Adobe After Effects: Learn Effects and Presets for Better Animations

1. 1 Welcome to The Class: Ready to take your After Effects skills to the next level, welcome to this Effects and presets class. Another exciting chapter in my Skillshare After Effects mastery series. Hi, I'm Eli and I'll be guiding you through this creative journey. I'm creative designer with over eight years of experience in the design industry, and I'm excited to help you explore one of the most powerful and creative parts of After Effects. In this class, we're diving deep into effects and presets, learning how to approach them with confidence and use them to create more polished, dynamic and visually compelling animations. Whether you're a designer, content creator or aspiring motion artist, this class will give you practical techniques that can instantly elevate the quality of your work. We will explore more than 50 effective After Effects, including color correction tools, glowing effects, blurs, greens, gradients, distortion effects, displacement tools, lighting effects, audio visualizers, and more. You'll also learn how to work with presets and will create your own customer mission presets to make your workflow faster and more efficient. One of my bigger After effect class series, this class helps you build on your growing skills and move one step closer to mastering the software with confidence. So if you're ready to unlock more creative possibilities and After Effects, let's jump in and get started. 2. 2 Class Project: For this class, we'll be working on one class project. Our class project is Chromatic textile mission. In this project, you'll create a stylish text mission while applying some of the effects and creative techniques we covered throughout the class. It's a great way to practice combining effects with intention instead of using them randomly. This project is covered in the dedicated class project lesson where we will bring together what we've learned into one polished result. I encourage you to follow along, complete the project, and then upload your final project to the class project section. I'd love to see what you create. 3. 3 Getting started with effects: Hello there, and welcome back. So in this video, we're going to start looking at effects in After Effects. So this is a very basic video because we're going to look at the basic things about effects. Okay, what categories of effects there are, how to actually apply effects and how to use them properly. Okay? So effects are a really important thing. In after effect. Effects are the single most important feature of after effect, because all you're going to be doing is adding effects. Whether you're doing motion graphics, whether you're doing visual effects, whatever you want to do in After Effects, you really need effect. So that's the first fact you have to accept. So there are a lot of effects in After Effects, and these have been divided into categories, and we're going to start looking at the categories of effect and what they do, or the most important categories and what they do. First of all, let's go ahead and bring in an image. So double click here to go into computer and going into the folder for this module. That's effect and presets. And I just want you to go ahead and select this young girl close up image and hit Import. Okay. And then right click on the image and new come from selection so that we create a new composition from our selection. So this is static image, nothing more, nothing less. Okay? Now, how do we apply effect? There are basically two ways we can apply effect. The first way is to select the layer, which we want to apply our effect on, just like we have this layer selected, okay? So select the layer and then go to effect and basically add the effect. So these are the effect you have in after effect. Okay? Let's come to color correction and then add the black and white effect, where is it? This is the black and white effect. Now you see that we have basically added the black and white effect and our image has been turned into black and white. And after adding our effect, we can now see that on the effect control panel, that's this panel right here, we have the black and white. We have the black and white effect on the effect control panel while having our layer selected. So this shows us that the black and white effect has been added to our layer, okay? Now, here, we can actually disable our effect by clicking here. So you can see that with dis sibil effect with hidden no effect, we can enable it. We can close the options and we can have stack and stack of effects. So as far as we keep adding effects to this layer, we're still going to be having them just pile up here. You can open this and then start working on the values. We see that the values are red, yellow, green, and basically all the color channels that a black and white effect has. We can further more adjust these colors. Can, furthermore, make adjustments to these colors to make our black and white what we actually want it to be to find tune it better. Basically, that's it for how to apply effect, even though there is another way to apply effect, and this is now I'll just delete this, select the effect and delete. We can also apply effect using the adjustment layer. I'm just going to write click here and create a new adjustment layer. So this is my new adjustment layer, and all I need to do is come to effect and then color correction and then black and white. Now, we see that it now affects our image. Now, if you bring our adjustment layer below our image, we cannot see that we no longer have the effect affecting our image, why? Because the adjustment layer is now below our image. Okay? So it doesn't affect our image any longer, but we still have the effect on our adjustment layer and we can and furthermore, make adjustments to our settings. Okay? So basically, that's how the adjustment layer works. It only affects the layers. It is above. Now, there are other ways to add effect, and we can add our effect, of course, by using the effects and presets panel. So you click here, and then all you need to do is type in the name of the effect. So let's say black and white. And now we see that it's under color correction and black and white. Now, if you click on it, it's going to be added to our adjustment layer or to our selected layer. So that's basically how to add effect to our layers. And if you just click on our effect menu, we're going to see that we actually have some options here. Okay? Now, the first one is the Effects control, and this can be used to enable the effect control, just like how I've hidden it here. Now, you can clear to enable it back. Or use F three as a shortcut. You can click here to add the previous effect, okay? So whatever effect you added previously is going to be highlighted here. Now you can click here to add it to a new layer, and you can click here to remove all effect. So if you click Remove, we can now see that the effect has been removed or all the effects have been removed from the adjustment layer. Okay. And you can click here to manage effect. We can basically see all the categories of effects here. So what are the categories of effects, or the most important ones, at least, we have the blow and sharpen effects, and these effects control the focus and sharpness of image of our footage. And some of these effects are the gaussian blow, the camera blow and sharpen, on sharpen mask. All of these affect the sharpness of our image or footage. So this is the most basic use of the blow and sharpen effects, even though there are more advanced usage, which we definitely will be looking at in this course. Okay? So we have also the color correction effect. Now, this effect, just like the black and white effect, which we just added previously, can be used to adjust the color of our image. Now, this includes the brightness, the contrast, the overall tone of our footage or image. Okay? We can use this to improve the curves, the hue, the saturation. Basically, the look of our footage or our image. So that's what we use the color correction effects to do. We have the distort effect, and these effects are used to wrap or distort an image in various ways or layer in various ways. So they can be applied to images. They can be applied to videos. They can be applied to any layer, basically, all of these effects. So examples of this effects include the Liquefy effect, the wave wrap effect, the Turbulent Displace effect. Some of these effects are incredibly cool. We can create really cool stuff with them, and we are going to use them a lot cure. We have the generate effects, and these effects are used to create new visual elements or to modify our existing visual elements. We have examples include the fractal noise, the grid, the cell pattern, the lens flare, and so on and so forth. All of these effects are used to generate new stuff, which we can add to our existing look, okay? We also have what we call the simulation effects. Now, these effects, what they do is they mimic real world physics simulations. Okay? So things like particles, things like fluids and smoke Okay? So examples of this effect include the CC particle world, the shutter, the foam, and so on and so forth. There are lots and lots of them. We're going to look at a lot of them also in this module. We also have the noise and green effect, and this effect are used to add or remove noise or green from your footage or from your image. Now sometimes you might need to actually add green to your image or to your layer in order to achieve a specific effect or a specific look. Okay, so you can use the noise and green effect to do that. We have the stylized effect, and these effects can change the appearance of footage or images or layers in an artistic or graphic style. And some of these effects include the glue effect, the cartoon effect, the find edges effect. And really, we have a lot of effect categories, but these ones which I've just mentioned are kind of the most important ones you have to learn. These are kind of the most important ones you have to learn for now. But of course, you can come here and see some of them. You can see that we also have the key in effect, and these are actually used for key in. That's for removing a green screen or a blue screen, basically removing the background of an image, right? We have the mat effects, we have the perspective effects, and so on and so forth. We're going to look at a lot of these effects. In this module. Now, after adding your effect, of course, when we added the black and white, we actually saw that the parameter here also have the stopwatch icon. Now, this means that, of course, you can animate them, right? So you can create a keyframe, for example, here, and then come in time and boost up your red to achieve this, and now you see that we're coming from this to this. And if you just select your layer and hit you, you're going to see that. We actually the effect under our layer properties. So these are our keyframes. Now, I'm just going to close this and open it up. Now you see that a new property has been added. A new category has been added called effect. And on the effect, we now have our black and white. As you keep adding effect to your layer, you keep being added here, so it means you can as well come here and make adjustments, right? You can put the keyframe in time. Make your adjustments, create a keyframe on scion, go in time, push this up. Yeah, basically, I'm not really creating anything special here, just to show you that you can actually create your Q frames here as well. You don't need to always work on the Effects control. Okay, boy, it's, of course, more convenient to work on the Effects control panel. Yeah, so basically, guys, that's it for this video. That's it for this introduction to effect. See you in the next one. Bye bye. 4. 4 Getting started with presets: Hey, there, welcome back. So in this video, we're going to be looking at presets or animation presets here in After Effects. So what are animation presets? Now, on your Effects and presets panel, just click here where it says animation presets, okay? So click it and you're going to be exposed to a lot of folders here. Now these are what we call presets animation presets. And what are the Animation presets are basically bondles of effects which have been packaged and stored here for us by Adobe to enable us to perform specific tasks easily Okay, or quicker. Let's go ahead and create a new composition and hit Okay. Here is our new composition. I'm just going to go ahead and create a new solid. Where it's my solid, yeah, this is my solid it okay. And right now, I'm just going to go ahead and open up backgrounds. And while having my solid selected, I'm just going to go ahead and click on blocks. And now you can see that right away, some effects have been added to my solid my solid layer. Now if I just click, you're going to see that all these effects have now been closed, and these are the effects. We have the fractal noise, we have the minimax, we have the Tritone. Okay? These are the effects, and we can just click here to hide them one by one so that we see how everything was bull from scratch, okay? So they added the Tritone, and then let's open the Tritone. We can see that the Tritone has three colors, basically. We're going to look at the effects very soon. But that's a Tritone for you. Then they added the minimax. Okay. And this is what the minimax did. You basically are not seeing anything for now. But as soon as we add the factor noise, you're going to see what everything amounts to, right? Now, these are, like I said, bundles of presets. Sorry, bundles of effect. Now, all of these are bundles of effect. Let's just go ahead and select everything, select the first one who un shift, select the last one and delete. Now let's go ahead and add other ones. Let's add the cylinders. This is what we get with the Cylinder. Okay. Once again, bundles of effect. We have four effects here. We have the glue, we have the Tritone, Fractal noise, too, we have the fractal noise. Okay? These are basically the effects that have been added to give us this thing here, this look we have here. Now we can, furthermore, go ahead to achieve other stuff with this. We can now see that this is looking like it is looking like fire, okay? It's giving the fire vibe, okay? Yeah, so we can see that we don't have to start creating all these from scratch. The main work has been done for us. So that's basically what presets are. We have lots and lots of them, and we can't look at all of them, of course. We can't look at all of them. But this is also cool. This also cool. So from here on, you can build up to achieve something even bigger. Yeah, you can build up to achieve something even bigger. Some of these presets can be used directly as backgrounds, directly as backgrounds, directly to achieve whatever thing we want to achieve. Look at this cutting. It's just a red cutting. Of course, you can change the colors, but it's a cotting and it just looks so realistic, like a real cotton, right? Perfect. We have let's check ingestion. Yeah. Incredible. Let's check Silk. Yeah, you can see all of the effects that have been added. Yeah, let's look at other presets. Let's look at text presets. So click Text, open up the text presets folder, and let's look at all of these or some of these text presets. So of course for text presets, you have to first of all, have some text. So let's see presets. Let's write presets. And just a line of our ankle point to the middle by holding down Control Alt and the homepage or Command Alt homepage or command option homepage rather and then command or Control homepage to centralize your text. Now let's look at some of these text presets. Let's look at lights and optical, open this up and then just Broadway. Let's start with Broadway, and then we can see what we get with this guy. This is what it does. Undo. Let's look at the flash. This is what we get. It's basically an intro transition or a transition text effect. We have the flicker exposure. Is what it does. And there are actually some really cool ones as well. Let's look at curves and spins. Yeah, this looks a bit childish, but you get the point. So undo. Clockwise entry. Newton. Yeah, so we can't look at all of these presets. So I want you to go ahead and explore with this presets, see what you can do with them, see what you can achieve with them, and share your work with me. I would love to see what you achieve. I would love to see what you come up with. So basically, we've seen that presets are just bundles of effects which you can take and apply to our text, to our layers, to our backgrounds, okay, to our solid whatever layer we want to apply them on immediately and then from there on start building up our look, Okay, to achieve the ultimate result which we ultimately want to achieve. So that's basically it for presets, and that's it for this video on presets. So see you in the next one. Bye bye. 5. 5 How to create custom animation presets: Hey, there. Welcome back. And this is very quick video. We're going to learn how to quickly export our animation presets, or custom animation presets, we create here in After Effects. So I have this new composition, 1920 by ten ATP. I have my logo here in my composition. You can go ahead and bring in your logo or whatever image you want to experiment with, go ahead and bring in your image and have it on the composition like this and then create a new adjustment layer. And we're going to use this adjustment layer to apply our effect. The first thing I'll apply here is a transform effect. So I just want to type transform and then go ahead and add my transform effect. To my adjustment layer. I've added my transform effect and I just want to create some simple animations so that we get to see how this thing works. Now I'll just come to 1 second and create a keyframe on scale and then go back and make this zero and then hit you for my keyframe, hold on shift and snap to my 1 second position and then create a keyframe on position. Create a keyframe here and then go to the start of my time and move my position upwards, upwards here so that we have this animation. Okay, and then just hit you for all q frames, select both of them, right click Easy Ease with your graph editor, and we just want to create something that looks like this. Yeah, this looks good. And the next effect I want to add is a glue effect. I want to add a glue effect, very simple glue effect, just to add some glue to my logo. I just want to boost up the threshold a bit and then boost up the bits the glue reduce. Perfect. The next effect I'll add is my Turbulent Displace effect. Turbulent Displace, add it. I just want to create some keyframes, hit you for your qframes here, and then we want to actually come here or first of all, come here and make this amount zero and then create a keyframe here. Hit you two times to show your keyframe and show all your q frames. Then I just want to do this. I just want to bring this guy that's the one with zero value on amount and then bring it to the start of my composition. Come here in time, boost my amounts to 50, and then come here and boost my amounts to let's see. Let's see -62 and then boost my amount back to zero. Okay? Let's just select all of them and just move them like this, select everything, right click Easy Ease. Let's see what we've got. Okay? It's not looking too cool, but just go into my graph editor and I'll just select my handles and let's make some adjustments to our curves and see what we get. Let's do this. Yeah, this is not anything special really. It's just for me to be able to create an animation, so as to export our presets. Nothing too special here, nothing really special here. So let's just assume we have this admission and we want to export our animion presets. All we need to do now is select our adjustment layer, and then select our effect on shift and select all our effects just like this, then go to animation and then save animation preset. Then it's going to open your user presets folder, type course. Well, let's see, animation presets. Admission presets new. Admission presets new and hit C. Now it has exported our animon presets and it means you can take your admission presets and basically use it on another computer. It means you can sell them for money and basically distribute them. Now, create a new computation. Now let's try our new Admission presets. Bring in your logo, hits to scale this down and then create a new adjustment layer. And now let's come here and type what did we seeive our animation presets? I think it's new, right? Yeah, Animation presets new. So double click to add. And now, when we play this, we now have our animation. So all our effects have been saved and added, including the key frames, including everything we've added, including the keyframes and everything we've added to our effects. So this is basically how we get to export animation presets and use them somewhere else. And that's it for this very quick video. See you in the next one. Bye bye. 6. 6 Brightness, Contrast & color balance: Hey, there. Welcome back in this video, we're going to learn how to use the brightness and contrast and also the color balance effect. So these are all color correction effects. And in order to apply your effect, go ahead and select your image, go to effects, and then color correction, and then brightness and contrast. Now this is our effect. And after we apply in this effect, have a few controls here. We have the brightness slider, and we have the contrast slider. Now for the brightness, it basically controls the brightness of our pixels, okay, uniformly. So whether the bright pixels or the dark pixels, if you increase the value of the brightness, you're going to be increasing the brightness value of those pixels. And if you reduce it, you're likewise going to be reducing the brightness values of those pixels. And we have the contrast value, which makes our bright pixels brighter and our dark pixels darker. Okay. So as I boost up the value to 50, we can see that our bright pixels are brighter and our dark pixels are darker. If I just make it very intense here, you're going to see that. Yeah, the effect is more glaring, right? Yeah, so our bright pixels are brighter, our dark pixels are darker. Likewise, if you take it below zero, bright pixels will be faded and so also dark pixels, will be less bright. So that's basically it for the brightness and contrast. And we also have this button here, which is used legacy and this supports HDRI or high dynamic range. Now, this will apply mostly when you're using raw footage or raw images. That's basically it for your brightness and contrast. I'm just going to delete this and go ahead and add our next effect, which is our color balance effect. Now go to effect, color correction. And color balance. Now here is color balance at the color balance, and we can now see that the color balance gives us a lot of options, right, a lot of things to change. We basically have sliders for the red balance. That's for the shadow red balance. Now, this affects the amount of red colors in our shadows, o in the shadows of our image. And the shadows are, of course, the darker areas, right, places like this. So the amount of red here be adjusted using the shadow red balance, and we have the shadow green balance, which affects the amount of greens in the shadows, okay? And the shadow blue balance, which do likewise for blue colors. And we have the mid tones, red balance, green balance, mid tone blue balance. We have the high tones, red balance, high tones, green balance and high tone blue balance. Now, high tones are, of course, the bright parts of our image, right? The brightest parts of our image, okay? And then the mid tones are the colored parts of our image. Okay? Now, places like this will be among the mines, places that are not really bright or dark. So those are the Mtones and then we have the shadows, which of course are the dark parts of our image. Okay? Now, let's try boosting up our shadow red balance, and we now see that we are adding more red to our shadows. If we go the opposite direction, we'll be adding the opposite of red, which is green into our shadows, okay? That applies to all of the colors as well. We now have this preserved luminosity button here, and if you click on this button, we're going to see that. Now we get this. Now let's see what we have without the button clicked checked. So we have it unchecked and we see the effect we have after posting up our red shadow balance. Now, if I enable this, we're going to see the red are more intense and the image is a bit less bright. Now, what does this check box does? What it does is it preserves the quality of light by limiting the amount of light which is given out by the targeted spectrum of light, and in this case, which is a red spectrum of light. Okay? So that's why you're going to see that the image is a bit more intense and less bright when we enable this. Okay, now, as we check this, we can see that the image is now more bright and less red. So basically, that's what this one does. And this effect usually comes in very handy in compositing, where we need to add multiple images or multiple footages into one single composition. Cases like this, we'll be required to use the color balance because it helps us blend the color channels of each of these images to make them look as if they are a single image. So some images might have more red or more greens or more blues in their highlights, shadows or midtones. And when we apply this image and do the blending, we're going to be able to make our overall image look very uniform, okay? So that's one of the most important use cases for the color balance effect. One other use case is color grading. This can come in really handy also in color grading. Now color grading has to do with adding color information to our shadows, our highlights, and our tones as well. This comes in really handy because we can use this to really add different color information into our highlights or shadows and our tones. You can see that we're basically color grading our image right now. So I'm adding less blue, or let's see let's add more blue to the shadow. Then let's add less green. Okay? Then for red, let's see more red to our shadows. We see that we've totally changed the look of our image. Now, if I just use this to hide our effect, we see that this is what we had initially and on this what we have now, we can see that we've basically color grading our image, and it looks even better now, in my opinion, ok? You can go ahead and do more with these sliders. You can do more with these sliders. But of course, don't go too extreme. Yeah, so this is also looking good. With this, we can create multiple looks for our image. This tool is incredible, really incredible. Yeah. So that's the color balance tool for you, and that's the brightness and contrast for you. With this, we'll come to the end of our video. See you in the next one. Bye bye. 7. 