since we did that, transforming the merge will double size and then halfway through so from 15. Well, actually have it right on. So it's gonna come out halfway through and they will come to the end and we'll have the right on start, come over and connect makes the line disappear. Yet Now, if we go to beginning and playing animation, you see, I have to start the game, The starburst. So it's coming writing on them, writing off to stop that it's now always do is then basically do the same thing again. But instead of having it left to right, we're gonna have a top to bottom. So you basically do the same thing. We know how these two So what I wanna do? Look, we're gonna click on a transform, transform after that, merge and bring that down and kind of keep it lined up so you can keep track of how you're doing it. So I keep all the transforms in line and it all emerges and line. Now, if you're going to transform, we're gonna want to change this so that the two lines are vertical, that we just flip horizontally. It's gonna go back and forth and we flipped vertically. It's not really what we want. That's What we want is 90 degrees. So you come over to the angle, take a 90. Enter If you put that to second viewer now is transformed. See, now we have two vertical lines. So we're gonna want to merge this with the previous horizontal, which is over here. It's worker. Find these all by adding another merge. Come over here. Come up, merge And again have this one be the background. Have this one be the foreground. And if we didn't do that in view to now we have our four lines and we want to change anything. The animation, all the animation is original paint node and we're just adding mawr and just to picking lines and having them in different parts of the stream. Now we just have one more to dio, which is the diagonal before diagonal lines. So we're gonna click of a make sure the merges selected do know transform. Bring that down here. Now what we want is not full nine degrees because that's just gonna take around and be the same. They want it to be half of that. We're gonna take the angle change at the 45 degrees and will view the original merge in one , and this new transforming to now we have ones that are my family across. And then this was rotated 45 degrees to do one more. Merge every, do the same thing. Bring this output to the emerges. A background in this output will emerge as a foreground. If we do that, we have our full lives. Go only around three and 60 degrees. If we play the animation, here's their starburst, just like the original example. Now for using this in any kind of compositions. If you want to add this as a little general star birth will spray that comes up at some point in your video, your footage. You might want to resize it cause this is right now a big part of the 1920 my 10. Any screens you might only want it to be. A little tiny starbursts in just a side of you were video, so we'll add one more transformed for the final comp here. That way, when we do that, if you were to now, we could change the size and we could have it be whatever side he wants. People in just a little tiny starburst. So we place in the animation. It's just a little starburst, and you can change the speed like in previous lessons you want. Change the speed. I want to go to the node that's doing the animation, which is over here, which the original paint node and they come over and click on Timeline. Do you want to click on this link button so it's only selected one route. Take that down down a pie on stroke, and you have the right on start around end and there's your key frames. So if you want to speed this up, so right now it takes one second for it to play the entire animation. So if you want that to be half, drive these down from 15. Your selected time. Seven. And then you drive the final ones and you take them down 15. Now, if you go back to the flow and go the beginning, they play and it takes half the time. Now, just half a second puts animation and then you can go through, and you could still change the size. So if you want to be a little bigger, that coming to transform you can bring the sides back up again and in play through, you also again shrink the size and he calls to move it. So if you wanted up in the side of the screen, shrink it down and take it and move it over to the side. Now, when you play through the animation, get a little burst starburst up on the side there. So that's all there is to making little Starburst motion graphic. I hope youll find use for this in your own compositions and also kind of fool around with it and just give uses as a basis and come up to your own ideas, your own shapes and patterns, and use this as a starting point. But that's the end of this lesson and look forward to seeing you in the next lesson. 15. Text Callout: Okay. What we're gonna be creating in this lesson is called a text call out our example here. That's why we get these circles to come up a pop into view. Within line comes out, he gets a text that comes out of it. I used a lot of motion graphics very similar. You can adjust the style of the circles or used rectangles or everyone, but this is what we'll be bringing this lesson. Recreate this. And as you see here, you can also use it over pretty much anything. Just gonna have a transparent background and showing a sample of using over a video and you'll be able to move around, resize it and, uh, coming just its primary a little bit. But we'll get started here with starting a new composition. The first thing we're gonna want is background nude, and you're basically gonna wanna keep make this one transparent. And we're gonna add what color paint nude this'll as you dio draw your shapes. Or you can also draw lines either freehand or by using spines and poly lines and things like that. Well, show you here. She basically can either go up until tools menu or if you hit the shift in space bar and type in pain trajectory did here will see there's a paint node. It's also abbreviated PMT So you click OK, and you want that connected to your background. So come with this over here and click on pain we're gonna be starting off with doing circle IRNA lips. So best way to do that is cup here and left click on Poly lines stroke. They won't make sure you're doing your pain note in the first window here she transparent get your transparent background. So what you want to do is come right to the center and this is going to the center of your , uh whatever your painting. So it's best to have your lips for recreating lips right here. You want to start from the center, you click directly in the center, and you would come down to the bottom of this pop up menu forces pilots Troop one and then Polly line and you come over here and you know you want right towards the middle of the menu, says create. See you left, click or left cover over that, and you have a choice of either lips or a rectangle click on the lips gives you some default sizes here, and this is perfectly fine. And then ask you wanna clockwise orientation. And that's when you figured I have it right on and drawn later on which way directions that's gonna happen. So this is fine Click OK, and then he draws your lips with its centered in the center. So you wanna click on fit and the default size, at least for what we're starting with, should be fine. I might want to change the color. I think I'm gonna change the one to black begin with and this is gonna be the outermost circle of the three circles were using for this animation, and we're basically click over here, click of modifiers and then click on the Pilon stroke so that it's all of its primaries come down in the tools menu again under the modifiers tab, they would expand Russian trolls shirt controls. Just you kind of see everything you have here. So we're going to do is we're going to separate animation with this first lips and have it kind of do what we wanted to dio. And then we're gonna read then we're gonna copy that two more times that we have the three different ellipses and we're gonna slightly modify them so that they are a little more interesting all actually doing the exact same thing that the expand at different rates in this original one. But we'll get it all set up that way when we copy and connect them that we just have toe tweet him a little bit, and the animation will go much quicker that way. So mean thing we're gonna be, uh, modifying here is thesis eyes. So first room set ups. We wanna make sure that right, Turn this office all way down. So it's a like a hard line. I also want to shrink the size a little bit and you click here anywhere in target idea. So I think that should be fine. So school down to the bottom here, then size is actually the diameter of the circle or of the lips. So we're gonna be animating. So we want to right click on that and click on Ami, and we're gonna bring that down to zero to start off with. Then we're basically gonna set the time of the composition like that when we want, Uh, probably Usually the animation was fairly quick, but well, so say 90 friends about three seconds so that we have in compositions at the 90 and our work areas at the 90. So will come up, have a go fairly quickly. Some will say go six frames and they're gonna have it kind of do a bounce. It's a lot of time thinking. Going to an animation is you don't want to just say come on to certain side and just stay there usually want something to legal past where he wanted to and then go back a little bit and then settle in the middle amount of times you do that you could do that three times, so it was a little bigger, a little smaller and then the middle, Or you could have it do a few more times on this example. We're just to be doing the three. So it's gonna grew to a certain size to go snap back a little bit and then kind of settle in the middle of it was kind of a bounce. It seems a little more natural, so we're increases size up. So you're but a fault. It's the size of one, but we want all this bigger than that. So we'll set it to say 0.2. So it's gonna be It's gonna come up from nothing grow. Two sides of 1.2 will go say another six frames. They're gonna have a shrink below one, so we'll have to come down to see the queen. Enter. No go another six frames. So about Frame 18 and they will have it settle on one's again. If you wanna have Ah, slider, go to it's default position. There's a little white circle down here. It's left. Click on that and they will bring it back to its default decision. Click on here to clear out the controls in the window. There's we don't see them, and we could go back to the getting of our timeline hit play. See, that's the animation at the very beginning. And if that is to your liking, I think they should be fined for the example. Go back to the beginning, and then we're gonna copy this two times and connect them all together and I'll get started . Three different circles and then we'll modify them slightly to get the effect we want. They're just left click drag and select both these nodes Hit control C and then click where in the flow You want the copy to bay So we're gonna have a little bit above Do one. Move that up. No click paced Another one They want to connect these together in two submerges So by left clicking, dragging and connecting here create one merge and will take the third paint Note Here left click Drag clear Last merge So put this last merge in 2nd 1 knows that we could see We'll be able to see all three circles So if we click on this second pain here not seeing anything cause all them since we copied it at beginning all of them are down a zero so you don't see anything. So if you want to go to if you want to step through the different key frames there is a shortcut with the keyboard. If you hold down the vault key and hit the right bracket, that'll take you to the next key frame within the timeline and just want to go back to the previous key frame you hope can hold on the balking at the left bracket, and I will talk you through the different key frames. It's a nice handy shortcut there. Right now, all three circles are the same size will fit this or the same size here. And they're listening color. So we'll come to the 2nd 1 first. Will changes. Color will change too. Cover white blue. And then we're gonna change its size. So again came up from zero. So then both all three circles are now this size. We're gonna have the 2nd 1 be slightly smaller, so come down to size. Now, if you just click and drag, it might go a little bit too quickly sometimes and will be hard to be a little more precise . So if you want to move it, have a little bit less and be more precise. Hold down control key where dragging. And that kind of slows down the change so that you can see it. And it's not as dramatic. So you get one more precision. So we want to shrink that circle down just a little bit that a lips, a little bit of space there cash we find when we hold on all hit the bracket, everyone to the same thing. We wouldn't take that second ellipse, shrink it down so there's a little bit of a gap between the two. We want to do it one more time and again bring it down a little bit more than the outer circle daughter lips and go to back to beginning and play that through now. Right now, they're kind of doing it. And you Nissen after get all three of them done, then we'll go in and tweak. So there's a little bit of a difference. Like the original. You could see that the don't all grow and shrink the seeing rain, but that she could for the at that animation for the second circles. Now we're gonna come to the 3rd 1 to the third lips camera changing color. Miss Tom will go more for, like, have a fluorescent green, and then we'll hit all my bracket. And then we go also, if we want, maybe change the size that the lines at the exact same thickness so called appeared to this size