Transcripts
1. Introduction: Hi, welcome to the Adobe After Effects video
transitions course. In this course, I'm jumping
into Adobe After Effects, and I'm going to show
you how you can create some really awesome
digital transitions. So throughout this
course, I'm going to show you the likes of the rotation, the Whip Pan, the
zoom, the Luma, that glitch transition
and soap many other video transitions that
you can complete inside of Adobe After Effects, This video transitions do not require any special plugins, so you don't have to
get anything installed. You can just start editing
these transitions today. Before we get into
the course though, let me please first
just introduce myself. My name is Chris broker. I'm a full-time
at video creator. I run a music video and
video production business. So I'm using these
transitions in my work to make my videos
look more interesting. I'm going to show you my
favorite video transitions and a few other really awesome video transitions
that you can add into your work to
add the extra spice of something into your video. With all of that said and done, Let's begin creating
some video transitions inside of Adobe After Effects.
2. Whip Pan: So let's start with the
first video transition. The first video
transition on this list is going to be the whip pan. And the Whip Pan is essentially just a quick whip
from left to right, right to left, up to
down or down to left. So in order to do the Whip Pan transition inside
of Adobe After Effects, we first just wanted
to make sure that we have two videos on our timeline. As you can see, I've
got this handheld shots of this building on
video layer one. And underneath, I've got the
shots of the London Eye. So first of all, I'm just going
to begin by dragging them both over to the left a little bit because
these are handheld shots. There's a little bit of
movement at the start. Now, I am just going to nudge these over
from one another. So I want this video
on video layer one to be at the start up
until four seconds. Then I want the
second video to be dragged over to the
end of the first clip, it should automatically
cut from one to another. Now, we need to go ahead and
create a new null object. It will go to layer
new null object. And a null object is
essentially just a way of controlling both of these
videos at the same time. We're just going to highlight
both of those layers. And we want to see
parents and link. If you can't see that than just right-click in
this general area, that's columns and go
to parents and link. Now you just want to select
both of those videos. We use this pick whip tool and drag that onto
the null objects. These books you should
change to null one. Now from here, you
just want to go to the end of the first video demo, go back on our clip,
maybe 678 key-frames. We'll go into the
drop-down arrow, go into transform and
select position and creates a new key frame on position by selecting the stopwatch icon. Now we'll go over to
the rights and we just want to go a few frames
into the second clip, and we'll just note
the position over to the right until
that falls off screen. Like so. Certain that women
play this back. You can see we've got
this sliding effect. However, the problem
is with that we are losing the second video. We're just going to go
through to the point where that motion finishes. We'll select this second video, go into the drop-down arrow, go into transform into position, and we'll just drag the position until it is now back on screen. Just going to drag this
all the way over to the left and that
looks about right. Let's see how this looks. So as you can see,
we've got this overlap where one finishes and one-star. So that's not great. Let's get rid of that. We're just going to drag
the bottom layer over to the left and the top
layer over to the right. Now you can see we've got the two clips on screen
at the same time. Well, the other problem
is at the moment this doesn't feel quick enough, so I'm just going to close the gap between these keyframes. Closing the Gap, decrease in the gap basically means
it's going to be quicker. It's going to take
less time to get from the starting point
to the endpoint. Now, if we watch this back, you can see we're getting there. It's starting to look
like a whip pan, but there's no character and
we can see this black strip. So let's deal with the
lack of character first. Highlight both of
those keyframes. Right-click over one of those. Go to keyframe assistant
and select Easy Ease. We've just converted this from linear keyframes to
easy ease keyframes. Basically meaning it's going to accelerate in and out of
each of those keyframes. There's a little bit more
character there now. But now we need to
go ahead and fix this black ball issue. To fix that, you just want
to go onto the top video, got into Effects and Presets. And we're going to
search for motion tile. They got Motion Tile
should be under Stylize, will drop that onto
the top layer. We want to go to output
width and we'll go 300. Output height 300 then
won't mirror edges. And let's see how this looks. As you can say, that has not done what we wanted it to do. And the reason why that has
happened is because we've put it on the top layer
and not the bottom layer. Let's just copy emotion tile. So Command C if you're on Mac or Control C if
you're on Windows, or you can just
right-click on hand. So that's called pay. And then we'll
delete, then got onto the bottom layer and
we'll paste that in. So Command V, control V, one of those options, and as you can see
that has filled in the gap on the bottom layer. Of course. So at the moment everything
is just a little bit too sharp and then he's because
we have no motion blur. So in order to activate
the motion blur, we want to select
all of the layers. And you want to see this icon. If you can't see this icon, then you need to select
toggle switches, slash modes, and select that makes sure the motion
blur icon up here is blue. And now when we
scrub through it, you'll notice we have motion blur that instantly
looks so much better. There it is. That is how you do the
first video transition. That is the Whip Pan.
