Adobe After Effects Complete Visual Effects Course

1. Course Introduction: Everyone and welcome to this new course. In this new course, we will learn about visual effects and we will create these visual effects inside Adobe update x. Unlike other courses we teach you a lot of the projects, but when they give you a brief knowledge about the subject, this course mainly focuses on giving you in-depth knowledge would help real life examples. In this course, we will create an actual visual scene inside After Effects, we've been inserted a castle in the region. We will die if an egg ever missed merely behind every month and regions and you've been archipelago and getting bankruptcy in ten minutes. I hope of 3D, ribbon transported deck, deck and who all sorts of vigorous statements inside this boards that they were being other advanced, this gorgeous for everyone. And it did also easy to understand and grasp the best part about this. Instead, this follow along patent, which means everything will happen in front of your eyes and you can follow along with me in creation process of this visual effect seen. What are you waiting for? Just take this course and done about visual effects. Thank you. 2. VIDEO 1 Scene Setup and Course Idea Explaination: Hello everyone and welcome to a new project-based scores on Adobe After Effects. In this course, we will create a real-life project on visual defects. You will create visual effects seen. And meanwhile, in the process you will learn basic concepts and advanced concepts of visual effects. And we will create a very good scene which comprises of Sky Replacement, dragging and some 3D placement of objects missed. We will add all those things. It will be a good project for you. So if you are interested, keep watching. Let's get started. As you can see here, I have my required files. You can see in raw materials, we have some missed files, some raw files. And I'm just importing all the files into my projects panel. You can see I have this castle file in which I have detailed in the background. This case a layer using Photoshop. Basically the basic idea here is that we want to place this into our surrounding mountainous region. First, you can see we have this raw video. This is some random mountainous region. It is a normal video. You want to create. Movie kind of scene where we can place this case l into the scene and we can just replace this guy. We can create a night scene by using these days in. That is a basic idea behind this project. You can see I have this video, and currently our raw video is very long. We only need that part of the video in which we go through this canyon region so that when we go to the other side of this canyon, we can reveal our case a layer. Currently there is no casual, but we will place it behind these mountains. And you will also replace this guy. We will convert day into night, and we will also add some 3D best. As you can see, firstly, we are arranging our seams atom. Because first our scene, or you can say first-ever raw scene should be in place. Then only we can do our further verb. I have trimmed the layer to a specific length of our requirement and I billeted northern part. You can see I have also reduced my work area to that part because usually in visual effects, we get many layers and the effects we apply our heavy. It is advisable that you can just shrink your work area to your actual work area so that it is not hardware intensive. Now you can see this is our raw video and we are willing to work on this video. You can see it is some random video where some people are standing on mountains, but we will convert this video into an entirely different kind of scene. You will add a castle behind these rocks. We will convert day into night. We will add moon, we will add clouds. And we will basically we will try to create HCG words kind of scene. Before moving forward. Let me save this project. We can name it Project three. That would be nice. If you are interested in learning other things like kinetic topography or motion graphics. I have created other courses. And all those courses are also follow along courses as well. There's project-based courses in which I work on real projects. I show you all the steps which goes behind creating those projects. You can watch it if you want to learn dead, but USPS saved our project. Now you can see I have duplicated our raw video layer and why I've done it, because the first thing we will have to do is to separate our foreground and background. Otherwise, we will not be able to do anything because we want to play some things behind our mountains. So we need to consider a part of the video which is foregone and other part is background. And we will have to apply some tracking, some 3D camera tracking, some rotoscoping. That is why we need multiple layers of the raw video. So we have just duplicated overall there. I think you're getting the idea behind this course. This first video is only to explain you the idea behind this course that what we are going to create in this course. From next video, we will start creating our project. You will start importing the files and we will start applying the effects and necessary steps. This was it for this video. In this video, we have setup our scene by creating a new composition and then importing our raw video file, which is unedited. And then we will start with our processes. So thanks for watching. 3. VIDEO 2 Foreground And Background Selection in Roto Brush: Hello everyone and welcome back to this new video. In previous video, we have set up our composition for creating our scene. In this video, we will start creating our scene. So as you can see in previous video, we have duplicated our raw material layers. In this video, you will have to separate our foreground and background layers. Just go to our Roto Brush Tool and then select Roto Brush. We are applying Roto Brush on our top layer. Basically what this does is that you can separate your foreground elements and background elements using Roto Brush. Now, just drag over the part of the scene which you want to reconsider desk foreground. You can see our Roto Brush menu is opening. Now you can see a pink area. The selected part will be considered as foreground and other thing will be considered as background. The background part will be deleted, and this other part of the video will be visible. You can just brush over the parts which you want to consider as foreground. And if you do any mistakes in selecting any part, you can just click on Alt, just press hold and it will be converted to it using warm. Then your selection color will be turned to red and you can delete any selection. Our first step is to select these mountains because we want to just separate these mountains. We want that these mountain there should be in front and we want to place something behind these players. That is why we're separating it from background. So you can see basically when you edit any image, it is easier for anybody who can just select parts and you can just delete it. But when it comes to video, everything is moving and your background is also changing continuously. So that is why in that case we need to just drag everything. And whenever you are trying to remove any object or you are trying to remove background, then also you have to drag everything. Because the process of doing the video, there can be changes in the background. So that is why ever Roto Brush comes very handy. You can see I have selected the parts of these mountains which I want to bring in front. I've done that by brushing over the areas which I want to select. And these pink lines denotes that our selection is correct. And the area which is enclosed within these pink lines, it will be considered as foreground. Unique selection. But one more thing, you need to know that there is an edge refinement tool also present. Whenever you want to select any hairy but like any phase where there're hairs. So we need very precise selection or we need any relaxation in that area for doing that. We need to refine those edges. So after selection, using Roto Brush, you can just apply edge refinement tool over that area so it will look good after removal of background. But you can see here we do not require that much because you do not have any hair or something. Maybe we would apply over those people. But I do not require that Edge deployment tool. This was it for this video. In this video we have discussed about selection of foreground and background layers. Separating any object from any video, you can just duplicate that video. And on top, duplication of that video, you can apply a Roto Brush. And using Roto Brush, you can just drag over the area. You can brush over the area which you want to be considered as foreground. And other part will be automatically considered as background. In foreground layer, it will be only foreground part which will be visible and they don't part will be gone. In the background layer, we have another layer. So that is why there will be two layers which will be making a vaccine. But the viewer would not be able to recognize that these are two layers. We can easily place any object in behind our foreground layer. Dead, was it for this video? And in this video we learned about correct selection of our foreground layer and background layer and how you can do it using Roto Brush Tool. In next video, we will process where Roto Brush tool currently we have only selected it. In next video, we will start processing it. Thanks for watching. We'll continue. 