and the top sizes how thick the line is for circle. So hold on control. We'll bring that down just a little bit. It's a little bit smaller than the other circles or ellipses, who will come down to size and will shrink it down smaller than both the other ones. And maybe we'll leave a little bit bigger. Gap. All right, bracket and again changes size down. So it's the inner circle and more time for the last frame of the animation. There, we'll shrink it down, and then we could go back to the gang and that we could see all three of them. They could see that they all come on at the same rate at the same time. We wanna have a little variation there, so we can do that by using both the timeline and supplying tabs here. So you want to select all three the pain tones by holding dunk control. Any click on all three of these are now selected, So click on timeline they appeared to the but it just says SCL, and I'll just show us selected nodes and then we can start all these down. We want to 2nd 1 down because that's the side of the Pioline stroke seizes piling stroke in size for all three of them. you see, they're all exactly same right now. So what we do is by moving the individual key frames for the different ones, we can vary how quickly they grow and will be able to see a different since you see little variation and I'll make it a little more interesting so we could have say the 2nd 1 here, Let's look in that and have it blade and stays your over the warmer than the other ones may have this go 1/3 1 and maybe could have this 11 frame four, 11 frame back and just make a little variation. Give me this one up. It's one back and finally this more maybe two up this 11 back And then you can kind of play around with that animal back, toe the flow, go back to the beginning and play it from the gang play and kind of see if that's to your liking. So you go back to the timeline. I want to tweak this beginning part here a little bit more here. You just go through and kind of tweak it the way you want. It should be fine for now. Yeah, Okay, and also I want to go into the spine and just so that it's that is linear give a little different celebration. So to the degree of growth for all, for all of them. So click on home a shiver selected again go to supplying and the same thing You want to click on the select button, make sure we have Justin ones we want and click on size for all three and all three of will show up here. And then we want to hit this button here, which is zoom and zoom to fit. So it shows all order for key frames and see that the straight lines. So there's really no acceleration. They just kind of move at the same rate. So if you click anywhere the background here hit control A that was select all the points. Then you hit half and that flattens out and makes it a little more to accept Christ linear again. Those little variation in the exploration of the circles kind of show you here, you should see beginning and play it at full frame rate here. Yes, I'm liking the way that looks. So now look, here we have that but we Then we also have this line that comes out and the text that comes up. So we're gonna do that separate first. We're gonna like Right now, this is about if this is a full frame, size 1920 10 80 is quite large right in the middle. And we probably want it down, at least for when we put the line in text in kind of having more down the side so we'll add in a transformed over here, get shrink down the size of this first part here, and then we'll add in line and the text So we'll come over here to tools after we have our transform selected will reduce the size. They will put transforming too. So we could see what we're affecting. So we can could drag that down a little bit. And we also then left click in the center and moving more over to the side here. And this is where we'll have the line come out and come over to the side here. So we're gonna basically do the same thing. We're use a background paint this time. We're not competing in circles. Were not copy those. We're going to start off the new ones, so click with their make sure nothing selected the hit background. They were going to pain again. So shift in space. And if paints last will you had created that way, it will still be here. She just click OK, and that joins the paint to it. And then we left. Click Drag. Connect that up and we'll put this merging the viewer to, and we want to make sure this background is transparent. This will go back down again and we'll click on pain and we'll do the same thing. We're gonna do the poly line, but this time, instead of right clicking and go into that menu, we're just gonna be clicking points. And then it will join together and make lines you'll see in seconds. But in the center of the circle here, left click that creates a point in the room would come up here to a certain point here and click to see that draws a line, paints a line. Then we're come over here, click one more time and finish line modifiers again and click here. Brush controls strict controls. We want to take the softness down again and this time we're gonna make the line pretty sin go like that and then we're going to animate the line on. So when the circles are doing their thing the beginning or not, we'll see this line. And then after they finish their animation, then we'll have the line Come on. So you could see right about about there. The animation is done. So just before then, you kind of want the line to start coming out. So we're going basically enemy, do you write on and right over usually the right on end and that will didn't draw the line on You'll see what I'm saying. Second here. So we'll right click on that click on an enemy Ray Allen start group. That way we can control bulls if we need to. So at this point, we're gonna have it be nothing. So you go down to the end, left, click, and drag this bar over, and that basically un draws the line. So open to that point is the line. And we probably wanted to go maybe 3/4 of a second. So about 20 or teach about 20 frames or so we'll go up to about 30 Train 36 or so, and we'll come back down here again and we'll expand that bar and they write that line on so we could go to getting on the animation, see how that books, that's what I'm pretty good. And then again, we're gonna wanna It's linear. It's drawing on. Speed is one years. We want to go in and to that node and come with the spine and you best fit and control a select The points can flatten, um, so that it has draws on slowly than speeds up and slows down again. And we want this last part to kind of draw a little bit slower. So we'll take this point right here, and it's dragged us out, and that will flatten it more out towards the end. And that way it'll draw out the end of a little bit longer. So come into the flow. You know, Brexit Gang, thanks to the law, lying kind, drawn quickly and it kind of slows down at the end. It's finished and then we just have one last point, which is the text drawing on, and we want that to happen. A few frames after sold zero. Draw more at a text nude, so click over here. Click on text plus drag that in here to merge. Put that into this fewer then we won't go back in the text tool. Quick tools at what point? Some text. So here I'll put, like in the example inscribed. So this was like a YouTube video. You're putting it in lights that spell right. Try and we'll move that over over in about the line and you will change the color black shading Command pick Color will go black on that, and then we don't want it to stay hidden and then come up from below. So we will do that is will use a mask. So just do a quick rectangle mask. We could shrink that down. We only not quite as big. We went up about here and then we'll take the text and we'll move the text down and then you can't see it, so we'll animate its its movement up animate. It's center right click on her second tab here. Layout for the text will have click on Anatomy so up into 36 can't school. You'll see it and then we'll have it from 36. So we'll have maybe 10 frames and will have to come up so little 46 or so. And then we'll animated center up until they see it now come back to getting and playing animation through never circles come up. We had a line and it's described, comes out of it the words and again we're going to text. We go into the spine, click fit here, picture away and then flatten it and bring this way out here the text Cops slowly go back into the flow, go back to the gang and play animation again. I see this described it, comes up a little bit slower, their home and pops up a little better. So then, if you want to put this over, see again, if you wanna have a YouTube video or any kind of video project you re working on, you just have to bring in import your video. So all those copy it from this our camp here, which something you can do you can copy nodes in between compositions. So here I just went to this other composition I had open, uh, selected note. I wanted hit control C Now go to the other composition and control V that post that in that could be a video picture or any other node. And then we'll just click that go to They were gonna want to swap the inputs. Could you want this to be in the background and everything we just created in the foreground to hit control on T Now spot the inputs and then now you can see the complete emotion graphic here. Now we want to move that around. Kinda just it. What we can do is before this merge through the last merge and at another transform that will be able to shrink the entire thing scaled up, scale it down. That could scale this down a little bit. A little too much. You can really see the text, and then we can move that over, say, to the corner here and then play it through. Someone play this through. I don't think a little slower runner right now, but and then circles come on automation and lying in this describe. Go back here and play it something that's all there is to creating a text call out and just basically kind of get building blocks and get something set up. So you get the first initial lips set up, and then just copy paste and tweak, and it just changed to you liking. Get till it looks good to your eye. And again use the building blocks and built one on top of the other until you come up with the motion graphic that you want. So that's the end of this lesson and look forward to seeing you in the next lesson. 16. Sliced Logo: came this lesson going to continue to learn about motion graphics and we're going to create I have already set apart here, which is basically taking a logo on. This happens to be the black branch of fusion logo ticketing local you want. Just make sure, has a transparent background and then sliced into three parts and an anime two slices coming in to the center and coming together. So we'll start off by creating new composition. They were basically gonna create this into three parts for the three parts of the slice of the logo. So the first thing you want is background. I'm gonna make sure that the AL Fraternal renowned for its transparent. So you see that number one here and we're gonna bring in a copy of her logo or whatever graphic use here. It's just a few nine. Come on. These to win toe emerge took over here, not emerge. So you make sure the background is the background checked in the background. Have the icon or your logo text into the foreground, not give you that you were one and have it fit machines nice and centered. So then to get the slice, we're gonna have the top third slice right here. Click on Merge. We're gonna add a mask and we're gonna resize it both creaking priests with So it's wire than the comp and we're gonna shrink it down and move it up. So it's about the top Third, shrink it a little bit more moving more and then so that we can animate it. Come back to emerge. We're gonna do to transform transform, give you that Now one. And it's allow us to with the slice individual slice off outside of the camp and then bring it back into the center. And this is gonna be the basis for guard. Basically, create two more copies of these five nudes and those will be the middle and lower slice. It's what we need is to more merges so could emerge there. Thank re emerge over here a room here and then we'll select all these nodes. Control T for copy. Come up here. Cool co V for paste. Bring this down. We're gonna want the output this in the transform come into this merges background. We're gonna want the output output of this transform come in as a foreground for this merge . And we want the this whole thing to be the background of this merge school. Right click drag over here. Put that in background and it will copy these five nodes. Chelsea, come over here trophy Bring him into you hear. And then the output this transform will finally go into this third merge as the foreground . And I think that you were too quick fit. Now I want to create and manipulate the different mass for these other two so we could see him. So we're gonna click on this 2nd 1 and remove this one down Basque, and that reveals the center part for a logo. And we would click on me 3rd 1 here. And bring that to the very bottom it reveals the final part. Now are doing this last merge here? We could see the entire logo and then, by clicking on the different transforms, we could move the different pieces as we need. See fit. Now, this seems to be a little uneven here. If you look at the different transforms this one, it seems to be a little too much overlap ings We can adjust that cooking this rectangle and we could move it down a little bit until it just comes together. Justice needed me just a little bit up more. Now move it. It's a little cleaner of a slice there. The first top one. Here we go, the transform, and we move it left or right? Yes. So it seems to be a little low. So coming towards rectangle and do the