3. Zoom: Transition number two is
a zoom in or zoom out. So it's a scale in or scale out. The technique for this is
actually kind of similar to the first transition
that we completed. So the Whip Pan, however, I'm going to run you
through the entire process in case you didn't care to
watch the Whip Pan video. We'll just jump straight into the technique in this video. So first of all, you just want to go
ahead and zoom out of this first layer and then zoom
out of this second layer. You want to make sure
that your two videos are running one into another. So as you can see, we've
got 4.5 seconds of this first clip and then it
runs into this second clip. Now, we're just going to go to the very end of that first clip. Go back in time 506 key frames, go into this drop-down arrow, into transform and select scale. Now we're just going to
go towards the end of that clip minus one frame. And we're just going
to pull these scale all the way down like this. Then we got into the next video. We'll go a few frames
over to the right and create new keyframe on scale. So again, we'll
go into transform new keyframe on scale by
selecting the stopwatch icon. Then we'll go back
to the beginning and we'll just
increase the scale. Sorry, Let's see how that looks. That's the basic
effect now complete. But first of all, we
wanted to speed this up, so we're just going to
close the gap there. And we'll close the gap there. As you can see at the moment, it just goes straight into
that final resting position. But I want to add a
little bit of a bounce. So I'm just going to go a few
frames over to the right. It creates a brand new
keyframe on the scale. And then I'm gonna go
to the second keyframe. And I'm going to
decrease the scale down, as you can see at the
moment with filling in the edges because of
the motion tile effect. But I'm going to delete that for now and we'll
come back to that one. So this is what we have. Sorry, it looks pretty good. But at the moment we can
obviously see the black edges. And then of course as well, there's no character
in this animation. I'm just going to highlight
all of those scale keyframes. Right-click on one, That's keyframe assistant and
select Easy, Ease. Now we've got a little bit more character because
we've converted those keyframes from
linear to easy ease. Now we need to just tackle this problem with the black box. So we'll select this first
layer will go into Effects and Presets and such
for motion tile, which he's already
that in my example, will drop that onto
the first video. Will change the
output width to 300. Which energy output
height to 300. And as you can see, that's
filled in the gaps. But at the moment it's
all just a tile effects. We need to select
mirror edges to basically reflect that
across the different layers. And now you see when we watch
this back in real time, you barely notice
that tile effect. Now we need to just copy
that motion tile effect. I will paste this onto this London I layer,
the second layer. Moment. Play this back. You can say
that looks much better. But the problem is, we can see this tile effect here
because there's no motion blur. You want to make sure
that motion blur is enabled on both of
these video layers. Make sure the motion
blur icon here is blue. If you can't see motion blur, then just select the toggle
switches, slash modes. And you should see that. As you can see, that's
looking really good. But the problem is there's
a little bit of a delay. So I'm just going to nudge
the second video clip to the left by two frames and that
should solve the problem. There we go. So much better. You've got this really cool pop zoom-out scale transition. Now complete data inside
of Adobe After Effects. Let me just render this out. We'll play this
back one more time and let's see how this looks. There you go. That is transition number two.