4. VIDEO 3 Auto Rotoscopy: Hello everyone and welcome back to this new video. In previous video, we have discussed about selection of our foreground and background layers. And we have decided how we can select our foreground layers and background layers using grew to brush, we discussed about edge refinement tools and how we can use both of these tools like Roto Brush Tool as refinement tool. And we also selected our mountain layers that we can isolate those mountains from our raw video. In this video, we will initialize our Roto Brush. Previously, we only selected our part, but we have not tracked those parts. You can see as it is video, we need to track those Roto Brush parts for every single frame. Previously, this used to be done by actual people. And this was a tough spot in case of visual effects. But as you can see, technology is increasing day by day. So we have a Roto Brush to 0. Now. It comes with its own auto tracking feature. It can drag with the edges and it is AI powered. And basically previously it was not good enough for tracking purposes. But now these 2 version is good. We will use it for auto tracking of different frames because we do not have debt much time to go to every single frame and paint our Roto Brush selection part. It will take too much time and it is not possible actually, in this short amount of time, we will move with it. So let's get started and let's initialize a digression and proceed with it. You can see when I press Space, Roto Brush starts its auto tracking feature and it will try to polish and paint every single frame with respect to our selection. It will try to keep our selection constant. Although it is not constant every time there are some legs and there are some glitches in-between. You can see our selection is broken at some parts and we will fix it in later video, I will show you how you can fix that. It's still, this AI feature saves so much time because you can see it is striking almost. Similarly. If we go frame by frame, it will take so much time. So it can do its job correctly, but it requires some minor tweaks. You can see first it goes to the left side and it paints all the frames with Roto Brush. Then it goes to the right side of our selection, and then it paints all the frames. You can see that green bar denotes our functioning of Roto Brush. Basically what this Roto Brush is doing, it is going to every single frame. And it is painting over the selected area. And the selected area will be considered as our foreground. And it will be extracted from our video into a separate new layer. And our background part will be deleted or it will be transparent layer so we can place anything behind it and we can also place this will run layer on top of any other layer. So in short, we have two layers. One contains our background and one is our foreground. So we can place any kind of layer in-between these two layers. And we're good to go with it. So currently you can see we're tracking is going on. Roto Brush selection is dragging nicely. You can see our pink selection is stuck to the edges of these mountains and it is doing its job decently. Now, let us try to play it. You can see the selections. Fine. One thing we need to know whenever you are dragging your brush, the more accurate your selection of Roto Brush is, the more cleaner. Motion graphics or your visual defects will look. One thing you need to know that the more crisp and clear selection you do, the better is your visual effects. Because a dead point of time you are pull-down will be easily extracted from your background and we can use it in various creative purposes. This is the major part of this video. You need to take your time to select your foreground and background layer. And then it is done correctly. It will be very easy for you to create various kinds of things. So that is why I'm focusing on doing it correctly. Although AI is doing our work, but we need to monitor it because sometimes this 2 version also makes mistakes. You can see when our Roto Brush function is over, we can come back to our layer and you can see our foreground part is visible and all our background part is gone. I can see this maroon color of background there and basically denotes transparency. In this case. You can also get black color of background here. But since I have selected my background to be discolored, it is showing this column. Now let us try to play this. And you will get to know that all the part except our mountains is removed and it is converted into alpha channel. Or you can say it is converted into transparency. And we can put anything in its place. It is converted into a window through which we can see the layers which is beneath these layers. Now you can see we have converted our top layer into a mountain specific layer, which contains only mountains. And we have dragged that part across the video using our Roto Brush. And we've isolated our foreground. And now we can place our other video behind it. And we can base our different objects which we need in-between our mountain and the ground. This is the advantage of Roto Brush. You can use Roto Brush for isolating any layers from its background. You can also use to extract background, or you can use it to remove your background. Basically, there are many creative uses of Roto Brush and you can use it for various purposes. And the usage function is same. You need to select your foreground and background part. Then you need to initialize. You have two ways there. You can either select it frame by frame or you can just use your AI powered tool to select that video. This was it for this video, we will continue in next video. Thank you. 5. VIDEO 4 Roto Brush Modification: Hello everyone and welcome back to this video. In previous video we discussed about auto rotoscoping techniques in which VFC and how to use our AI powered tool. Rotoscoping our foreground and background layers. But usually that tool is not always perfect. There are some which is in-between and how we can correct that rotoscoping. That is the main topic of this video. Let's get started. As you can see, currently our foreground and background layers are looking good. But when you observe clearly that as we go near these people layers, they are, our otoscope has done terrible job. There are many glitches here. Now you know why we cannot rely completely on AI for doing this job. You can see everything looks fine. But as we move closer to this crowded space there, our rotoscoping fails. At N. Again, our otoscopy is good. What we can do about it. We need to adjust mosque in-between. And we need to correct those layers and frames according to our needs. We will do that in this video. Let me do it one more time. You can see as we go near people, our rotoscoping fails and it is due to the failure of AI to identify the edges. So we need to assist regarding the correct edges. Just go back to our rotoscoping layer. And now you can see we are back with our pink background there. And now just select our Brush and go to the time-frame where you see some problem. Then just correct it by painting over it. You can delete any part by just pressing Alt and brushing over it. You can see a word selection. The other turns to read. Basically it is used to de-select any part of our selection. You don't have to go to every single frame for correcting our otoscopy. You just need to go to some middle frames where you see the most deviations. You just need to assist that AI regarding the correct boundaries. Then you just need to press space and it will start analyzing. It will start mapping those parameters again. And it will try to find correct position of our boundaries with respect to our new painted on race. Now, you can see it has started. Now you can see after correction of this boundary layers. Now our auto mask is not going away from the boundaries of mountains. Now it is covering the correct part of our foreground. Let me play it one more time. You can see we have not change frame by frame. We have just change one or two frames where the deviation was most and the rest of the frames it has mapped, dug in with respect to our new parameters. This is a way of correction of rotoscoping. You just need to find the point of maximum deviation wherever mask is the worst, users need to get it dead part. Then you just need to retract it again from that part. You don't have to trek full of your footage. You just need to go to that part and you just need to track after that, that mask which is coming off the debt will be dragged incorrect manner. Now you can see it is transitioning correctly according to over requirements. You can see atleast everything looks fine. Basically, this Roto Brush Tool works fine when there is clear separation in boundaries like in this part of the video, you can see when there is clear separation between our foreground mountains and background. It is easier for AI to separate or forgotten background. And in such conditions this AI tool works better. But when there is no clear separation or there is too much of motion inside the video, like in case of people, part of the video where so many people who are moving somewhere standing, there were so many boundaries, boundaries of human edges, boundaries of mountain edges. In that case, this AAE becomes little bit of confused. And during those times, you would have two suggested what is the correct boundary and it will be good to go. You can see in case you require very precise form of rotoscoping, then I would tell you that the real form of rotoscoping is done in frame by frame manner. Where you go to every single frame. You paint that frame with your Roto Brush in precise manner, and then you go to next frame. So basically it will be ultimate precise, but it will also take you very much time. Now you can see from this part, our video is correct, but there is some problems at the starting. We will have to correct that part also. You can see everything looks fine. The only problem is the starting. One thing to note is that whenever you try to correct your mask and you try to redirect it again, it will take some time and it is advisable to retract it again because by changing only one frame, it will not be corrected. So whenever you try to correct your mask shape, you should drag it further forward so that all the mask, but which is lying ahead of your corrected, all will be corrected to your required design. You