same thing. Just do a little bit of adjustment. Like it just covers it. Yeah, it's a lot closer, and I'll come together. Now. What we're gonna do is enemy to three transforms. We're gonna have to go off to left and one go off to the right. So we want come down here and set the length of our com set. The hired 15 frames. Five seconds. That would make sure it's the road. And we're coming. Each of the transforms here they were right. Click on center, click on Enemy. So that thing transform. We were able to ami it and move it. Come to the 3rd 1 click Click out of me and we'll take each one of these and move it offs will take. The 1st 1 will move off to the left told that frame weaken to model of it Here with a thing like troll troll, we allowed us to zoom in and out. We could move toward second transform Remove that went off to the right and we'll take our last transform. And this one off to left to It's now starting off, the animation will be off out of frames. You can't see them and will come forward to maybe one a half seconds about bring 44 45 and then we'll have him come and we will have all come to center at the same time. We're gonna offsetting a little bit. So we'll have this bottom one, maybe a little bit past center. Then if cold frames later, come back. So we'll go with 44 and we'll set this so it's gonna be going left to right. So Senator is actually 0.5 point five. So we'll set this toe like point high five enter since God come a little past center, it will have to come forward, say, about five or six frames, go about 60 and then we'll have a go back to dead center. So it has a little snap back. So it goes a little bit past thinking is back and then we are hitting all in the left bracket. We go back to the previous key frame when we come to the middle Transform. It has got me coming from the right. We don't want the same thing. We went to a little bit past center and then come back to center. But this one we wanted to be less than point fires will make this 1 to 8.47 Begin with and we'll have it go to maybe a little further, like 52 and then go back to center. Sure, that's make sure it's all selected here. Wait five. They would go back to our top one. Get hit All left bracket, We'll go toe this transform all that racket will bring us back to the same point and you click on this Transform. Now this for the top slice. So again, we wanted to go a little bit past so we'll make it may be having a little further sore point 58 to be with and then maybe, you know, slower here, so look like 56 and then have a snap back to the center with five now for you. Good beginning and play the animation to the pieces. Come in and snap a place in center. Now, if you want to tweak it a little bit more, come into get select each of the transforms, make sure all selected and come into the timeline cab and choose select IDs. We just see those three transforms, toggle them open here, and then you can adjust the key frames. She could have this one go a couple frames earlier, so that's going to its first point little quicker and then stuffing back to center. So come into the flow, correct in the beginning and play through just so that they're not all happening at the same time. You'll variation there and he might also want to come into the spine. So again, make sure that the transforms control and clicking on them. They're all selected and come into the spine. Click selected, and then we're gonna Baisley, make sure all three more selected and do fit here. So if you see him all, just click anywhere in the background here and hit patrol A that will select all the points and after flatten. Um and then we're going to flow. Did it wouldn't be such a linear progression. They're being a little slower game with speed up and slow down the end to play through here , and it just makes it a little more pleasing. That's not again, just sexing. Speed is a little variation there and just makes a little more natural. So that's the main part of the animation. But now we could add a few flourishes to make it more interesting to come back to the original. See, I have these two lines going from left to right, kind of zipping across. Play through here to see it real time and just kind of rate as they're coming together can add a little something more original to it. So we'll create something like that. So come back to the competition. Just click and hold down the mouse, the mouse wheel, and move everything over. Kind of the whole flow over. Give yourself one more room, so I'll just industry adding one line that goes across. But then you can again. You get multiple lines you could add in circles in kind of shapes. You want any other kind of flourishes to finish off the animation. So we're basically going to create again a little line that comes across. So basically, you're gonna do that. We're gonna create an emerge. That's what's gonna come into this the foreground of everything we've already created. So come over here, click on Merge, and we'll have the output This merge come into this one as the background and then everything we create. Now we're going to the foreground. So, Granny, another background and we'll click can bring that into the foreground here, you that you were one have If it and we be sleeping, choose a lighter colors will choose white for the lines from across animation. And then we're gonna create actually a little lines that shrink away, down and also make a little bit shorter. You can also tweet the wits and I hate here, so I changed with that way you don't have to grab it and work with small edges Here, come here and kind of tweak it and also the high here. Now, if you want to, you slide it just by left clicking on here the amount changes by quite a bit. But if you get towards the sea smaller if you hold on control T moving when these sliders and it progresses slower C or more precise control And B writes, we're gonna Adam eat this from left to right. Mostly we kind of see when these air coming together and have it right before they kind of settle in. I think there were probably good. So go. Well, before this were right before this, they were to automate We'll see you here after background, we're gonna transform transform. Then we could animate that with that with the transform set A will right click on center and we'll move it off to the left That started keeping their So that will come forward still just before there together And the more animated across and out of frame merge The second you were here and we'll go back to beginning and play it through You see right there just as just before it come together. She'd lie across now for all this. Since it is motion, I probably want to add some motion blur to it to come to the merges, comes to merge and click on the third tab. Here we have a box for motion blur to turn that on and come to each one of the merges and turn that on. It's gonna be a little more intensive because a lot more realism that everything is not strictly and focus. And when it goes through a lot of cash, this next time it please through. You see, it gets a little out of focus that's moving like most things do when they're emotion. That's what we have. Motion blur again, just gives it that extra little touch. And again you could add two or three more lines we could add. Maybe a circle or something like that adds more original interest to it. But you get the general idea here, so that is the end of this lesson, and I look forward to seeing you in the next lesson. 17. TV Rating: okay, and this lesson would be keeping it pretty simple. Basically, just doing a simple for a title. It's going to be the TV rating system, a graphic you see in a lot of TV shows before they start the demonstration here. So it's just his TV 14. It's popping up here with black background previously could just uses text. I get a background that uses a mask to make the small rectangle and also uses emerge and a , uh, transform. So right now it was having one of the viewers here full screen. So just make sure you have the viewer selected F four, and that's how you could toggle back and forth between full screen and when that version. So if you were to hear, if I want to make a full stream tap before on top of four again to go back, So this is the cremate one already made, but we'll be starting from scratch. Very simple. I will go over some of the basics and getting kind of reinforce what you do on a regular basis, who do use a lot of backgrounds and a lot of masks. Eso merged and transformer very common. Nunes so we'll just go over here to a new composition. So we're gonna start with the two main things, which is a background in a text. She's come up to your toolbar up top here, left click on background. And then if you left around on text plus that will merge the two nodes and we're gonna keep the background black. So we don't need a cheat a different color and will view the merge right? You were here right now we're seeing is the background. It will left liquor text and tap on the one g to put that in this viewer, some will type in the attacks. So this is gonna be TV 14. So just about the chef, your TV 14 and you're also gonna hit fit. It's fit button here which will fit the composition into the window. So you see the full composition do the same for ball few hours. She get kind of idea. Now, what we're gonna want Dio, as you did to me, proves to me one we want to shut it down by using a mask. This will come over here to the merge now the key to do it from within the merge or from the background. So click in the background and even mask from that that would limit the black and transparent background. You come over here and hit direct angle mask and that shrinks it down there part of every size a bit. Let's make it a little bigger than the text. They were basically then going to position more in the upper left corner. So best way to do that is with a transform node. So we left. Look, emerge. Come over here to the toolbar again and XF and you can also use the shift space bar to bring it up. And then you could type in first of letters and you to transform their then click OK, And as the transform, it's just tidy up the area here. Just pull over this I So we're gonna have you the transform. So we're gonna click on that top to King. Now we're seeing the transform in The second viewer left click in the middle of it moved over. He moved over the left corner. So we wanna set the length for a cop time. How are cup compositions gonna be? So we'll send for about five seconds, which is about 100 50 frames around here, selected type 1 50 that sets the cop time and also the window time of how much did you were working with? Both the 1 50 it's not. We basically went to bring the footage and we're not bringing him with emerge. So folder that you have with footage anyone to use left, click and drag it into the flow here, and you will check the how long your footage is. This is to Hearn 32 frames from 0 to 31. So then that works perfectly fine with our 150 frames for our graphic. So you take your footage and you left click on its output drug to the out Put of the transform now create emerge. They want to put the emerging to the second you were here and if you don't see text, you want to basically make sure that emerges selected and hold on controlling hit T and that'll toggle which, which notices the four grand on which is a background. I want to make sure that the footage is the background and the graphic is the foreground. They can also kind of hover over it and I'll tell you. See, that's foreground and the other one's yellow one his background. So we wanna work on fading in and filling out the TV. 14. The graphic. We're basically using the blend here in the tools for the merge, so we'll keep it. We'll have it be faded out first for 1st 2nd it'll fade in staying on for a little bit and then feet out. So we want to right click on the blend. Prominent here. Click Adami and then we went. Come on, would be off for the 1st 30 frames, bringing down some things up until 30 albeit zero that will have it during one second. We'll have it. Come on, then I will stay on for about two seconds to 1 20 when you right click on Blend and then left click on Set Key. Now it's a key frame there, which will keep it will stay on from about 60 to 1 20 and we'll go to the end and we will figure it out now. Free that play head to the beginning. Play through it. The TV rating TV 14 will fade in. We will stay in stay on the screen still has the 1 20 freemark and they don't start freaking out until the end. Now, since the the EU is actually click here, if we just actually too turned up to 31 we could actually make cop to 31. Change that down the bottom. And now we could change the basically the duration of what we're actually working with done here by If you hover over top of the timeline here, you'll get this little arrow here and now mark the area where you're gonna be working. So you drag that out to the full length of the comp. And there's also one on the left side here. So if you wanna see if you want to be looking at, like, 20 or 30 frames, he could leftover click over here on the soul Green line. It comes up. Hold down and drag over a challenge. Determine the start part starting point. But the footage you're working with and in the sprite one over here will determine the ending part. Just drag him out for the full length. You want to use the entire length of the comp, and you can also set the numbers down here in the bottom. So the one the far right and the one the far left here, Arthuis, start point an endpoint of your entire calm. And then the inter numbers are the section that you're working with. But now that we have a full length, so if it goes beginning and hit play, don't play the graphic, it'll fade in and feet out and then go through the rest of the village of the video clip. That's actually the same as the original one I did here, for example. It was nice about this Is if you then want to go through and change the text. If you click on the text. No. Here. Well, nice things about the technologies that has thes different settings. Up here you have six different settings. Most tools will have this so that you could do different versions of the same effect and just changed a one or two settings between each version and everything else to see the same . So if I click through here, you really don't see the difference cause I haven't changed anything, but we want to make that say, uh, TV 17 set TV 14 just click on the second setting here, then come down to the text back, speaks and hit 17. It's now when it please through changed its TV 17. Everything else stays the same, but I have to do is you want to try out the previous version You haven't lost that you come back to setting one, and when you play through, you know, say TV 14 again and you can do six different versions. And again, go and change changes size, change various different parameters and have each one of the settings hold those different changes, and you can cycle through and within one comp could have multiple versions of the same graphic seem effect. Just with flight was slight tweaks. So just a quick lesson on using text and masks to create up on street elements and thank you, and I'll see you in the next lesson. 