4. Rotation: Transition number
three is going to be the rotation transition. So in order to do the
rotation transition, we need to set the video
clips up exactly the same as the whip pan and zoom in
slash zoom out transition. So you just want to
make sure that you have two video clips
on your timeline. You've got one that
finishes at the same time, the next one starts like this. Then we're just going
to go through to the end of the first video clip. We're going to go
back a few frames, go into transform and creates a brand new keyframe
on rotation. Demo go through to
the end of the video. And we'll just change
this to 100 and A2. If we play this
back, you'll notice the video rotates around. Now, we just need to go
through to the second video. We've got a few frames
over to the right, creates a brand new
keyframe on rotation. And now we'll go back
to the beginning. And now we're going to
select negative 180 degrees. Sorry, let me play that back
and see how this looks. That is the transition
technically working. But the problem is
it just looks a little clunky at the moment. There's quite a bit that we
need to do to fix this up. First of all, I'm just going
to clean up this animation. So I'm going to highlight
all of those keyframes. Right-click one of those. Select Keyframe Assistant
and go up to easy ease. Now when we play this back, you'll notice there's a little
bit more character there, although it's not quite perfect. So I'm just going to nudge this second video over to
the left by two frames. And I'm just going
to pull this back. Let's see how that looks. That looks a lot better. Although it could
do with shifting the first video clip over by one key friend just to
make that feel snappier. And then we got that
feels a lot nicer. Now. Now we need to
deal with the fact that we can see all of the
black around the video. If you've watched the
other two videos, the previous two videos, you'll note this is motion tile, so drop motion tile
on the first video, output width is 300, outputs height is 300. And then we're going to
select mirror edges. And then of course
we do the same thing on the second layer. So we'll go motion tile, drag that's on output width 300, output height 300, and
select mirror edges. Let's see how that looks. That is good. But at the moment
you could argue that this is a little bit too quick. So let's pull that first
key frame over to the left. That's a bit better. But then the permanent is the
second keyframe just stops, completely stops the movement. And I felt like they'd be
a little bit of a bounce. Let's fix that by going a few
frames over to the right, creating a brand new keyframe on rotation by selecting
this icon here. We'll get back to
that second key frame and we'll continue the movement. So we'll just pull
this around to positive 2025,
somewhere around there. Now when we play this back,
you'll notice there's this really cool bounce back
as it falls back into place. However, at the
moment everything is looking to clean and to shop. So we're just going to enable motion blur on both
of these layers. Again, if you can't see that, that makes sure you
select toggle switches, slash modes, and then make
sure that this icon is blue. Then let's see how that looks. You can say that
looks really good. And of course, if you wanted to, you could combine the
rotation transition with the scale transition. At the same time as rotating. You could be doing the Zoom. We're just going to go
through to the start of that rotation on the first video was brand new keyframe on scale got towards the
end of the action. And we're just going
to zoom out like this. So as you can see, 53 and will match that up to the other key frames and convert those to
easy ease keyframes. You can see we've
zoomed out like this. I would do the same
thing on this one. So we'll just load up all of those keyframes so you
can see he got rotation and scale will go through to
the second keyframe, CREB, primary key frame on scale, then would just zoom in and pull this back to the beginning to match
these other keyframes. Then we'll convert
those to easy ease. So Keyframe
Assistant, Easy Ease. Now let's see how these look. That looks pretty good. Although you could
actually make this even more aggressive
if you wanted to. I'm gonna pull this first video down to even smaller number. So an even smaller
number, so 31. That's a very dramatic zoom out. Although the problem
is you can see the motion tile effect
falling apart here, and that is because we
are too zoomed out now. I'm just going to
pull that back up to around 40. See how that looks. Still falling apart. So let's go back
up to around 50, will make them more dramatic
change on the second layer. So go to that first keyframe, will increase this guy all
the way up to around 200. Adults play this back. They got much better. So as you can see, you've got these really dramatic rotation zooming transition. Of course you don't
have to add the Zoom, but if you wanted to
add that extra element, to add the extra spice of
life into your transition. That is how, of course, if you wanted to slow
down that bounce, then you just extend the
gap between the second and the third key frames on the
rotation animation layer. And that will slow that
down exactly like that. That is the third
transition and that is the rotation transition and technically also the
rotation zoom transition.