can see here I have dragged all the frames again after my correction. So you can see this is the point where we require one more correction. And from here, everything is correct. Previously, everything was wrong at this point. But now most of our video is corrected. I will pause this video and I will go to the point where I require correction. One thing is that if your correction point lies behind your primary rotoscoping point, like you can see here. Then you do not have to drag it all the way to the end. It will just track it backwards and it will complete all the points. Basically, it will go to the near end of your video. If your mistake is near to the starting, it will track from starting to hit that point. And if it is near to your ending, it will drag from that point to ending. You can see here I'm trying to correct it. When I start dragging by pressing space, it will try to, again, D drag the path of your Roto Brush. And now you can see it is not going in forward direction. It is striking in backward direction. This is some smart move by AI to save your time and say we are hardware that it is not going further ahead to the last part. It is just moving backwards and dragging to the nearest and let it drag ones. Now you can see we have corrected that part. Now our mask is not moving ahead of the edges. One-point little bit of mistake is still there. We need to correct it. So just go back to the point where it is of maximum deviation. This point, you can see our mask is completely away from mountain edges. We need to just correct it. You can see here it has stopped dragging over human parts. So we need to also include those parts. By going to Roto Brush. I'm just brushing over it and dragging over the parts so that it shows green color. 6. VIDEO 5 Roto Brush Modification 2: So now when you start playing it, you will get to know that we have corrected most of the mistakes here, but still some of the mistakes persist. You can see in this case that motion was too much. That human was shaking his ends. And there was no clarity of boundary between the background and human, since they are very small in size. Here, is finding it difficult to find the technologists. In such cases, it is advisable to just go frame by frame and just do it correctly. But let me try it once. So I just removed it. I just corrected the mask by pressing Alt and just brushing over the part which I want to delete. Now you can see it is sticking to the nearest edges, which is our plant edges. Now, again, I brushed my space so it will try to retract the new mask path. You can see it is just analyzing the frames and it is correcting those frames. You can see it is correcting the frames and approximately five to six frames verse again. This is the speed of a. If we will go frame by frame, it will take more than ten to 20 seconds per correcting every single frame and it will be very tiresome job. I would recommend that you practice more and more on AI so that you get familiar with the functioning of it. In once you get familiar with it, you can do pretty much most of the parts, except some of just critical parts where AI will fail. For that part, you will have to do it manually. Otherwise, this is nice for doing any kind of rotoscoping. But now you can see again the problem versus tier. This is the problem. See at this point there are so many edges. You can see there are human edges. Then bandages is also there. Then far mountain edge is also there. Near Mountain edges also there. Is finding it very difficult to analyze the next frame, it is just jumping from one edge to other. It is creating the problem. We can just delete this part. So I am just drawing, Delete. Brush here by pressing Alt and scrubbing over all this part. I am planning to just remove these humans from our foregone part because motion is creating very much problem for our dragging part. I just de-selected this part. I just want we just go near to the mountain edge. It will prevent that problem. It will prevent that problem. I just want that we should track near the mountain edges so that it just, no, it does not fluctuate in the motion of the human hands. It will not create our problem of tracking. You can see I'm deleting the parts which I do not want by just pressing Alt and scrubbing over it. It will just reduce our selection area. You can see I'm just grabbing over the part. Before doing that, we must save our project here. Now you can see I have reduced my selection area because we're human parts. We're creating some problems for our AI tracking. Since there were so many edges and the motion of the hands of one of the human was confusing our AA. We just decided to go a little bit close to our hue, that mountain edges that are tracking would be easier. Actually, we do not require that you want parts because we are trying to create a night scene with some onwards kind of feeling. We will convert this day into night and we will also put a castle to the other end of the mountain. We do not require so many humans. I'm just de-selecting the idea which I do not want. One thing you need to remember is that for de-selecting, you're part of Roto Brush. You just need to press Alt and just brush over the area. When your selection color turns red. It will just shrink your selection area. And when your selection color is green, it will just include that area into your foreground part. You can see it is easier way of selecting and de-selecting. Now most of you must be thinking why I am taking so much time doing this because it is the main part of the video. If you mess up the selection part, it will not look good because it will look very unprofessional and gt part will be remaining in it. So we want just we're dragging our scene looks good. Although it takes a little bit of time, but it is always worth it to just drag your daily with your Roto Brush. Now, I am trying to select the part of the mountain which can be dragged these li. So here you can see, I have selected this part. You can see I'm not painting over everything, I am just giving him to AAA regarding you can In regarding the selection area and it is automatically identify the edges and it is just selecting the correct area. You can see I'm just drawing the Dilbert of lines and it is selecting it. Now you can see we have correctly selected selection area. And this time we have excluded these two human layers. And we have excluded some plant layers so that we do not mess up with our dragging part. Now I am pressing space to start dragging using a little digression. Now it will identify the parts of this roto shape. Further frames. Now you can see the problem. Now it is sticking to the inner edges of mountain and we want that it should stick to the outer edges and it should not stick to the inner valley edges. Now again, we need to correct it. The starting. Now you can see it has excluded our human. But basically what you understood this video is that basically want to unnecessarily buy. This video is the process of manipulating our Shape Layer regarding our Roto Brush so that we can get correct selection of our foreground shape and beg on shape. And how to track it correctly. What to do if you're tracking does not go according to a requirements. And how to select it correctly. You can see we do not have to paint everything. We just have to indicate it that we are trying to select this area from outward doing one direction, You just need to draw a single line. And it will understand that you need to select that part of area. It will automatically stick to the edges. This was it for this video. I hope you understood about the modification of Roto Brush shapes and how you can correct your shapes in case your EA does not, does its job correctly. You also understood the problems arise whenever you try to use automatic ways of checking your mask. This was it for this video. Thank you for watching. And we will continue with a Virginian next video. Thank you for watching. 7. VIDEO 6 Rotoscopy Final Output: Hello everyone and welcome back to this new video. In previous video we discussed about correction of our row two shapes and how we can correct our mistakes in selection of work done in back down. And we tried to discuss about the problems which arise during selection process and the problems which arise during the tracking process. The reasons of those problems like excess motion, boom, any boundaries or less contrast between the edges of your foreground and background. And there are many reasons more, which leads to your bed quality of rotoscoping. By directing our AI or correct selection of our shapes. Finally, we end up with our correct rotoscoping. Rotoscoping, which would work fine in this case. And in this video we are going to see how it looks. Let's get started. Now. You can see now our mask is dragging it correctly. Now it is not jumping between the edges and our human layers are also dragged correctly. It is a time-consuming part. You can see even though we are using AI for dragging the layers. But again, if there are some critical points in your video just like that human part, and so many are just part. You just need to assist it with yourself. Otherwise, it will mess up sometimes. Now you can see we have corrected those parts in previous video. We have also done it correctly. Although there are some minor problems here, but in this case we do not require that precise for otoscopy. We just required and medium or average quality of rotoscoping because although we will create a night look and it will be hidden and we will mystify this environment so it will be hidden. Currently it is looking dissent. If you want more clarity, you can just give more time for correcting your shape and mask shape of Roto Brush and it will be more high-quality. But here my main focus was on uses of that Roto Brush and how you can use it, and how you can correct your mistakes. This was it for this video. Here you've seen oh, we can just correct our otoscopy. This was