7 Lumetri color: Hey, there. Welcome back. In this video, we're going to be looking at the lumeary color correction effect. And of course, it's a color correction effect. The lumaary color correction effect can also be found in Adobe Premier Pro, where it has a whole panel dedicated to it. Now, I'm just going to go ahead and bring in my image to the clicker, go to your folder and I'm going to bring in this bridge landscape image. And then just create a new composition from image. So this is our image. Now, in order to work with the lumetri color correction effect, I'm going to go ahead and bring in a new panel, which is called the Lumetri scopes. This is the panel. And this just gives us a spectrum of color values for our image. So I'm just going to arrange them side by side. Now, the lumenar color scopes gives us the value of our colors from left to right, okay? So we have the left here representing the left side of our image and then the right side here representing the right side of our image, okay? So these are the color values from left to right. Just like how we have our image from left to right, okay? And then now this shows us the intensity of the colors for each color channel. So we have zero as very not intense or black, and 255 as very bright. So colors that are towards the 255 value are the brightest and then anything above 255 is basically clipping, which means we can't really see the details in it. And so also with the zero, anything below zero is basically clipping. So the next thing we're going to do is go ahead and add our lumetric color correction effect. So select your image, go to effect, and then color correction, and then lumetri color. This is lumetric color, click on it, and now we've added the lumetary color correction effect. Now, this is the lumtary color correction. We can disable it from here, of course, and we can see that it has several sections. We have the basic correction, we have the creative, we have the curves, we have the color wheels, we have the HSL secondary we have the vignette. Now they've basically been arranged based on the workflow you would follow normally from basic to more complex. Let's start with the basic color correction. Click on the basic and you're going to see several options here. The first guy here is active. Now you can check this to basically activate the settings or on check it to disable the effect or the settings for basic correction. So I'm just going to enable it, and right here, you can see we have input LUT or input now this is lookup tables, and these are basically presets which we can apply right away to have certain looks. We can create these looks and have them saved. As well. I'm just going to select none so as to do the corrections manually. As I select these looks, you can see that my lumetri scoops keep getting updated, right? Now, let's go ahead and see the settings. The first setting is the white balance. Now this is the white balance of our image. We can click here to select a white please on our image or a piece that is supposed to be white or neutral, and then it's going to automatically set the white balance for our image. Now it has been updated and we can see that our temperature has been updated to 15.7 and then our tin to -6.7. We can take this and then maybe select this area. Now you can see that our wide balance has been updated one more time. Now, let's just click here to reset. And now we have our color balance back to how it was initially. Now, we have the temperature. You can manually increase or adjust your color balance or your temperature. With this slider here, you can make it to the right hand side and you can basically see that we're adding more red to our image. You can see the red getting close to the 255 value on our lumetri scopes. That's getting too much. That's getting a bit too much for the red. You can do that to reduce the red and add more blues, we have the tint as well. And these are really basic things, really basic settings. You should know what the temperature does, what the tint does. We have the saturation, which is basically saturation. It increases the saturation of our image. If you boost this, we're going to see that our image is more saturated, the colors are richer and this can be a bit too much. If you take it to the extreme, you can see that it's looking too saturated. Our image on the default is already very saturated. I'm just going to take this back to zero that the temperature and let's look at the light options. Now we have the exposure and this is basically adding a lot of brightness. Now we can see that a lot of our colors are clipping, right? A lot of our colors are clipping. Now, this is it. Now we can see that we have less colors here because our image is getting too bright, right? Too bright. Yeah, so let's make this zero. And the contrast basically increases the intensity of our blacks and our whites, right? That's the contrast for you. And we have the highlights, which is basically brightens values, increases the brightness values, you can see that the values here or the lumetri scopes are getting up towards the 255 value because we are boosting up our highlights. Shadows is just the opposite of highlights. We can see that we are adding more shadows to our image or increasing the shadows in our image. And then we have the whites and the blacks. We see this is basically what we get I'm just going to kit reset to reset all our settings here and make the zero to basically take everything back to how it was before. Now that's it for the basic correction. Now let's go ahead and open the creative. Now in the creative, you also have the actave which you can use to of course activate your setting. Next, we have the look and these are also presets which you can just take in and add immediately. Now we see that we are now having specific looks with the sets, the color grading sets. This is really cool and we can see that with these presets, our color grading has been done automatically for us, automatically for us. We have lots and lots of them. So we can keep going through all of them to see what they do, but I'm just going to go ahead and select none here so that we see our settings. Now the next setting is the fitted film, even though we have actually the intensity setting. So let's say we have we've selected one of these looks, we can go ahead and reduce the intensity of the specific look on our image. So we are basically reducing how much of that look we are having on our image right now and we can as well increase it to even 200%, which is a double of what we have initially, which was 100. So basically, that's intensity for you. Let's select none. And let's move to our feds film. The fides film is basically getting our colors fided. Okay, our blacks fidedo and our whites fit it as well, as you can see on the lumetric scopes. So we are feeding our image. Now, this is too much, of course, but if you just add it just a bit, it's going to be kind of nice and subtle. Okay? It's a bit nice and subtle when you just fed it just a bit. Okay? So that's the fided film for you. It's a very nice effect. We have the sharpen. Now, this makes our image more sharpen and more crispy. Okay? So if you increase it, your image is going to be more sharpened. Now this is too much, of course. If you reduce it, it's going to be less sharpen. And we have the vibrance. Now the vibrance is basically like the saturation, only that it's less intense compared to the saturation. So let's take our vibrance to -100. And now this is the maximum to the left hand side or to the negative. And we can now see that we have basically removed a lot of colors from our image, but our image is still not black and white, right? Now, this shows you that the vibrance is less intense as compared to the saturation because for the saturation, if we have our saturation at -100, it's going to be extremely black and white. It's going to be completely black and white, you can see here. They basically do the same thing, only that our vibrance is less intense. Our vibrance is less intense. The next thing we have is the split tuning and this basically adds specific colors to our shadows and our highlights. Let's say we want to add more of this to our shadows, we're going to just click and take it to the specific color we want to add so we can now see that our shadows are having more of this color, more of this colors purple. Purple color. And that's a really first way to color grid our image as well. And we can do that with the highlights as well. We can add specific colors to our highlight. So just drag this to the highlights to the specific colors you want to add, and you now see that your highlights are basically getting down with more of that color, right? Me of the targeted color. Yeah. And in order to reset this to the default or to what we had before, we just need to double click in here, okay? So now we have it as the default. But I'm just going to undo that so as to go back to what we had before. Now we have this next slider, which is the tint balance, and this basically balances between the highlight tint and the shadows tint. So if we take it to the right hand side, we're going to be having more of the shadows tint. Okay? And if you take it to the left hand side, we're going to be having more of the highlight tint. Okay? So that's basically the tint balance for you. That's basically the tin balance for you. Make this zero. We drop clique to take it back to what we had before. Same with this guy. Okay. And yeah, basically, that's it for the creative look. And now we have the curves. The curves is a bit more complex than all of them. Yeah. So the first thing we see here is the RGB curves. Okay, the RGB coves. Now, this is red, green, and blue. The first one is the kind of primary curves, which controls the curves for all the channels, okay? Now we can just click to create point and then create an S cove to adjust our looks to something like this, right? We can click to basically delete our points and get back to what we had before. Yeah, so we can even click here to basically boost up our whites and do this to boost up our blacks, just like how we're seen right here. But this is too intense, and we can go the opposite way to get the opposite effect. Now, we're getting kind of clue to feeded effect here, something similar to what we had in the fidd film effect, right? So, apart from the Cove, we can also do an opposite cove, which is something that looks like a Z cove. It basically depends on the existing conditions or color conditions of the image or of the footage which you are working on. Okay? So you are either going for an curve or something that looks like this, like a Z curve. And you can of course activate them and deactivate them by simply checking this box or on checking the box. Let's go to our red channel. Now click here, you're going to your red channel, and this enables us adjust our curves for our red colors. We're basically doing that for red colors. You can see that we are removing more of the red By doing this, And so with the green and the blues. Okay? Yeah, so basically, that's it for the RGB cuffs. So I'm just going to click to close the RGB cuves. Now we have these other cuves which are a bit more complex compared to the RGB cuffs. Now, the first one we have here is the hue versus saturation cuve. Now, how this guy works or how they work is, we can select a particular hue. On our image, and then we can now come and have the ability to edit the saturation for that range of hues. Now, the first thing we need to do here is go ahead and pick this tool, which is the dropper tool. And then right here, you can now go ahead and sample the particular hue which you want to target. So let's say we want to target this blues, so click here, and now you can see that on our curve here, we've been able to select a range. Now this is our range from here to here. So when we go up, we are going to be editing the saturation. Of our selected hue. And when we go down, we're going to be reducing the saturation of our selected hue, just like how you can see it's happening here, right? So basically, this is how this guy works. So we are we basically selected a range of hues using our I dropper tool, and then we are editing the saturation of that range of hues. Okay? We can also expand our range by basically dragging our slider to the right hand side or to the left hand side. So we've expanded our range, and now we can continue editing our hue. Let's say we don't want it to be very saturated, so we can take it to the left hand side and we can pick our eye dropper tool one more time and select another range of hues. So let's select the greens this time so select green. We can see that our greens have been selected here. Now we can go up to increase the saturation of our greens and you can see the effect happening in real life. You can go down to reduce the saturation of our greens, just like how we're seen. We can click here to expand our hues, sorry our ringe and so also to expand our ringe just like this. Okay. Incredible. Now you can see the changes we are having incredible changes and we can slide here to go furthermore around our values to keep adjusting. We can click to basically add a point manually instead of just using the dropo we can see the cue we are targeting here. It's this purple pink range you get. You can adjust them like this. Of course, we don't have any pink or purple on our image, or we don't have much of those, so you won't see the effect being done here. That's it for this particular guy. Now you can just hold Control and click to delete points. Hold on Control and click or command and click to delete points on our curves. Perfect. Now we have the next guy and the next guy is the hue versus hue. Now it means you can select hue, a range of hue. It means I can just go ahead and take my hydropo set my hydropo two and then select the sky, for example, and then now go ahead and edit the hue of this hue. It means I can take this up to basically change the color, change the hue, just like this, just like this. This can give us a very specific effect. Let's say we want to change the sky, we can do this to change the sky. We want to even maybe increase the range. You can do this to increase the range. Okay? So you can see that we've basically changed the sky of our image. You can add points here. And do the same thing for our grasses. So we're basically changing the colors or the hues of our image. So I'm just going to hold down Control and click hold down Control and click click to delete these points. Now, apart from actually selecting specific ranges of hues, we can just click and drag up to basically change the color or the hue of the entire image. So you see what we're achieving with this right now. Okay, we're affecting the entire image. So the entire hue is changing. Incredible. Yeah, so that's it for Hue versus Hue. Close hue versus hue. Now we have hue versus luma. A luma is, of course, the luminosity quality or the brightness values of our image, right? So we can select a particular hue and then adjust the brightness values of that particular hue. So select your dropot and let's select the sky one more time. Now we can go up to basically make it brighter, to make our sky brighter or go down to make it darker, just like how you can see right here, right? So that's basically straightforward. That's very straightforward. You can expand our orange. I select I drop to select the green grass and do same, make it brighter or make it darker. Now we are basically targeting specific colors. We are targeting specific colors with all of these tools. You can see how powerful all of these tools are. Okay. They are really powerful. Now, we're just going to click click click Wy Hole Down Control, of course, to delete all of these points. Yeah, so close this and let's go to the next one, which is luma versus saturation, luma versus saturation. So we're going to select a luma value, lumetri value or luminosity value, and then work on the saturation. Make it more saturated or less saturated. Click and then select let's see this value. You can make the luma value more saturated or less saturated. Okay, the effect is very subtle for this guy, pull down Control click click and click to delete all the points. Let's close this and we have the last one which is saturation versus saturation. We are, of course, going to pick a saturation value and then edit the saturation of that saturation value. You get. Once again, pick the sky. I'm going to pick the sky and then now let's work on the saturation value of our sky. You are targeting the value of our sky. Making our sky less saturated by taking this down and then more saturated by taking this up. Let's pick some of the values. Let's pick the the green here, and then make it less saturated. Almost saturated. Yeah, so that's it for the curves. Okay? So now go ahead and close the cuves and let's go to the next one. Now, this is the color wheels. Open the color wheels. Now these are basically color wheels, right? We have our mi tones. We have our shadows, we have our highlights. And once again, we can add colors to our mines, we can add to our shadows. We can add to our highlights. And we can use this slider to basically increase or decrease the values for the brightness of the specific colors we add to our image. Yeah. Of course, we can double click to reset the slider. Now, just go ahead and add some colors to our tons and then them to our shadows and to our highlights. So you can see, we've basically color grading our image to look like this. Okay? You can use this slides, of course, to make further adjustments. This is not looking too good, but of course, you get the point, and we can see how this affect our lumetric scopes. We can see the changes being done to our lumetric scopes. We can go in to furthermore, adjust your images to make your colors get away from the extreme values which are 255 and zero. That's how to go forward with this. Going to reset all our sliders by double clicking. Perfect. And let's go ahead and look at the next guys, which are the HL. Now, HSL is hue saturation and light, and we can activate this or the activate this. Of course, we can open the key. And for the key, this enables us to select a color and target the hue, the saturation, and the light of that particular color. Okay? So the first one here, we can click here to set a color. So select here and we can select this, for example, to selected of sky and we can furthermore click here to add to our selection. So we can add to our selection. So let's just select the dropotole and then add to our selection. Let's see, we want to also include parts of this Okay. So part of this. So that's really blue and less blue. Okay. And we can remove from our selection. So if you click here, you're going to be able to remove from your selection. So you're removing a particular color from your selection if in case that color was selected. So before I do this, I'm just going to click here to show mask. So if you click here, it's going to now show you the mask of your selected colors. As you can see, it's renal white for our non selected colors and then our colors for our selected colors. You can also change the way it's been displayed, you can see here, it's color versus gray, our color versus grey, it's calls this grey. We can click here to change it maybe color versus black, color versus black. Where we haven't selected is displayed in black, and then where we've selected is displayed in colo then we have white versus black. And this is just basically basic mask, white being where you've selected, and then black bean where have not been selected. You can as well invert your mask to give you the opposite, and you can reset your selection. Perfect. Now, click on check on Shomsk and let's go ahead and select something else. So we can even click here to basically select a custom color using our color picker tool here. Okay. But I'm just going to still use my color here. Sorry, my roper tool here. So I've selected my Idupo two and I want to select the green this time to select the green. And now let's add to our selection. Let's add a darker green to our selection. Okay. So now let's see what we have. This is what we've selected. Let's go ahead and choose color versus gray. This is what we have selected. Then we can basically refine our selection. So we can click it to refine our selection. We can denise our selection that's reduce the noise in our selection. You can boost this up to reduce the noise in our selection. I'll make this zero, and we can blow out our selection, a bit to make it smoother. So you just need to use these values just slightly. I'm just going to use one here and 1.5 here just to give you a little effect, right? And we have the correction as well. But for now we are not going to look at the correction. Let's open this HSL sliders. If you open here, you're going to see the HSL sliders. Now, this one is for the hue. This guy is for the saturation, and this is for the lightness. Okay? Now, we also have these sliders here. And with this guy here, we can basically expand our range with this guy here. This button or this icon clicking here, you can click it to expand your range. So we can see that more colors have been selected as we expand our range, more colors have been selected have been added to our range. We can do this to decrease our range, and we can use this guy here to kind of expand our selection altogether. Okay? So we are increasing or reducing our selection now. So you can see that just what you've selected is being selected, but we can do this to expand the range of our selection, and we can use this to expand the fall of our range. Yeah. So we can also move this around to select different colors. Let's say we want to select different colors. Okay? So we can move this around to select those colors. We can see that new colors are being selected here because we don't have red red in our image. I'm just going to undo this to take our selection back to where we had it. So this is same with the saturation. So we are using this to select more of our saturation. We are using this to expand our, our ne fall off and this to expand our ne. Okay, we can see that more of that particular green is being selected right now. Yeah, so this is a very perfect way to target your colors and do that accurately. Incredible. We have the lightness and, of course, use this to expand your range to target your particular lightness values for the specific color or for the selected color. Incredible. Yeah, so we can show mask or not show mask, right? Yeah, so that's it for the HSL sliders. We can close this and move to the next thing. Of course, we've looked at refine. We can go now into correction now for correction, we can now open the color wheels and make our corrections on our color wheels for our selected colors. Okay, we can add more blues, we can add more greens o to our selected colors. The click to reset, close this. We can increase the temperature. You can see that our selected colors, the temperature is being increased. We can even unshow mask or select the show mask so as to see how everything blends with the original image. Okay? So the saturation, you can reduce the saturation or increase it. We can change the tint, we can increase or reduce the contrast of our selected color, and then we can sharpen our selected color, and then we can boost up our saturation or reduce our saturation, and we can see how precise we can be with our targeting, and that's the power of the lumitry color. So that's it for the HSL secondary. Now, of course, if want, we can activate or deactivate it. Just look at how beautiful our effect is. Now the next thing is the vignette. The vignette, we can activate or the activate our vignette, we can add the vignette amount. When we add the vignette amount, we're going to see white vignette appearing around our image. This could be used to correct a vignette that comes naturally with the image due to the camera lens. Okay? So let's say the vignette that came with the image is too much, you can basically use this to take it to the right hand side to reduce the vignette or take it to the left hand side to add more dark vignette. As I take you to the left hand side, you see that we are having more dark vignette around our image, more dark vignette effect around our image. Perfect. Now minus five is the highest. We have the midpoint, this we can adjust the midpoint of our vignetteffect. We have the roundness. We can adjust the roundness. We can make it round or oval in shape. And the feather as well, we can use the feather to increase or decrease the smoothness or the feather of our vignette. Now, I've taken the feather to zero, and let's just see how the brightness adjusts with our feather at zero. So this is where we get with our roundness. Okay? So let's boost up our feather to see our effect. Yeah, so I'll be going for this roundness and then just boost up my feather a bit to achieve this. So this is the look I'll be going for. And this was a bit lengthy, but we have been able to cover the lumetric color correction effect, and you can see how complex this effect is and how much useful it can be. It can be very powerful to your arsenal, to your color correction arsenal. Yeah. And with this, we'll come to the end of our video on the lumetric color correction effect. See you in the next one. Bye bye. 8. 8 Hue and Saturation: Hey, there. Welcome back. In this video, we are going to be learning how to use the hue and saturation effect here in After Effects. Go ahead and bring in your image. We're just going to bring in this image, this colorful pepper image, select the image and hidden part. You can use any other image that you feel more comfortable with. If you don't want to use this image. Now I'm just going to go ahead and create a new composition from selection. Yep, and then go ahead and add our hue and saturation effect and our hue and saturation effect is under our color correction effects. Come to color correction and then hue and saturation. Here is hue and saturation. Click and add your hue and saturation. Now hue stands for color and saturation stands for the amount of that color on your image, okay? So your saturation, if your saturation is more, it means the color will be more intense. If your saturation is less, it means your color will be less intense, okay? So here we have hue and saturation added to our image, and right here, you can see that we have channels. Okay? We have the master channel which controls every color, okay? So if we make changes while on the master channel, it's going to affect the entire image, right? And then we have red, we have the yellows, we have the greens, the ions, the blues, and the magenta. So each of these ones will affect the particular color. So if we select red, we are only going to be making changes to the red colors, right? Or we are only going to be affecting the red colors. So go back to master, and let's affect our master color, right? Now, we have the color range, and this is our color range. You can see here, and then we have master hue. Now, if you just adjust these values, you're going to see that your color adjusts, right? Your colors adjusted. Now, you can also see that our ne, this one on the ground here also gets adjusted. Now, it's telling you that the greens that we are originally green on the image are now purple, as you can see here. So before we did this, let's just undo that so we see what we had before. Before we did this, we can see that all the colors are same, right? The ones on top are similar to the ones on the ground on the bottom. So it means the blues are the blues here, and then the purples are the purples, the reds are the reds, right? But as soon as you adjust your master hue, you're going to have this ground spectrum of colors change, right? So it means now that the reds have been changed to look like the yellows, as you can see here. And then the oranges have been changed to look like the greens, and then the greens have been changed to look like the blues. You get. So that's how this thing works. So we are basically changing our colors now. Now we can see that it's affecting all our colors. All our colors are changing because we are on the master channel, right? Yeah. So I'm just going to hit reset to reset our image. And then now we have the master saturation, and this is, like I said, basically the intensity of our colors. So if you take this back, or to the minus -100, you're going to see that we are losing colors, right? And now we basically have a black and white image, okay? But now as I bring it towards 100, you now see that we are gaining colors and our colors have been very intense as we get towards 100%. Okay? So basically, that's saturation for you. So less saturated, more saturated, heat reset. And now let's look at the next guy, which is lightness. Now lightness is basically the brightness of our colors, okay? So less than zero, two -100 is less bright or no brightness. And then to 100 is over brright. Okay, 100 is basically a white spectrum of colors. So yeah, so that's brightness for you. That's lightness for you, right. It's basically the brightness of our colors. Hit reset. Now let's look at colorize. So click on colorize. And what colorize does is it basically tints our image to a specific color, okay? And with our colorized hue here, we can basically change the color, the targeted color. Or the colorized color. Yeah, so you can see that every other color is changing to our selected color. Okay? So that's the colorize for you, and then we have colorized saturation, boost it up to boost up the saturation of our colors, take it lower to reduce the saturation of our colorized colors. Then we also have the colorized lightness, which, of course, increases the brightness just like the lightness or just like the master lightness we looked at here, just hit reset. Now let's look at other channels. So go to your red channels. And now we see that we've now selected our red channels here, and this shows us that our red have been selected, okay? Because we can see this range now. It's only limiting the selection to the red channel or to the red colors. So we have this, which can help us which can help us expand our range. This botne can help us expand our range and we have this, which is basically a fall off, it's going to expand the range and then smoothing things out in our selection of colors you get. So we can expand our range like this and then now if we adjust the colors, not only red will be affected, even the greens will be affected and even parts of the purples, will be affected, just like how you can see here. But if you only had see red, or less reset this and only have red. We can now see that only red will be affected, like you can see here. Red are only the ones being affected. You can see that we've totally changed the colors of our red. We can increase the fall off. If you want or not, to smoothen things out. Okay? And then we have the red saturation, and this, of course, boosts up the saturation of the color, right, of the color we've targeted and changed, and we can reduce the saturation, and we also have the lightness. And we can also colorize. Okay? Yeah, so that's basically how this tool works. This tool can come in really handy when you're the targeted color adjustment, okay, when you want to target particular colors in your images, okay? So you can use this to target those colors and then make adjustments to them. Yeah, so that's basically it for the hue and saturation effect in After Effects. See you in the next one. Bye bye. 9. 9 Fill, Tint, Tritone & CC Toner: Hey, there. Welcome back. In this video, we're going to learn how to use four different effects that do very similar things. Okay? Now, these are the field effect, the tenth effect, the Tritone effect, and the CC tuna effect. So let's go ahead and start with the field effect. Select your image and come to the effects and presets panel and just type in the field. And this is a generate effect. So it's going to generate a feel for us on our layer, or on our image. And we can see that it has now basically filled our image with a red color. Okay? So we can click here to change the color. We can change the color, give it a different color. Hit okay. And we can reduce the opacity here of our field. And this shows us that our field color has basically occupied the entire layer, right, because we can see our original image even after we reduce the opacity of our field. Okay? So that's the feel for you. And there are other options here. We can actually add a mask, and let's say we have a mask on our image. So select your shape tool, select your image and just create a mask. Just like this, you can come in here and select mask one and then come on the mask options and make this known. You're going to see that your mask then appears on your image as a field. You can have multiple masks on your image and basically use the all masks option. So you can do this and have the all mask options checked, and you can now see that it's using all our masks, right? So with this, you can now blend it with the original image by reducing the opacity. Okay? We have the horizontal feather, the vertical feather, and we are basically going to be feathering our masks with this. Okay? Yeah, you might not see how this thing works or the effects of the fearing for now because it's a bit subtle. Yeah, till you zoom in. Yeah, but basically, that's a fill for you. It basically fills our layer with a different color with a different color. So now let's delete this guy and even delete our masks and add the next one. And the next one is our tint effect. So TIN and the tint effect is under the color correction category, click it to add the tint effect. Now, what this does is, it basically turns our image into black and white on default, and it gives us the ability to select our colors for our blacks and our whites or shadows and our highlights. So we can click here to select colors. Let's see if we want to make our shadows, this color. So we can basically select this for shadows and click this to select colors for highlights. Okay? So whatever colors we want, we can have them selected for our highlights. Okay? So that's basically the tint effect for you. That's just what it does. And we have the amount to tint. Now, it's going to basically blend the tint with our original image. Okay? So we can reduce the blend, we can increase the blend. We can even swap the colors, o and it's going to become like a negative image right here because the blacks are now being swapped to stand in place of the white and vice versa, right? So this is becoming negative. But basically, that's it for the tint. That's what the tint does. And then the next one is the Tritone effect. So I'm just going to delete this guy, the tint effect, and then add the Tritone effect. So Tritone and, yeah, you guessed it. This guy has three colors, okay? It has three colors, and it basically has the colors for the highlights, the mid tones, and the shadows, and it enables us to change these colors. So it's basically like the tint effect only that it has one more color. The tint only has the highlights and the shadows, but this guy also has the mid tones, right? So we can click here to change our mid tones. Change our mitons, change our shadows, change our highlights. Okay? And then basically blend with the original. So it also gives us the ability to blend with the original image. Yeah. So that's the effect for us. Okay? So delete the effect and add the last guy. The last guy is the CC Toner effect. And we can see that it's also under the color correction category, and the CC tuna effect does what all of these guys do. It does what all of these guys do. It does on default, what the Tritone does because it gives us the ability to change three colors, to add three colors, the highlights, the mitons and the shadows. And if you click here, you can make it work just like the tinth by giving you the ability to add just two colors or to modify just two colors, just the highlights and the shadows, okay? And if you click here and select the Penthon it's going to give you the ability to select five colors, five different colors. You can see the level of customization this one gives us. It trumps all of them, and it also gives us the ability to blend all of these colors with our original image. We can select here to choose our shadow colors, click to choose our highlight colors. Click A to choose the brights. Let's say we want the bright to look just like this. Then the mid tones and the darks so Yeah, something like this will work. So you can see that we've basically changed the colors of our image. This is what we have with 0% blend with original, okay? And, so that's basically it for this effect. That's what they do. They enable us modify the colors of our image, of our layer. So that's it for this guy. And then one last option for this Tritone, you can as well choose a solid. And what this does, it gives us a solid feel, right? Basically gives us a solid feel. Okay. And we can make this zero, the blend you cannce that this is basically a solid fill, just like the fiel effect. Okay? So it does what all of these effects do. So that's it for our effects, and that's it for this video. See you in the next video. Bye. 10. 