18. Course Challenge 2: okay, this course challenge to challenging, to recreate his composition of meat here, to around 40 frames on about eight seconds. And it goes over what we've learned in previous lessons and my push limits of some of it, and you might have to come up a few solutions on your own, but everything. You should be able to recreate this with what you've learned so far. So here I'll play it through to basically see the text going around the screen. Come to center line, glowing line coming in. It's running it Angie's color and chanting, Delighting of it. We have everything here that I've done in this composition. You should be a recreate can you don't have to do it exactly the way I end up doing it. A Zones D and and result was pretty much the same. And the next video I will give you the solution and go over how I created it and kind of how it relates to what we've learned so far. But good luck in this challenge, and I will give you solution in the next video 19. Course Challenge 2 Solution: Okay. This lesson is the solution to the second course Challenge represented this video and asked you to recreate it for this composition here. So I'll play it through which the text coming in and kind of going around the screen here and then coming into the center than having a glowing line come along and go around it turned toolbox didn't come down and some glow effects, so I'm sure you hear how he created it. So this is the basic no treat I used. So I start off with the background and I wanted to use ingredient and want to go from a kind of medium blue cut to black. So I chose the third option here, which is a vertical radiant, and show the two colors. I wanted for it to go from the lighter to darker, but then added in a text node. Put that in. The few were here and under the second time here in the layout, you could choose different ways. You want to text to appear on your screen, so I chose path, which allows you to then draw a path that the text will follow. So I do the different points here may come coming from the left side and circle around and control that by the position on path here, so it actually animate. It has start off to the side here and then, over the course of the composition here goes around and it comes into the center was a little past center for a little of balance, which is something to do with animation is give little more life and have a comeback. So I also added, If you look here or you are at it, a soft glow which I use later and that's you could see here as it boxed her down in a soft glow was applied to the text, and its intensity has changed and enemies that it kind of glows brighter. I think it's dark and then goes down in intensity. Show that a little bit. Can I add a shadow, which is just go shit space. That's what type in shadow you could see you have the shadow know their shower tool, and that if I should that up here first window, you could see that put a little bit of a, uh, shadow behind the text. So then merged those two together that was here. If I could composition, you could see the texts go through, come back into the center. And then I wanted to do the animation of the line coming in and surrounding it into a box around the text and then shaking down and causing the other effects. I added a background made that kind of light blue very bright, and I didn't mask paint with it and create a rectangle over here to the broke shape. But I mean size very small here, so I'd be a thin line going around. I've been at a glow to that, so that would glow and it's being written on. And then for the line that comes in. Put that into second viewer and I'll put the first mask in the first fewer. You can see how I drew them. So I had the box, which is masked pain, and I had it right on so animate. It's right on so that it would start off basically the brown end, totally get zero and have it drawn cleated box. And then I lined it up with the second mass painting here, which is this line coming in from the right corner here coming down and just made its right on so that it would right come in and where it stops the box starts so it looks like it came in and continue to draw the box and it finishes often had the end of it come in and basically write itself off by the time the boxes created. And then I also then Amiot this mask I have over here seems sheep is the box that it would shrink down and go over the tax to reveal the text glow, whichever here this soft glow and then just modified and changed. I made the soft glow, so that's close. Eyes would change and that would make a brighter and darker. And that speaks to the end of the composition there. So it comes on, go a little bit bright and then goes back down again. That's how I created this composition when the text comes in and the box draws on, so hopefully we were able to come up something somewhere to this again. If you don't do it, the exact same man, its mines, along with your Finnish result, is close. So hopefully really follows explanation, and I look forward to seeing you in the next lesson. 20. Tracking Sign Replacement: okay. And this lesson, we're going to be going over the tracking functions and capabilities of fusion and also using that to do some sign replacement. So here's some sample footage I have of a speed limit sign have by using a tracker and background some text people replaced the front of sign a different speed limit. If I go here, play through, see that tracks longs as it's going through. It matches up with Sign. So this is pretty basic and common use for the tracking features of fusion Eyes do siren placement and also to connect text to something, say a person running along. You could have text fall along with them, but this lesson what we do in the sign replacement. So we'll get started by starting to composition. Bring in the flu. Usually one track that's gonna be the you with the speed on the sign, but that you were one fit. Defend it. We're not using the entire length of the clip for this lesson. Start off its honey four frames along the clip, waiting for a lengthy composition. Choose to section here where it's terribly study, so we'll take maybe 1/2 2nd tier also start 30 and go to 75. So if you want to select a section that you wanted to be working on, hold down the control key and let's click and drag the nettle draw out of section that you want. You just go from 30 to 75 let go. It's now when we go hip, getting will start 30 and I will pray through to something five and just repeat here. So go back to the beginning. Now for the tracking. You want to go to tools, go to the tracking summoned you here and these two trackers in the free version Future nine are included, so make sure you just click on tracker. Put that in second viewer. Now it's kind of hard to see, but by the fall it creates what's called a like a checker box. Come here. I kind of see up in the corner here kind of green. Just click on it, any part of it, and they will be highlighted. Bread and which want to do is left. Click and holding, dragged his top corner, then zoom in and I'll show you what you're gonna be tracking. You kind of centered up here and they say what you have and you have an inner box which is basically what's called a pattern. And that's what software will be looking forward to track. And you have an outer box is loosely the search area. You can adjust both of these independently a kind of bring this in. So it's just what you want to look at and to come down here. And if you have your tracker selected, will actually show you what is gonna be tracking. So you want it to be kind of high contrast. So it keeps is he will keep an eye on it and you have something you just would do a quick, simple track. You just use one tracker, but I want to be a lot more precise and also to kind of compensate for camera rotating and respected change. You want to add? A second tracker Will Korpi over the right side here to tools Click ad tracker. Now that put over up here on the right side so you won't find it unless clicking the corner here, bringing down me when something it's not right close by where the other one waas that you're using. So you have the little parallax there's that you couldn't see the difference All services on this I t. And we adjust the size of it. We just see the ICTY cash you could see down here. It's got that. So I want you to those tracking points out you could do more tracking points and sometimes I could help Argue to stay your track If this example the two points should be fine so you won't come up here and these are your basically you're tracking buttons to start the track and track forward track back and you can also track from your current point. So if you happen to be somewhere in the middle, you want to track for the middle to the end, use this one here, just track forward from the current time or if you just went through the entire thing, you're starting at the beginning in his hit track forward. So what we're gonna do now, So we'll click on that. Here is the example where it's tracking, I think you see, it was pretty good track steed with the letters that we have selected kind of go back and take a look at it and make sure don't track correctly. So once the tracking is done, we're gonna want to put the creek divert replacements was gonna create here, click on background. We're gonna have a white background that's just goes basically gonna be in the center here . We're gonna have text over top of it, so we'll choose a color here. So you left click and holding on pick and come over and get the color of the stop of the speed limit sign And could, in our view, this in viewer one our background are we wanna come the rectangle mask and kind of resize it. So it's more like the shape of the sign and kind of see here an outline of the backgrounds . We kind of get a idea of what size we wanted to be. So it's pretty close to decide and sign cash in kind of over here. We're gonna justice physician later. So right now I'm just kind of get size, and we do. We were adjusting later, but that's the close. Not for now. Then we're gonna have the text. You have text plus node and it's output to the background output cream emerge will view that in one click back on tax, make sure selected, well, tight speed limit. So do it in capital. So enter and then limit. We're gonna want changes color. Right now. It's why eats will come or two shading changes color black, and we'll move it over to kind of where we want it. Intricate saris down. So go back to the text tab, reduce its size. Still kind of what we want. It also is human old. Let's get a little better. Look at it. Trick down just a little bit here and also it seems to be a little spread out. The two lines would come order to transform and then click on the You have. We have a choices changing the character spacing words or lines. So come the lines and we'll just bring them a little closer together. Move it up a little bit more again, work towards the top, all right. Then we'll actually do the numbers in a separate text. So we'll copy this text Dude based over here connected up to make a new merge and put that in the first few were by hitting one and then the second text, we do the number so we'll change at 2 45 Then we can move it down and we do it a separate. Could we want this to be thicker text Be better signs We move this up, it will be separate from the original. Here and again, we're going to transform and we can have the characters and change the spacing a little bit more so when were spread apart like that. Okay, so especially the done with the new sign that were to be going over top of the old one. What we want to do is come to this last merge and click a transform. And at that and this will basically allow is to kind of tweak its size and everything, so it'll fit better over the sign. Now what we're gonna do is right. Click on the transforms output, come over to the tracker. Let go. You want make sure you choose foreground and doesn't look like anything happened right now with come to the tracker, you want to come to the second tab up top here operation. And right now it was set to none because it was just basically creating the track But now we want to set the matchmove. And then that puts the replacement within the frame here. So then this is where we can adjust it, saris and get centered. Cook over to the transform. This we wanted changes and change its size. Shut it down a bit. It's fairly good sized, and