it for this video. Thank you for watching and we will see you in the next video. Thank you. 8. VIDEO 7 Track Null Creation and Placement: Hello everyone and welcome back to this new video. In previous video, we discussed about the advantages and the process of creating our 3D camera tracking and creating all those checkpoints. And in previous video, we have completed the tracking of our raw video. In this video, we will learn about creation of trigonal. And we will also use those null objects for placing. And we will also use those null objects for placing and dragging different parts. So let's get started. So as I follow through the video, you can see we have so many breakpoints. Almost at every part of the video we have checkpoints. And when I moved towards any surface, it is automatically telling me that this is a surface and you can use it and how it is doing it, and how it is able to do that. You can see, since we have trend so many points, we have tagged the motion of so many points. Now it is able to identify what can be the surface of our video. It has created a virtual 3D mapping for it. So we can just identify what it is. Previously, it was just a video, but now after effect knows what are the surfaces present in this video. Just by dragging it, you can see how powerful it is. Although you're tracking will take time, but once it is spread, you have infinite control over your video. You can see even in the mountains, it is able to identify the surfaces correctly. Since we have so many checkpoints there also, you can see automatically, it is telling you the shapes and surfaces. But most of you would be confused it, although we have dragged all the things, but how we can use all this data. The best way of using all these striking data is to create a word retinal. You can just select any number of the drag points and create your trigonal. You can see we have created our trigonal one. You can also create a trigonal here. Just to right-click. It will just show the option for creating our trigonal. Most basic advantage of getting out retinal is that they are dragged from start to end. So you can have full control over the placement of this. So I'm creating a null. Also. Currently we have three trigonal. Basically null object is a kind of transparent object or you can say invisible object, which is present at that surface. Which only, you know, we were, will not be able to see it. And we can use those objects As transparent layers for importing our tracking data. We can track those points and we have imported those points into our retina and we can use debt dragging it up or sticking objects was taking different things. Basically the strike nulls are transparent layers which contains your tracking data and which are synchronized. Now you can see I have brought in my castle layer. We will use our tracking data for placing the sketch layer correctly. You can see currently, when I move through the video, our castle layer is looking very artificial means it is not looking like it is actually present in this environment. How we can make it look real. Any object will look real if it scales and it moves according to the environment scaling. And how it can do that. Basically, we can just modify and we can just parent that layer with any of the null. And it will start moving with respect to your video. It will fix its position with respect to the video, and then it will look like it is present in that video. So you can see, I have pleased to make us a layer behind my forward layer. Now you understood why we have done rotoscoping. We have identified our foreground and background layer and now we can place any object behind mountains. Previously it was not possible without rotoscoping. And now we can see that we have placed our cache layer behind a mountain layers. But there is one problem. Although we're pleased, work as a layer behind our mountains. Still it is not moving with respect to our video. It should change its position with respect to. The camera position so that it looks like it is actually present in 3D space. In this word, 3D camera tracking will come handy. We can just transport and we can just parent that layer to any one of our trigonal, which contains that dragging data point of our castle placement. We will just present it and we are good to go with it. Currently. You can see I have and not synchronized my guest layer with a word diagonals. Just viewing it. Now you can see when I tried to play. Now our case, it looks like a displaced in this 3D space. I don't think that we require much the dragging data which we created a 3D camera tracking. We will require the data for placing our midst and other objects which are near to reverse starting point. But still, let us do it to the end. You can see here, since our castle is very far away from the main camera, we not experiencing that much or that much problem with the emotion of our case, a layer. But whenever there is fast motion in your video or you are shooting in some closed environments. In that case, it becomes essential for using you're dragging data for placing your layers which are artificial. You can see now I guess it looks like it is placed. First. Do we need to just position it correctly so that it looks much more into the scene. You can see scene has started building up VF gesso behind our mountains. It looks real, almost real. It requires some color color correction and little bit of their parenting and it will be good to go. This was it for this video. In this video you have learned about diagonals and their creation. You also discussed about the advantages and the uses of our trigonal. And in next video we will use those tribunals for embedding that parenting data to discuss a layer. And we will also. 9. VIDEO 8 Layer Parenting and Placing Objects in Background: Hello everyone and welcome back to this new video. In previous video, we have discussed about 3D camera tracking and we discussed about creation of overtrain tunnels. We also discussed about placing objects. We have placed objects by changing the order of the layer. We have used rotoscoping for a word object placements, like we placed this case behind our mountain layers with the help of protons copy, in which we removed our mountain layers from the background and Gabriel separate foreground layer for it. And we now we also have a 3D camera tracking data. We need to place, this case a layers in such a manner that it corresponds to the camera so that it looks more real. In this video, you will learn about layer parenting and pasting objects in background using tracking data. So let's get started. As you can see, we have a work as a layer in place. We want that it should move with the motion of the camera so that it should replicate the motion of that red point which is present at the place of our castle so that it looks like it is moving along with camera in correct order. So we can do that. We can just transpose that. We can do that. We can just transfer that jacking data of the trigonal which is present at the place of gesso, this layer. So just click on the layer and click on Next, Pick Whip option and drag and drop on a word rec number one. Now you can see we have patented diagonal one. And now Retinal one is the parent of a word, gasoline. And gasoline will follow the exact path. Dragging data of about retinal one. It will move just like our trigonal one. With respect to our camera. And all over the 3D camera tracking data is now being used between the position of overcast layer so that it looks like it is present into overseeing. It is responding with ever seen previously our layers, we're just present statically now. They're responding with the scene. And it just adds a little bit of realism to the scene. Now you can see, although the motion is very slight, most of you might not be able to get it. Motion is very slightly, but still it adds a little bit of reality to the scene. Work acid layer is moving very slowly. It is following the part of our retinal vein and the trigonal one was present. A deposition where a word KSL layer is present. At this point. It is creating an illusion that our castle was actually presented at that point because whenever any objects moves in such a manner that it follows the camera path and it follows the same dragging details. It looks like it was presented at that point. You can see we have now presented our castle layer to avert track null when it is following the slow but off of a trigonal one, it is responding with our camera layer. Although the motion is very slight, but stele dates reality. You can see we have this parenting dialog box appeared in our timeline panel. You can just parent any layer to any other layer and it will follow the motion and parameters of other layer. This is the concept of their parenting in which one layer for those other layers parameters. And you can present a single layer to a single object. You can parent multiple layers to a single null. And all those layers will follow them motion and parameters of that null object. You can also make null object follow any layer by parenting that. The only thing you need to do is that you can just change the value of parent and link dialog box. You can see all the layers. It is selected none and only one there it is selected trigonal. Trigonal one is the parent of only this layer. Layers and moving on their own. No problem in debt. The only layer that is gasoline is the only layer which is following a word retinal vein. Now you can see we have successfully implemented a word layer parenting. We have also used our castle there. A place that gets a layer behind our mountains. But one thing you need to know regarding our layer parenting, and that is whenever you try to parent 3D layered with another 3D there, you need to convert that into a 3D layer. You cannot just parent different. But 2D layer two or 3D there, like you can see here, our null object is a 3D layer. It contains all the 3D data of 3D camera