10 Channel Mixer: Hey, there. Welcome back. In this video, we're going to learn how to use the channel mixer effect. So go ahead, bring in your image, create a new composition, and come to your effects and presets panel and search for the channel mixer effect. So Channel Mixer. Yep, and here is the channel mixer. It's under the color correction category. So add the channel mixer to your layer. Yeah, and this is the channel mixer, and what it does is it gives us the ability to modify individual color channels of our image. Okay? So we have a number of options here. We have red red, we have red green, we have red blue, we have red constant, and then we have green red, green, green, green, blue, green constant. Okay? Now, this effect also gives us the ability to control the influence of each color channel on the image. For example, we have red red here, and this controls the total amount of red colour in the image. So if I turn this to zero, we've completely eliminated the red colour in the image, and we are left with only green and blue colors in the image, right? And if we tone down the green color to zero, we are only left, of course, with the blue channel. And I'm just going to hit reset here to bring everything back to how it was before so that we look at this red, green, red, blue, and so on and so forth. Now, what is red, green? Red green is basically showing us two options. That's the red color channel and the green color channel, and it's giving us the ability to add the red color channel into the green color channel or to do vice versa, which is add the green color channel into the red color channel, which will give us more of either of the colors. So if I pull this red to green to the right hand side, you can see that I'm adding more red colour into the green channel. Therefore, our image is becoming more red. And if I the opposite, you'll see that I'm adding more green into the red color channel, thereby making our image more green, right? And we have the red blue, which does exactly what the red green does, except that it's changing green to blue, of course. And we have the red constant, which basically adds more red generally, okay? Add more red or reduces the amount of red by adding the opposite color. So that's what the red constant does and we have that for the green color channel and also the blue color channel. We have these sets of options for the green color channel and also for the blue color channel. Then we have what we call the monochrome, and if we check this, you're going to have a black and white image, and then you have the ability to control each color channel just like this. Now, if we make this zero, and make this zero and make this zero because there are no color intensities for all of the colors for either of the colors. So we're just going to have everything to zero, except if we maybe boost up the red green, and then we are going to have something like this. Now, this effect can come in handy in a lot of instances. For example, we can use this effect to create a shift color effect in our videos, right? So for example, we could just make this zero and make this zero and leave this as red and then just rename the layer to red or R and duplicate the layer, Control D, and name this green or G. For this layer, just turn red red to zero and then boost up green green to 100 and Control D to duplicate this and name this B, which stands for blue, of course. Then for the blue layer, make this zero and make this 100. And then just go ahead and select the boot layers on top and change their blending mood to add so that we add them to our layer behind, which is the red layer. And this just blends everything to give us what we had initially before duplicating the layers, which is, of course, the real image without any color distortion. Now the next thing we have to do is just offset the transformation of our layers, and we're going to have that effect. So let me just kill this so once I scale this up, that's blue, you then see that we're having this color shift effect on our image. I'm just going to scale this up as well and then move it most probably. Okay? Just move it to the left hand side or to the right hand side. Yeah, and as you can see, we have this very popular effect, okay, which is very popular in glitch effects as well. Yeah, so this is one of the ways we could use to create this very popular effect that's using the channel mixer effect. Yeah, so that's it for the channel mixer effect, and that's it for this video. See you in the next one. Bye bye. 11. 11 Glow: Hey, there. Welcome back. In this video, we're going to learn how to use the glow effect in after effect. Now, the glow effect is a stylized effect. Go ahead and bring in this logo from folder, okay? The HF Christians logo, and then create a new composition with a black background because the glue shows mostly under a dark background you get. So just reduce the size of your logo and come here to your effect and presets panel and type in glue to bring up the glow effect. And this is our glue effect. Okay? It's under the stylized category, click on the effect to add it. And right away, you can see that our image or our logo is glowing. Okay? It might not be very intense, but we have some sets of settings which we can adjust to basically achieve the look we want. So have the first option as the glue based on. Now, this controls what our glue is based on. Okay? Is it based on the colors that the color channels, which is currently set on, or based on Alpha channels. So the color channels will be the original color channels of our logo, okay? So that original colors of our logo. And then the Alpha channel will be based on just the transparency of our logo. So let me just go ahead and boost this down. Okay, and boost this up, just for us to see the glue well. Now we can see that because it's set on Alpha channel, the entire thing is gluing white. Okay? It's glen white. And now let's take it back to the colors. Okay? And let me just boost this up. That's the threshold and boost my dice. And I think I need to change one more thing here, original colors. I need to make sure original colors is sected here. Now, you're going to see that the logo is gluing based on the original colors, based on the color channels. So this guy is gluing kind of blue, and then this guy is gluing kind of magenta and purple and so on and so forth, right? So that's the color channels for you. Now we can just heat here to reset everything and we have the glue threshold. Now, what's the glue threshold? The glow threshold basically controls how intensely the glue is generated by the glowing colors. Lower threshold values apply the glue to more colors very intensely. I've reduced the glow threshold and you cannot see it out. Everything is now white because it's now reducing the threshold for applying our glue. You get it's reducing the resold for applying our glue, more colors are glowing. But as soon as we boost up the glow threshold, it's going to basically make sure only rich colors are gluing. Okay? So the colors have to be rich for them to glue because our threshold has been increased. And then we have the glue reduce, and the glue reduce controls how much our glue blows out. So if I boost up the glue reduce, we can see that it's blowing out of the confinement of our logo, okay? Even more. So when I reduce it, you will see that it's not gluing out or it's not blowing out as much. So that the glue release for you and then we have the intensity, and this basically controls how intense our glue is, how intense our glue is. So boost it up to increase the intensity of your glue, boost it down to reduce the intensity of your glue. Okay. So that's it for these settings. And then we have the composite original, and this basically controls how our glue reacts with the original layer or with the original logo. Okay? Now we have behind selected, and the original layer is now behind our glue. Okay? If we take it on top, see that. The original layer is now on top of our glue. Okay? The original layer is now on top of our glue because our operation is set on top. And then if you select none, you can see that. We only have our glue. We don't have our original layer. So that's how this option works, and then we have the glue of operation. This is basically how the glue blends with the original. It's currently set to add, and then you can choose different blend moods. There are basically almost all the blend moods listed here, so you can try them out for yourself and see how they work. And then we have the glue colors. So these are the colors of our glue. Currently set to original colors. So that's why it's using the original colors of our logo to glow. We can select A and B colors, and it's going to work with these colors here. So we have the A color. We can choose the A color, and we have the B color. You can choose the B color. Okay. So A what's the A color and what's the B color? The A color is the color inside our glue and the B color is the color outside our glue. Okay? So that's basically the E color and the B color for you. Let let me just let's see, to stop my glue, reduce the intensity. Hopefully we'll be able to see our A and B colours more clearly. Yeah, okay. So I've reduced the threshold so that you see our A and B colors more clearly. So we can see that the A color is the color inside our glue and the B color is the color outside the glue, like how you can see it here. You get now we have the color loops. Now the color loop is basically how much loop we have our glue doing. Okay? If we boost it now the color loop is basically how much glue is looping. Okay? We have it set to one noun and that's why you're seeing it like this. As soon as I boost the loop to two or more, you're going to see that we have multiple loops in our glue. You get we have multiple loops in glue, and then we have the loop phase, and this basically changes the arrangement of the loops, as you can see right here. Okay? So I just boosted this up so you can see how the loop is behaving practically. I'm just going to hit reset. And yeah, we have some other options. Now let's look at these options first. Yeah, we have the glue dimensions. We have the horizontal and vertical, and this shows us this helps us control how our glue is applied. Is it horizontally or vertically? We can choose either horizontally so that it's applied only horizontally or just vertically so that it's applied only vertically, just like you can see here. Okay? So that's very straightforward. I'm just going to make this horizontal and vertical, and what else haven't we looked at? We've not looked at the arbitrary map. Now, the arbitrary map is is the option that enables us to select a map or create a map for our glue. Then the glue effect uses our maps to apply the colors and the glue on our logo. Now, let's try this. In order to do this, I'm just going to bring up one more effect. Let's type curves and bring up the cuves effect. Let's just add the curves effect. I want to just bring the cuves effect on top of our glue effect like this and open it up. I just want to create a curves adjustment. Okay. I just want to create the cops adjustment now on the RGB channel and on the red channel, I want to do this and do that. I'm not really creating anything special. I just want to make sure we have a difference between the glue or between the color channels. Okay? Yeah, let's just work with this. And then I'm just going to hit on sieve. So we're going to sieve this as an bitr map. So let's see glue channels. Save. I'm just going to disable my curves here and then now have my arbitrary map selected and then at options. It's going to open my location and I can select my bitr map, heat open, and now it will use my arbitr map to generate our glue. If I boot this up, let me just boot this up so we can see what's happening. Glue intensity, boost up. Basically, this might not make sense, but it's using my arbitrary map to generate my glue effect. To generate my glue effect and to basically generate my colors. Yeah. So basically, that's how this will normally work. I don't use this honestly, but that's how it work. I just delete this and go back to let's see. Go back to original colors or go back to A and B colors rather, we see the pin or the color. Now the color looping is basically how our colors are arranged. Now, let's select different A and B colors one more time. So this will be let's see. I will be our A color and then our B color. Should be this. This our A and B colors, this up and yeah. Yeah, let me just make this intense very intense so you can see how everything works, right? Yeah. So how the color looping works is it controls how our colors are arranged, okay? So as soon as I change the color looping options, you can see that we now have them arranged differently. It was set to A, B, A. So it means the A colo is in the start and then the colo is at the middle and then the A colo is at the end, right? That's the ABA, start, middle end. BA will be the B color bin at the start and then the A color bin at the end. Basically, this is just how the colors are arranged. Basically, that's what this doors. That's what this allows us to do, then we have the saw tooth option and then the triangle option. You can go ahead and experiment with that and see how all of these come to play, okay? Honestly, you might not always need to change all of these options here. Most of the time you use the glue is basically just to apply the very simple glue, a very simple glue to your layer, and that will work. Okay? But all of these options help us customize even further. That shows you the power of the effect. So that's it for this video on glue. See you in the next one. Bye bye. 12. 12 Threshold, posterize: Hey there, in this video, we're going to look at the threshold effect and the posterize effect. Go ahead and select your image and add the threshold effect to type threshold. And this is the threshold effect. It's on the stylize, click on it to add the threshold effect, and what it does is it limits our image to just two colors, white and black colors. And we have a slider for levels, which controls the level of each color. So when we take this to the right hand side, we're going to have more levels for black colors. When we take this to the left hand side, we're going to have more levels for the white colors. That's the threshold effect in a nutshell. In order to make this make sense or make more sense, you can go ahead and add more effect. Let's say, add the tint effect. So when you add the tint effect, you are now able to change the colors. You can give your colors different look. You can select this color and then maybe change this one as well. But still ultimately, you're going to be having to work with two colors, but the tint effect now gives us the ability to of course change our colors. Then one more effect, you can add the glue effect and the glue effect just gives it a rich glue. Now let's just boost up the threshold and also the glue reduce so that we have something that looks like this. Of course, we can even create keyframes, so we can go on our threshold and just create a keyframe, come to 1 second, create a keyframe here, go back in time and make this S 300 or 321. Hit you on your layer to bring up the keyframe so we're going 321-135. Maybe we can go a bit above 135 before coming to 135 or below 135 rather. Maybe 139 or 110 before settling at 1:35. Then we can select everything, right click Ness so that we have it like this. This is basically the threshold effect in a nutshell. You can now, let's go back to our projects folder and create a new composition from selection. Let's just go ahead and add the Posterize effect. It's also under the stylized category, add the posterize effect and immediately you add the posterize effect, what it does is it limits your colors, just like the trehal effect, but it doesn't limit it to two colors. I still tries to maintain the colors, but limits the color to level of seven or whatever level you specify here. Let's see four. So how this thing works is now it limits each color channel to four levels. So we have the RGB, the red, green, and blue, all limited to four channels. So it means we have 12 colors all in all, because each channel is limited to four colors, okay? And we have four times three times three or rather four times three, which is 12, right? So each channel is limited to 12, right? So it means we have 12 colors all in all. So it's limiting our image to 12 colors. We can boost up the levels here and we're going to add more colors, and it's going to reach a point where it basically looks like the original image, right? Yeah, so we could as well, bring this down to have less colors. And of course, we can go ahead and add other effects, let's say, the CC tona, okay? And this, of course, changes our colors and gives us the ability to modify our mid tones, our high tones or highlights, rather, and our shadows, okay? And then gives us more or more customization, more ability to customize. It gives us the ability to select the panthon which gives us five colors, five colors. That's basically it for this one. Of course, we have the stopwatch icons, which means we can animit everything we have here. Basically, that's it for the threshold effect and the posterize effect. See you in the next one. Bye. 13. 13 Gaussian blur, Fast box blur, Directional blur: Hey, there, welcome back. In this video, we're going to learn how to use the Gauganblow, the fast box blow, and also the directional blow. Okay? So all of these are under, of course, the blow category. So I'm going to start with the first one, the Gaussian blur so this is the Gaussian blow blow and sharpen. So go ahead and add it to your image. So click to add it. And this is basically a blow, very basic blow, which you can add your image right away, okay? And it smoothens out your image. It removes the texture out of your image and you just have the blow like this. Okay? This can be used in so many instances, in so many ways, okay? So the blow is one of the most basic effects in After Effects or in design altogether. Okay? Because the blow is a very popular effect. We use it to do further manipulations like cleaning up the skin textures or blemishes on the skin, doing a lot of things, actually, the blow comes in handy, can we use the blow to add things like dept of field, and so on and so forth. For the Gaussian blur, we have the blurriness, this controls the amount of blow added to our image or our layer. We have the blow dimensions. We have horizontal and vertical. Let me just boost this up by, let's say, 150. Yep. So right now we set to horizontal and vertical, and then we have horizontal, which is going to apply the blow horizontally and then vertical, which is going to apply the blow only vertically, just like what you can see right here. Okay? And we have one last option here, which is repeat edges. Now, this does something very subtle. As you can see, without it being checked, there is this artifact happening along our edges due to the blow. Let me just make this horizontal and vertical so you see it clearly. So you see the edges are kind of darkened. There is this darkness around the edges. The more the blow, the more glaring it is. So we can remove that by just checking the repeat edges pixels. So repeat edges pixels, and you can see that the artifacts are gone along the edges, right? So that's basically the blow for you. And we have our next effect, which is the first box blow. So go ahead and type, so close this and then type the first. The first box blow, and this is it, it's still on the blur and sharpen, add and we can see that it has the blow reduce, so you can boost up the blow reduce to increase the blurriness. This is just like the blurriness in the previous effect, and then we have the iterations. Now, this iteration is basically the quality of blurriness. The higher the iterations, the higher the quality of your blow. But of course, the more demanding it's going to be on your machine, you have to just keep a moderate value for your iterations so as to make things smooth. Okay. Then we also have the horizontal and vertical blow dimensions. So you can have it horizontal and vertical, or you have it horizontal or vertical, just like the Gaussian blow. These are very similar effects only that the first blow is more of a faster kind of blow, and it is less demanding on your computer as compared to the Gaussian blow. It renders faster than the Gaussian blow. So that's basically it. And we also have the repeat edges here, which does the same thing as the repeat edges under the Gaussian blur. Now the next one is the directional blow. So directional blow the directional blow is a directional blow. What it does is it gives us a blurriness along a direction. Okay? So we can basically use this direction to rotate our blurriness and boost our blow length to increase the blow or reinas, right? So the blow length increases the blurriness while the direction specifies the direction of our blow. Okay? So we are not just confined to horizontal and vertical directions. We can go 360 degrees around our image, okay? So that's basically it for our directional blow, our Gaussian blow and our fah box blow effects. See you in the next video. Bye. 14. 14 Camera lens blur, Sharpen: Hey, D. Welcome back. In this video, we're going to learn how to use the camera lens blow and also the sharpen effect here in After Effects. So go ahead and select your image and type in the camera lens blow. Yep, and this is the camera lens blow effect. It's under blow and sharpen. So click to add it to your image, and right away, we have the blow reduce, which controls the amount of blow added to our image. Now as I take it up towards 100, or to the right hand side, you can see that the blurriness increases on our image. Okay? Now this effect mimics a traditional camera lens. So it can be used to add lens effects like the depth of field effect, which can be added using a traditional camera, right? So we can use this effect to add such effect. So we have the blow reduce and then we have the iris properties, and of course, these are mimicking a traditional camera iris. So we have the shape of the iris. We have the hexagon. Okay, we have the pentagon, the square, the triangle. So all of these will mimic the shape of the iris of the traditional camera, okay? And give us the effect that we would normally get if we use that kind of lens. Okay? So we have the roundness, which adjusts the roundness of the lens. We have the aspect ratio, which adjusts the aspect ratio, and you can achieve this effect that you see here by just adjusting the aspect ratio. And then we have the rotation, which adjusts the rotation of our lens, and then we have the diffraction fringe, which adjusts the diffraction fringe of our lens. All of these are features of a traditional camera lens, and we can use this to basically achieve the kind of effect we will get from a traditional camera lens. Okay? So that's this for you. And the next option is the blow map. But before we come to the blow map, let's look at the highlights. Now, with this, we can add greens to our highlights, and this effect takes a tool on your computer, so it might take some time to render. But I take some time to render. So use this effect with the knowledge that it might require so much from your computer, right? Okay? So that's the green, and then we have the threshold, we have the saturation. Of course, you know what saturation is. And then we have the edge behavior and repeat edge pixels. Now, we looked at this effect in the last blow effect. It enables us to remove some weirdness, which happens along our edges when we add the blow effect. Okay? So this is the same thing as that. Now we won't wait for all of this to render because of course, it's taking too long to render. I'm just going to click here to reset my settings and then boost up my blow reduce to S 120 so that we look at the blow map. So it's adding a blow and let's just go ahead and select a blowmp. The blowmp is a map which you create outside after effect and then bring it in to control your blurriness, how your blow is applied to your image. I've gone ahead and created a blow map, just go to your folder. And bring in this blow map one, one, two, select it and bring it and it has been created with this image in mind. Now I'm just going to click and drag it into my composition and now select my image. That's the girl image and then go to the Effects control. And for blow Map, I'm going to select here and select my blow map one, one, two. So I think I inverted the blowmap mistakenly. So I just check that. So now you can see that the blow map has been applied let's do that to see what we had before. So let's tick this to none. So this is what we had before. It's currently rendering, allow you to render and you're going to see what we had before. We had the entire image blowed out, right? We had the entire image blowed out. Yeah, this is what we had before. The entire image blowed out. Okay? We had a blow reduce of 120, and as soon as we select the blow map which I've created, which I had created, you're going to see that the blow is now controlled. Okay, the blowup now controls the application of our blow to our image. So this is what we have with the blowap. And right now it's inverted, it's inverted. So I'll just uncheck this to invert it. And now we can see that the blowup now reveals our eyes, and blows all other parts. I blows all other parts here, reveals our eyes, and then reveals our hair as well. Now, that's what the blow map can do for you. That's what the blowup can do for you. And on the blowmp we have channel we have the particular channel we want to apply the blow map to. We have the red channel and we are not going to see anything applied because the blow map is not having any red channel. The blow map is actually not having any red channel. It only has a luminance channel, because this is our blow map. You can see this our blow map. It's only containing black and white. That's why we're getting this effect. The white parts are where we normally have our blow, and then the black parts are where our blows will be removed from. That's how this effect works. We have the placement, we have the center placement, and we have stretch map to fit, which will of course stretch your map to fit into your image. Yep, then blow focal distance. You can use this to improve your blow focal distance and allow it to render so you see what we get with it and we finally have the invert blowmp which will just invert our blowmp. This will just invert our blowmp. I want to make the zero and invert my blowmp. Invert my blowap and you can see that the opposite is happening. Perfect. I want to go ahead and add one more effect. To my image, and that's the sharpening effect. So this is a sharpening effect. It's still on the blow and sharpen. And this effect has just one slider, which is the sharpen amount, and it just sharpens our image. It makes our image more crispy, as you can see, I am boosting up the sharpen amount, and we can see how crispy the places without the blow are becoming, right? We can hide the blow map. To basically see or even hide, sorry. We could just enable to blow up and just hide the effect entirely to see how this affects our image, our entire image. So this is before the sharpening and then this is after the sharpening. So this is just a very straightforward effect, and this is what it does to our image. It sharpens our image and does the opposite of blurring our image. Okay? Yeah, so that's it for this video on the camera lens blow effect and the sharpon effect. See you in the next video. Bye bye. 15. 