we just kind of want to move it over us. We could go over here, and since we have a transform selected, it's control hours to move it and would slightly over to left. And probably maybe that's actually pretty good. You could see the black outline here. It's What we could do is zoom out here and play it through and see how it looks. And that's a pretty good track. So you could see the you middle of it here at the very end, you could kind of see it slipping a little bit to the right so you could go in and tweak these. Prep the parameters of the tracker kind of compensate for that. So you basically have different filtering methods and different you contract a position, the rotation and the scaling. So if in the object that you're tracking say isn't rotating that much, you can uncheck the rotation in that way. I don't really keep track about as much. We keep that and trying, Tracking, scaling. You know that seems Teoh. Yeah, seems to lease in this example to have attract a little better because when it was filmed thesis eyes of it isn't changing that much, cause it is very slowly walking towards it. And the perspective of it didn't change that much. So if there was a drastic change and I went from filling the screen so you down to only a small part of it or the opposite way started walking towards it was getting much bigger would make sure that you have the scaling still set, But then just going here in tweeted different settings and retract if you need to get fit. But as private track there we have the basics and how to dio. Use the tracker tracking nude in 59 also how dio sign replacement again. You could try different practice this try different pieces of luggage and try different objects to track and see how it reacts. And you could also add if you need to come back to trackers and then additional trackers so it could maybe do the four corners of the sign. If you were one, track it or had a larger side saying in the side of the building, you could put multiple trackers on it to get a have a deal that steadier. I wanna make sure that your trackers, or basically, on something high contrast click here. Do you wanna make sure, especially this makes it fairly easy, since black text on a white background. So it's pretty high contrast, but normally in time you want to be kind tracking. You want the highest contrast that you confined within your footage to put your tracking points. So that's the end of this lesson. Hopefully, you found it useful, and I will see you in the next lesson. 21. Timeline and Splines: came this lesson. We're going a little more over the timeline tab and the spying tab. Cardinal reuses in previous lesson, but I want to get a little more detail and show the difference between the different settings and how you can manipulate it to change the way our animation looks. So we're start by having adding to backgrounds. If you want to rename a node So we have one background and what it's back to be called foreground. Right? Click on it. You want to rename or you have to. They couldn't name it when you want a remit, foreground. Click. Ok, so we have this node. So right now they're both blacks were to change the foreground different color. Well, just choose red. So it stands out. So right now backgrounds black. And if you want to emerge, cook, I'm shit. We see just four rounds. We're gonna add a your lips mask before ground, which makes a circle. So this is your baby at a meeting just left click in the corner here, drag it down a little bit. So we have a smaller of a circle and they're also gonna change the timeline to about six seconds with modernity frames. That's all enough to kind of see the animation and see what difference is. We're gonna change through the timeline and these blind tab. So we're just gonna quickly animate this. I'm gonna right click on center click anime. Then we'll move this to the far left for frame zero and then we'll go to the end of the Camp Demag or the end of the cops. The timeline and we'll move away to the right if you go back and play, it can't about six seconds. You go from left to right now, like a little slower until cashed. But CTC staged very same speed away long. Just a legal across. Now, if you want to view that the timeline click on the lips, she will be animated and then click on the timeline and we will make sure that we have the select button. So we just see what we selected the tool that we selected and you can see here we have two key frames and this purple lines showing the, uh change, which is basically gets place from left, right. Its position much changed over the six seconds from the your first frame, basically from zero to the last frame. That was in timeline. We could change those frames. We could have Ah, whole animation end sooner. So let's say we take this left, click on it and drag it over to 90. Now, if we go into the flow and go to the beginning, if we play it, it'll go from left to right and 1/2 time and then just stay there because we move the key frame up so that instead of the full six seconds of the camp, three seconds that we across and it just stays there they go back. Timeline, don't go out and make sure that we have. He looks true. Then the timeline. And then we can move that key frame back to the end and then now, for you to the front of the animation and play, it takes the full six seconds again. Then we could go to these blind, and we will make sure that we have the same thing checked here and make sure it's fit. Now we have the same thing to key frames, while the beginning of the compliment at the end and you're lying, going in between But this line shows can be manipulated to change the basically acceleration or the rate it's changing. So right now it's just set to a constant speed. Go across and take six seconds, but by choosing these points, you could do various operations on them to change the way it moves across. So if you select the two points and hit F, that flattens it, now it's a curve. And so the street line. And as you see, it's kind of a slow, a small incline. Begin with and they get steeper and that kind of falls off again. And that makes the animation slower. The beginning and speeds up towards the middle and it slows at the very end. We go back to the flow, getting to play it seekers very slow, and then it speeds up and then slows down again. Show it again here, still taking six seconds. But it slows, start off slow, speeds up the middle and slows out the end. And we can manipulate that further to make it a bit more dramatic. By going into the spine and taking these handles, there's two of them on either side. So you click on this and drag it out, and that flattens it out even more. We could drag it down if you want to kind of straighten it out. But right now, just drag it out. You seem thing with the bottom one, this handle and pull us out. That makes it really flat for quite a while than a very seat curved and flat again. So if we go back to the beginning and play it, she is very slow to begin with. And then we'll speed up for the middle part really fast Natal, and then slow down a lot of the end, and then they kind of make it even change up a little more. If you go anywhere along the line and put your arrow on it, we'll see a little plus Mark, you can actually add another point. So because in the middle of a point, then we have another spot manipulate, and we have these handles again. So you take this in the uneven, either have flattened out towards the middle here so that it will be slow. Speed up, slow down the middle, speed up and slow down again so we can play to this again. Show that he's very slow and it speeds up, slows down, speeds up and slows down. So then you could add other points and change the line around. You could grab these handles and moving different ways to make a very steep in the middle, so that speeds up a lot in the middle. So take this grab handle here. It will make it even steeper here. Free. Go through and play it who, actually, it's one of things you have to kind of be careful of is to see how this line moves, because right here you can see it actually comes through and goes down below where this point is. So what? The very beginning. It's actually going backwards a little bit before one forward. So you want to kind of make sure that you tweet this and you just lift this up a little bit and now it comes. It'll operate more like we wanted it to. Is that go very slow with beginning speed up a whole lot of metal and then back again. I just want to give you kind of another little more in depth. Look into what displaying Tabin Timeline town do and you can go through that and kind of play around with it and see how changes affect your animations that you make quite powerful to use both of these and music, using them all the time to adjust the timing of my animations and again now, how they accelerate through time. And that's the end of this lesson, and I will see you in the next lesson. 22. Particles Part 1: Okay, Miss Lesson. We're going to be going over particle systems, going a little bit past the basics that were already introduced in my beginning, of course. So we should have a familiarity with the basics time overrun quickly here that you basically you always when you're working with particles, you wanna have a particle of matter. Particle window. It's kind of basic to knows. You need to do anything with particles. Put render in this one this window here. And if you go into the emitter tools and go into the tabs here, control the number of particles emitted per frame and the variants syndicate Change your life spans of this composition to earn 15 5 seconds, we'll change the life span of 1 50 And to see right now the style sit two or the region its atmosphere. So the particles will be admitted from the sphere here. And if we get a little bit of velocity and then place the animation, see what the Parker's familiar off the side. So that's the real basics of particles. Kanamori had a be familiar with that, but one of the nice things you could do with the particle system is have it come from something non standard and that, like a spear or its like a cube or a plane, you could actually go into the region here and shoes. It's called a MASH is basically a three object and used to create some for three D shapes Here. You could also do three D text and have the particles come for that, which is what we're gonna be doing. This example, you know, show you here. We kind of at least one example what you could do with it. So I have the particles coming from three D text to the world fusion here never informed there being created here. And the reason another node called P turbulence, which then basically disrupts it kind of lectures, a tornado or some wind vortex that's coming through and causing the particles to fly apart . So we'll do that in this composition here, since we're gonna be doing all this and three d will at a merge three d. You know, ships, thieves, typing emerge when amours three and we'll take the render up the render Put that into the 1st 3 D. We'll put that in a second window for right Now we're gonna win at our text. Three days. Looks the speech again. Start typing text Will do the text. Three d look OK, quite that into commerce tree text here. So do the same thing fusion, and we'll get a little depth extrusion here, make that 0.15 Okay, around here to see that Now, we could take us of having the text itself being emerge. When you switch the emitter over to the mass region as a new node. New input here to the node that allows you to, uh, input. Amash were imported. Text treaty into that. It's his mission put here. It's now the text is coming for the mash. So if you go back to beginning here, we're going to the emitter and get rid of the velocity. So little controls. I don't think the velocity of zero. So all the particles will just form on the tax. We could see the tax. So if I had played how you could see that the articles render on the text if we actually want to see the particle little bit better right now, the style it's at the point, but spare toe Have something with more substance to it. We can change the color. Here's will change the color, Teoh. I start blue and we're going to change it from a point was called a blob, which is basically steer sort of thing solar controls. But we're gonna reduce this right now because the blobs or more processor intensive in points. Gonna make sure that you have your number set low to begin with, and then you could up it as you need to. But if you have a set really high and change it from point blob, are you gonna see a big difference in the processing needed for the program and my even freeze up. So make sure you start out low and then kind of adjust it as needed. That one thing it does do is you see, here is it starts off very large blobs. Come out here the size control or do you sit down quite a bit So it's a lot more cream will be they play through. I have no idea where it looks like Primary do society a little bit more been going controls and we couldn't up this again to make me double that 20 and then see how that plays through . All right, let's look a little better and reporting on a background to this. So we get a three d plane, basically. So we'll come up here who appear the three D shape and connect that into the merge three. So that's a plane, just a flat surface. So it comes from a side view and we'll move that back behind the text on the particles or around again, and then we'll adjust the size of it. It was fairly large, and I'm gonna want to view this from one at a camera, which we do the most three D scenes. So come in here, got three camera, connect out into the merge and then, after the merger, was gonna want a render three d so and then output it out to a video format. So will come up to tools three D, and we were rendered three. And we'll