tracking. Weekend parent, a 2D layer two or 3D parent, it will work fine. But you cannot pet in 3D object to a 2D layer because that is not possible. You cannot transfer 2D data who are 3D. And it will create some problems here. We seek point here I'm trying to convey is that whenever you want to parent any 3D layer or I need to delay it, your parents should also be 3D in that case. And if your layers are 2D, then there is no problem if all layers or 2D if you're pregnant ladies also duty and if you are a normal there are giant layer is also 2D, then it will work fine. But if any of the lyrics 3D, then you need to make sure your parent is also 3D because it will work finding Net case. Otherwise it will create some problem. It will not follow correctly. Now you can see we have successfully pleased word, KSL layer. And it looks fine. Slight motion now, which have that slight motion due to the layer parenting is making it look more real. Now let us save our project here. Now you can see we had some problems regarding a word. You can see at this point we have little bit problem regarding that row to mask. You can always select on that layer which contains arrow to mask. And you can go inside it. And you will have all the options of editing your auto mask. Now you can see I have edited it. Now. Again, read, read all the frames with my new Roto Brush Shape. You can see still there is some problem regarding our selection. Boot three frames. Our selection is just disconnecting in case of this human, but we need to correct it. Now you can see over tracking is done correctly. And now our Roto Brush Shape is also maintained throughout the video. Previously it was changing its shape. When we move past this human there, it was getting some problems. So we needed to correct that. You can see we can change Roto Brush properties even after using it, like I entered into that layer. And I change the properties. Now you can see we have sets, this will replace our guests a layer, and we want to add more reality. You can see that in our edges so much sharp. And currently you can see our edges are very sharp. And you must have observed that objects which are very much far away from camera are not that much sharper looking in edges, so we need to blend it with the environment. So I have used an effect called as roughen edges and I dragged and dropped over the guesses layer. I am just changing the parameters of our edge sharpness. I am reducing the edge sharpness so that it blends with the background correctly. You do not want sharp edges, otherwise it will look artificial. So that is why I have modified the edges loop. You can also apply the same principles for other video layers. You can see I've applied that roughen edges to my foreground layer to make sure that our otoscopy edges are refund, that they look real. We have applied that thing for both our castle layer and mountain layers are creating much more reality, although these short, short processes would not make very big changes. But when you observe it creates clearly, you will get to know that these small changes actually add up to create real kind of seen. This was it for this video. Thanks for watching this video. You learned about layer parenting and work placement of objects in 3D space using your drag mask, using your Drake null parameters. So this was it for this video. Thanks for watching. 10. VIDEO 9 Masking and Sky Replacement: Hello everyone and welcome back to this new video. In previous video, we have discussed about various aspects of special effects and visual effects. We discussed about rotoscoping. We discussed about the 3D camera and dragging. We have discussed about objects, we discussed about their parenting. We discussed about diagonals. We created surfaces, retract those surfaces. We placed and stick the images and layers by parenting it to those surface data. And we applied that tracking data to over layers by their parenting. And in this video we are going to learn another aspect of visual effects, which is very handy. And we will learn about masking. And we will learn about masking through the sky replacement. Currently, you can see that we have our sky during our daytime, but we want to convert it to a nighttime environment. So we need to replace our sky. We need to add more clouds, we need to add moon. We will do all those things and we will do it using our masking. So let's get started. As you can see currently, we're seeing Looks good. Overcast layer is dragged with pleased that case, a layer behind our mountain layers and sky is blue currently, but we want to create a nighttime scene. For that. I have a separate layer. So let us go back to our raw materials and you can see I have downloaded this nighttime scene of sky. And it is a video which contains nighttime video of normal sky with clouds. So we are going to replace our current sky with this scene. You want to use this sky seen or seen. And we will replace our current sky. Just import that layer into our projects panel. And I'm also importing music file here, used as a background music. Regarding the music, I would say that you should always use royalty-free music or music with you have license. Otherwise it can hamper your work and some copyright issues and permission issues might ruin your work. So that is why I would suggest you to use only that music which you have permission set. Currently, I'm using royalty-free music here, which you can download from any of the YouTube channels. Many channels are present. So now you can see I have dragged and dropped my sky layer. And I'm placing that sky layer above my primary video there. That sky view is on the top of our video, but I'm also placing net sky layer behind my castle layer so that the sky should be behind my kasa layer, but it should be on top of my primary layer. We want to change the sky of all primary layer, so it will work fine for us. So now you can see the advantage of using all the things together. We are able to create this kind of scene because we have already extracted ever mountains using our repos copy. Then we have placed over castle by using our tracking data. Now, we have different parts of the video in separate layers. We can use it to our advantage. Single video, we cannot do that. So now I'm placing my sky there such that it corresponds to a nighttime environment. This looks fine. Now you can see when I switch off, the visibility of my layer actually seen was looking like this. And when I applied it, it was changed. Now go to our Pen tool and draw any shape. During this process, you need to select any layer. When you draw this shape, you will find a different kind of icon which denotes that it is a mask. We are trying to draw this mask because by using that sky layer, we have. Just didn't these mountains, you want to revive these mountains? We do not want to lose them. We only want the data was Sky Replacement layer should be used above these mountains. You should not cover these mountains. So we are using a word mask. We're revealing these things. And basically, you can consider mask as a window through any layer. Anything which is inside the mask will be visible and anything which is outside the mask will be hidden. You can invert that mask and it will perform posit task. Anything which is inside the mask will be hidden and other things will be visible. So you can use mask for both parameters. Either you want to hide something or you want to reveal something. You can use mask for both the things. Now you can see I am drawing mask. We do not have to be precise because our row layer is the lowest Player, so it will not affect our forward layers. We can draw a rough mask. The only place where we precisely drawn our mask is the place of the mountains. Now you can see when we have closed over mask, all the things which are outside the mask is visible and things which are inside the mask transplant. So now we can see through the mask and through the mask and we can see the layer which is below it. So our Sky Replacement layer is the layer which is below a word where I'm Eddie layer. So we have drawn a mask on our primary layer so we can see through it. And then we can just adjust the position of the mask to reveal those mountains. Now you must have understood the correct uses of the mask. You can see when I hover the pen tool, I have a little mask icon. When you expand any layer, you will get to know that we have a separate column, which is masks. And there you will find your name of the mask and various properties. You can just increase some of the properties like I'm increasing feather. Feather does is that it reference the edges of them asked. And it adds a little bit of white kind of effect so that our edges are not sharp. It just blends in with a wet environment. Now you can see our mask is blending in correctly. Previously it was very sharp. But now after adding our feather to the mask, it is blending correctly and our mountains are also visible. Now. You can see on top of the scene, we have little bluish tint. We need to remove that. You can just change the shape of the mask even after drawing it. I'm just shifting IT little bit upwards and also expanding my mask. One thing is that you can also animate the mask path positions and also animate the shape. But here we do not require that. We only wanted to create a mask which reveals our primary layer and our new sky. We also wanted to repeat over mountains and everything works fine. Now you must have understood why we are using mask. We're using masks to reveal us single part of the video. And we do not want that whole layer should be visible view only want that small part of the layer should be visible. So that is why we have used masks for making us specific part of the layer visible and other parts of the layer hidden. We can hide other part of worse Sky Replacement layer, and we can give me love or mountains. And using other part of the video, we can just hide all the things. So masking