15 Add grain, Match grain, Remove grain: Hey, there. Welcome back. In this video, we're going to learn how to use the add green, the march green, and the remove green effects. Go ahead and bring in your files, click go into your folder, bring in the younger closes up, and then the old video and also the logo HHF Christians logo and then Import. We're going to use these files to learn how to use our effect. Now, I'm just going to select the young girl close up right click and new comp from selection. I'll just do Control K or Command K here to reduce the size of my composition. We don't want to spend forever applying our effect and make sure the aspect ratio is locked so that you reduce the width and the height simultaneously. So just reduce it to let's say the width to 1080. Okay. And then just scale this down to the size of your composition. Perfect. And then now I'm going to add the first effect, which we will be looking at, and that's the add green effect. Yeah, so what's the ad green effect? The ad green effect you guessed it is just an effect we can use to add greens to our footage or to our layers, basically, okay? So we can add a video green. And now, as soon as you add the art green effect, you're going to see first of all, the viewing mode, it set to preview, and you're going to see this box here, this little box here, and that's basically the preview box. And I'm just going to go to the preview region here and make this bigger. Okay? The width size, I'm going to make this bigger and so also the height size. So you can see the preview even more. Or even better. Perfect. So this is because the effect is a bit demanding on the computer, so it's faster to preview your effect just within this box, okay? So you have your preview, and then you can as well select final output so as to view your effect as it's been applied to the entire image of footage. So we also have presets. So these presets presets you can apply right away, a green presets you can apply right away to help you achieve specific looks, right? So there are a number of them here. You can check them out. You can go through them and see what they do. Or how to modify your image or your footage. Well, we're just going to select none here so we can look at the setting. So we have the preview region, of course, which you know about, and we have the center, we have the width, the height, the shoe box, and I'm just going to go back and select Preview. Now the shoe box makes our box visible, right? So if we uncheck this, the box won't be visible. But if we check this, the box will be visible. And then we can select this to change the color of the outline of our box. Okay? Yeah, that's our preview box. So that's basically it for the preview region, and we have the tweaking region. Now the tweaking region enables us increase our intensity. That's the intensity of our green. And as you can see now, our green is being increased. That's the intensity. Okay? We can increase the size or reduce the size of our green. You can see the effect here. We can increase the softness or hardness of our green. Okay? Then the aspect ratio. That's basically the ratio between the horizontal and vertical dimensions of our green. Okay? So that for this, and then we have the channel intensities. With this, we can target specific color channels and then increase or reduce their intensity. So we have the red channel intensity. We can make this to the right hand side to kind of reduce it, by adding the opposite, which is green, and you can take it to the left hand side to increase it, okay? Yeah. Then we have, of course, the green intensity, boost it up to increase the opposite, and then take it back to kind of reduce or increase the green intensity, right? So we have the blue intensity as well. So basically, these are color channels, and we can increase or reduce the intensities of our noise in the color channels. And then we have channel sizes. So this increases the size of your channel. Let me just boost up my intensity here. Okay? I'll just make this one. We have the red channel size, the green channel size, and the blue channel size. Basically, these are the sizes of our greens for these channels. That's for this. Let me just reset this to take this back to normal, back to how it was before and I'll just chunge this to final output and let's go ahead and increase the intensity of our green. This is what we want to have. Perfect. Now we have color. So we can close tweaking and then open color. And this color section help us modify the color of our green. We can click here to make it monochromatic, which is a single color. And then we have the tint, and we have the tint amount and then the tint color, right? We can select the tint color and just going to add specific tint color to our green. Okay? So we've added this and then we can boost this up tint amount or reduce it. Okay? We can even select monochromatic so that we have the saturation slider and we can basically increase the saturation of our tint. Okay? As you can see right here, okay? Go in, change your tint, color, boosting your saturation. And basically, you have this look. Yeah, so that's the color for you. And then we have the application, and this application basically controls how our green is applied to our image or to our footage, of course. So we have the blending mode. Presently, it's set to film. Now this mimic the green you get from a camera film, but there are many other options. We have the multiply blend mood, and this multiplies the effect just like the multiply blend mode, okay? And we have the add blend mood, gives us this effect. We have the screen. In the screen, we just make things brighter and reduce the noise or the green and we have the overlay. This will make things a bit more contrasty. Basically, these are the blend moods, take this back to the film, and then we have the shadows. We can basically increase the shadows. There's the green in the shadows. We have the mid tones, we can boost up the greens in the mid tones, okay? Or we use it, we have the highlights and the midpoint. Okay? So basically, these are the options you get with the application. Yeah. So that's it for the application. And we also have the channel balance actually on the application. Now, this channel balance basically balances the green in the color channels for shadows, highlights, and mid tones. So we have the red shadows. We have the red mid tones and red highlights, so with green and so with blue. So you can just take this right hand side. To bring in more or to balance in between the red and the green in the shadows. Okay? So right hand side, left hand side. So right hand side, adds the red, as you can see here, and then to the left hand side, it kind of adds more greens, or reduces the red, just like how you can see here, right? Add more greens, which is the opposite of red. And we have the mid tones and the highlight as well. So you can just experiment with those to see for yourself. So that's it for the color balance or the channel balance, and then we have animation. Now this controls anmission of our green. Now if you play, we're going to see that our green is animated. Our greens are animated. Yeah, just like how you can see right now. That's the admission for you. It controls the mission of green. The first slide here is the admission speed which controls the speed of our animation and then the animate smoothly, which will smoothen out animation. Then we have the random seed, which of course creates variation randomness for animation. That's animation for you and then we have the last guy here, which is blend with the original. Now this amount sliders blend all green with the original. Okay? I blends our green with original, and then we have the combined match and mass. So we have multiply we have screen for this, you can check them to see the options they do, or you can just boost up the blend with original, and then we now have the color marching and then the masking layer. These are a way to limit your green to a certain color. That's masking your green using a certain color selection or using a layer to create a mask for your green application. So how do we do that? Let's start with the marching color. For the matching color, you have to first of all, choose the color the color mood. So RGB for this and then go ahead and select a marching color. So just pick your drop tool here and then come and sample a color on your subject. So I'm just going to sample the random color here on a forehead, and then when I go to blending mat, just come here where it says viewing mood. Instead of final select bending mat. Now you're going to see that mate has been created. That's a mask for our selected color. So if you select this guy now and select a different color, we're going to see that a different mat has been selected due to our selection, right? I'm just going to undo that to go back to our selected color. And for this, we have the marching tolerant. So we can increase this or reduce this. We have the marching softness. We can increase the softness of our selection, okay? Or reduce it. We can even come here where it says blow mat, you can kind of increase the blurriness of our mat. And when you're satisfied with your mat, you come back and select your final output. Now if you just zoom in, you're going to see that the green has been reduced on the areas with this color. You might not see this very clearly, but let me just go ahead and boost this up, boost the blend with original the amount. Now we can now see this even better. You can see that there is less of green here. That's because we selected the color here. You get that's how this guy works. Now we are masking this color. So our green is excluded from this color. I was just zoom in here, you're going to see that there is less green here as well. And we can invert our match, and it's going to do the opposite. So you see there is more green on the part we selected and then less green on the other parts. Yeah. So that's how the color or the color matching works. Just click off of that. And we have the second type of marching which has to do with the layer mask, okay? So with this, I'm just going to bring in my logo, my logo and then bring it here, just kill it down. This is the logo. Yep, now we're going to use the logo as a mask for green. Now select your layer back, go back to your effect controls. Then now on the mask layer, we're just going to go ahead and select the logo, W for watermark. Right away, you can see that it's trying to mask out the green on our logo on our logo, but we might not see it for now, just come here and select blended mat. Now you're going to see that this is our logo, but it has been placed not properly. It has not been placed properly. What I would do is just select my logo and then precompose it. Precompose my logo, move all attributes into the new composition and then. Now with this, we're going to see that our logo is now placed properly and we can go into our precomposition. To properly place or change the direction of our placement, and it's going to just update here, as you can see, this just all you need to do and then go back to final output. You're going to see that in this region, we don't have much green, because it's using our logo as a mask. So in order to see this very well, I'm just going to go ahead and boost up my intensity. Good. Now I boosted my intensity to 100 and I'll just zoom in now and now you see what I'm talking about. This is where my logo is pleased and it's marked out. Now there are other modes, we can select the Alpha mode, which would do a better job masking out, you can see because it's using the transparency of our logo and our logo is, of course, a PNG. We have the inverted intensity, which will invert the intensity, as you can see here we have the Alpha the inverted Alpha, which will do the opposite of the Alpha. And we have the placement, can experiment with this. It's quite self explanatory. That's it for the d green effect. We have a lot of options, a lot of things we can customize here, and most of the time you might not really need to use all of these. Just get familiar with the ones which you will need more frequently and learn how to use them well. That's it for the d green effect. Now let's go ahead and work on the remove green effect. For this, I'm just going to go ahead and use the old video. Now this is the old video, create a new composition from selection, and this is an old video. Before we look at the remove green effect, let's go ahead and look at the march green effect. Now, what's the march green effect? The march green effect basically matches the green of a layer to the green of an existing video of a video with green. For example, this is an old video, it has some green, as you can see, it's a lot of green. I'm going to try to create a text and then march the look of my text to the look of my video, or the green of my text to the green of my video. I'm just going to write old video. Okay. Yep, and then this is our placement right here, reduce the font size and go ahead and add the march green effect to select the march green effect, and the march green effect has similar options with the ad green effect. So we have the preview mode like the d green. As you can see, we have our preview box and it's set to preview here, but we can just go ahead and select final output. And now we can see this really weird noise which has been added to our video. Let's play it and see. And yeah, this is what it has added automatically, but we are just going to go in and make this better. So the first thing we need to do is select the noise source layer. So on the noise source layer, come here and select the old video P four. And this immediately we start sampling noise from our old video and adding it to our text. So we see that this immediately becomes better, right? This becomes better immediately. Now let's try to maybe change the color of our text a bit. Make it a bit brighter, okay. Yeah. So this is what we have now, and we have a lot of options which we can play with. Okay? So we've looked at the region, the preview region under the art green effect. So we won't look at the preview region, and then we have the compensate for existing. We can just boost this up to boost up the effect, the noise or the green effect on our video. We don't want to do this too much, so just a bit. We can see that without it, even, we are already having the effect on our text, right? So open tweaking. And for tweaking, we have the intensity, we have the size, we have the softness, we have the aspect ratio. This is basically similar to what we have in the hard green effect. Okay? So just experiment with them to see what you have on the color. We also have the same thing you have with the hard green effect. Here, we have the monochromatic, we have the saturation, we have the tint amount, we have the tint color. Close this, and then under application, we have basically the same thing we also have in the hard green effect. We have the blending mood, this is set to add. We can make it film to see what we get or stick to add. Or try other blend modes. We can work on the shadows, the mid tones, the highlights, the midpoint, the channel balance, and so on and so forth, this doesn't have any video, so we won't need to make any adjustment to the channel balance, since it's just black and white. So close application. And then for sampling, this now controls where the effect samples the noise from and applies to our text, okay? So if you come here where it says final output, and then go to noise samples, you're going to see that we have some boxes here. We have eight of them. We can increase the numbers, so that we have more sample boxes. But we have eight of them and we have the sizes. We can increase their sizes or reduce their sizes. Now these are just points where the effect samples noise from to apply to our text. We can actually please them manually, just like you can see here, it's manual. Sorry, it's automatic. We can place them manually by selecting manual and now we can now move all of them from where they are, which is the midpoint and place them at points where we want our noise to be sampled. Yeah, that's it and our noise will be sampled from these areas to be added to our text. We have intensity and we can basically increase the intensity of the sampling on each sample point. So that sampling for you and we have admission which controls, of course, the admission of our noise, and similar to the admission with the green effect. We have the blend with the original, which is also similar with what we have in the blend, sorry, in the green effect. Now just come here and take this back to final output, and this is what we have. We can see that there is a great level of blending between our old video text and our old video. Perfect. Now, let's go ahead and see what we have with the remove green effect. Now, let's select our old video and create another new composition from selection. Yeah. So for this, you just go ahead and add the remove green. Yeah, this is the remove green. So add it, and same thing, we have the preview mode or the view mode, we have preview. We can make this final output to remove the preview box. We have the preview region, which is similar with last two effects we looked at, and then we have the noise reduction setting. Now, this will increase or this will enable us to reduce the noise. We have the noise reduction, and more of this will reduce the noise. Okay, and then passes will basically reduce the noise even more. It's just the number of iterations. The number of times it goes ahead and reduce the noise over and over again. So we have two passes, one pass, which we just do it once. Okay? So not much. We can boost this up, however, to increase the noise reduction. We have on the mode, we have multi channel, which reduces the noise in multiple channels simultaneously, and then we have the single channel which reduces the noise in single channels one after the other. That's the mood for you, there's the passes for you, there's the noise reduction for you. We have the channel noise reduction, and this is basically targeting each channel and reducing the noise in each channel. We don't have color in this video, this might not come in handy or this might not be useful in this case, a, then we have fine tuning and this will help us fine tune our noise reduction even better. We can see that the noise has actually been reduced a great deal. Let's hide our effect to see what we had before. This is what we had before. You can see the noise. And after our effect, we have some level of cleanliness, even though we are losing some details, but we can add a lot of our details back with our settings. For fine tuning, you can increase the texture. Or we use a texture. So you don't want to increase the texture too much so that you don't have a lot of noise coming back. Then for this chroma suppression, it comes on when you have color. So you can use it to remove noise from colored footage. Okay? We have noise size buyers, we have clean solid areas, and so on and so forth. So you can go ahead and play around with these to see the effect you get. And then we have the temporal filtering, and if I enable this, it's going to respond to the movements in your footage, okay? So if you have a moving footage or footage that is not stable, it's going to be good that you have this turned on. Okay, and then we have the n sharpened mask, which is just an sharpened mask effect. It basically sharpens our video, okay, the details in our video, okay, the details in our video. Now we have the amount. We can make this increased. We can increase this to increase the sharpening, the reduce, the threshold. You can go ahead and experiment with these settings and see what they do. Okay? Yeah, we have sampling, and we have blend with original Theis settings are basically the same with what you have under the march green and the add green effect. You can go ahead and play with them to see what you can come up with. So this is what we have finally. So this is what we had before, and this is what we have now. We can see how much grain reduction we have achieved. So that's it for this video, guys on Add Green, March Green and remove Green. See you in the next video. Bye. 16. 16 Fractal noise: There. Welcome back in this video, we're going to learn how to use the fractal noise effect here and after effect. So go ahead and create a new composition, 1920 by ten ATP Hidok and I'm going to create a new solid. Yep, new solid. And I want to just give you this color, my favorite color, hit okay. Perfect. Now, the fractal noise is an effect found under the noise and green section. So fractal noise. Yeah, the noise and green category, it is the fractal noise. Go ahead and add the fractal noise. And what the fractal noise does is it creates this texture for us, a grid skill texture based on some mathematical calculations, and you do have a bunch of options here which you can adjust or play with. You have the fractal type and it's set to basic. Now this is basically the type of fractal that is being generated based on the particular calculation or mathematical calculation that after effect is doing, right? So we have the turbulent smooth, which gives us this effect. We have the turbulent basic, which gives us this effect. We have just a number of them. A number of them. The fractal noise can come in handy in creating displacement maps, in doing fire effects, smoke effects, cloud effects, doing complex shape backgrounds, and so on and so forth. The fractal noise comes in really handy in motion graphics and also V effects. So that's the fractal noise for you and we have the fractal types and you can go ahead and see all of them for yourself. We are not going to go through all of them. We have the rocky, which gives us this rocky texture. We have the subscale and so on and so forth. We then have what we call the noise type, and it's been said to soft linear. Now, this is the effect you get with soft linear noise type. We have the spine, and this is the effect you get. We have the linear, we have the block. All of these are the effects you get. We can see that this looks like shapes or block of shapes, and we have the contrast. This will, of course, increase the contrast by boosting up the blacks and the whites, by boosting up the intensities of the blacks and the whites. We have the brightness, which basically increases or decreases the brightness. Okay, very self explanatory. We have the overflow and the overflow it's been set to HDR result. This supports HDR workflows. We have other types of overflow. We have the clip, for example, which supports clipping that's giving us the maximum values for our blacks and whites. We have the soft clamp and this basically blends between the whites and the blacks. We have the rap black and this enables us to have a higher level of complexity as compared to the others as compared to the clip and the others. We see this is the rap black. And as we boost up the contrast, you can see that we are having some level of complexity. It's creating these very complex patterns. That's the rab block for you and we then have our transform options. Go ahead and open your transform options and on the transform, we have rotation, which enables us to rotate our pattern just like this. We have uniform scaling. We can check uniform scaling. Or leave it checked. Uniform scaling basically connects our horizontal and vertical dimensions together and it enables scale pattern uniformly. It's checked right now and we can scale our pattern uniformly just like this. Okay. And if we have it checked, we will have the vertical dimensions, so we can scale vertically and horizontally separately. You get. That's basically it for uniform scaling, and we have the offset turblenth. This is basically an offset. This will move our pattern, this move our pattern and we are giving this point which you can use to actually move it without having to use the offset turbulenth sliders here you get for the horizontal and vertical. We also have this perspective offset. You click on perspective offset and then move the point that this point you get with your offset turbulent. It's going to give you this three D or what I call it three D this kind of perspective effect with your tub length offset you get. It's more of a parallax effect because different parts of your texture are moving at different rates. If you observe well, you're going to see that's what is happening here as compared to not having it on, which we just give you a normal movement for your entire pattern. That's the scale for you, that's the transform for you, basically. Then we have the complexity which will do this will increase the complexity of our pattern. So open this up and you can see that the less complex it is, the less detail we get in our pattern. Let's just reset this so we see it even better. So we can see that the less detail we get in our pattern, and the more complex it is, the more details we get. Okay? Yeah, so that's the complexity for you. And we have the sub settings. Now, these settings are used to create further customizations within our patterns. So we have the sub influence, and we can see that we are going inside and even basically changing the pattern of our patterns, the patterns in our patterns, the sub patterns in our patterns, and then we have sub scaling, which is used to scale the sub patterns in our pattern. Then we have the sub rotation which does this, which is basically a rotation. I rotates the individual sub units of our patterns, as you can see. Yeah. Then we also have the sub offset, which does this as well, which does the offset. We have the center subscale, and so on and so forth. Now, we have the evolution and under evolution. Evolution basically gives us new patterns as we go through our evolution slider. We get new patterns being formed. New patterns get evolved as we cycle through our slider you get. That's the evolution for you. Then we have evolution options and the evolution options we have the evolution cycle. Now, if you click on Evolution cycle, it's basically going to limit your evolution to one cycle as you can see here. You're going to repeat one cycle of evolution. You can boost this up up to 30 cycles to have 30 different evolution cycles repeating. That's the revolution cycle for you and we have the random seed which basically create randomness, gives us the ability to create randomness, okay? Yeah, that's a random sat for you and then we have the opacity, which blends with the original image by reducing the opacity of our fractal noise. We have the blend mood and, of course, you know blend mood, we can basically blend our fractal noise with our solid layer. Okay? Yeah, so this is what we get with opacity. And you can see that all of these properties here can be animated, right? So we can create keyframes and animate their values. Yeah, so that's it for the fractal noise, and that's it for this video. The fractal noise has a twin effect as well, but we're not going to look at that in this video. It's called the turbulenth noise, o Turbulent noise. So just go ahead and search the turbulent noise. This is the turbulent noise effect. And it's basically a twin to the fractal noise. Why did I say so? Because there are similar options, and they do basically similar things. Okay? There is just one, I think, difference between the two of them. And the difference is, I think the evolutions, right, in the fractal noise. Okay? There are more settings, and that's in the evolution settings in the fractal noise effect. So you can go ahead and play with the turbulent noise effect for yourself as well, okay? But that's it for this one here with the fractal noise effect. See you in the next one. Bye bye. 17. 17 Grid, Cell pattern, Lens flare: Hi there. Welcome back. In this video, we're going to learn how to use three different effects all under the generate category. And these are the grid effect, the cell pattern effect, and also the lens flare effect. So let's go ahead and look at them very quickly. Now go ahead and create your new composition. 1920 by ten t hit okay. And after that, I'll go ahead and create a new solid Okay? So this is my solid, and I'll be adding these effects on my solid, okay? So this effect will use my solid as a layer in order to generate the needed effect, right? So let's go ahead and add our first effect, which is the grid effect. So type grid. And this is our grid effect. So click to add the grid effect, and right away, you get a grid, a black and white grid. And we have some sets of options here. We have the encore point or the uncorre. You can see that we can adjust the uncle like this horizontally and vertically. And you can actually use this point here as well to adjust the uncle very freely. Okay? You can do that horizontally, vertically. Okay, we can make the ankle big. The grid selves big and smaller horizontally and vertically as well. So that's how we control the grid sizes and the grid dimensions. And that's actually under this size form, okay? So we have the corner size form, and this enables us to do these modifications. Okay? We have other size forms which are the width slider. So if you select the width slider, you're going to automatically get a fixed aspect ratio between the height and the width of each grid cell. So this is a fixed aspect ratio, so you get a square grid, and you can actually adjust the width like this and like this, you get, you only have the ability to adjust the width. You don't get to adjust the height, okay? And, yeah, we then have the width and height sliders. So if you select the width and height sliders, you get the ability to select both the width and the height, okay? Just like this. Yeah. So that's the weed and high sliders. Let's go back to corner points. So the next thing we'll be looking at is the borders. So for these borders, you can use this to make the lines thicker, okay? Use it to make the lines thicker, and the lines can be so thick that you end up creating this pattern instead of a grid pattern, right? That this pattern that looks like a black and white pattern. Okay? So that's the border size for you. Yeah. So let's make this smaller. 20, and then we have the feather, we have the height feather and the width feather. The feathers will just smoothen the boundaries of our lines you get so that we have a smooth transition or division between the grid cells. Yeah, that's the feather for you, and then we have invert grid. So you can click here to invert grid, and you now see that the green lines now take the color of the species and vice versa. And then you can click here to change the color of your grid to whatever color you want. And you have this opacity slider, which enables you reduce or increase the opacity of your grid. And you have blending moods, which blends the grid pattern to the original layer. Now, that's not the layers below the grid pattern. So if I take this to add, you're going to see that it's blending with the color of the original layer or the original solid, which is this purple color, right? So that's the blending mood for you. Yeah, so it means you can add this grid to whatever layer. So let's go ahead and bring in my logo layer, for example, and see how we can add or blend the grid with my logula. Import my locula I'll just go ahead and bring my lug layer here, make the smaller. And hide my purple solid and select my logo layer and just add the grid pattern to my logo layer. And as you can see, it's now taking the shape of my logo layer, right? So we could make the borders thicker. I could now even blend between the grid and my logo layer. And you can see it's now blending between the grid and my logo layer you get. But this is by the way, let's delete this and continue. That's basically the grid pattern for you or the grid effect for you. Let's look at the cell effect. So cell pattern. And just add it. And this is a cell pattern for you. It turns your layer or it adds or it generates this cell pattern from your layer. The first thing you have is the cell pattern, and then you have the bubbles. You have different patterns actually to choose from. You have the crystals, you have the plates, you have the static plates. You have the crystallize, you have the pillows and so on and so forth. There are lots of them, and this is a very cool effect, especially if you want to animate plant cells or living cells. You get under the microscope. Okay. So you can actually animate, for example, you can animit the evolution here to make them look as if they are moving organically, right? Perfect. So that's the cell patterns for you. You also have the invert, which enables you invert the cell, just like this. Then you have the contrast which will boost that's the contrast of your colors of your blacks and whites you get. So it makes it stand out even more. And then under here, that's under overflow, you have the clip which does this, okay? And then under here, that's under overflow, we have clip, we have soft clamp, which softens the colors. The clip actually makes the colors stand out, or it makes them clip, right? So the blacks become very black, and the whites become very white. But the soft clamp kind of smoothens the transition between the colors for you, and then the black wrap creates this kind of pattern. Okay? As you boost up your contrast, your contrast lighter, you get, so that's basically it for you for the overflow, we have the disperse, which does this. Okay? We can take it to zero to create this kind of even cell pattern. We can take it up to create this randomness within our cells, okay? Just like how we have it looking now. Yeah. So that's the disperse for you, we have the size, which is the size of our cell pattern. You can make this small, make it this you can make this small, make this big, whatever size you want, we have the offset, you can offset, and you can use this as well, this point to kind of offset your cell patterns. You have the tiling options, and you can enable tiling. And this will just repeat the pattern, both horizontally and vertically. Okay? Just like how you're seeing. It's going to repeat the patterns over and over again. That's tiling, and then we have evolution which creates animation for our cell pattern, okay? Yeah, it creates this movement, and we have the evolution options, and here it makes your animation loop according to a certain number of revolutions. So if I have just one revolution, it's going to animit and then repeat my revolution. It's going to animit by 91 degrees and then repeat my revolution. And if I have four revolutions, it's going to emit four revolutions before repeating from the start we get. And then we have the random seed which of course creates randomness. Okay? Yeah, basically, that's the cell pattern for you. And lastly, we have the lens flare. So this lens flare typically mimics a traditional camera lens flare, just like this, you have your lens flare and you can use this to add lens flare. Let's say you took a footage of a beach on a sunny day and you just want to add the sunny lens flare, the flare that the sun casts on your camera. This can come in really handy in such scenarios. Okay? So that's the lens flare center, which is this. Yeah. You have the lens flare brightness, can make this bright or less bright just like this. Then we have the lens type. You can actually choose the length type which you want to mimic. So we have a 50 to 300 M zoom lens. This is the effect you get with that. You have 35 MM lens. This is the effect you get with that, you have the one or five prime zoom lens. This is the effect you get with this very sweet effect, very incredible effect. Then you have the blend with original, which blends with the original layer. That's the layer, of course, which I have it on, which is the popu solid layer in this case. Yeah, that's a length layer for you, and that's it for this video. See you in the next one. Bye bye. 18. 