do that in the second you were here. It's output. That's right. Now come over to the 1st 1 here. We wanna make sure that that's our merge treaties. We see everything we have in our seen here will rotate this around and the camera right now is right in the middle of the text and the background here plain, So we'll take the camera. Sure, it's selected and we'll move it back and I will be able to see the texts better here. But he's able to fit. Then we can move this back. It doesn't give you we want, and we can move it up a little bit. That's what we're centered and play through super CR text particles coming through there. So to get them to and I might want to change the background color, we'll change after different color here. So the materials well, maybe light blue or I'm trying black and see how that looks. Que Alex. All right, So another thing we want to do is we don't want to add some lights to it so we can kind of control the way it looks and how it's lit. Don't do that with a couple different lights. Years were tools three D light well at ambient light, which will give you overall. It's okay automatically created a second murder treaty, but things are connected in the old work. Fine. Just want probably make sure they have passed, relates once they're handling it like here and we can move that out the way because it was really a mere matter where where it is, what effects it is the intensity here they are going to render three D enabled lighting chatters. Now, if we go into the ambient light, we can adjust it so we can just it down Make it darker. So we want Adul. Have it be lighting it a little bit. We're gonna second light will be more directional and we'll be able to have more control over all. So over here over tools three D like a lot of point Right now the point light It does actually matter where it's positioned how it effects right now to see it's very close to the background here so we can move it out a little bit. Actually, it's also leading up the backgrounds. We will go towards sheep three D on Chek receives lighting and shadows. This weights just lighting up the text and come back to the point light. We could reduce its intensity and now we can also haven't moved in position it so you see kind of works as a spotlight here and what they have left side of text, then go along and go to the right to complicate the way we want it to be lit here. That should be fine right now and finally will do the do the particle effect where it does the turbulence. Do you see here? That's where it breaks up the particles. So will come here. Make sure the emitters highlighted the tools. Our ground particles, everyone. I didn't pee Turbulence just want the bottom here. Axes are reworking here, and basically the three main controls or the EC strength y strengthens the strength. And that's kind of the three different directions that the department will be pulled. And you could change him here to get up. If we have the X strength now, more of the X direction and same thing with why we do the why we'll do more than why up and down and Seymour towards and away from the camera playing through so we really want to do is any meat each of these We'll have easier to begin with so they don't affect the particles. I will have it playing through a little bit so we could see the text come in. I said a key here or each of, um, at the beginning of when it's gonna start affecting it and we'll have it come through to certain other frames here. And then we'll up to strength quite a bit. So you see quite an effect on the particles, and we play it through so that the Parkers will be born and come on and form the word for the text. And now the turbulence will start minute billing particles and having them spread out. Yeah, I might be a little too subtle. Get up strength here quite a bit. So it has a little more dramatic effect. Make it basically play around with how you want a time and how much of an effect you want. You could also, uh, animate the coming on six. Come on to the emitter, you know, I mean, how long the text is omitting the particles? You could have it at a certain point. Like saying for the turbulence is supposed to affect them. You could have him go down to zero, so it doesn't make any new ones Syncopation to come here and go say a few frames here, click at me and then go up to see 60 and have it go down to zero. So I will be creating particles up to right before the 60th frame and it will stop and don't make any more particles, and then the turbulence can affect the ones have already been created. You see, here I have a little more dramatic and comes out a little quicker and 16 particles to kind of singing. Just tweak it as you see fit to get the effect that you want. But others were more into, ah particles and how you can use different styles and used the turbulence node to create a nice effects with the particles. So hopefully you found this lesson useful and forward to seeing you in the next lesson. 23. Motion Graphics Track: can this lesson We're gonna be combining this motion graphic you created before previous lesson. And we're going to conduct some footage that we have tracked and at its that its following some other element that's in the video and moves along with it. It's used often in motion graphics where you will see, say, pizza, text orographic, follow someone that's moving along or some other element in the video is moving so well, stop this and we will start a new composition and work on this. So basically, uh, you especially you do in motion graphics you're gonna be using and reusing the compositions you made, and you might also use certain parts of it. So we want to do is come in here and copy all these nodes and bring them into the new composition. They will also bring in the footage, track it and then combine Together, we start off by just copying all these nodes. If this previous composition so that make sure all selected troll see and come to not new composition here and you know my control v paste them. So we have a kind over inside here, and we've been of you right Now we believe those. And what do you want to do is bring in your footage that you want to track. Look over here. Bring in some footage and we'll put that on. You were wanting to take a look at it. Going to fit. You play through a little bit here. We're not to be doing entire video, but we'll take a a couple seconds. Years will take. Maybe 1st 3 seconds. About 90 frames. We'll come down here and Changeling from competition and 90 frames. Then we could play through and get an idea. Okay, this is the footage to be using Tracking. It was in the previous tracking video. You come up, go tools, come down to tracking. Pick the tracker. Now, on this footage will easier to see the tracker here. I'll zoom in on it, move down. So I say we have an inner box here and in this space right here is basically what's gonna be tracked. So if we left click on his upper corner of the inter box zooms ends, you bring it over, get a good look at what you want to track and you can resize it. Yeah, I can move it around a bit giddy. And now the other box here is the area that's gonna search in. So from frame to frame, it's gonna be looking for what's in this box in the areas off. You have a lot of motion between frames. Where say, if this phone was gonna be way over here, you'd want to extend this box by quite a bit to encompass the area that that is, that this graphic might be in the next frame. But that's also more compute intensive, so it will take longer to track. So if you know you're not gonna have a lot of motion, then you could bring this adder box in and you have a little quicker track anyone as much of a problem. And our thing you wanna make sure is that it's usually best to have the position at the beginning. Now I can go on track backward and then come back to it in track forward. These buttons are over here. You have tracked backwards and the track forwards. We'll move this back to the beginning. And since there's not that much motion, I just really make a difference in this particular scenario, But you wanna have a basically a frame where you can really get a good Oh, really, to look at the area we want to track. And so you get the nice in center the Senator, the Tracker. So now put this in the new too. And once you do that and what you're viewing your tracker, we can. You have to fit. You'll see down here again and see fides what you want. It looks good. So she's should be fine. So we just come up to the track more attract from Macy track forward. We'll track this entire three second money frames left. Click on that and they could see the tracker that's going along to make sure that it's not losing it because especially if you don't have high contrast might see this all sudden, like go off and cantered off to the side and not follow what you're trying to tracks and you have to readjust. But there we go. That's all. Track through downs. We kind of go through it to the track. Okay, so basically what we want to do it. We then want combined our motion graphic with the tracking data so that it will then appear on screen and follow the point that we tracked. Yes, we do that by rain and emerge here of our motion Graphic coming to the tracker and putting into the foreground. And what you do that up to the second tab on the tracker cooperation Click Matchmove. And then you could see the looking graphic coming on. So at this point, you could go in and come into the urgent action. The transformed. Partly better Now you can move the graft around. So if you say if you wanted to be actually on your tracking point, you could take it left, click, move it, center it on there. And then when you play it through, we sent it directly on where you're tracking point waas. Or they said you click on it and you can move it off to the side and then have it play through, and I will still follow that point on this pure, uh, off to the side. So what's another? Just another example of how to use a track. Her use it to track your motion graphics that you've created to the footage and kind of food you want. So hopefully found this useful. I look forward to seeing you in the next lesson 24. Chroma Key 2: in this lesson will be going over. Have to do a chroma key or Greenstein removal. We'll take footage that we have a subject in front of green three and were able to remove that green and place that subject into another scene. I haven't blend in knack like there. Looks like there actually there place from here a little bit. I see that you're the foot of shoes in front of green screen here. You could see that we will match for the background. So we're gonna recreate this. So you I want to make sure you bring in your footage. The green screens. I was a copy of this majority have start a new composition. He's the footage, but you were one. The first thing we do is gonna create clean plate, which is basically just telling. Tell the delta key remover that what color is green that we want removed Here, click on tools. Jama'at click on clean plate. That second viewer, you start off with one done all key clicking Holy on pick and bring it over until you see that green. It's mostly those in here. Look of the mouse and we're going to basically want to make this entire frame here green. No peeking. Copier grew the edges. You also come with Matt Threshold here right now with the right and bring the low up and click on Phil and get this all way cream much just green. And once we have that with the top here, now we're gonna add are dealt here. Not here on tools to bound to Matt adult. Here about that, we'll fight the footage into it. Which input? Yeah, but the clean plate clean A until that tears. Nameplate move. You don't clear the second window. Your queens already mostly removed. But now we do have this fan here that was part of shots. What we'll do is we'll use what's called a garbage matte. Cut this out so we won't have Teoh. See, that will remove it from the key. Looking over here you were more Creek. You see Polly, lie mask. We'll draw massed around the fan. You know that into the garbage matte that we're going down that last removed. We get a good background here. Now we just actually wanna cleaning up your own badges and do a little refining of mask the company around with the gain, which left little more grain. Great. See Roussel Dittemore. It also is kind of a purple. We want to be subtle with that. We have always for tabs, who comes the pre Matt, and we can road here and make much their friends. We talk a little bit between a little bit here. Do you think I see the Blur does? It's not doing much of anything in particular. One becomes a mat. Your road dial eight of the one direction that kind of expands this year and brings it out . If you were rude, half pulled a little bit. Do you want just a little bit from the edges? So we don't have any ST Lines there, a hard lines between the background foreground. You can also we have a clean background, a little bit, kind of proving little remnants are hanging around there. I think it's looking pretty good right now. I was done with the Kings. Now what we do is connected to a transform mood that we could re sizes to match whatever background we're gonna be putting it in front of them, depositing it with. We want to bring in the background. So bring a background that you want. You want beach actually include this with the lesson Long. Who? This he uses an example. Oh, Klein. This with the up for the chance for making merge. Never know what swap the outputs. Do it in a second You were here. Now we just have to go to the transform because scale and around our key floated here, she find. Now the video is 249 frames on the proposition to 49. Sure, it's a beginning and play it through and kind of look and see how it's Matthew Footage slash in the background as you made a little bit pretty cute writing green. Still, because the transparency you could see through her shawl here and see to the background beach. Now you always have tweaked different settings to get your actual green screen footage to match up your background mixture. Keen? Correct. So please. Best to practice with, uh, a much different green screen footage sometimes will get shadows in the background or wrinkles or something else. That kind of will make it harder to make. And again, you have to make a deal with transparency. Fusion has a very good job with all that. Combining the clean plate with Delta Kier is very powerful and will allow you to key. Most things is all of this not are, like really horrible are green screen footage should be able to use the combination of these news and tweaks to get a good key so that your subject finds well with your background need. Also a color correction. Teoh. Give her the four grounds colors matched the background. Get it if it's a little too bright, beacon just e contrast and saturation to match more clearly with the background but hopefully found this lesson useful and I will see you in the next lesson. 