5. Shape layer: In transition number four, we're breaking away
from the zooming, the whipping they rotation
type transitions and we're gonna go into some shape
layer transitions. So I'm gonna give you three different
examples in this video. But of course these
three are just flavors they see is just to
get you inspired and show you what is possible. Of course, you don't
have to follow these exact transitions, but use these three as
examples to see what is possible in the shape
of that transitions. In order to set up
the transition, we first just have to have two video clips were
running into another. We don't have to do anything
special in terms of rotation, position, or scale. We just have them running
into each other like this. And the transition will
happen on the Shape Layer. Speaking of which, let's go ahead and create a
new shape layer. Will go layer, new solid. And we can just press
Okay on this if we wanted to or we could
change the color hair. In my example, I'm just going
to select a nice soft blue. First of all, I'm going
to show you how to do a diagonal wiping transition
with this solid layer. First of all, I'm just going
to increase the scale. I'm going to increase
the scale up there. Then I'm going to
change the anchor point to the bottom left corner. So I'm just going to
move the shape up here. Then I'm just going to move
this anchor points so that it sits in the corner of the solid. So you want to try and get this as close to the corner
as you can get it. So they've got
that axis is done. Let's just pull this down. There we go. Now you'll see the reason why we wanted to put this
in the corner. Because now when we adjust
the rotation rather than the rotation affecting
the center of the image, it's going to affect the
corner of the image like this. Instantly. That's going to make a
much more dramatic effect just by changing the position
of the anchor points. So this is basically the
principle of our transition. We're going to start like
this and it's going to rotate it around to
reveal the new layer. We're just going to
rotate around, around. Negative 100 will move the anchor point down
into the corner. So we'll move that
solid down there. Then we'll go through to
the end of the first video, creates a new keyframe on the rotation on the
blue solid layout. Then we'll go to the right
and we'll just pull this all the way around until
it disappears again. Let's see how this looks. Good. That works pretty much exactly
how we need that to work. But the problem is,
you can say it's not tall enough on either axis. I'm just going to go into scale, unlink the horizontal and the vertical axis so we can adjust these independently
from one another. And then I'll just go
into the second layer and increase the number to
fill in the screen. Let's see how this looks
about what papilla. If for some reason you did this. You could see the video change, often old before or
during the transition. Then all you need to do
is just wiggle this over until the screen is covered
at the transition point, you can say they split
ends in this clip starts and the screen
is completely below. You see when we play this back, you've got this really awesome
diagonal wiping transition using a solid or a shape layer. Of course as well. If you wanted to improve on this effects or add
something to this effect, you could copy that layer. So we'll go Command
C, Command V. Or if you're on Windows, you
can go Control C. Control V will nudge these keyframes over to the right by two frames. Then we'll go into Effects and Presets and we'll
search for change. You can put change to
color on the top layer. I drop this onto the top layer. Then we can just go into, from, and we can use the Eyedropper
tool to select this blue. We can change the change to hue, lightness and saturation. And then we can change
the color by selecting the white box and selecting
a different color of choice. I'm going to select a
muted green press. Okay? When we play this back,
you'll notice we've got two different
layers of colors. It's just the same layer. It's just, we've offset it by two key frames and we could
even take it even some more. So we'll take it four frames
apart from each other. That's creating this really nice double-layered transition. That is the diagonal
rotation transition using shape layers. If you didn't want to
do this transition, you can maybe just
do a whip pan. We're just going to
delete this solid and the solid will create a new solid
layer, new solid press. Okay? And this one's gonna be nice and
simple in comparison, we'll go a few frames towards
the end of the first clip. Press P on the
keyboard for position. Crap Brendan key frame on
the position and will nudge the position all the way to the left until that
disappears off screen. There we go. And now we'll go a
few frames over to the right towards the
start of the first video. And we'll just push this
all the way over until the video appears off
screen on the right side. Now when we play this back,
you'll notice you've got this really cool color
whipping transition. Of course, it is a lesser