18 Shift Channels: Hey, there. Welcome back. In this video, we're going to learn how to use the shift channels effect here in After Effects, okay? So go ahead and bring in your image, create a new composition just like what I have here and go ahead and add the shift channels effect. So shift channels. And this effect is under the channels category. In After Effects to select your layer and do click to add it. This is the shift channels effect. And what it does is it controls where our color channels get their information from. Here we have the shift channels effect, and then under it, we have the t Alpha from, and by default, it has been set to Alpha and then take red from by default, red, take green from by default green and take blue from by default blue. This is basically telling us that the Alpha channel takes the Alpha information from the Alpha channel of the image, and then the red channel takes the red channel information from the red channel of the image. So also with the green and blue channels. And the cool thing here is that we can control where each of these channels take their information from. So we could say, for example, the Alpha channel, take your information from the red channel and we get this effect, and we can do that for the green channel. We can set it to the green channel. We get this effect not cool so far. And we can set this to the blue channel and get this. We can set it to the luminant. That's the Alpha getting its information from the luminant and the hue to get this effect, the lightness to get this effect, the saturation to get this effect and so on and so forth. We can even set it on, of course, which means it's going to get its information from the Alpha channel and we can turn it off. And this will completely give us a black image because, of course, the Alpha channel has been turned off, okay, so there isn't going to be any light being thrown out by our image. So the Alpha channel is really important. But let's come to the red channel. We can select our red information from S luminance and we get this. We start to get some really cool effects when we start blending the Mint color channels around you get. We have the red color channel getting its information from the hue and this is what we get, and lightness is what we get, and saturations what we get, and we can keep playing around with these options to get different effects. Okay? So the use of this effect are just limitless. You can use them to create incredible effect. You can even use them to create an RGB split effect on your image or your layer, and we're going to look at that in short while. So that's basically what you get here. That's basically what these what this effect, the shift color channel allow you to do. You can go ahead, play around with the effects and see what you can come up with. I'm just going to hit reset here, and I have gone ahead and created this new composition with my logo here, and I'm just going to try to create a split RGB effect with this guy. The first thing I'm going to do is duplicate my logo in three spaces. So sorry in two spaces, Control D, Control D, to duplicate them. And then this is going to be the red channel. So go ahead and add your shift channel and turn off the blue and green channels. And green channels, and then just leave the red channel and the Alpha. The next thing we do is select the second guy and the shift channels, turn off red. And then leave green and turn off blue and do same with the last guy. Turn off, add it first, and then turn off red, turn off green, and leave the blue. Now, all we need to do is select the two of these guys and change the blending mode to add, and it's going to just add everything together to give us our logo image, our original logo image. And then all we need to do now is just offset the positioning of of our layers, the position in our scale or basically the transform properties of our layers. So if I just shift this guy, the right hand side, we get the split RGB effect. And this effect is really good for glitch effects when creating glitch effects and other cool stuff, here in After Effects. Yeah, so this is what we get now with our effect. Yeah, we can go ahead, maybe duplicate the re channel, Control D, and maybe just scale this guy up, scale this guy up, maybe even reduce the transparency or opacity. Okay? Just go ahead and do all the stuff to make the whole thing look cool, okay? So just detain it. So this is what we have basically. We can see that we've created the split RGB effect, and this is just one use case of this effect. There are lots and lots of other use cases. You can use it to do color grading, to do color grading, to change or modify colors and do a whole lot of things, right? You can see what we're getting by just axing the red channel to get its information from the lightness, right? So this is the cool efect we get. And we can use this in all sorts of use cases, right? So that's basically the shift channels in a nutshell, okay? Go ahead and experiment with this effect, see what you can come up with and share your results with me. I would love to see what you achieve. Yeah. So that's it for this one, guys. See you in the next one. Bye bye. 19. 19 Gradient ramp & 4 color gradient: Hey, there and welcome. In this video, we're going to learn how to use the gradient ramp effect and also the four color gradient effect. So go ahead and create your new composition, 1920 by ten ETP, hit, create your new solid and choose whatever color you wish and hit and it k. Perfect. Now the next thing we do is go ahead and type in the gradient ramp. Effect. So just type the gradient, and this is the gradient ramp effect, and this is the four color gradient. So we're going to start with the gradient ramp effect. You can see that they are all under the generate category. Perfect. So this is the gradient ramp effect, and what it does is, of course, it adds a gradient ramp to our solid. It generates a gradient ramp from our solid. Okay? And it gives us a set of options. We have the start of ramp, which is the place that our ramp starts, okay? And we have the values here for horizontal and vertical, and of course, we can adjust the start of the ramp using this point here. Okay? So we can take this to the left hand side, right hand side. Wherever you want the ramp to start, you can just place the point there. And then we have the start color, which is the color of our ramp at this point. You can change the color to whatever color you want, okay? Change it to whatever color you want. Hit okay. And we have the end of gradient or the end of ramp, which is, of course, the end of our gradient ramp, right? We can adjust the end horizontally and vertically. And this is, of course, the point which we can use to manually adjust the end of our ramp. You click here to edit the color. And choose a different color for our end. Okay? Choose a different color for end. If you're okay with the color, you hit okay. And we have the Rump shape. Now, this is the shape of our ramp, we have the linear ramp selected as the gradient Rm shape. You have the radial ramp as well to select from. So you see this gives us a radial ramp while this gives us a linear ramp, okay? Yeah, that's it. And then we have the ramp scatter, and this controls basically the noise in our ramp. So let's make this, 500 and see. The 512, and you can see that we now have noise in our gradient. We now have noise in our gradient, and this kind of looks cool, okay, depending on the effect we want to create. But this one looks definitely cool. Yeah, so that's the ramp scatter, which controls the noise in our ramp. And we have the blend with original. We can tune this down to boost it up rather to blend our gradient. To the original, to the original color of our layer, which is, of course, this color, right? So we are blending our gradient ramp with the original using this slider. And you can swap the colors, which will swap the horizontal to the vertical, and then the vertical to the horizontal or the start color to the end color and vice versa. That's the gradient ramp effect in a nutshell, as you can see, you can basically keyframe all of these and admit them. Create a keyframe here, move to 1 second, move this guy this way and move to another time and just move it here like this. Select your keyframe. Sorry, select your layer, hit you to expose your keyframe, select them. Easy, and let's play it to see what we've got. Maybe even adjust the distance of your keyframes and let's play this to see what we have. Yeah, so that's it for the gradient effect, delete the effect and add the next guy, which is the four color gradient. This is a four color gradient. And what it does is, of course, it gives us four points. Remember the gradient effect gives us two points while this guy gives us four points. So we can add four different colors. So you can just hit on color one and select your preferred color. It okay, it on color two, and change the color to your preferred color. Hit Okay. Hit on color three. I select color three, change it to your preferred color. Whatever color you prefer, okay. Same with color four, okay? And then you also have their points, their positioning and which you can animate. You can animate everything here, everything here. Okay? So this comes in really handy motion graphics. You can use it immediately as a background, right? You can just animate this and use that immediately as a background. Yeah, and then we have the blend option. Now, this blends the gradients together. If we take this to zero, you can see that the demarcations are quite sharp. Okay? That's the demarcation between the color points. But if you take this to 100 or more, rather, you can see that the demarcation between the points are smoother, o, they are smoother. So it's blending between the points, the gradient points. Then we have the jitter, which controls basically the noise in the gradient, just like how we saw in the gradient ramp effect. So that's the jitter for you. You can boost it up to a maximum of 100 or below. So that's digital and then we have the opaqity which of course reduces or increases the transparency of our gradient, and we have the blending mode, which of course is a blending mode, which blends our gradient to our original layer, which of course in this point or in this case is the purple layer, the purple colored layer. You can try different blending mode here to see how our gradient map blends with our layer. Yeah, basically that it. Let's try adding our gradient map to this image and see create your new na or composition from selection and then let's add the four color ingredient, add the four color gradient to our image, and let's change the color or the colors. We are changing most of them or almost all of them. Here and let's boost up the digita then now blend or create a blend. Whatever blending mode will work, we just need to reduce the opacity. Yeah, this image seems to be very large. I think it's taking time to create a good effect for us. But basically, we are trying to blend our gradient with our original image, which is this image of pepper. Yeah, so our composition is very large, but you understand what I'm trying to get at, basically. I'm trying to create this gradient map on my image and then blend between my grand map and my image. So you could try all sorts of blending modes to see what you get at, to see what you come up with. Yeah, and that's basically it for the gradient map effect and the four color grading. And that's it for this video. See you in the next one. Bye. 20. 20 Transform & Offset: Hey, there, welcome back. In this video, we're going to learn how to use the transform effect and the offset effect here and after effect. So go ahead, create a new composition, bring in the logo, and have it placed in your new composition just like I have it in mine. And after you're done, come to the effect and preset panel type transform. And this is the transform effect. It's under the distort category. So select it select your logo and add the transform effect. Now the transform effect gives us transform abilities, okay? The ability to transform the contents of our layer and not our layer, do. It doesn't give us the ability to transform our layer, so it's different from the transform properties we have here. It only gives us the ability to transform the contents of our layer. So let's see, we have anchor point, we have position. So if we transform the position, for example, you're going to see that it's the contents of the layer we are transforming, okay? But not the layer, okay? Because now you see this four all these six points, they are the bounds of the layer, but our transformation is happening without them scaling up, right? But as soon as I hit on my layer and scale my layer up, you can see that the transformations are happening with my layer boundaries you get. So it gives us the ability to transform the contents of our layer. So we have the anchle points, which gives us the ability to transform the anchor point of the contents of our layer, just like how you're seeing here, both horizontally and vertically. And of course, we can use this point to do it manually. Or freely. Yeah, so that's the anchor point and then we have the position. Now this is the position, of course, it gives us the ability to transform the position of our layer. Yep, and then we have the scale. We can enable uniform scale, which will scale the horizontal and vertical together. You can hit reset, and we can check uniform scale to give us the abilities to edit the horizontal and vertical separately, just like this. Hit reset, and then we have the skew. The skew is an option we don't get under the transform properties, but we have it here. So the skew give us the ability to skew our layer or the contents of our layer just like this. Okay? So this can come in really handy in creating slanting effects like this, just like the one I have here. You get down that's with the skew, and then we have the skew axis, which gives us the ability to do this, okay? To change the skew axis. We also have the rotation, which gives us the ability to rotate our contents, and we have opacity. Of course, you know what opacity does. And we have the shorter angle, right? First of all, we have this guy which tells us to use composition shorter angle. Now, what is the shorter angle? The shorter angle is basically the component of our composition of our layer that enables us to modify our motion blow, our motion blow effect. So it's the shorter angle that gives us the ability to modify our motion blow effect. So we can either use the compositions shorter angle or we can specify a custom shorter angle. So let's say we want to modify the composition shorter angle. How do we do? Just hit Control K or Command K, and then go to advanced settings in your composition, and now you're going to see shorter angle, right? It's set to 180 degrees. So you can either adjust it here or leave it at 180. So if you leave this guy checked, it's going to be using 180 degrees as your shorter angle, but you can also boot this up to change the shorter angle. And then we have the sample and we have the bilinear sampling and bicubic sampling. These are just ways of after effect maintaining your quality or the quality of your layer as you scale or transform your layer. Okay? So that's basically it for the transform effect. Now we can hide our transform effect and then go ahead and search for offset. And offset is also found under the distort category. So add the offset, and this basically offsets our layer, just like this. I offsets our layer just like this. So both horizontally and vertically, as you can see, that's the contents of our layer, horizontally and vertically, it creates a repeatingt pattern for the contents of our layer and then offset them endlessly just like this. At reset. We also have this guy blend with original. And if we push this up, it's going to blend our offset copy with the original copy of the layer, just like how you can see here. So this is at 100 and we are only seeing our original layer. It means the offset won't work at 100, as you can see. But as soon as I dial this down, our offset is working. Okay. So let's just reset this and what if we just want to create something that looks like this, maybe just create a keyframe here and then come to 1 second and just lose your offset like this. Perfect, hit you on your keyboard, select your keyframes, easy ease them so that we have this maybe zoom in and make this even more dramatic and probably scale or shift the keyframe, bit apart, and do this. Perfect. And let's just go ahead and add our transform, skew and see what we get. We could even maybe create a keyframe for this queue. First of all, make our queue zero and then create a keyframe on our skeu come here in time and hit shift you on your keyboard to bring up the skew then create a keyframe here and when it's here, you just make this minus ten, so that we have this everything easy es and maybe even make this transition shorter. Yeah. So we have this. We'll even do this. Yeah. And this is beautiful. Okay? That's beautiful. And that's what we have with transforming or with modifying our transform and also our offset altogether. Very simple effect. Yeah, that's it for our transform and offset effect. See you in the next video. Bye bye. 21. 21 CC Composite: Hey there, welcome back. In this video, we're going to look at a very underused effect here and after effect. And that's the CC Composite effect. It can be used on text layers, image layers, footages, whatever layer you want to use it on. And really, it's a very incredible effect only that most people don't use it or don't know how to use it. So let's go ahead and see what the CC Composite does. So I've gone ahead and created or added rather my images. So this is my logo, and this is my bridge image. We're going to start with the logo, create a new composition, 1920 by ten ATP and go ahead and bring in your logo. Use our logo. Let's make this smaller. And what does the CC Composite effect do? What it does is it basically creates a copy of our layer, but does it on the same layer. So it's basically the same thing as duplicating our layer, just like how we have it here and having it on top of our layer that let's see, we've been working on this layer, right? So it's just like we've added a lot of effects on this layer, and then we duplicate the layer and delete all the effects and have a new layer added on it. You get so that we have this layer original layer and we can maybe use a blend mode or even add more effects on this layer. And we can keep adding the CC Composite effect over and over again. And it will just keep being like creating a new layer or creating new duplicates or new fresh duplicates of our layer on the existing ones, without having them duplicated on our layer stack like this. Okay? So I'm just going to delete most of them and leave one. And I'm just going to go ahead and show you practically what we can do with the CC Composite effect. So the first thing I'll do is go ahead and add the glue effect to my layer. So add the glue effect, and yep, select my layer, first of all, and add the glue effect. And then for my glue threshold, I'm just going to boost this up a bit. And then for my radius, I'm going to boost this up a bit or quite much. Okay? Let's say 23230 is perfect and glue intensity maybe just 1.2. Perfect. Next, I'll go ahead and add Turbulent Displace, Turbulent Displace, not display. This will just distort my layer just like this. Turbulently and I don't want to do this too much actually. Want to maintain very subtle displacement. Yep, so this is perfect. And then next I'll go ahead and add my feel effect. So my IM here is to totally modify my layer, or my logo so that you don't recognize my logo. Yeah, that's the I here. So I've totally modified my logo, and this is now our logo. We've modified the shape, we've modified the color, right? And we've added some glue. Now, I'm just going to go ahead and add a CC Composite effect so you see what we get CC Composite. So this is the effect. It's under the channel category. And you see now that we've gone ahead and basically add our layer, our original layer back on our stack of effects. So maybe we could go ahead and maybe boost down or dial down the glue intensity, our glue reduce a bit so as to make this effect look a bit matured, more mature. Yeah. So this looks good. Now, just look at this. We've basically created this kind of tre illusion with shininess on the edges of our logo you get. And this was all achieved in one layer, thanks to CC Composite. Of course, thanks to all of these effects as well, but the CC Composite makes it possible for us to add back a new copy of our original layer without duplicating our layer. So you see, that's basically how the CC Composite effect works. And this can come in really handy in a lot of things, in a lot of ways. Putting compositing, motion graphics and VFX in so many things, okay? Experts use this a lot. It's a very unique effect. And we have the next example. I'll just go ahead and create my new composition and bring in my image here. Is to scale this down because of course, it's too big. Then I'll just go ahead and add a glue effect. Here, this is my glue effect. I'll add my glue effect by selecting my layer and clicking on my glue effect. And this is the glue we have. Let's see what we can do here. Maybe dial down the glue reduce a bit. Maybe six. And then for threshold, let's make the threshold bit bigger, perfect. And let's go ahead and add a Tritone effect. Tritone, which will give us three colors to play with, and or we can add a CC tuna if we want. So mid tones. Oh, let me just add the CC tuna instead. Delay this guy and add a CC Toner. Add the CC Toner, now we have more effect, right? We can select the Penton and have more effect or more colors to play with. Eight this is what we now got and let's see, let's reduce let's blend with the original a bit by 24%. This is quite a unique displacement from the original. Now the next thing we add is, of course, our CC Composite composite this is our composite effect, add it and now we have it back to the original. Now the cool thing is we can go ahead and make adjustments now the cool thing is we can go ahead and make a blend between our new layer, which was made possible by the CC Composite effect and our existing stack of effect, right? So we can select the guy CC Composite and then come to this transfer mode where it says in front. And here you can just change the blending mode, right? And it's just going to be like changing the blending mode here. Okay? That's, of course, having stacks of layers and then changing the blending mode here. Only that you are doing everything on one layer. Okay, we can choose whatever blending moon we want. We even have the opacity slider, which enables us adjust the opacity Do a whole lot of other things. Yeah. So that's it for the CC Composite effect. These are just very few examples. There are more complex things you can do with this guy. You can keep adding effects upon effects and just keep adding the CC Composite effect to just add the original layer back you get. And yeah, so basically, guys, that's it for the CC Composite effect, and that's it for this video. See you in the next one. Bye bye. 22. 22 CC Sphere & CC Cylinder: Hey, welcome back. So in this video, we're going to learn how to use the CC Cylinder and the CCs fair effect here in After Effects. The first thing I'll do is go ahead and create my new composition. Create my composition 1920 by ten ATP, hit Create or hit okay, and I'll just go ahead and type in a text. Okay? So I'm just going to type in you can't use up creativity. You can't use up creativity. Yeah, and this is probably too long for effect, but it's still going to work anyways. So let's go ahead and centralize our anchor point to the middle of our text that's Control Alt Hm or Command Alt or Command Option whom rather on the mark and then control whom or command whom to centralize the text to the composition, and go ahead and type in your effect, okay? The first one we're going to work on is the CCS fair. And we can see that this effect is under the perspective category, so click to add your effect, and this is what we get as soon as we add our effect. We can see that After effect has now turned our text layer into a three D sphere. And we have some sets of options here. We have reduce and this can kill our object up or down. And we have rotation, which enables us to rotate our sphere. Sorry in the X axis, the Y axis and in the Z axis, because, of course, this is three D, right? So we have three axes here. Okay? So these are the sliders for the rotation, and we have rotation order. You can choose the order in which you want to rotate your object. We have XYZ, we have X Z Y, and so on and so forth. You can check those out for yourself. And we have the radice, and the radius, of course, is the one that controls the size of our sphere. We have the offset, and this will move our sphere. Just like how you can see right here. And we have these points which we can use to manually move our sphere, okay? And after offset, we have the render option. Now we can choose whether to render the full sphere, that's the inside and also the outside of our sphere, like how we can see here or we can choose the outside only. And this will only render the outside of our sphere without giving us access to the inside. Okay? So we can see that this is only the outside of our sphere. We're not seeing the inside like now, okay? Yeah, so we have the full, we have the outside, then we have the inside. With the inside, we can only see the inside of a sphere and not the outside. Yeah, so that's render for you and then we have light settings, and these are the settings that control the lighting of shape or rather t d spare. Because of course, it's a three d spare and it has to reflect or it has to interact with light in order for it to be realistic, in order for it to be realistic. So the light controls. Now we have the light intensity which increase or decrease the intensity of the light, the general intensity, and then we have the light color. You can adjust the color of the light, give it a different color. It, okay. And you can see that we are now having a different color for our light. Yeah, and then we have the light height, which will increase or decrease the height of the light from our object, just like how you can see right here, o then we have the light direction, which will kind of change the direction of the light from our object. So whatever direction we want, we can select that and then render that. Yeah, so that light direction for you, and then we have the shading options. On our undershading options, this will control how the material interact with our light. And then we have the first option here, which is ambient or ambient, whatever we pronounce it. Now this is what this gives us, it adds the exposure of our material to light. Okay? So our material is more exposed to light. It increases the ambience of our material phospha material, and then we have the diffuse. And it does similar things to the ambient or ambient. Then we have the specular, which increases, what do we call this shininess, as you can see here. As you can see demonstrated by this white light reflection here. As soon as I boost the specular up, we see this becoming extremely white. That's a specular for you, then we have the roughness, which boosts the specular up and then also creates shininess. That's a roughness for you and then we have the metallic property. The metallic and we have the reflective. Now, the reflective, of course, creates reflection. But for the reflective, we actually have to choose a reflective map or a reflection map, and we can choose a reflection map. I'm just going to demonstrate how this will work for you. I'll do that by going back to my project panel and bringing up this globe image from my effects and presets folder to import it. We just want to bring this guy into our composition and go ahead and add this effect to it, this fair effect. This is our globe now as a three d is fair. So we can scale this up. We can rotate it. X axis, Y axis, whatever axes, okay? Yeah. So now let's see how the reflective map works. So for reflective map, we need to create a new solid, first of all, so I'm going to just create a new solid. Okay? So new solid. I'm just going to give this white color and then I'll precompose my solid. So precompose my solid into a new layer. And I just want to now adjust the size of my solid, not the size of my precomposition. Just go into my precomposition now that's to have access to my solid, and I'll just do this to my solid. And move it to the left hand side. Maybe you won't do this. You don't need to get restricted to whatever shape I create here. I'm just doing this to show you a demonstration of how this will work, right? So this is our solid and we don't need to on the layer any longer. We can off it and just select our globe and go to shading, go to reflective map and select our solid. Select our solid. And from here on, we just need to boost our reflective and then select effects and masks. So it's going to take the source of our reflection map from effects and masks. So select this and then boost up your reflective. Now you can see right away that we are getting a reflection of our guy here, that's our solid here which serves as a light source. Okay? We're getting it reflected on our glue, even though it's a bit too much. So we could just reduce the amounts. Well, basically we can see how we have this now reflecting on our glupT can be anything, It can be a text, it can be whatever map you want to reflect on your glub or on your sphere, you get. So that's basically how the reflective map works. We have internal shadows, and for internal shadows, I'm just going to hide this guy, enable this guy, and let's see how the internal shadows. So for internal shadows, you can see that when I enable internal shadows, we have shadows inside our ship, right? Because for this, we can see through our ship. So we are seeing the internal shadows being enabled inside our ship just like this, okay? And we have the transparency fall off. And this does a very subtle thing. It boosts our quality, our edge quality in a very sort way, we might not take notice of it, but it does some help here. So if I just enable this, you can see that the edge becomes a bit sharper, you get. So that's what this guy does. And yeah, basically, these are the settings we get with the CC Sphere. Yeah, let's go ahead and add the CC Cylinder to select my layer, disable my effect, and then CC Cylinder. This is also found under the perspective category. So click to add it and it turns our ship or our text into a cylinder. So it's also a T effect, and we have similar options to what we have on the sphere. We have the reduce, which will of course increase or decrease the radius of our cylinder. We have the position, which will shift the positioning in the X axis, Y axis, or Z axis. Okay? We can see how incredible this effect is. We have the rotation, which would, of course, rotate our ship like this. So X axis, Y axis, and Z axis. Yeah. And then we have the rotation order, just like how we had in the sphere effect, and we have the lighting, which of course is the lighting, the lighting effect, which of course is the lighting properties, similar to what we just saw on the sphere. You can change the light direction, the light colour, the light height. You can change the light intensity. You also have the shading and so on and so forth. Yeah. So basically, guys, that's it for these two effects that the cylinder effect and also the sphere effect. They are really incredible effect, and we can use them to achieve some really outstanding effect here in after effect. Yeah. So that's it for this video. See you in the next one. Bye bye. 23. 