is also a very popular technique. You can use it at 3D situations or into retail situations. And it comes handy in both the parameters. It depends on your creativity where you want to use masking techniques. Basically, masking is the most common used technique in case you're thinking about it. The previously discussed technique that is otoscopy and 3D camera taking, usually little bit less as compared to masking, because masking is simple, you can use it anywhere. It does not require any hardware. You can just apply mask on any layer. You can just invert those masks. Inverting any mask means you are changing the properties. Like anything which is visible will be converted to invisible, and anything which is not visible will be converted to visible in case of masking, like the shape which you selected. Inside part will be visible and outside part will be invisible. And if you invert that mask, then you're inside part will be invisible and outside part would be not visible. So you can see by now I think you must have understood about the correct uses of masking. Masking is also present in other software like Photoshop and Premiere and illustrated. It is a very common kind of effect which is used everywhere in photos and videos. The only thing is that in videos you also have the freedom of changing its shape with respect to time and dragging those months. So this is the only thing which you get. In addition, in case of videos and you can do a lot of things with it. This was it for this video. Thanks for watching this video. You have learned about correct masking techniques. What are marks? What our masks, and how to use them correctly. Thanks for watching and we will continue in the next video. Thank you. 11. VIDEO 10 Color Correction Part 1: Hello everyone and welcome back to this new video. In previous video, we discussed about various visual effects techniques, like using a Roto Brush to isolate our foreground and background layer and using a word 3D camera tracking. And we also discussed about masking. You discuss about dragging objects using those trekking data. In this video, we will discuss about color grading, or you can call it color correction in this case. By this point, you must have understood that color getting is the basic part of our visual effects because you can create very advanced kind of visually weights, but they will not look good until you have your color correction on point because all you're seeing should match with the direction of the environment. So we will call it direct our scene and we will try to make it a night scene. Currently, our rocks are looking very much exposed and it is looking like are basing in one part and night seen in other part. We will fix dollar loses use and we will try to make discussing inconsistent. So let's get started. For color correction. Go to your effects panel and search Lumetri Color. You can find this effect here. Just drag that effect on top of any of the layer which you want to color, correct? Now you can see in your effects control panel, we have our Lumetri Color panel opened up. And it is similar to the Lumetri Color panel present in Adobe Premier Pro. If you are already a premium per user, you must be familiar with all these color getting techniques. You can see we have our Basic Correction panel, we have creative panel, we have curves panel, and we have also color wheel is present for giving tint and shadows effect. If you're not familiar with this kind of parameters, I will tell you about them. We will try to just match every single layer and you will try to make our scene consistent. Our first, the thing is to go to our basic correction. First thing we need to, we need to do is to reduce overexposure currently over rocks there are overexposed. It is looking like a daisy. We want to convert it into a night scene. For doing it, go to your exposure panel, just drop that exposure down. Now you can see it is looking like Moonlight. Previously it was so much expose that it was looking like sunlight. But now, since we have dropped over exposure, it is looking fine. You can play with all these properties according to a requirements until you get a decent result. You can see I'm also playing with the contrast. Now, be closed over Basic Correction panel. Now go to our creative panel. Then you can find various properties. Like our favorite film, sharpness, vibrance. If you want detailed knowledge of all these things or all these parameters, you can apply them in various kinds of conditions. But currently we require a shadow tint. We require a cold kind of effect. That is why I'm applying this bluish shadow. I'm also applying a blue color highlight tint. Now you can see our scene contains a little bit of the blue kind of glue so that it looks like a night scene here. Basically in this part we have reduced the warmth of our scene. Now go to our Curves panel and you can see we have work color selections here. And I will try to create S-curve or messing with highlights and shadows. First I selected my white color. I'm trying to mess with my shadows and highlights. In curves. You can just select any color from your RGB panel. And you can mess up with the properties according to a requirements and you can create your desired result. Now you can see I went to our red color. Here. I'm trying to create this S-curve. Mess up with the shadows and highlights. You can do similar for this blue tint color. You can just reduce or increase it to match our requirements. Now you can see I'm already seeing Looks good. It has started looking like a night scene. Reduces exposure. We have applied a bluish tint, also messed up with the RGB panel. And that we have added over, it goes adjustment. Now you can see we have successfully color corrected our drugs there. But when you move your play head forward in time, you will observe one more problem and the problem is dead. I will guess a layer is overexposed now it is looking different from all the other rocks. It is very much bright in respect to other environment. So we need to just color correct? Ever guessed that layer also because in our 19 We do not have that much tight present, so it should not be that much bright. Now we have too many options presented. Either you can apply your metric color effects on your guests a layer, or you can just copy and paste similar color grading onto different layers. We have both the option presented. If you have, like the lack of time, you can just copy and paste the same color giving effect to that layer. Otherwise, you can just apply a new color getting it depends on your requirements. Now you can see I have applied the same color grading to my background layer. And now our Macron mountains are also gullibility for copying and pasting and effect. Just select the heading, the Effect Control C for copying that effect and pleased that effect by going to this layer and then go into its effects control panel. You can see I've copy and pasted that same color grading to my castle layer. Now it looks dark. Now it has started to look like a haunted castle. Or you can also say it is starting to look some, look like some hairy portal team here. We want a little bit of light. It is too much dark, so I am customizing my exposure and contrast parameters for our guests earlier. Now, this much brightness is good. We have adjusted our exposure. Basically this Lumetri Color penance and so many parameters, but all of them are not required at all time. It depends on your requirements. Whatever whatever you want to use, you can use it. And most of the time you will only require some of the parameters. And in case of any advanced and additions or advanced requirement, then only you will require some of the parameters. Otherwise, there are some basic parameters there two only will do your work. Now you can see we have successfully color corrected our layers. Let us save it once. Let us try to render and play it to see how it looks. You can see how the rocks are looking fine. Now they are not looking odd in any way. Now our rocks looking like they are present in a nighttime environment. And our sunlight, which was very much bright, is now looking com, and it is looking like Moonlight. And it is corresponding with them seen. This basically it is complementing the scene. Now. Previously it was looking differently. Previously it was looking different from the scene, but now it is corresponding to our scene and it is complementing the scene. Now you can see everything looks fine. A word, rock layers that are working fine. And our castle there is also looking color corrected and it is matching with the environment. Now, our sky is also matching with the team and everything looks consistent. This was it for this video. And in next video we will continue our color correction. Remaining layers, and we will adjust all the layers correctly. We will set up any minor adjustment if required, and we will finish our color grading in next video. We will do all the necessary steps to make our video and seen consistent. So thanks for watching. We will continue in next video. 