faster at the moment. So we'll just go into increase the gap between those keyframes. And that looks good. But the video changed. As you can see that while it
was still color on screen. So I just need to
adjust these keyframes. And that's his
fixed the problem. That is the second
shape transition inside of Adobe After Effects. So let's delete that and let's
go into the third option, which is going to be a circle. It will go layer, new solid. I'll press okay on this layer. Then I'm just going to go
into this rectangle tool, drag down to the ellipse tool. And then we'll just hold
down the Shift button and we'll just draw
a circle like this. Then we'll load the
proportional grid. So select this icon,
select proportional grid. We'll just move the mask
of this ellipse into the very senza like this. There we go. Then we can go into the mosque and you can select Inverted. Then we go into the
mask expansion. And as you can see, if
we pull this up or down, it's going to either fill
the screen old disappear. So we're just going to increase the mask expansion
until that disappears. Creates a brand new
keyframe there. We've got towards the
end of the first video and pull them off
expansion all the way back down until the
screen is now filled. That is around here
and that is minus 200. Then we're just nip over go maybe two or three
frames to the right, it creates a brand new key
frame of the same value. And then we'll go a few
key frames to the rights, and we'll pull this
all the way back until the screen is now
revealed again. When we play this back. You've got this really
cool Sacco transition. Although if you wanted to, you could make the hold
list a bit longer. So we can just pull the
first and the second to the left and the third and
the fourth to the right. Just to open up that gap. Again, you can do that
even more if you wanted. That. We've already got this nice hold in-between that transition. Then of course we'd just go into convert these keyframes to easy ease keyframes
just to create that really nice
stylized animation. And that was great. Of course, this first one
is now a bit too quick, so I'm just going to increase the gap between those keyframes. And there we go,
we've got ourselves a really cool transition. And of course the beauty is with the shape transitions
is because of masking. You can literally
create any shape that you like to
create a transition. So you could have a box bouncing into frame
and then opening up. You could have balls
animating down one-by-one. There are so many different
possibilities when it comes to the shape
layer transitions. It's just up to you,
your creativity and what you can do with
Adobe After Effects. They've transitioned.
Number four is the shape layer transition.
6. Luma Key: Full transition number five, we're going to jump
in and start looking at some different effects. So in this one we're
going to talk about the Luma Key transition
or the luma matte. In order to set
this transition up, you want to make sure
that your first video is above the second video. And you want to
make sure there is an overlap at the end
of the first video, the start of the second video. Then you want to go into Effects
and Presets and such for a Luma Key will drop that
onto the first video. Will go through to
the point where the second video begins, creates a brand new
keyframe on threshold. Then we'll go towards the end, minus one key frame. And the reason why
we're doing minus one is so that we can see
what we're doing. Because if I go to the very end, we go to the next video. So go back on yourself one
keyframe or one frame. And then we just pull
the threshold all the way up until we
see that next video. Let me just play that back. See how that looks really good. Although at the moment
you can see that was very, very quick. So we've got to have
to add some more time. Hail got into effects Luma Key. And then we just extend the
duration of these keyframes. So extend that gap between them. And you can see we've
got this really cool transition now happening. Of course as well. If you wanted to, you could combine this with some
key frame animation on the position scale and the rotation to
enhance everything. So as you can see when
I play back this video, you can see it's just the
towel that he's left behind. The sky comes down. And then once that sky has gone, we're left with
the building for a second before it dissolves away. Just off to the sky disappears. I'm gonna go to transform and creates brand new key
frame on position. And then I'm just
going to move down. And I'm just going to
move the position of this entire layer down
just a little bit, just to enhance that movement. They go, you can see
that really helps to add a little
bit of something. It almost looks like it is now melting or dissolving away. And of course, again, we
can convert our key frames from linear to easy, ease. You can see that just helps to accentuate the characteristics
of that transition. Of course, though, if
anything fails to quick than just increase the gap
between those keyframes. But that age transition
number five, that he's the luma matte
luma Key transition.