23 Optics compensation and CC Lens: Hey, welcome back. In this video, we're going to learn how to use two really cool effects, the optics compensation effect and also the CC ns effect. These are effects that help us create lens and screen distortions. So I have my composition here, and I have this beautiful image, which you can go ahead and bring in from the project folder. Okay? Go ahead and bring an image into your composition and select your image and go ahead and add the optics compensation. So optics compensation, we can see that this effect is under the distort category. So click to add it. And what it does is it gives us these options which you can use to distort our image. Now let's take a look at them. We have the field of view, and for el of view, you can either make it zero, which is the last you can go up, take it up from zero up to the maximum. Okay? I don't know what the maximum is really. But this is where you get This is the effect you get with your field of view. So we can see that we are getting a kind of screen distortion, okay? Just like the kind of distortion we usually get in an old TV, right? Yeah, this is the effect you get. And you can actually reverse this effect to create a lens distortion. So click here to reverse the effect, and now you'll be able to create a lens distortion. Now, this is a lens distortion. Okay? And that's basically the reverse of our effect. And we have the field of view orientation. You either make it horizontal, which is what we have right now or vertical, which is this. The vertical even makes it even more makes the distortion even better, makes it even more intense. And we have the diagonal, and this is the diagonal. This is the diagonal, and we have the view center. Now, this view center is really interesting. It enables us to do some interesting stuff like this. Okay, so we can see that we are now tilting our screen in perspective, okay or in three D space. Okay. So it means if you have a screen in perspective, which you want to stick this into, it's going to be made possible using these sliders, then we have the point here which we can use to manually arrange or tilt the screen, just like this. Yeah. So that's the view center for you, and we have this option here. It says optimal pixels, optimal pixels, and then in bracket, invalidates reversals. Now in this option, what I find it to do is if you check it, it basically gives you more distortion or rather more details. If you check it, it basically does this. Uh, we can see that now it has made our screen bigger and let's just reverse this and see what we get. With this, it kind of makes our distortion even more dramatic, if we have it in the reverse. Yeah, that's what I found to be possible with this button here, with this option here. And then we have resize and this basically resizes screen image. And we can resize by times two of what we have. If I do this times two, we can see that we're going to basically resize our distortion. I'll have to actually scale this down for you to really see what's going on. I just scaled this down and I'm just going to take this off for now. You see this is off and when I resize this times two, you can see how it has increased by times two and then times four, thus increased by times four. You can see here now this is very twin tense. I don't see the use case for this and we have unlimited, which usually crashes after effects, and I'm not going to select that. You can select that to see for yourself. Basically, these are the effects you get with the optics compensation. I usually use this effect for length distortions a lot for lens distortions. Then the other effect, which is, let me just reset this. The other effect, which is the CC length it's very similar to this effect as well, and it gives us even better lens distortion, actually. So C lens. Yeah, so let's add the CC lens, and we can see what it does. It immediately turns our layer to this kind of distorted lens, and we can adjust the size to kind of reveal our entire image. And we use this I use this a lot in transition in creating transitions. It can be used to create really dramatic, really interesting transitions. Yeah, so that's where you get with this, and then you have the center. It's telling me the layer exceeds maximum size. So I think we are kind of hitting some limit here. So we have the center, which, of course, moves our length distortion, right, the positioning, right? Horizontally and vertically, and then we have the convergence. Now the convergence will give us what looks like a screen distortion. Yeah, from a lens distortion to screen distortion. And basically, these are the two effects for you optics compensation, CC lens. They are really cool effects, really similar to some degree, and they can come in really handy in your project, both in motion graphics and visual effect. And that's it for this effect, and that's it for this video. See you in the next one. Bye bye. 24. 24 Turbulent Displace: Hey, D. Welcome back. In this video, we're going to learn how to use the Turbulent Displace effect here in After Effects. So go ahead and create a new composition, just like I have here, and I have written out this text, Turbulent Displace. And this effect works on all layers, right? So not just text layers. Now, I'm just going to type in Turbulent Displace or turbulent and we're going to see the effect. This is the effect, it under distort category. Select the effect and then add it to your text. Right away, you see that your text gets modified, you get distorted in this turbulent and more of Warpi distorted manner. Now we have some sets of options. We have the displacement, and this controls the type of distortion we have. Currently, it's set to turbulent. We have the bulge Okay, which gives us this, we have the twist, which gives us this type of distortion. We have the turbulent smoother, we have the bulge smoother, we have the twist smoother, and then we have the vertical displacement, which does this vertical displacement. Okay? We have also the horizontal displacement, which displaces it horizontally. Just as you've seen, and we have the cross displacement, which displaces it both horizontally and vertically. So you can see that they are divided into three sections. Guys, these guys, and these guys, going to select the turbulent back, and here we have our Turbulent Displace. Now, in order to see this effect work more properly, I think I should just create a new solid and then add a checker board effect. So type checkerboard. Yeah, and now this is our checkerboard effect. We can just hide our text effect or our text layer here. So we see our checkerboard, right? And now select your layer back that's your solid and add the turbulent displease. Yeah, I think this does better work in actually showing the effect as compared to this text layer. Yeah, because this covers the entire composition, and it has this pattern which will enable us see the intricaces of our displacement, okay? So you can go ahead and check out all of these using the checker pattern, the checkerboard pattern. And we can see that this bulge makes it bulge out. Okay? This is the turbulent, and then the bulge kind of makes the points bulge out even more, okay? And we have the amount, and this will increase the amount of distortion we get, okay? And then we have size. And this will boost the size of our distortion. We can make this small and I think we can see the size better using the text. So I'm going to enable my text and then check the size. Now we can see that the size there is this, this size is big, this side is small. With this small size, if we zoom in, you're going to see that the displacements are happening very intricately affecting our very little pixels. This is the least we can go, which is two, and we have the highest, which is maybe not 175. We can go as high as we want. That's the size for you and then we have the offset, which moves our displacement horizontally and vertically. Let's see this with the checkerboard pattern. Yeah, so this is the offset the turbulent offset. You can see what we get with turbulent offset. We can move this horizontally and vertically. We can just click here to come and select position, and we see that this where our position has been pleased. So this is the offset for you. And then we have complexity, which increases the complexity of our pattern. See how complex our pattern is licking. That's complexity for you. We can even totally distort it and to the point that we are not really getting any or seeing any checkerboard pattern, right? It's now showing like a texture, like a noise texture, something very uncommon. Yeah. This effect is very similar to the turbulent noise effect. Only that it does what the turbulent noise effect does as a displacement instead of a texture. Okay? Yeah. So that's the complexity for you and we have let me just reset this. To the original. And then we have the evolution. Now this evolution evolves our shape or pattern, and we can get several evolutions, right? And 360 gives us one evolution. Okay? So that's the evolution for you. And then we have evolution options, and right here, we can actually cycle through our evolutions. So if you click here, it's going to just repeat this same evolution after it hits 360 degrees of evolution, right? So it's just going to continue repeating or looping our evolution. So that's the cycle evolution, and then we can increase the number of cycles. Now up to 30. The number of cycles we would like to repeat. And we have the random seed which randomizes our results, and we have the pinning, pinning we have several options here. We have pin O. Now, this enables After Effects pin our displacement to the edges of our composition. So if you have pin, it's going to pin every edge every point of our composition, we have pin horizontal and it just don't pin the horizontal points. We're not going to pin the vertical points. We have pin vertical, which will pin only the vertical and not horizontal. So that's why you're seeing piece here, this piece is here. We have the pin left, which will pin only the left hand side and not the right hand side. We have the pin right and so on and so forth. Okay? Yeah. And we have recise layer. So let's just hit to scale the ship down so that we see what recise layer does. And now, if you click on recise layer, you're going to see that it expands our layer. It expands our ship, and that's the only thing that's attainable with the recise layer. We also have anti aliasing, which controls the quality of our distortions. So right now, it's set to low, and this works pretty much most of the time. And the low quality is faster for rendering. Okay? So we have high as well, which would give us a higher quality. But I think the low just does a perfect job most of the time because we're not really seeing any difference here. Yeah. So basically, that's the Turbulent Displace effect for you. It's a really cool effect, and it can be used to do a whole lot of things to drive displacement, creating incredible animations and to do a whole lot of things. Yeah, and that's it for this video on Turbulent Displace. See you in the next one. Bye bye. 25. 25 Liquefy: Hey, welcome back. In this video, we will learn how to use the Liquefy effect here and After Effects. So go ahead and create a new composition and create this star shape, just like I have on my composition and type in the Liquefy and add the effect to your ship. Now the lucify effect is similar to the lucify effect we find in other Adobe software like Ios ito and Photoshop. If you're concent with Adobe software, you are probably familiar with the lucifiTol or the lucify effect. The Liquefy effect gives us a number of tools here which we can use to distort our ship. We can see that the lucify effect is under the distort category and the first one we have here is the warp. This is the warp tool and we can use it to warp our ship or our layer. Now, if you just select the web tool. All you need to do is just come and click and start creating this wb distortion. So it distorts our ship like this. Now we can open the view options. And under the view option, you're going to see view mesh, click on View mesh, and now it enables the mesh it's using to create this distortion. And this enables us to see the effect even closely and see what it's doing. Okay? So we have the mesh size. We have the medium. We can set it to small to create a more intricate mesh, and we have the large, which creates a very larger mesh, and we have the mesh color, we have red, we have gray, apparently set to grey and so on and so forth. But that's just the color. And yeah the mesh enables us to see the distortion that is happening. So it means if I click on my um on my web and do this and try to warp, we are going to see the effect on our mesh. So this is basically what the web effect does. I'm just going to hit reset here my mesh one more time. Make this even small so as to see my effect very closely. And let's look at the web options, okay, the web tool options because each of these tool here has different option. Oh, so if you select this guy here, you have a different option here which will help you manipulate or adjust the settings for these tool. Same with this, same with this. Same with this, as you can see. Anytime I select different to these options here, change, right here is the wb on the wb we have the brush size, and the brush size basically is the brush size, right? The brush size, which enables you create your distortions. So it's set 264, you can boost it up by sliding this, you can see that it's pically increasing on our composition or on our viewport. We can use a slider here, we can see that it's pically increasing on our composition. And you can hold on Control and click and move your mouse while dragging to the left hand side or right. So control. Click and hold and drag to the left to reduce the size and to the right to increase the size. This is a shortcut to increasing and reducing and decreasing the size. Yeah. And then after brush size, we have brush presser, which is just the pressure of the brush. So this will control how far our distortions happen. So if I boost this to 100, we're going to have more chaotic or more dramatic distortions, just like you can see here. The brush is now stronger, making more dramatic and chaotic distortions. So that's the brush pressure for you. And then we have this option here, which is freeze area mask. Currently set to none. How this works is you have to select your layer and then create a mask. So let's go ahead and take a Rectangle tool and make sure you have create mask here. Currently, it will be set to create shape. Okay, that is here that I'm clicking right here. This is currently the default. You have to go ahead and select this guy now to be able to create a mask on your ship. So create a mask on your ship, just like this. Okay? And then come to your mask option and select none so that we don't have it mask in our ship. We just have it there. And now come to freeze area mask and click on mask one. Perfect. So we can now take back our web two and start making our distortions. We take our web two. And start making our distortions. So these are distortions. And right away, now you can see that we are not affecting this area which we freeze. Okay? That's the area of our mask. We are not affecting it even though we are making distortions in those areas. You can see that nothing is happening here. You can furthermore, go ahead and even further your mask in order to increase the fall off or the smoothness, so as to allow some allowances for our tow. So as you can see, we are now getting bit into our shape because we have some feather on our mask. So that's how this option works. I'm just going to hit reset to reset everything and even delete my mask because I don't need it any longer. And let's look at other options. So we have the turbulent two and the turbulence to create a turbulent displacement or distortion to our shape. So let's just enable our mesh and make this small so as to see what we create. So select your turbulent, and, of course, we have the brush size as well. We have brush pressure. Let's make this bigger so as to see what we are doing even more clearly. Now, if you just click on this area or on your ship or on your mesh, you're going to see that it's creating a turbulent displacement on our mesh, just like you can see here, okay? That's similar to what we have created using a turbulent distort effect, right? Like a turbulent noise, rather using a turbulent nois. So this is similar to what you get with that. So the higher the brush pressure, of course, the more the distortions, the more the distortion. So you can see what we now let's just go ahead and hide or mesh so as to see what we get. Now, this is what we get with that. That's the turbulence, and then we have the twel which is clockwise and 12 anticlockwise. So the clockwise, we Twirl our ship. It's just like the Twirl to. So this is what it does. Clockwise, and the anticlockwise does the opposite, which is anticlockwise, okay? Yeah. So that's a two for you. We have the plocker and the plouger does this. It brings our ship towards a middle, towards the middle. It converges our ships, okay? Towards a point. So just like this. And then you have the blot, which does the opposite, which takes them apart. Then we have the shift pixels. The shift pixel basically shifts our pixel perpendicular to the direction which we paint. So if I shift it to the left hand side, that's from the right to left hand side, it's going to basically shift our pixels down. If I shift it from the right to the left hand side, it's going to shift it up and vice versa when we do that vertically, top down, down to top, basically. And we have this guy, which is the mirror or rather the reflect before reflect, we have Okay. Actually, this is the next guy, which is the mirror or the reflect rather. And this does this shape. It just creates this very weird and extremely distorted effects, which I don't really find any serious use for it for now. And we have the lone T two, the Clone two, which basically clones distortions. So we could just view our mesh and then come here and hold down alls, click to sample our selection or click here. And then go to our destination where we want it to where we want to replicate these distortions and just click. And you're going to see that we are replicating this distortion, right? So that's how it works. And then we have this last guy, which is the reconstruct reconstruct to basically reconstruct our distortion. So it can reverse our distortion, just like we have the revert mood here. It can revert our distortion to help us achieve what we had initially before our distortions, right? And then it has other moods, the displays which basically displace our distortions and these are the ones, which you can just check for yourself. Yeah, so basically, these are the tools under all the options under each under each tool. Yeah. So we have the view options which we've looked at, which have to do with our mesh, and we then have the distortion mesh option, which basically serves as an animation slider. So you could create a keyframe here and then come in time and then just reset this and we're going to have it animate from this to this. Okay? Perfect. So we could even hit you to view our qframes and select our qframesEs maybe squash the distance and play this to see how everything distorts. Incredible. That's the distortion mesh for you. You are basically animating the distortion mesh with this. Then for this guy, that's the distortion offset. You are basically adjusting the offset or your distortion mesh. So let's see how it works. You can basically move your distortion mesh using this. Okay, as you can see, we have some points here which we can manipulate to basically do it manually. We can see how our distortion mesh is moving away from even our ship, which it originally is distorting. We can even view our mesh to see practically what we're achieving by that, you can see how the distortions are being moved to one side because we are changing the distortion mesh offset. We have the distortion mesh percentage, which can be admitted as well. For this, we are basically reducing or increasing the percentage. So 100% will be distorted. And then 0% will be not distorted. So everything will just become normal or in the way we had it before, after we reduce our distortion percentage to 0%, you get. And then if you take it up to 100 or even more, as much as 200%, it's going to distort our ship yeah. So basically, that's it for the lucify effect here in After Effects. You can go ahead and explore this to even further to see what and what and what you can come up with, okay? And if you do come up with something, kindly share with me. I would love to see what you achieve. Yeah, so that's it for this video and see you in the next one. 26. 26 Displacement map: Hey, there, welcome back. In this video, we're going to learn how to use the Displacement map effect here and after effect. Now on the Displacement map effect, it's a very popular and really powerful effect, which can be used to drive insane distortions to your image or to your layer or to your footage or really whatever layer you want to apply this effect to, It can be used to drive or to create insane distortions. So go ahead and bring in this image with your project folder. And you're going to see this image. It's named the beautiful horizon. So bring in the image and create a new composition. The image is 1920 by ten ATP and your composition should be 1920 by ten ATP, so that we have the image and the composition has the same size. And then select your image and go and type Displacement map. Yeah, so this is the Displacement map effect. It's under the distort category. So add it to your image. And right away, you see that we get some displacement within our pixels, okay? And it's very subtle, very subtle. And that's because we have some value here. I'm just going to make this zero, make this zero, so we don't have any displacement on our image. Okay? So this is the Displacement map effect. It has a number of controls here. The first guy is the displacement layer. And right now it's set to the image, which we have, and that's because we don't have any other layers, and we can't see anything because we don't have any other layers here as well. But we usually don't use the layer most of the time. Or the same layer to drive the displacement. And then we have source. We're going to come to this later, and we have the useful horizontal displacement. If you click here, you're going to see a lot of options. And we also have the useful vertical displacement. We have lots of options here as well. We have the horizontal displacement or max horizontal displacement. We have the slider here, and this can be used to displace our image. Or pixels horizontally, okay? And we have the vertical displacement which displaces it vertically. As you can see, I am currently displacing my pixels. Now, what does this effect do, really? It basically takes our selected layer here and then uses it to create displacement on the pixels of the main layer which it has been added to. And then it uses these values or these options that the red, green, blue, alpha, whatever, whatever, to create or to drive those distortions or those displacements. Okay? So right now it's set to red. So it uses the red channel now. It will use the red channel rather to create horizontal displacement on the layer. Okay? If we select green here, it's going to use the green channel to create horizontal displacement on the layer. Okay? But most of the time, I said this to luminant. Okay? And same also with the green. To luminance, because really for you to drive the displacements using color channels like red, green, and blue, it first of all, converts them to luminance values. And then how does these luminance values work? Now, let me just go to this composion I created here to explain to you, okay? Now, what is luminance or what are luminance values? Luminance basically refers to the brightness values of our pixels, okay? The brightness values of each pixel of our image. And all of these pixels based on their brightness values are add up to make our image, okay? And then each of these color channels you've seen here actually has luminance values. So it's just safe to pick luminance as your horizontal and vertical displacement most of the time. So how does luminance work and how do you convert a color into displacement? Okay? Now, let me just go ahead and explain this. Now, luminance has 256 brightness levels in each color channel, and that's 0-255, okay? And this is a very basic theory in colors and design generally because these are the luminance values that add up to create our color. Both red, green, and blue, that's RGB, have zero to 255 luminance values for each pixel in them. Okay? And then if we have the maximum, we're going to have white. If we have the minimum, which is zero, we're going to have black. So we have this gradient here, and then this gradient is basically going from black to white, which is from the low luminance value of zero to 255, which is the maximum, okay? So how does this effect convert these luminance values into displacement. So how it does it is it takes our luminance values 0-255 and then plots them on a value of minus one to one. So luminance value of zero being minus one, and then aluminum value of 128, which is the midpoint being zero, and then luminan value of 255 being one. And then what happens then? Let me just go back to this. And then what happens then is that when we adjust our horizontal or vertical displacement, it basically calculate the location of our luminant value, and then plots the corresponding value here on this little scale here, that's minus zero or minus one rather to one, and then multiplies that value to our horizontal or vertical displacement value and then creates a displacement based on that value. Then means that if we have minus one, it's going to take minus one and then multiply it by that value which we've created here and basically shift the pixels in a negative direction to what is attainable if the value was one. That's horizontally and vertically. I just hope this is something you are able to grass very easily. Now, let me just try to explain this practically, I'm just going to select my shape here and then Control C to copy it and go to comp one and Control V to paste it here. Okay. And then I'll just right click on it and go to transform. Transform this transform and I'll just do fit to comp. And it's just going to fit, it's not fitting properly now, but no problem. I actually want it to fit to our composition. So first of all, I'm just going to hit this and remove the stroke and just leave the gradient. Yeah. Just leave the gradient and let me just try this one more time. Transform transform. It's been fitted to our comp, right to our composition. And then next now, I'll do is just select my guy here. That's my shape here and come to the effects and control sorry, the effects and presets and type posterize so as to posturize my layer, and it will basically divide our layer into defined color segments. Okay? So we have three of them here. We have very black. We have the gray, which serves as a middle and then we have the white. Okay, now, this is just for me to try to explain to you or show you how this thing works. So now it then means that since we have three divisions here, it then means that our black has the value of minus one and our gray has the value of zero, and our white has the value of one, right? So it means if we make adjustments to our horizontal or vertical displacement, we are going to be multiplying one times that value in order to make displacement for the segment for our white color. And same also for our gray color and our black color. Now, you're going to see how that plays out in a very short while. So I'm just going to select my shape layer, move to the back that's behind my background that's behind my image and select my image now. And when I come here to displacement Mapla, I'm just going to select shipla Okay? And then come here to sources and select effects and masks. Okay? And now just look at this now. When I move my horizontal displacement, we're going to see that I am displacing it based on these demarcations, as you can see, based on these demarcations. And then this side is white, so it does the positive of the displacement, since it's positive. And then the side that is black, it does the negative, which is the opposite of the positive you get. So we having basically a mirror of this effect here. You get. So this is basically what I'm trying to explain or I've been trying to explain. You get that's the horizontal for you. And you're going to see that this works seem with even the red channel and the green channel and all the other channels because they all have luminance values in them. You get. So go back to luminance and hope you now understand how this thing works. It then means that if we select our shape layer here and then boost up our levels for posterize, let's say to five, you're going to have five segments of colors, and we're going to now have five divisions on our layer. So you see, when I move this down, we are dividing my layer into five. You get based on these demarcations we have. So we said this and let's move to the next options. So we've looked at the guys. We've looked at here. We've looked at the channels. Okay, we've looked at the horizontal displacement and vertical displacement. Now for the Displacement map behavior, this is just how the displacement map would behave based on the size of the displacement map and the size of the composition, okay? So sometimes it gives me some errors. It doesn't really work. But basically, once you have your Displacement map the same as your composition, it's just going to create your displacement perfectly, just like how we just saw, right? Just like how we saw it a while ago being that the displacement followed the size of our displacement map, which is the same as the size of our image here. But let's say we have the Displacement map, which is the shape smaller in size. So let's scale this down and let's come here and select stretch map to fit. Now, it's supposed to kind of create changes based on the size of our displacement layer, but I guess it doesn't always work like that, right? So let's just forget about this for now and just do contro Z to move this to the size of our composition. Okay, so it's the size of our composition now. And what did I do this zero. Perfect. So we have rap pixels around. Let me just kill my ship and create some distortions. So we see what's attainable with rap pixels