25. Blur License Plate: Okay, This lesson will go over how to blur an object face Peter face or in this case, it's getting a license plate. So I have this footage here. I'll play through of walking up on the car to you might want a bird life, this play or some of face or some other object. Maybe a a sign, But this case, we're going to that license plate. So I have the footage here for the first track. It got to tools tracking. Make sure you choose tracker. Put that second viewer and a little bit no license plate with First Tracker, the upper left corner here of it, and we re size it a little bit. We don't just can't get the corner we want and also resize the search area here. So it's not looking larger, really large areas that will speed up tracking a little bit. And why have second tracker that usually comes up? We'll hear that right side somewhere. So we'll bring that down and we do the bottom right here and do the same thing. Besides the tracker area here and also a search area. Trick that down a little bit, and then we can track the footage. Something like that was a good track. So you go back to getting here, we're actually gonna set that to the side. We want to actually had to blur several compere. Make sure nothing selected down the bottom in the flow. Who will click on Blur blurred. And we'll take the video and put that into the input they're gonna want emerge after that so we can emerge. They were gonna merge the original footage with the blurred footage. Several can't that up and make sure you're going to blur and actually turn up the port side a little bit. We go back to emerge, hit control T and then put the merged and do that Second you were here. See, now that all the footage is blurred, so we're gonna do is add a mask to the merge. So click my mask and then kind of resize. This doesn't have to be right over the license plate, cause that's what we'll adjust the next set. That's why Make sure it's a little bit larger than what? The area one player. And make sure that they're rectangles selected, right click on center around connect to tracker one. And you want offset, Physician. Now, if you want, actually tweak it. So it's not exactly said it where you wanted to be, Like I want this down. Probably a little more and more to the right. Come back into the tracker show tracker ones selected and come down here and just the tracker offset. So that point to the right, The left a little to the right, and I pulled it down. So it's a lot more center of license plate, but now it will actually be attracted footage. Sophie, go and choose several points here on the timeline. So you at the blurred part, is following license plate. Things could go through all your flu should make sure that your there you want blurred, explored throughout it. You can tweak it a little bit, either through the offset if you need to work, also tweak the size of the fast if he wants to do either one. If it's a little bit, if it isn't quite covering what you need, you could add me either one of these two and have it come down and tackle better. But in this example actually does keep it blurred. The entire time. So that's all there is to blurring something. An object without a face or in this. And since it was a license plate, hopefully found this useful and explore it is seen you in the next lesson. 26. Light Leaks: okay. And this lesson will be going over how to do the light Leaks to transition or effect should be seen here. It started popular today. You could start with that started A composition could be, basically uses the transition here. So I was having any 60 frames. So it's quick. Two seconds between two. You're from clips it could be used for. Let's start here we're gonna need is to background so great to backgrounds emerged him. And I think she's backgrounds going Teoh a faster, please. Concrete fast. Always here for the first background, we'll create another fast. Please connect each of these to the background. So be uses an effect mask. Set up the fast noises. So put the 1st 1 first fewer and we'll put this one in the second viewer Every tweak, some of its setting two years were gonna change of seat and see the great so that the pattern is animated over time throughout the composition here. So we want to see the ring and she's change. Your time will do that to both of them. You get a nice movement. They kind of play through here. We can't change it. Tweak it as we need to pick up a little higher here. 22 you just get more movement. They're also gonna change of scale a little bit, sort of spring scale, down a little bit, which actually makes it bigger. Now I make you these fit mobile. You are fastened. Please bring it skittle down a little bit. Just a little bit here, all right. And the main thing that we're going to actually be at a meeting is the contrast and brightness for both. For the fast noises, there was a palpable start. Zero. So for each one, click Ami and start here will set a multi zero come over to the other, fashionable each year to the same thing, right? Click anime and the most down to zero Anyone go through a little before halfway. So maybe about 24. So here and they were going up. The contrast and brightness contrast will bring up to just just over half. Don't bring the brightness way up, so it kind of blows out. So it'll to be basically covering up orders in the background, which is gonna be the video footage used for transition. And you want to do that with both of these were big contrast up over half and bring brightness all way up. Just about our way high play through here will gradually come on. Then we will leave it on well past halfway. So take it out. Maybe 2 40 here. Yeah, well said her key for each of these, and we'll say key for both of them. Then we'll go to the end and sending both back to zero. So that fades out. Get you there faster, please. And bring them both to zero and we play it through. Come on and then go off and he will give you the actual merge with the finished you change color of each one here to the backgrounds. It's for a pick have Ah, Violet, purple The one. And she just looks like an orange soon as it goes through. But that kind of look, the white leaks Look here they go through a tweak how quickly it comes on and kind of play with the faster ways to get the kind of exact look you want. But this is the basic. So how to do the light leaks black and customer. Customize it to your liking so percent of this lesson and afford to seen you in the next lesson. 27. Banana Bob Lesson: okay. And this lesson, we're going to be combining what we've learned about tracking and also Green Spring King to create something like this. Hi, I'm Bob. What's your name? Hi, I'm Bob. What's your name? So basically what I did was get some green face paint and put on my face. Is XY here are pretty stupid, but it's all right. And basically track that and key out the green and also do a garbage mask around. So we just get the eyes. There was a mouse and people tracked out onto food. I have. So I took here of a banana and combine the two and get a composite. Basically, we'll explain like the annoying orange where you put your face on on an inanimate object. So this is a good example of combining two techniques. So again, green tree removal, along with tracking combined into a composite. So we'll get started here, create a new composition, and we want to start off with the footage of the like, the green screens. We keep that out. So come here. Find that footage of bringing into composition. The first thing you want to do with this one track it now when you film it, you want to keep your face if you want to. Something like this one keeper faces still is possible while filming it. Of course, your mouth is gonna move on your blinking everything. We're trying to keep your head, study eso. I'll make it easier to track on deposit on with the object. But we're still going to tracking, and that will help Help it go along with the footage. So we're gonna start with the footage here of the tools Go tracking tracker. Now, is this example to party Easiest to track top of my ears, I think I do. Over here and another tracker. Track the other side. So you get some of the rotation has been speaking, and we'll set the length of comped. You 24 total 125 frames. Make sure getting. Then we'll track forward tractor in second window and we will track forward and watch to make sure you're doing a good track. It seems to be okay. Seems you have formed a track here, so I will go back the beginning. Now we're gonna want do the remove the green to the green screen. King so come up tools. Corrente, Matt. And we don't really need to clean plate because this is fairly easy removal. Pretty easy key. So it was comfortable. Delta Kier put that in second window and they were picks the color. So let's click on taking hold down. Bring it over until you get the green selected. Won't you do let go And sometimes those that it's a little hard to grab it. So if you hold on the all key, um, left looking pick still easier than like oh, OK, that we got our color selected, we can zoom in a little bit. Thanks. See, there's little still here in the leftovers. We're gonna do a little cleaning up through different sliders here and in different tabs. So the first thing we do is coming to gain. Just bring the gang out, and that includes it by quite a bit, right? There were actually probably almost be usable as it is right now, with a little more tweaking will come in a pre Matt and we want a road is a little bit. Will tweaking come into the mat tab We're going to root Dial eight. Come left were road that kind of expands the mask part of it and kind of get you a little more area there. You don't cleaner on the edges and finally coming to fringe and do the same thing with the French Gamma that down a little bit Next fans area just a smidge and a pretty good might want come back to pre Matt. I see Correct to Matt Clean foreground a little bit, a little bit, but that's a pretty good right now. So we're going to want to do is create garbage matte which will actually get rid of everything else. So we're just gonna have the eyes, nose and mouth click. You're gonna do a pilot mask. They just want a mask just just inside where we already have it keyed out, and I will just help keep the edges out. And as it's gonna be a little bit of movement with my face here. So, uh, who has helped clean up the edges? That will start at the top Here. Let's go around the edges here. What you have drawn right click on the output. Bring that down to connect it to a delta kier. We want to choose garbage matte. At first it gets for the face. We just just come over here to invert and that clear about everything else. And then we could step through the footage and to see if we need to, uh, refine the mask. I'm actually, it's automatically set to be animated. So as we go along, if we make any changes, it will animate the mask and be able to bring it in so you could see up in the right here, get a little bit of top of my head. Here we go back to the mask and just bring in a few points here just to cover that it you care of that? Back out, then go forward to go forward here and look to see if anything else is coming through. Looking good so far. Torso. And here, just a tiny bit down here around the chin. Come to mask again and just pull out in just a little bit. Dan, here, go forward. A few frames for a few frames. Have a little bit of us. Are there from that in a bit. Go to the end, Complicate few spots here to make sure, and it looks like the mask. It's looking good. The next thing we want to do is come to the dealt here and we want to add a transform. And that will just allow us to resize it and basically line it up with the footage of the banana you're on. So we will have the transform nude. And after that, we wanted to add a color corrector so we can more closely match it to the shade of color of banana. So shifting hit space and putting color corrector quick. Okay, put that in the second window. Here. We can you start to get it. Wilmore yellow, more to the shade and color of the banana. And we could tweet that more later. That's good for now. Not fit. Now we want to work with the second footage footage of the banana where we're gonna be placed in the face so we won't bring that footage in. So I'll provide these files with this lesson so you could just download of it and then bringing into the project already have a copy over here. So I'm just gonna copy from this species composition. You know that the second window. So this is what the footage looks like. Play it through. So if we zoom in on that one of things I did while filling it before filming it was to put some tracker