7. Glitch: Transition number six is
the glitching transition. At the end of the
first video clip, we want the video to glitch out and glitch into
the second video. First of all, we wanted
to make sure that the first video is
above the second video. Then from there we're just
going to go into Effects and Presets and we go into
search for channel. And that should load
up Channel Mixer. And we just drop that
onto our first video. You can see we've got red, red, red green, red blue
red const red, green, red green green, green, blue green constant blue red, blue green and blue,
blue, blue constants. The only thing we won't hear
it set to a 100 is red. Red will say
everything else to 0. You can see the
video has tone red. Now we need to make two
copies of this video. Will go Command C
if you're on Mac or Control C if
you're on Windows. And then the same again,
Control or Command V, I will have two copies of that. So we've got three total. So we've got to the
second video and we'll change red, red to 0. But we'll change green, green up to 100. Then we'll get to the bottom. And again we'll
set red, red to 0, but we'll go to blue, blue and set that to 100. Then we'll just go
to the top layer. We're going to
change, I'll toggle switches slash modes, view. And we'll go into mode and
change this to screen. Then we'll go to
the second video. We'll change this
to screen as well. Now we're back to where we were. However, if I press P on the keyboard and I
changed the position, you can see we've got this glitching effects
now happening, and this is the
basis of the effect. So now we need to go to our second video and do
the exact same process. I'm going to drop channel
mixer onto that layer, will change the green, green to 0, the blue, blue to 0. We'll make two copies of that. So Command C, Command V, V. Then we'll go to
the second layer, 0 on red, red, 100 on green, green. And then we got to
the bottom layer, 100 on blue, blue. Then the other layers
are all zeros. Then of course, don't
forget to change the blending mode on the
top two layers of that. Normal to screen and then
normal to screen again. There we go. That is the basics
of the transition. Now complete. Now from here, you've
got the freedom to do whatever you like to
the different layers. So one thing that I love
to do to really create these elements of glitching
effect is go into Distort. And you can see there's loads of different distort effects here. Got liquefy, magnify mesh, war, mirror, reshaped ripple. Pretty much any one of these
is going to work here. However, I'm going
to drop wave warp on to the second layer
of the first video. As you can see, we've got
this waving effect happening. However, I'm just
going to go into wave type and change
this to square. And that's going to create
this glitching effect. As you can see, I can
change the wave heights or I can change the wave width. And I can change the
direction of the distortion. Then I can change
the wave speed. I can change the pinning
to all edges or sensor. As you can say, if I change
the painting to all edges, then it fixes the corners. And it just means the sense of the video is going to glitch. And then of course we've
got phase as well. In order to activate
the transition, you just want to go to wave
heights and wave width. Pull them both down
to small numbers. Wave height 0, wave width
can only go down to one, but if you create a new
keyframe on both of those, and then you go towards
the end and you pull these all the way back up. Degas, you can see
you have incident got this glitching effects
now happening. Of course is if you wanted
to add movement to that, then you can change
the direction. So if you crack brand new key frame on
direction before it comes in, we go towards the end, so somewhere around here. And then we just rotate
that around a bit. You'll notice there
is a bit more movement in that glitch. Of course it's about
if you wanted to, you could extend that layer over so that it overlaps here. Just for a frame, Let's just create that extra
layer of distortion. And then you can
do the exact same thing on the layer below. So we'll go to Wave Warp, drop that onto the top layer, will change the wave type two
square will go to pinning, will change this to all edges. Then we just increase the wave width and
the wave heights. In increasing the wave height. Hey, read, it does help
goods at the very beginning. Credit brown and keyframe
on wave heights and go over three or four
keyframes and pull that back. It down to 0. You can see you've got this
really cool glitch transition happening between