12. VIDEO 11 Color Correction Part 2: Hello everyone and welcome back to this new video. In previous video, we discussed about color correction. We applied various parameters from our Lumetri Color panel and we collect, collected over rock layers, recollect corrected overcast layer, and we made our video consistent. Now, in this video we will look towards some refinement of our color correction. There are some more points which we need to consider to make our scene look good. Let's get started. As you can see, everything looks fine up till now, our rocks are looking color corrected and they are matching with the scene. Guess it is also matching with the scene. And it looks good. Our sky layer looks normal and it is matching with the scene. First, let us see and let us browse through the video so that we can find any kind of glitches or any kind of clarity. One thing you can also at this point is that a word Background layer is present. And in this background layer you can see we have a mountain range which is fire. Behind the case n. We cannot see the greenery of the trees. It is so dark. So we need to adjust some things. We will adjust at greenery, and we will also adjust our guess a layer, you have just increased some parameters. You can see I've reduced my reddish color. Then our castle looks much more inclined, similar to the other rocks layers. Previously it was looking a little bit of reddish. It was not matching completely with the rock scalar. You can see I have also reduced my blue so that our blue color is removed from a background layer. You can see now our greenery is visible. Little bit greenery is visible previously, it was looking completely dark. But now we have little bit of greenery visible due to our moonlight. These small things usually make a huge difference. You might be thinking that what we can do by changing all these properties, basically all these small, small genius make a huge difference. So you need to consider all these points here. Now you can see greenery is visible. We have also reduced the exposure of arcades layer. We have reduced its radiation as Bye, just dragging a word, red color guard downwards. Now let us save this project there. Before moving forward. First night as Jake, how this looks. You can see up denial. Everything looks fine. You can see I have reduced my exposure for that horizon. You can see from here, hose at Horizon was brighter. So we need to create that night scene so we reduce our exposure for that there. Now, our midst. Looking good. They are matching with our background. You can see everything looks fine up denial. We have collected and we have corrected over color correction. You can see our gasoline is in synchronization with the rock layers. Our sky is also complementing all the genes. Now let us see if this project, we will try to play it one more time to see if there are any glitches present or any uncertainty or inconsistency. Now you can see layers are looking fine and they're colored character. And our minor adjustments are also looking fine. Now our horizon is not that much bright. Trees greenery is also up to the point. We have also removed the addition of our castle layers because previously it was so much read that the type of rocks were looking different and we wanted a same consistency in all the rocks present there. So we remove that red color from it and we edit green color to our previous background layer by reducing, we'll bluish tint from our background layer so that our green color should be visible in case of those file distant trees. And we also reduce the exposure for our horizon so that they blend best with the cloud layers. We reduce the end, we reduce the opacity. And we reduced the exposure of our horizon. That the blending of our clouds layers and we're mountains is smooth. These were the things we improved in this video. Apart from color gating, we collaborated some specific points. And you can see all these small, small points are the points which will make a huge difference to the scene. If done correctly. Either they will make your scene look high-quality, or either they will ruin your scene. There is only minor difference between our good and bed kind of color correction. And you need to know that. One thing. You need to know that before going for collaboration, you need to have your goal in mind. You need to understand the goal which you have in case of your color correction. Like here, we wanted our scene to look consistent. We wanted to convert about Daisy and into 19. That is why our all focus was towards achieving our desired result. When you have your mind focused on your wall, like in this case, we have to convert our scene into our night scene. Then your color correction goes night, and then you will be easily able to color correct it. Whenever you have your goal in mind, it is easier to color, correct? And you will move in right direction. Like in this case. I already had in my mind that I need to reduce my exposure layers to lower down the colors present and to lower down the sunlight brightness. And then I also had in my mind it, I need to maintain the same consistency in this video, so I tried to match the colors of different rock layers. Then I also lowered various layers parameters that were consistency remains constant. All other layers corresponds to the same scene. So we need to make all the layers in such a way that they together comprise a complete scene. This was it for this video. Now you can see when I play this incompletely, it looks nice. Now. It looks like fantasy movies in any kind of wanted seen, or any homeworks. Fantasy movies in. Although it is not similar to net eric Porter onwards, but it looks similar kind of cases. And it gives similar kind of mystic feel to it. This was it for this video. The next video we will learn about layers and blending modes. So thanks for watching. 13. VIDEO 12 Layer Blending Modes and Adding Extra Mist: Hello everyone and welcome back to this new video. In previous video we have color corrected. All ever seen layers like we have collaborated over mountains guess cells. And we also modified some of the minor changes to color correction, like our horizon and our rock colors. And in this video we are going to mystify our scene and we will try to create that mistake vibe to that scene. And we're going to do that with the help of layer blending modes. Blending modes basically. Do not always use layers for creating our scene. Sometimes we use layers for getting any light or any kind of field with the scene. Whenever we want to use debt layer as a light source or any kind of different uses. We have various modes present in our layer. And we can change those modes according to our requirements to blend inside a word primary seen, those layers will complement and we will end will blend with our primary scene to create our desired scene. Let's get started and I will tell you how you can use our blending modes for creating a mistake scene. You can see in previous video, we have done this book. We have color corrected Oliver scenes. When you go to your project spin. You can see I have different layer present. Wait, I think I have not imported it. So just wait one minute for importing the layer. Now you can see we have this smoke present in this deck screen video. Now it is imported. Before proceeding forward, let me just save this project here. Now you can see I have a video of smoke present inside of a black screen, and I have just dropped it like screen video inside my timeline. You can see we have some advantages of this deck screen videos. Usually you can use green screen videos, but whenever your effects are so tiny or so precise, like in case of smoke or muzzle flashes. In that case, we require high precision of background removal. So you can get that by shooting them inside a black screen environment by changing the blending modes. Now you can see I went to that layer, I right-click, and then I change my blending mode to screen. Now you can see it removed all the black color presenting net layer. Now only smoke is presented. And so many blending modes are present inside any layer, you can use the different blending modes according to a requirement's inside the scene. Currently, we need to replace our black color. That is why I used that screen factor. You can set your blending modes to any of the blending modes options present in the layer. Some of the blending modes will increase your bright side. The video and some of the blending modes will suppress your white side. Some of them will make the opacity to look like a color. Some will act as if your layer is a hard light object. So it depends on your needs, whatever you require you can achieve using your blending modes. You can see our layers have blending nicely and our smoke is clearly extracted from the background. So you can see the advantage of using a black screen video. Most of them can be used anywhere according to your requirements. Now you must be confused. Some places people use green screen videos, but here why we have used screen video. Basically the advantage of the executing video is that you can easily remove your background by using blending modes. And some of the critical conditions like this smoke, we cannot afford to get green tint here by removal of all green screen. For eliminating that kind of things and problems we use really use black screen videos and it is easy to remove if we have clear distinction between our foreground and background like here, or background was completely dark and our objects are only present in programs, so it was easy to remove by using blending modes. Now you can see I'm just messing up with the transform property of this layer. And I'm trying to place it correctly. We just need to see it in such a minute that it corresponds to overseeing and it compliments to it. Now, this budget for this video, you must have understood how you can use your blending modes or integrating various kinds of effects like mist, smoke, explosions, and gunfire shots. You can use these kinds of effects easily. You can include sparks, buyers. You can use various kinds of effects here. By using this blending mode technique, you just need to have your effects present inside of the executing video. And you can just easily remove that begs screen with the help of your blending modes. You can also use your blending modes for other purposes, like using any layer as a light source layer, and using any other layer for other purposes. And you can see I have reduced the size of my MS layer because we want to provide missed only in this video. But we also require some adjustments here. We will see that in next video. Thanks for watching. We will continue in next video. 