around. Now for rap pixels around, we see what it does. It kind of expands our pixels to fit our composition. And then we expand out Okay, no, that feature is just for the expand output. It expands our output, right. And if we have it with the wrap around pixel, it's going to expand the output like this. But the wrap around pixel, I've noticed prevents us from getting transparency transparency. So let's say, for example, we have transparency Togudon and then we have wrap around pixels. Okay, let's say we don't have wrap around pixels first of all, and let's just make this zero, and I just hope I'm able to explain this because this is getting awkward. I'm just going to move this Okay, I actually want to move this to the point where I start seeing my transparency. Yeah, to this point. So if I just click on wrap around pixels, we're going to see that it closes these transparent areas, and then expand output expands the entire thing. That's basically what these options do. But let's just go ahead and look at more use cases to this effect. So let's reset this and right click and transform and fit to comp to fit our image to the composition, right? So let's just give this zero and zero so as to remove any displacement let's make this luminant and luminance as well. Okay. Now, before that, let's just try to see other things that are attainable with this. So let's see other options like the saturation. Okay? So boost this and see. Now we see it's using the saturation of the same image, right, to drive distortion. Okay? I can use lightness and we see the effect we get, it can use hue, see the effect it gets. We can use blue, which is, of course, going to use the the blue and then the green and so on and so forth. So actually, we can get different effects using other channels based on what we want. But in order to use in order to be able to define the kind of effect you get, by using objects like this ramp, it's best to just use the luminant value. Okay? So the next thing I'll do is select my shape here, hide this guy here, and I'm just going to go ahead and add a different kind of effect, okay? That's a different kind of displacement. So I'm just going to take this to another level by adding a turbulent noise. Effect. Now we see that we now have a more complex pattern, right, and we're going to use this to drive our displacement. We're going to use this as our Displacement map. So I'm just going to select maybe basic for now and make this block. Okay? And contrast, maybe boost contrast up a bit, boost brightness up a bit, just a bit, and then transform, open the transform properties on Check uniform scale in. Make this wide. Scratch this a bit, that's the height. Okay, so that we have this. Yeah. So this is what we want to have. And now let's just try using this as our displacement layer. So select this guy and then select your shape and basically effects and masks. And now you see that it's using this guy drive our displacement. And on this guy, we have a turbulent displaced effect. A turbulent noise effect rather. And it means we can animate, right? We can animate, see our evolution. We can animit other things and you are going to see that this thing is animating, right? Our Displacement map is animating without us even animating the features of our horizontal and vertical displacement, you get. So that means that we can even use videos. We can use whatever layer we want to drive this displacement. It mustn't be a solid layer. It mustn't be a ship layer, just like what we have here. Okay? We can use anything. We can use a video and so on and so forth. So right now, I'm using this guy, and I just want to make this zero. Okay, make this zero. And let's see. And right now, I just want to select this guy here and make the zero to see what we've got. So I'm just going to come to 1 second, put a keyframe on horizontal displacement, and then come to zero and make this one of 5,000. So we see. So this where we'll get to in 5,000. I'm just going to play this to see what we have. Now this what we have. It's quite random. It's quite random. And I actually want it to come from a specific direction. I want it to come from one direction, not just appear randomly like this. Not just appear randomly like this. And then how do I do that? We can do that by actually limiting the colors we get on this layer, limiting our colors here. Why do we limit our colors? We have to limit our colors because our colors are what drive the displacement. Remember, our colors are what drive the displacement. So it means if we limit the colors we get on the white side, we are going to be limiting its movement positively. So let me just do this. Let me just add one more effect, so you see what I'm talking about. This video is getting too long and I don't want this to actually get too long. So I'm just going to add a tint effect. Okay, add the tint effect. And now you see we are able to control how to select what our blacks look like and what our whites look like. So it then means that we can come into our white and then make sure it's not white. Yet, we can just reduce the brightness of our white, S to this. And if you hello and open this guy back, you're going to see that we now have our displacement, not everywhere, but coming from right to left, okay? From right to left. Now, let's just do that for the black instead. So you see. So let's click here make this white. Now you see it's back, hit okay. Click here in black and let's make it a bit not black. Okay. Let's turn it to gray so that we don't have any blacks any longer. We just have gray or even let's take it a bit closer to white. Okay? Yeah, so this is what we have now and select our guy back and now hit you to show our keyframes. So we have this coming from here down here. Now we can come here on the first keyframe and even take this even further so as to completely lose our pixels on the first frame. Take this back, and now we have it at 82, 72. Select all your keyframes right click Easy Ease, so that we have it coming this way. Okay? So you see this how we control the direction. Just by controlling the light because, of course, it's using the luminant values. Yeah. And then imagine we have something different. Let's select our guy here, enable him. Let's say we have something different. Let's say we no longer want to give it a tint, we no longer want to give it a turbulent noise, but we want to give it our posturize effect and also our gradient, right? Remember it's a gradient. Then let's say we just want to come into our gradient and maybe change the type of gradient to radial gradient, heat radial, and it okay. Now you see that it has now created this curved displacement, right? So displacement is now curved. It's now curved. You see how curved the edges are. And if we keep meshing around with our curves. Okay, that's the curves of our gradient map or our gradient map in general, it means we're going to continue meshing around with the shape of our displacement, with the shape of our displacement, right? So let's hide this and see what we've got. So instead of straight lines now, we now have them admitting like this. We get Yeah, so we can do a whole lot of things with this. We can use different types of gradients to drive our displacements. We can use different types of layers. We can use different types of effects, okay? The limitation is basically your imagination. Okay? The limitation is basically your imagination. There is no limit to what you can achieve. We could even select this guy, even start admitting some properties of turbulent noise. So let's say we want to admit the evolution, and then we can see that we are creating even more dynamism with this. Okay? So this is just to scratch the surface on the Displacement map effect. There is so much we can achieve. And hopefully, in subsequent videos, we're going to achieve a lot using this effect. So that's it for this video and see you in the next one. Bye bye. 27. 27 Bulge, Wrap & Mesh wrap: Hey, there. Welcome back. In this video, we're going to learn how to use the bulge effect, the warp effect, and the mesh wop effect here in After Effects. So I have my new composition opened and actually have three compositions here. This one has a white solid. This one has a lady girl image. Okay? And then we have another composition with my logo here. So you can go ahead and create all of them, and let's start looking at them one by one. Now for this one, for the composition one, I just want to select my solid and give you the checkerboard pattern. Checkerboard pattern, so as to create this pattern, and this will enable us see how effect better, right? And then just close this and I'll go ahead and type in the bulge effect to bulge. Bulge. That's BULG. Yeah, so the bulge effect, add it. And Immediately you add it. You see this circle up here, very little circle here, and this is just the bulge. Okay? We have some sets of options here. We have the horizontal reduce. You can crease this to increase the horizontal radio, the vertical radius, and you can see that our bulge is increasing. Our bulge is increasing and we have the bulge center. You can click here and come and select a bulge center. Just click here and select the bol center and you're going to have your center here or you move this manually. If I just doom that, you're going to see the bulge. You can move this manually to move our bulge and we can as well use the sliders here. We have the bulge height, which will increase our bulge height just like this case our bulge is getting higher and we have the tipper the tipper reduced, kind of smoothen the edges of our bulge, okay? Smoothen it out and make it stand out like this. Okay? And we have the antialiasin. We have the low quality and high quality. So this is basically the quality you get for your bulge. But I think low quality works just well. There isn't much difference between the low quality and the high quality. And yeah, you can always use the high quality. There isn't much difference between that and the low quality. And we have this last option here, which is pinning, so you can click here to pin all edges. So if you pin all edges, when you bring your bulge towards the edge, you're not going to see it bulge. The edges will not bulge. But if we have this unchecked and you bring your bulge here, you're going to see that it bulges at the edges, just like this and we can see our bulge at the edges. But once we enable this, we don't have our bulge here any longer. That's basically the bulge effect for you in a nutshell. I'm just going to apply this to this gel image bulge and just boost up my horizontal and vertical bulge bulge reduce. Okay. And we can see immediately that this enables us create something that looks like a zoom lense effect, right? Like a zoom lense effect or a microscope effect. Yeah, like a microscope lense effect. So this is one of the use cases of the bulge effect, so we exaggerate things using the bulge effect, right? So you can as well use this to create things like es for carica chores. And basically, there are lots of use cases. Most of the use cases also apply using it with other effects as well. Okay? So basically, that's the bulge effect for you. You can move our bulge around, bog the nose, board the mouth, and so on and so forth. Yeah, this is what we got. Yeah, so that's the bulge effect for you in a nutshell. And let's look at the warp effect. So select your solid, and I'll just go ahead and delete the bulge effect from our solid and now hit S to scale down my solid just to this size, and go ahead and add the warb effect. Sorry, the wb effect is W ARP, and this is the warp effect. Now, the web effect is similar to the warp effect we have in Photoshop and Adobe Stridor. Okay? So if you are familiar with Photoshop and Adobe, if you're familiar with the web effect in these software, This is exactly what you get here, okay? So we have the bend. You can bend this Okay, apply your warp and then bend this, and we have the horizontal distortion and vertical distortion, okay? Yeah. So you have the warp styles. So now it's set to arc. Well, of course, we have lots and lots of styles. We have the arc lure, which gives us this lower arc kind of distortion. We have the arc upper, which does the opposite. We have the arch, which gives us this arch, okay? And then always remember that you have the horizontal and vertical constraints which you can edit, okay? The horizontal and vertical distortions, which you can edit. Yeah. So have that in mind and use that to your advantage. I will hit you set and look at them from the start again. So we have arc, we have arc lower, arc upper, we have arch, and then we have the bulge. So this gives us something similar to our bulge effect. But of course, it doesn't give us as much control as that one, right? And, yeah, so this is the bulge warp, and then we have the shell lower, which gives us the shell pattern. We have the shell upper. We have the flag. We have the wave. Okay? We have the wave. We might not see the effect very well because it distorts the individual pixels of our ship of our layer, okay? So the internal pixels of our layer. So we might not see it happening here, but if we have some other kind of image, or a better layer, you might see it better, right? So that's the way for you. We have the fish, which does this to our solid. We have the rice, which does this, and we might just move this a bit to see what we get in here. So that's the rice for you. We have the fish eye. We have the inflates which inflates our ship we have the twist, we have the squeeze. That's basically it for this guy. And the last one is the mesh warp. Go to comp two and select the logo and then add the mesh wop. Add the mesh warp, and this is just another warp effect only that it creates a mesh, just like the mesh warp we have in Illustrator. You can edit the number of rows. You can make this let's say, a number of columns three. For some reason, I'm not seeing my mesh. Let's go and do that again. Let's see three and Columns three. And we see now we have three rules and three columns, and the more rows and columns we have, of course, the more distortions we can make. But of course, the more intricate the whole thing might be and all really makes sense. And yeah, three rules and three columns will give us a decent amount of distortions which will make sense, right? And then we have the quality, which of course, increase the quality or decrease the quality of our distortions, right? And of course, higher quality values always require higher system performance. So take note of that and we can now come into our logo or ship, and then just click on the mesh. Now you're going to see that you are able to select these points to select, and then now you can move them around. You can move them around. You can even use these Bezier handles to kind of modify your curves even better, even more, okay? And you can do this basically for all the points. You can do this for all the points. Of your mesh. This is a really simple effect, and you can even animit this by animating your distortion mesh. So let's come to 1 second and then create a keyframe here and then come back to zero and hit reset. So we have it going from this to this, this to this, this to this, okay? Yeah, so that's it, basically, guys, for this set of effects and hope you learn something new and incredible. Yeah, so see you in the next video. B 28. 28 Wave warp, Twirl, CC Smear & CC Power pin: Hey, welcome back. In this video, we're going to learn how to use the wave warp effect, the twirl effect, the CC smear effect, and the CC Power pin effects. Okay? So we have this new comp with our ship. This is a ship. So go ahead and create your comp, create your shape, and come here and add the first effect, which is the wave warp effect, so wave wop. This is our wave warp effect to add it to our layer, and this is what we get immediately. Now, what's the wave warp effect? Of course, you can see it's under the distort category, and the wave warp effect basically distorts our shape or our layer in form of a wave. Okay? So it helps us create wave animations. And this is an animated preset or effect. So if you play it, it's automatically animitd. It has a wave speed, and it means it can be unmittedO it's unmitted. We have the wave type. Now we have to choose the type of wave. We have several types, but first of all, let's adjust the wave height. This what we get with the wave height and also the wave width. We can adjust the width of our wave just like this. We now have the types of wave. First of all, we have the sine wave, we have the square wave, and you keep seeing how they behave or the effects they give us. The triangle wave, which gives us triangular wave patterns, and we have the sawtooth wave, which gives us this pattern, we have the circle wave, which gives us this, we have the semicircle. We have the encircle. We have the noise, which gives us this random noise effect, noise distortion, and we have the smooth noise wave type, which gives us this smooth noise kind of wave animation, okay? Perfect. Now that's the type of weaves for you. Let's go back to the sine wave and look at other options. We have the direction of the wave. Now, I'm just going to try to create a flag with my weave. Okay. So this is my flag, and this is how high my flag is. This is the width of my flag, and we have direction, right? So I'm just going to adjust the direction for you to see what we get. So we can now see that. Our direction has been adjusted by 46 degrees, and then we have the wave speed set to one. And I'll just play this for you to see the speed down the speed of one. You can see that we have basically created the flag animation, and this effect is incredibly important and comes really handy in motion graphics in motion graphics. And with this effect, we can create animations of floating objects like floating hair, floating smokes and so on and so forth, right? So this comes in really handy in instances like that. So that's the wave speed for you. And then we have the pinning, and this pinning enables us to pin points of our shape. So we have all edges, and they're going to pin all edges, okay? So this is the effect we get. I don't really see the difference between this non, honestly, but sometimes it comes in handy. So this is known. And then this is pin to all edges. We see the pinning it does, right? And we have center, pin to center, this is what we get, and this is what we get with left edge, pins the left edge, and so on and so forth. You can see for yourself the remaining and see what you get. We have the fist, which is just a way of animating or specifying our flag pattern, okay, our flag animation pattern. So we can animit this as well for the fish. And yeah, and then we have the antialiasin, which of course, controls the quality, right? We can set this to high to give us the best quality for our wave pattern or for our wave animation. Perfect. That's the weave pattern for you. I'm just going to go ahead and add the next guy, which is the toil effect. So to effect TW IRL. Going to collapse. Sorry, collapse this. This is a toll effect. It's also under distort and go ahead and add the toil effect. Yeah, so this is a toll effect. And what it does is it tolls our shape by an angle, or it tolls whatever layer we add it to by an angle, right? So we see what we're getting. So we can animate our angle and we get this toll effect. We have the toll reduce, which reduces or increases the reduce of our tol Okay, like you can see here, you have the towel center, right, which moves our toll from one point to another. And we have the points here which we can manually use to move our toll center. So that's basically the toll effect for you. Most of these effects can be used most ideally in combination with several other effects you get. So the next one we're going to be looking at is the CC smear effect. I'm just going to go ahead and add it to the same shape to CC smear. Yeah, it is a C smear effect. We can already see what it does, right? It smears out ship. Okay? So it smells our shape. Start point, we have an endpoint. So we can specify the start point using the from. So click A and select from and then click A and select two. You're going to twirl our ship from here to here. We can see this now because this is, of course, normal ship layer with just color, right? Now, let me just move to this composition and add the til effect or the CC smear, so you see it practically. Now this is what we get with the CC smear effect. It smears the fz or the shape. Or the layer rather. Now, we have the reach, which of course will control how far our smear goes, and then we have the reduce which will increase the size of our smear. You get. We have to and from, of course, we can use this point to modify their position, okay? Yeah. So we can have our smear just come from here right across our face. Yeah. So the limitation with this is just your imagination, really. Yeah, so that's a smear effect for you. Now, let's go to our next composition, which has my logo, and let's go ahead and add our last and final effect for this video, and that is the CC Power pin. Add the CCP pin and you can see that as soon as you add the CCPA pin, you have this box or the bounding box surrounding our layer, the boundaries of our layer. Now we have this points. With these points, we can adjust the perspective of our ship. We can distort it in three D space or in perspective. You can click to adjust the perspective of your ship. Now, this can be used a lot in compositing to place our logos or our layers in certain places. Based on perspective, right? So we can see all the controls. If you come here, you'll be able to kind of kind of move the boundaries of your ship like this. Come here, you'll be able to move it like this, okay? Just like this. And if you select the points, you're able to kind of please your perspective properly. Okay? Yeah. So all of these things have been controlling to control the perspective of all these points we have here, the top left points, the top right points. Okay, then the bottom left point and the bottom right point. All of these are these points we use to control or to manipulate or distortion. And then we have the perspective slider, which controls our perspective. The more our perspective value is towards 100, the more the perspective and the less our value is less the perspective, as you can see here. And when we have on stretch, we do this very word or rather word thing. Okay? I don't see the use for this, honestly, but that's what it does. And then we have the expansion, which expands, okay, which does this, which expands beyond the boundaries of our guides. Okay? You can expand beyond or behind the boundaries. Either way, you're expanding. Yeah, so that's the expansion, and that's basically all our options for this effect. We've looked at the CC smear effect. We've looked at the CC popping. We've also looked at the wave warp effect. We've looked at the twirl effect in this video. We've looked at quite a number of effects in this video, and with this we've come to the end of our video. See you in the next one. Bye bye. 29. 29 CC Bendit & CC Bender: Hey, there, welcome back. In this video, we're going to learn how to use two incredible effects. Now these are CC Bender and CC Bendit here in After Effects. These effects are effects that you guessed it. They help us bend our layers or shapes or whatever we apply them to in unique ways. Now, in order to start, I'm going to go ahead and create a new composition, 1920 by ten TP head okay, and I'll go to my effect and presets folder that folder for this module and bring in two files. I'll bring in this After effect PNG file. That's this logo, After Effects logo, and then bring in this file as well. It's also the same logo, but this is the illustrator version of it and select composition retain layer sizes and import. Now, my aim for this is I want to have both a raster version of the logo, which is the PNG version. Side by side with a vector version of the logo, which is this After Effects version, so that you see how the effect works on both types of files. So for this, I'm just going to write click Create Shapes from vector layers, it okay. And then copy the file, contro C and bring it to my composition here. So we have this as a vectoria and we have this as a PNG ilia. Perfect, too. We'll just scale this down a bit. Okay, so that they are almost of the same size. And yeah, maybe I'll just hit R for Control R for my Rula so that I align everything properly. Okay, these extra steps are not really needed. I just like everything to look quickly clean. Yeah, so here are our files. We have the vector file and we have the PNG file. And I'll just go here and type CC Bendit or CC bend to have my boot files or my boot effect. And we can see that they are boot under the distort category. So let's start with the CC Bendit. Now, apply CC Bendit on this file. That's a PNG file. And on this file as well. And we can see that the effect beeps in two different ways. For the PNG file, it immediately crops our file to this, this can be very confusing. It can be very confusing, and this is just how it handles raster layers. So in order to fix this, you just have to select this first of all, and adjust the start and end position. If you click on start or click here, or just try to adjust the values. You're going to see that we have this point. Now, this is the start point. You can ask the effect to start here, and then this is the endpoint, make it to end here. As soon as you crop or extend the start and end, you're going to see that it enables or reveals our layer or our logo. This is the first thing you want to do. For this guy, we also have it disappeared. For this, you just have to also bring the start and end to the position of our logo. What happens here is the effect sees our vector layer as the size of our composition and then applies the effect accordingly. So as you can see, it's applying the effect along the middle of our composition instead of the middle of our effect. As soon as we bring it to the middle of our effect or our layer or our logo rather, we'll see that our logo has now appeared. Now let's try something. We have some values here or some options here. We have the bend. Now let's try bending our ship oh, Logo. Now, you see, it's supposed to bend like this. Okay? This is how beautifully it's supposed to bend. But our PNG image, you see that it's not bending, it's cropping it out, and this is a big problem. This can be a big problem. There isn't really a good way to fix this because even if we keep extending this, we can extend our start and end positions to keep revealing. It's going to enable us. It's going to make us to keep extending it far away and far away, and bending will be affected. We are not bending properly. So you see that's not good. Undo, undo, undo, undo. Yeah, so let's leave this for now and come to this. For this guy, we have our logo, and we can actually bend our logo, as you can see, we can bend our logo very well. So there is no problem here, but there's one problem here, actually. The problem is, let's say we bend our logo and we want to move our logo around. So let's try moving our logo around you see we are not able to move our logo around. It creates this bending mesh, or distort mesh, and it's basically fixed to the position where we apply the effects in Okay? So that's also a problem here. In order to fix these issues, the only solution is to actually precompose our files. So we just have to precompose our files. So let's just work with the PNG and let's precompose it. Okay? So you right click and precompose. Precompose this precompose, yeah. And then move all attribute into the new composition ido. As soon as we precompose our file, it's going to basically work just like the way the other vector file will work. So we don't need the vector file any longer. So let's just hide this guy and work with the one we have, right? So that's just what I want to show you guys, how they behave. So now we have our precomposed PNG file, and let's go into our file or logo, and then let's try to crop our logo to the region of interest, so that we reduce the size of our composition. So how do we do this? We pick, of course, the region of interest tool here and just crop your logo. So crop your logo or crop your composition. Now, you have to crab it to the size of desired distortion. Let's say you want to distort it all the way here, you have to basically crop it to the distance which you want to distort your logo to, I just want to do the distortion like this. So I want my distortions to be just this big crop your logo to the region of interest and then go to composition and then crop comp to region of interest so that we have our new comp this size. And go back to your composition. And here we have our new comp. Now if you add bend it, we have it crop again and we can just move this and move this. And do our bend. Now you see we are bending just the size of our composition. Incredible. That's the little thing I want to show you I wanted to show you by importing the booth files. You learn how to handle booth files. Here we have our bandit applied and we have the start and end points. So we can click it to position or start point. You can even have your start point here, and then your endpoint here. Then your bending will be like this. You can do this to extend their boundaries, of course. And do your bending like this. Let's reset. But we want our region of interest to be here and here. Sorry, our start and end points, we want our start to be here and then our end to be here, our bending will happen like this. Incredible. That's our start and end and then we have the render prestart. Now, this will basically give us some effect here. Now, let's just bend a guy and choose some of these effects. The first one we have none, which does basically nothing, and then we have bend, which does the bending. Then actually does the bending as well. But let's see what it does. I does the bending. That's then then of course, we have the bend, which does the bending for us. Like we've seen, we have mirror, which mirrors our bending. Let's see how it works. Let's bring our start point here and we're going to see that. We have our mirror, right? It's mirroring our logo, but it does this just the extent of our precomposed logo, right? So if you wanted to do bigger mirroring you have to, of course, crop your logo composition and make it bigger. You get. So that's the mirror for you, and then we have known, the static, the bend, and then the miror. So that's for the render pre start, let's go back to our bend and move our start point below. And we have the second option, which is distort. So we have legal as the first guy and legal just gives us this effect, and then we have the extended. Now the extended, what it does is it doesn't crop our top. So if we have extended, let's see, we have legal initially. So you can see that our top and bottoms are cropped, because of the position starts and end points. But let's go ahead and choose extended. We see that our points are now all our tops and bottoms are no longer cropped. That's basically the extended. Yeah. That's basically what we get with the bend it. We can bend our logo in very unique way. We can just maybe create a keyframe for bend. Come here, bend it. Come here. Bend it. Come here, make it zero. Hit you, select all keyframes right click and easy. We into your graph editor. Do this. So we have. Yeah. Incredible. That's basically it for the CC Bendit effect. That's what the CC Bendit effect does. It enables us to bend our la just like this. Perfect. So the next thing we have is the CC benda. Let's look at the CC benda, which is just here. So let's go ahead and add it to Our PNG file. So let's bring in our PNG file. Now, this guy doesn't crop our layer like the CC bendit, so we won't have any problem with cropping either on our PNG file or our vector file. I'm just going to hide my PNG file or my precomposed logo and use my PNG file. I'll just scale this Control or S to scale this up and apply the CC Bender. This is a CC bender and you can see what it does, right? We have the amount which does bending but it bends our layer in this manner. It's not similar to what the CC bendi does. This is a bit different. But we also have these points which enable us control the distance or the extent of the bending. If we have it positioned like this or if we have like this, our bending will have a wider influence, wider influence, just like this. But as soon as we crop, you can see that our bending doesn't have influence here and the influence is now sharper between our two points. You get yeah. That's it for the amount. We have the styles, we have bending styles. We have the Marylyn, and this is what Merilyn does. This is what it does. It just makes two points static, and then bends in between. It bends in between, just like this. That's Marylyn for you, we have some really funny names. We have the sharp, which actually does this, which makes the bending sharp just like this. Then we have the boxer which does this. Su our logo, our points, okay? Just does this. Locks it and then swings the top just like a boxer. And yeah, these are the options we get. We have this option which is adjust to distance. I just adjusts our logo or the distance of our bend. Yeah, it makes it bend even more. Yeah, so that's basically it for the CC Bender effect, and this is what we can achieve with that. Now let's look at something I forgot to cover under the static. So under static, when we move our endpoint up, it just basically locks the end. I just basically locks the end. We can make this extended, and then it just locks the end. Or start point router. As soon as we keep taking this up, we keep getting the side locked. The bending doesn't happen here any longer. It only happens from here upward and we can just keep extending our top to open up cropped sites you get. All we then have is our cropping or bending router happening from here upwards. This is what we get. Okay. Yeah, that's what we get on the static. That's how we get on the static. Then for bend, we have our normal bend and so on and so forth. This is where we get on the bend as soon as we take our start point to this position just like this. Yeah, that's basically it for CC Bender and CC Bendit. See you in the next video. Bye bye. 30. 