these two layers. Of course, it's completely
up to you now what you do, but you can just add Wave Warp onto each different
layer if you wanted to. And every time you do that, it's going to add
a different color, wave warp or
distortion or glitch Because you're putting it on
a different color channel. Even though we've
made the glitch at the transition points, you can now go ahead and add
extra glitches throughout. So in order to do that, you just create a
new keyframe on 0, move over, pull it up, and then move back over to
pull it back down to 0. But of course, if you wanted to take that to the next level, then you can just highlight
all of those layers. Make sure you're hovering
over the transition points. Right-click and select
pre-compose press. Okay, then we'll drop Wave Warp onto this
precomposed layer. And your precomposition is essentially just a big group of all those layers so that you can affect them
all at the same time. Which means a wave
type two square will change the
pinning to all edges, will go through just before
the transition begins. And we'll change
the wave heights and the wave width down to 0. Dan will go through to the
point where they transition. So it will increase
the all the way up. Then we can come back down again on the other side
and back down to 0. Let's see how that looks. You can see that's
actually added a little bit of extra
something come to that. But you could argue
that it was just a little bit slow to get going. So we'll just close
down those key frames, closed down the gaps. Let's play this back. You can see that
feels a lot more like a traditional glitch. But if you wanted to, you could change
the direction of this so that it now
goes over to the side. That looks really cool as well. Alternatively, if you wanted to, you could actually add, maybe a flash of light
may be potentially. So we can go into effect some
presets, such four levels. Individual controls go through to the point where the
transition is happening. Around here. When we get the green
frame into RGBA will increase the
input whites or decrease that all the
way down to 0.76. We got back on ourselves
three or four frames and pull that back to one. Then we'll go after
the transition and pull that back to one again. Let's play this back and
see what this looks like. I've got the glitch,
we've got the Flash, we've got the glitch on the
individual layers as well. And that to be honest,
it looks pretty good. Of course, this is just one way of doing
the glitch transition. There were so many
different other effects in presets and distortion
plugins that you can drop onto each one
of these layers to create a different
type of glitch. If I go into the distort tab and I just put any
one of these on, so we'll go CC Bender. You can say that's how this
is going to be affected. You could do a glitch like this. So you can have
very subtle glitch or you can move that
around quite a lot. You could go for magnify
and drop this on. You can add the magnification into the sensor and
you can add some feathering onto there so
that you're only affecting a specific point and you can
change the size of this. It's completely up to you. You could go into
mirror offsets, fair ice, Mia wolf, there's so many different
distortion plug-ins here that are going to give you a slightly
different glitching effects. So that's up to you
and your creativity. But transition number six is
the glitching transition.
8. Outro: And there you go. That is all of the
transitions now completes. So you should be able to create some really awesome video
transitions inside of Adobe After Effects using all or just a few
of these videos. So my challenge to you now is to go ahead and create
a short sequence, a small video showing me three of your favorite
video transitions. They could be a wet pad, a rotation, a glitch, or Luma. It doesn't matter what it is. Just picked three of your
favorite transitions from this course and upload your work to the student's
project section. And I promise I will
share my feedback and honest opinions
on your work. So thank you ever so much
for watching this course. I really do appreciate
your support. And if you want to learn
more about filmmaking, video production over to
your editing than I do have a whole load of
other video courses available for you on my page. So feel free to check those out. But if not, if you're moving on, then thank you ever so
much for your support. I really do appreciate it and hopefully I will see
you on the next course. See you there.
Chris Brooker, Filmmaker & YouTuber