14. VIDEO 13 Reusing Tracking Data for Mist Positioning: Hello everyone and welcome back to this new video. In previous video we have used and we learned about the blending modes. And we use those bending modes properties for incorporating these layers inside ever seen. In this video, we are going to correct some of the properties of a word. Scenes. Like you can see. In this case, a word missed layer is just present statically. It is not following our camera. It is not looking natural. So we will use our tracking data to position our mistakes incorrect place so that it follows in our scene. And it looks real. In case of our camera, we are using our tracking data for placing our midst layer. So let's get started. We will also use some of them asking properties and some of the feathering properties for more precise incorporation of these misplaced. My main part here is that I want to teach you regarding the concepts. Sometimes the scene would not be that much equity that are high-quality, but the major concept, which I want to explain, it will be correctly explained. My major focus is towards explaining that concept so that you can use it according to your requirements. You can create your requirements. Now you can see I have selected some of the dragging points. I have created a new track null. You can see we have named this trigonal, trigonal for. Now we will try to give this tracking data to our mixed layer. You already know how we can do that. Just click on pick whip from the misled and drop it over our trigonal. So now we have parented our null for. Now our null for is the parent of our Mr. layer. Now our misled will follow all the position coordinates in all the motion of retinal. Now you can see our midst layer has started moving with our camera. Now we can go past, I will miss the layer. Previously it was just present statically, but now it is present in a 3D scene. It is also behaving like a 3D. Missed or smoke. It is the scaling with respect to camera. It is shrinking with it. But still there are some problems you can see at the edges over Miss Blue, artificial. We will have to use mask for hide those edges. We can easily use our mask for hiding the edges which is present in excess, and then we can use our layers. I'm also trying to change the position of our misled by changing its position parameter. Now you can see we have correctly pleased over missed their previously it was towards the inside and it was also not present completely inside our body. That I will miss should be present in between our scene and we should go passed through our midst there into our scene. When you grow us any layer, this way, it will create an illusion of 3D. Missed. All the other misled is 2D layer, but we can create that illusion by going through the mist. How we are able to achieve that? We are able to achieve that because we have applied about tracking data to that mist. And now that Mr. layer is moving with respect to our camera, and it is present and that exact position of our trigonal, and it is following the position of it. Now you can see when I play this mixed layer is following position. Now it is behaving like a 3D missed, although it is to relay, but still VR1 more step closer towards a verb required result. Now you can see when we are moving through them layer, it is moving downwards. They did it so we need to position it correctly. So that might be move onward. We go exactly through the center of this layer. So now you can see, now it is working claim. You can add just a position of your misled according to the requirements. And we also want to reduce the opacity of this Mitch there because it is looking too much bright. You want to make it a little bit less opaque. We reduced the opacity. As you can see. We want to refine the edges. We also applied a roughen edges effect on these misled. By using that effect, we can just make the edges of this layer REF, that it bends nicely with the environment. To make it more prominent, we can just draw a mask around this middle layer. We do not want that smoke which is coming from the edges. We only want that smoke which is present in between. So we can just draw a rough mask. By selecting that layer. We're just using our pen tool to draw a rough mask. We discussed in detail about masking in previous videos. You must be familiar with this concept of masking. Now you can see we have our layer. By masking the layer, we have removed that unnecessary smoke which was coming from the edges and it was not looking good. So by changing the shape of this mask, now we have complete control over the visibility of this layer. You can make any specific part visible by changing the shape of the mask. Now you can see a mask is working fine and I would've missed is looking better than its previous version. We can also increase the mask feather to make it more inclusive with the environment. We do not want sharp edges of the mask because missed does not have sharp edges. We are also trying to make our adjusted random that were missed. It looks nature. The basic idea behind doing all this is to explain you how you can use your masking along with your tracking data and along with your blending modes to place any objects into your surrounding and how you can blend that object with your surrounding. The more precise you do this task, the more better it will look. But here my objective is to explain you how it is done. I'm not aiming towards perfect. Seen here. You can see we have scope of improving overall MR. there. But here I am only explaining you how it is done. The more time you will give towards refinement of any scene, the better it will look. Mature. I will only stop in-between whenever we get a descent result. Not aiming towards extreme high-quality. In case the scene. Because mist is looking decent, I do not want to create very high-quality mistake. One more step you can follow for building Mr. Currently we are using 2D layers for grading their waste. You can also use several plugins, like particular plugin, which you can use for creating 3D missed inside your After Effects directly. But there is one drawback of using those kinds of plug-in. Those plug-ins are usually hardware intensive. It can slow down your performance. And whenever you have all those things going on, like you have dragging present, you have rotoscoping also present. Then if you're using a 3D particular plugin, then it will be heavy for your project. You can use those plugging in case you require very high precision and high quality of smoke, waste and everything wise. You can also use 2D layers and merge those layers with your surrounding. Just like I did it. And you can basically use entry it missed in various ways. It is up to you and it is up to your requirements. Which method you choose. You can see here we have blended debt layer correctly, but we can see there is scope of improvement present in case of blending of this mistake. But the basic idea which I was trying to explain you is already explained. And I think you must have got that idea of how it is done. This was it for this video. In this video you have learned about using your tracking data to track your missed. You will also use your masking information for making your layer blend completely with your environment. And we have also used our tracking data to create a 3D kind of scene in which we are going through the atmosphere to create a 3D illusion of 3D. Missed. That was it for this video. Thanks for watching and we will continue in next video. 15. VIDEO 14 Audio Sync and Final Visual Effects Output: Hello everyone and welcome back to this new video. In previous videos we have learned about various visual effects techniques, like applying rotors copy, we have applied masking techniques. We have used our tracking data and we have dragged our camera into the space. And we used that tracking data for placing objects into a surrounding. We discussed about blending modes. We've created our 2D missed and we made it illusion to look like a 3D. Mr. And everything is looking fine. We placed our castle layer, we color corrected everything. It replaced over sky. We merge everything together. And now our scene is almost complete. You can see, obviously in his complete, the only thing which is missing is our music. And without music, you can see we have no life towards seen. First part was regarding our color correction. First thing which adds life to where you are seeing is your color correction. Second thing is your sound effects and music. So in this video, we will add our music to this scene and we will finally conclude our course with it. So let us see how we can edit. You can see my adding this music. Overseas. We have added a separate new feed to this. I am using just random royalty free music videos, not using any different kinds of music video. You can use that music from music libraries. You can also purchase the license of any music in case you're predict is commercial brilliant. You can see everything. We're just trying to music in such a way that it looks good. Now it is looking like Disney movie C. You are basically somebody porters the scene. It is looking like game was to place our music in such a way that it corresponds and it complements to overseen. This was it for this video. And now you can see we have successfully completed our course and we have added all the visual effects techniques. We have also added our music to it, and now our scene looks good. We have completely transformed our raw video. You can see overall video was irregular. Video of some random mountain. Now we have completely transformed it. We have completely changed the sky. We have added layers, we have pellet directed our mountain layers, we've added missed. We have added all different sorts of things to it. And now our scene looks completely different. This budget for this course, if you enjoyed watching it, and if you learned something from it, do give a good review. And if you want to learn other things like kinetic topography or motion graphics, I've created several courses for it. You can watch it. So thanks for watching. Thank you.