marks on the banana. So that would be here to track. If you already have some two spots or some areas on it, whatever object you're gonna be trying to track already high contrast, you don't necessarily need to add these tracking markers. But it makes a little bit easier to get a good track on it if you have something in some areas of high contrast. So let's put nine thoughts here with a marker onto the surface. Then we'll take the footage tracker to this. So it's a second tracker for this. Calm when No to and I'll take that over, bring that over and kind on the upper left here so you could shrink it down and move it over. We just use Upper four dots, and we could shrink the size of the search window a little bit. It's not moving that much. You see here we got a good them center to slice high contrast, a second tracker, and this time we want to go to the right side and more towards about him here. So get good track on the rotation in the change, it will shrink that down. There's kind of some of these two dots from the right corner. It will be sure gets window search winter down a little bit. Make it quicker track Now on free 24. Right now someone will do is track backwards and then come back to 24 on track for words. You could set us up with the beginning, probably usually best Do it then. But you also do it from anywhere in the timeline. Just make sure you want to track back and then track forward. Right now, we'll click on this button here, check reverse from current frame. I make sure that it tracked well and it did. We'll come back to 24 and that will track forward from the point. You see the tracker ground little bit off that we come back. It seemed to attract okay from around 68 here. So I assume in trying to see why you didn't keep the track after that point track of one here and just what would be pattern window here, and this may make it a little bit higher, so it's more of the edges here. So it conceive the four docks a little better, and then we'll try toe truck forward again. That's where you just want to keep refining your track until you get it right? Yeah. Looks good. So it looks like attracted the entire way now. Good tracks. You go back beginning now. One thing before hooking up your footage to it, you contest the track to see if whatever you place into track Well, actually, follow it. We're just gonna add a text node just to test it. I was hoping anything when you're shooting so we could see it read. We'll bring that into the tracker. Make sure to set the foreground. We will come back to the tracker. We want to separate tab Operation check. Matchmove. Okay, so there's our text. Now we play through and see if it follows along. So it should be tilting and moving around just like the object is. And it seems be tracking pretty good. So we could disconnect that. Just delete that and then basically, we're going. Teoh kept up the first footage that we just tracked and Green screamed to the tracker, do it as a foreground, and now the faces on there. So now we could go into the transform and adjust its size as position to sit with the object with banana. Because you in here just for everyone back to beginning and play through. They should be tracked and connected to the banana. And you see here that the faces tracking with it going from side inside you get two men. Hold it here, look at it and you could tweak go into the color corrector and tweak the color if you want . But tell the faces tracking very well with banana here. So that was successful. Track and green screen. Now, this file scheme with audio so so far and these lessons really haven't dealt with audio. Um, it's not the best fusion, but you can deal with it. It can use it basically, if you have to For clips to come down here to the speaker, right, click on it. It actually gives you the option is do no audio or take the Are you from one of the clips? You also choose a different file. If you had a separate audio file. You can include it also set it off set. But this first clip here's were actually have the audio for it, so I just select that now he played through. What's your name? Includes the Rto. Hi, man. Bob, what's your name? Hi, man. Bob, what's your name? Now? If you want to output this and say this, we're gonna wanna see renewed to the tracker here, here, and click on saver And she just spot where you want it. Give your name and they want given extension that way those that you want a video file. So I'm going to dot mp four. Click save. Now, if you want to include the audio, it's come over the audio and you have to choose thes name of the sound file so you could choose the name of a video file if you want. That's bam Bob in this instance. Click open. So we used the audio from that file your particular settings here and make sure they're what you want. If you click on render, check all the settings and click, start, render and then I will render at your file. OK, so clearly under successfully come toe where your soldier were you runners to and then play it? Hi, I'm Bob. What's your name? Hi, I'm Bob. What's your name? And that's all there is to it. So it's basically combined. What? We've already learned about tracking and about King and kind of combines it together and actually use two different trackers. Utilize both of them in this composition, creator and product. So hopefully found this useful and look forward to seeing you in the next lesson. 28. Course Challenge 3 : welcome to the third course Challenge, and this one you'll be challenged to make recreate of this clip here. Its composition. I'll play it through. So basically just provide the two different videos or be used. One is this background one with the green screen TV, and the other one is of the speed limit sign. And basically your challenge is to goodbye then, too, and composited together. So it looks like that video is actually playing on the TV. And also to composite in is three text, that is but the TV and you could see throughout the composition here as cameras panned, Basic stuck to the wall there, so be provided with again with both the green screen and also the video, the speed limit sign. And in the next video, I'll show you how I created it with different steps. I used to create it. Look forward to seeing you in the next lesson 29. Course Challenge 3 Solution: This is a solution to the course challenge three, which is basically to take this footage of a TV with the green screen background key that out and to track some other footage. So it looks like it's playing on the TV and this is the other footage. The footage of a speed limit sign. If you play long Sea has goes along. It looks like this footage is actually playing on the TV. And then there's also some text in the background. Kind of looks like it is save like a woodcarving that's hanging on the wall, but it tracks along with the footage. Appears to stay stuck to the wall. So it basically goes over tracking and also green screen. So well, I'll go over here and show you how I did it. So here is the footage of the green stream on TV, and here's a foot to the speed limit Sign will use in a minute. The first thing you want to do is to read the green train year green people come up to the tools come out of Matt first, I do clean plate. So quit that and you first actually that in second window with original religion first. So we go into the clean plate and, well, like a color, which you will pick the green. So hold on the all key left click on pick. Drag that over. You selected the green you want to remove, like with a house that uses that green. Many basically take his mat threshold. Move it over to the right and that pretty much just like serene and based kind of here. Shoes fill and they'll fill the rest with the green. And then, you know what were the low part of the math threshold? Here, get the entire screen you put very much one. Even Tony Green gets pretty close because that's most the job of removing the green. So once that's done, make sure you have nothing selected. Coming back up to tools. Go, Matt. Now we want to dealt here. We'll feed the original footage here into the input of adult. Here, we'll take you out. Put the clean plate right Click on that. Drag that down to the delta Kira let go. Anyone choose clean plate. And if we look dealt Kier second viewer, see that green is gone. So is pretty much nothing else to do with this footage. I was pretty straightforward. So we're gonna want tracked this footage that we could have the video, the speed limit footage track along with it and appear to be on the TV. So we don't want tracker the tools tracking, and we just work the work of a tracker. Put that in the second window and we'll take the point and I moved to the upper right corner. Something will see throughout all the footage. They also make sure that this is set to beginning and have it set 220 frames, although the first frame al justice, the upper right corner of the TV. You want to add a second tracker and how that goes, the bottom left. So OK, the rotation of the footage or anything like that. The two points will help us track bets. We get my queen track. We have our two points. We want to be sick up here and track the entire footage, so I'll click on track forward and I'll go through attractive footage. There's not a whole lot movement, so it should be a pretty good track. So let's let that go through so far. It looks like a nice clean track, not losing the in points. And I was finished. So think clean track through a pledge, we go back to the beginning of it and then we want to take the speed limit footage. You want to place it into the footage and have a track going, have to the four grand on the tracker. But first we want to do is call a corner pin core position. You got tools and think that I work here. What quarter position? They would basically take the four corners here and align that with the four corner TV will tweak it more later where he's going to get in the general area. So you take the jump points, move it to four corners, get generally right. Does perfectly precise right now. Again, we're gonna tweak it later. You won't get fairly close enough now to take it up with this. Have that be the foreground, the tracker, and not see anything yet because you have to come into the trackers. Controls come into operation and we want to look matchmove That puts the footage onto here that we want. Here is where we want to tweak it, come again and drag to set of the four Corners again after it's gonna be, like a final the product. This is gonna be what you do over to a client would be go through mawr and be very precise with this. But since this is just a lesson, show you the basics here. We want to tweak it, make sure it's perfectly the way you want. Now, if we consider footage here, see that it's tracking along with it nicely. But there are some parts will slightly be off through the perspective, and certain ways that we're attract will depend your footage have it changes, but what we can do is within the corner position. Er, we could animate each of the four corners, so we go each of the corners ago. Top left, right click on Click at Me Cooperate Enemy Bottom left Anime Bottom Marie at a meet kind of network 21 here. So the first part here it seems to attract good. But then, about middle way. It's like going off a little bit, so we'll just tweet the corners here a little bit. It's just a very saw changed me to make you go for a few friends here and see who is tracking here and again. The tracker keeps it mostly centered around the edges. That might be a little bit off. Let's reaches what going here and tweak it. And it's kind of cooking dirty right now, because again, this is just for tutorial for a lesson. So don't be a precise, but you could spend literally our you have, especially people, large piece of footage. You need to have it be perfect. I go through and tweak it and tweak the settings here. But right for now, it's looking pretty good, so we check it different points. Here's a little bit off. Come back up here towards a getting here a little bit. Tweak it a little bit war if you give in spots, but I should be good. Not for now. So that's the foot distracted TV. Now, if we want to add the text to make sure nothing selected and come up and choose text plus, they wouldn't want to merge that with previously should dry got down here emergent. You could add her text, and we want you emerge in the second viewer we see her text get up the size a little bit. Well, I was. That was an emerge, A changed. I will make sure have the text selected and change its size, Then go to shading. Changes color from the original example I had read. So I'll choose Read for the color Deep Red here. I also had a shadow in the background. It's called here to shadow, and we also want to add a transform which were used in a second. Right now, we don't really do do do anything with it. Then we want to have this text track to the information with the Tracker. So you come up to lay out when wants center position. So we'll right click on that, come to connect to come to Tracker one, and we went on study position that's tracked to it. And this is a really transform position it where you want it so again, right about the TV, so it looks like it's on this small. But now, as it goes through that text, we'll track with the footage. If we play through here, see that both e video here tracks with the TV and the text tracks with wall and all these positions that looks like this for years, playing on TV and text is stuck to the wall. So let's see how I did the course challenge tree. How I did the solution here is a little different. That's fine as long as your final product was pretty much the same. This just basically gets you to put to practical use what you learned so far. So hopefully you found this useful and before to see you in the next lesson.