30 CC Slant & CC Flow motion Effects: Hey, welcome back. This video, we're going to learn how to use the CC Slant effect and the CC Flow motion effect. So I have gone ahead and bring in my After Effects logo, and we have it in a new composition. So go ahead and do that, and I'm going to just select my After Effects logo, come here and type in CC Slant. And this is the Slant effect, the CC Slant effect, add it. And what this effect allows us to do is basically slant our shape. Okay? Basically slant our logo in this case. And we have some sets of options. We have the slant. We can go negative, we can go positive. We have stretching, and this reduces or increases the stretching of our slant. And then we have height, and this increases or reduces the height of our object. Okay? If we bring it down like this, you can see that we can actually use this to create a shadow for an object. Okay? So that's the height for you, and then we have the floor. And this basically changes the direction of the floor, as you can see with this point here. So as we move this, we are basically changing the direction of the floor, okay? So that's it for you. And this is really similar to the skew transform effect, only that it has more options. Okay, for example, we can set color, so you can click here to set color, and basically, you can see that now you have a black color. And you can click here to change your color, so we could have this black and then composite a different version of our logo on top of this so that this one can serve as a shadow, okay? So we could add a blow and basically make our shadow more realistic. But that's basically the CC Slant effect for and I'm just going to delete this. So we see the flu motion effect now. I will just close this. And before I do that, I will just right click here and add or create a new solid hit okay. I'll go ahead and give this the checkuboard effect, and bring this behind my logo and change the color to something more conspicuous. Yeah, so this looks good. Now, I'll just create a new adjustment layer so that this effect affects all our layers behind or below our adjustment layer. So I'll just come here and type in the CC Flow motion. And add it. And what does is it gives us two points, as you can see here, this point and this point. And these are the coordinate here. We can move them horizontally and vertically, 4.1 0.2, just like you can see here. Here, we can move this, and we have the amount. Now, if you boost up the amount, we're going to see that this is behaving like a black hole. Okay? It's basically distorting our logo or everything behind or below adjustment layer in this fashion, so you can see what we get, is basically behaving like a black hole. And we have this final control. So if you click on final controls, it's going to basically reduce the sensitivity or the intensity of our distortion, as you can see here. So we can boost this up now and we don't have that much distortion, okay? So we can do this for both points. Okay. And we have some other options. We see, for example, the tile edge. Now if you uncheck the tile edge, you're going to see that the edges are now separated, or the distortion now affects the edges, like you can see here. So this is what we get with the tile edge. But if you check the tile edge, you're going to see that the edges are now sticking to the edge of our composition. And we have the anti aliasing, and this is basically the quality of our distortion. So the higher the quality and of course, the more computing power it might require, but this is a very light effect and it's easy to render, so you don't need to worry about that. And we have the fall off, which is basically fall off, for our effect. So you can see that as we reduce the fall off, it's now spreading out and basically falling off just like this. Perfect. Yeah. So basically, that's it for this flow motion effect. These are the options we get. We have the positioning of our points. We have the amounts which control the intensity. We have the final controls, which basically do this, of course. And we have the anti aliasing, we have the tile edges. And basically, that's the flow motion effect for you. Simple as this effect might seem, they can come in really handy in your workflow, and we definitely will use some of these effects at further points in the course. Yeah, so that's it for this one, guys, and see you in the next one. Bye bye. 31. 31 Echo & Posterize time effects: Hey, welcome back. So in this video, we're going to learn how to use two effect here and After Effects. And these effects are the echo effect and the posterize time effect. And they are both under the time category. So I'm just going to start by creating a new composition. Hit Okay, 1920 by ten TP, and I will go ahead and create a square and just give it a stroke of C 12 pixels and then select it and just control old home key to bring my ankle point to the middle and also bring my shape to the middle, align my ship to the middle, and I'll just bring my ship here and hit P for position and I'll just create a keyframe here and come see 1 second in time. So I'll just zoom in here. Come 1 second in time and just bring my shape here, so that we have this movement. Okay? Now, we just select everything and just do F nine to eyes go into my graph editor and create this kind of graph so we have this movement. Now what the echo effect does is it creates copies of our object. Let me just come here and type echo. And this is our echo effect to select your layer and add the echo effect. Okay? So let's just play this and now see what we get. So we can see that we have some copies of our object. And I'll just come here and remove the field color so that we don't have any field color. We only have strokes. So we can further see how this thing works better. Now we see that we now have an extra copy of our ship. And now the echo effect, we have a set of options. Now let's look at this last one. First, this is echo operator, and this is basically the blend mood between the echo. That's the real ship and the duplicate. Now we can see that it's set to add, we have maximum, and we can basically see how each blending mood affects our echo. Okay? So we have maximum, we have minimum, and we have the screen. You can see the effect of the screen. We have the composite in back and composite in front. This composite in front is just going to bring our main object in front of our echoes that's in front of our duplicate, and the opposite goes for the composite in back. And we have the blend, which basically does almost the same thing as the ard. Yeah. So these are blending moods and now let's just go ahead and see other options. So we have the echo time, and this is in seconds. This is basically the offset between the echos. And we have the number of echos. Now this is the duplicates. So as I increase this, you can see that the duplicates increase. And we have the starting intensity, which is basically the opacity, and then we have the decay, which is the opacity of our echo copies, starting from the position of our main copy, reducing in intensity as the copies progress, okay? Now, let's play this and see what we get with these little sentence we've done. Yeah, I just come here and change this to composite in front. And now we can see that we basically have our main copy in front and then the echo follow. So as we move shape as our shape moves, we can see that the echo is more prevalent, okay, especially when our speed increases. Okay, so our speed is much and we can see that the copies are more spread out here due to our speed. Yeah. So that's the echo for you, I'll just come here and bring my ship here, bring my ship here, just copy this keyframe and Control V. And what I'll do is I'll just pick my convert vertex too and just do this. So that's basically it for our echo in a nutshell. Now the next effect we're going to be looking at is the posterize time effect, and it's under the time effect just like our echo. Or under the time category, just like our echo. So posterize. And this is a very simple effect, but very useful. So what is the posterize time? We can see that we only have one option here, which is the frame riot and what this effect does is it temporarily or artificially modifies the fimerot of our animation. Now we can see that we're using 24 frames. If we turn this to say 12, we are going to see the change to our animation. Now we see it's less smooth, right? It's less smooth because we've adjusted the frame root of our animation. You can mix this six, and you're just going to keep adjusting the frame rate for our nuton and then our movement will be more and more mechanic, okay? As you can see right here. So that's the Posterize time effect for you and the echo effect for you. These are really simple effects, but they come in really handy in animation in the effects, and as simple as they might seem, they are really important effects here and after the effect. And that's it for this video on the echo effect and Posterize time effect. We're going to learn how to use this effect even more in subsequent exercises. Yeah, so that's it for this one. See you in the next one. Bye bye. 32. 32 Motion tile, CC Repetile, CC Tiler: Here we come back in this video, we're going to learn how to use three effects, which are the motion tile effect, the CC repetile effect, and the CC tiiler effect. All these effects are similar because they help us create tiled copies of our objects. So I'm going to start with the motion tile effect. I've gone ahead and bring in my logo mark. And you can find this file in the project folder or use your own, okay? Now, select the file. Of course, first of all, go ahead and create your new composition, 120 by tenty white background, and then select your logo mark, and I'm just going to type tile because all these effects have the name tile added to them. So we see this is the motion tile. This is a CC Rp tile. We have this guy as well, but we're not looking at him, and then we have the tiler, right? So we're starting with this motion tile effect. So add the motion tile effect, and as soon as you add the effect, we don't see anything happen. Okay? But we have options on our effect control. And we have the first option, which is the tile center. Yeah. Now, this tile center is a point, and we use this to basically offset our copies, as you can see now. Or rather, the motion tile effect has actually created copies of our logo. It's just that we had not offsetted the center, so we could not see the copies, right? So I don't do this. And undo this and even reset my settings. Yeah. So the thing with the motion tile effect is it creates copies based on percentage. Okay, based on the percentage of our layer. Right now it has created copies based on the percentage of this layer. So this is 100%. And as soon as we reduce the percentage here, so let's reduce, sorry for that. Let's make this 50 and make this 50. So you see this is the tile width, and this is the tile height, right? So we've reduced them by 50%, and we can now see that our copies are being revealed, right? So if we offset this, we are going to be able to have four copies of our logo within our tile, because we have 50%, we've reduced the tiling by 50%, let's make this 25% and 25%. For height. Now we see that we've reduced the size of our logo by 25% and we've tiled them within our layer. Our copies here are bounded by the boundaries of our logo. Our copies here are bounded by the boundaries of our logo. But if we want our copies to fill the entire composition, we will have to precompose our logo mark. Let's just precompose our logo mark and let's make sure we leave all attributes in composition one and hit Okay. Now we can now go into our pre composition and just make this 1920 by ten it. Okay. Let's make this one line 20 by ten. By 1080 and heat basically reduce the size of our logo. Let's see what we get here. With this now, we scale our layer to fill our composition. Now we see that our copies are filling our composition, we can even do more. Let's make this 1010. And we can see that we are basically tiling the copies of our logo by 10%. Yeah, so that's basically it for the tile width and the tile height. Now we have output width and output height. Okay? Now, let me just reduce my output width so you see. Yeah, so this is basically what we get. We are basically cropping the output of our tiling, we have the output height as well, which will enable us copy it vertically, which will enable us to crop the height. Yeah. I just want to undo a lot of things and get back to what I heard initially. Yeah. So very okay with this. Now let's look at the mirror edges. I mirror edges, it's going to basically mirror our copies. We see that we are mirroring our copies. We have this guy mirrored by this guy, same with this guy by this guy and this guy will be mirrored by the next guy here. We can actually animate our face or adjust our face. That's the tiling the tiling style of our columns. Of our columns. And we can click this to do it for our roles to bid for our rules. So horizontal, vertical, basically. And you can see that all of these options are animatable, right? So these are the options you get with the motion tile effect. These are basically it for the motion tile effect. We can expand our output with our output height here. And yeah, basically, this is where we get with our motion tile effect. Let's go ahead and delete the effect and look at the next guy, which is our CC Tyler. Okay, maybe not CC Tyler. Let's look at the CC reptile. So we add the CC reptile, and we can see that the CC reptile and the Musiontile are put under the stylize and we have the Tyler, which is the distort, right? So for the CC reptile, this is our CC reptile, and let's go ahead and do something expand right. So this is our CC reptile effect, and these are the options we get with our CC reptile. First of all, I'm just going to go ahead and scale this down a bit. And for the CC reptile, it doesn't work in percentages. It works in pixels. So we are basically going to be duplicating the pixels on the left hand side, on the right hand side, on the horizontal and vertical, basically, by basically increasing the values here, the value for the expand right, expand left, and expand down and expand up, we're basically increasing our value by 333,390. Sorry, 3,379. Let's make this 5,000. Sorry, let's make this 5,000. 5,000. Yeah. Now you can see that we are basically getting it over our boundary. Now this is what I want to do. Same also with the up and down, 5,005 thousand. Yeah, so we've got this and we see that we have the next option, which is a tiling, and now on the tiling, we have different types of tiling. We have the repeat, which is the current one we're using. We have the Checker flippage which flips our contents in this manner. We have all of these other ones which do different things. They give us different effects we have on food, we have rosette, we have random we have none. The none completely removes our tiling and we have the CCW. We get a clockwise and counterclockwise, and then we have the twist and we have all these other ones. We can go ahead and check them and we have the last option, which is blend borders. Now for blend borders, we are not really going to see it work here because we don't have any borders that are intersecting. Now let's just go to our funda and bring in this routine wood texture and adding port. And for this, I'm just going to create a new composition or maybe just use the same composition. Maybe just hide this one temporarily and then bring in the image, and let's add our effect. Sorry for that. Let's hit and just maybe scale this down a bit and then add my effect. So I'm just going to add the CC repetile effect, and let's boost up our expand right, expand left. Let's do 665 or even more. Yeah. We can now see that. We actually have these edges intersecting, or these borders intersecting. If we boost up our blend borders, we're going to see that, it's basically blending our borders. It's removing the awkwardness we get when we have sharp borders. That's what the blend border does and we can furthermore change the tiling type to randomize this even further so that we totally randomize our borders and we don't get the awkwardness, you can go ahead and try these options to see which one does the work best. But that's it for the CC reptile effect. You basically have controls for your right and left and up and down and you can just expand your pixels in those directions. Okay? Yeah, so that's the CC reptile for you. I'm just going to delete this because we don't need it and I'll enable hide my layer. And yeah, maybe scale it down a bit. And then delete the CC Rp tiler. Let's look at the next guy. The next guy is the CC Tyler. So add the CC Tyler for the CC Tyler, we get just three options. Now, first of all, going to just skill my guy up. Skill is up and now we see that we have scale and now this is 100% scale. If we scale this down, we're going to have our copies. Our copies are going to just fill in our boundary. That's the boundary of our layer. Then we've got the center. Now this center is quite unique. Okay, because the center is actually the point from where the scale happens. Okay? It's not just like the center of the entire thing. It's basically point from which the scaling happens. So you can see how scaling happening from our center. It's just like the anchor point of our layer. Okay? So the point from which our scaling happens, and then we have blend with original which basically blend our copies with the original. So we can use this to kind of transit between our copies and our original. Okay? So these are just the options we get with the CC Tyler. It's a simpler effect. And, yeah, that's it for the CC Tyler effect, the CC reptile effect, and the motion tile effect. And with this, we've come to the end of our video. See you in the next one. Bye bye. 33. 33 Advanced Lighting: Hey, there. Welcome back. This video, we're going to learn how to use the advanced lighting effect here in after effect. Go ahead and create your composition, make it 1920 by ten UTP and create a new solid black color, heat okay. Now I'll go ahead and add my advanced lighting effect. Such advanced lighting. And this is our advanced lighting effect to click it to add it to our solid. Yeah, and this is our effect, and of course, we can see that it's lighting effects, right, which can be used to create lighting effects, realistic lighting effects, and also electric sparks effects. So this is our lighting effect, and we have lot of options here which we will look at. The first one we have is the lighting type, which is the type of lighting because we have different types of lighting, which have different characteristics. We see that there are lots of them here. Let's start with the direction. Select direction and we have the first two options. We have the origin of our lighting, which is the origin of our lighting, where our lighting comes from, and we also have the direction of our lighting, which is the destination of our lighting in this case. Okay. Yeah. So the direction type of lighting gives us an origin and a direction. Now, this direction doesn't limit the extent to which our lighting goes, I just determines the direction of our lighting. And as we move the direction and even the origin, you can see that our lighting gets animated in the process. Okay? So that's one way we can animate our lighting by basically moving the origin or the direction. Of our lighting. That's the direction. We have the strike. Now, this strike gives us a limitation of where our lighting can go to, how far our lighting can go. So it has an origin, just like the first type of lighting we looked at and it has a direction, which determines the direction of our lighting and also the limit of our lighting, how far our lighting can strike. Yeah, that's the strike type of lighting. We have the breaking and this guy basically breaks our lighting into lots of branches which are called fox. Okay. So these are lots of branches, and as we move it, we can see that branches are moving or animiting. And as soon as we start bringing our direction close to our origin, we can see that the direction of our branches along facing our origin. Okay, this can be used to create different types of lighting effects, obviously, most especially over exaggerated ones because we can see how everything is breaching, right? And yeah that's the breaching type for you and we have the bouncy one. Now, this bouncy basically bounces off our lighting in different directions as we move direction point. So we can see what it does. So it basically breaks and bounces the lights here and there. That's basically what it does. And then we have the next type, which is the omni, and we see that we have a line separating the first four from the last four or from the next four. So the omni, they are similar. The last four are similar and the first four are similar in what they do, right? So the next is the omni. This is what it does. It basically gives us an origin and an outer reduce instead of direction. The outer reduce is not the direction, but it determines how far our origin or how far our lighting goes. As we take it further away from the origin, we can see that the distance is increasing. As we move our origin, you can see that our lighting keeps striking in 360 direction all around. It doesn't have a specific direction unlike the previous ones we looked at. That's the omni for you you can use this to crop out the direction of our lighting. So you can have something like this, which can come like this and all of these things are animitable as you can see. So we have the next guy, which is the anywhere and this one, just like the name, anywhere. It's everywhere and anywhere. You can see it striking everywhere and anywhere. This is just more of more exaggerated type of the Omni, just like the one we would have under strike or breaking rather. Yeah. So just like how we have breaching going everywhere like this, we also have the anywhere going everywhere, only that the outer reduce controls how far it goes, how far it goes, just like we have seen in Omni. And then we have the vertical, which basically has no outer reduce, nor does it have any direction. It only has the origin, which controls the origin, and it basically goes down from top. So it's vertical. It's a vertical type of lightning, and then we have the last one, which is the two strike or the two way strike, which creates two origins, two origins, basically. These origins have lights coming from them. Light come from them towards the next origin. Just like this. We can go to the export settings and just reduce or increase the quadran so as to see how they are admitting from the origin, as you can see, they are coming, I guess, from the origin. Towards each other. I'll just hit reset to have everything taken back to the original. We have the next guy, which is the conductivity state and this guy animates our lighting. That's just what it does. It mits our lighting. You can animate your lighting by changing the values of your conductivity state. At reset, and we have the next setting, which is the core settings. Open your co settings, and the co setting is basically the settings for the core. That's the main lighting. The main light, the one in the middle, the thickest one, right? So you can increase the size. The core reduce rather, you can see that the core is increasing and we have the opacity which will reduce or increase opacity. Of course, we can see that our lighting has a glue, that's of course, part of lighting, part of lighting, part of realistic lighting. Whether it's an electric spark or lightning storm, you are going to have a glue. That's opacity for you. Let's take it back up changes to two. Yeah, and then we have the next settings, which are the glue settings. The glue sets are the settings for the glue, we control the glue. Of course, under the core settings, we have the core color as well, so we can change the color of our core with a different color if you want. Okay we see our core is now yellow. Our co is now yellow or looking like yellow. Our cool is now red. You can have whatever color of coal you want. You can have whatever color of glue you want. We can see that our glue is now changing color. We can reduce opacity of our glue so that we only have the core or we can increase the opacity. We can even increase or reduce the red use of our glue so that it's bigger or smaller. Perfect. It reset, lose out, glue settings and our core setting. Now let's look at the Alpha obstacle, and the Alpha obstacle basically creates an obstacle for our our lighting. Now I've selected my rectangle two. I'll just select my solid and create a shape or a mask, rather, a mask on our solid. Now we have a mask on our solid and this can work for a mask or for an Alpha. I'm doing this because our solid doesn't have an Alpha channel, because it's totally completely covered with the black color with a black film. So it doesn't have an Alpha channel, but it also going to work with an Alpha channel. I'm using the mask for this purpose. The Alpha obstacle, when we increase it, we're going to see that our lighting is now not going through our mask, right? It's not going through our mask, it's going around our mask. Okay? It's also following the thin part. Or it also depends on how thin or how thick our mask is. Our mask is. So let's say we do this to our mask. Let's make this thinner. So it's going to be easier for our glue or for lighting to pass around our mask, it's easier for you to pass around our mask in places like this. In places like this with more of thinner boundaries or thinner or smaller size for our mask. But as soon as we bring it to places like this, with a thicker mask size, we can see that our lighting is not going through, it's not going through. That's the Alpha obstacle for you. We have turbulence. I'll just delete this to look at the remaining. Remain type, so let's make this zero. Then we have the turbulence, which increases the detail in all the turbulence. You know what the turbulence is of our lightning, we can see that it's more turbulent, has more branches, has more forks. That's a turbulence for you. We can see basically where we get with the turbulence we have the forking. This forking is basically our branches. You can see that we increase our forking, we have more branches, we reduce our forking, we have less branches. That's basically what the ******* does for you and we have decay This decay is basically how our lighting decays from origin to direction. If we tun this up or bring it down rather to reduce the decay, we can see that we are basically having a full lighting effect from origin to direction. It's very exaggerated like this. This is not realistic. For decay, let's bring our decay back as soon as we take it back, we can see that our lighting is reducing or our decay is reducing or the branches or the exaggeration is reducing basically. That's the decay for you and we can click here to decay Mince and this will affect our main core. If we have it unchecked, we're going to see that the decay affects only our folks, only our branches. It affects only our branches but not our main core. If you want it to affect our main core, we have to enable decay main core to decay our main core. Okay. And then we adjust the decay to basically control the decay of both our main core and our forks or our branches. Then we have composite on original, which will blend our lighting to an original or to the original layer, which we've added it too. So let's try this. Let's go ahead and go to projects clique, go into your folder and bring in the stormy sky. Image and then create a new composition from selection. Now just go ahead and add the lighting effect so that we see how it blends with the original. If you click Composite on original, it's going to blend with the original and we basically have our lighting now striking our image. We can furthermore, adjust everything here to blend it better and make it look more realistic. Yeah. That's basically your blend with original. Let's decay this and see. We can see that decay really makes things look very realistic. The decay really makes things look very realistic. Reduce the decay and you can see that you can admit everything going from here to here and basically do a whole lot of crazy stuff with this. But that's it for the decay. Now let's go back to our comp one and see other settings. Now the next settings are the export settings, and they are not really that expert setting don't be scared. Just open the export settings and we have a lot of them, quite a number of them here. We have the first one, which is complexity which is similar to our turbulences going to reduce the complexity or the turbulence of lighting or increase it. We see with three with the value of three, we are basically reducing our lighting to very bare minimum. And we can even furthermore, reduce the turbulence so as to even see how effective our complexity or reducing our complexity can be. Let's make this one and we can see that it's basically now is straight line, right? So we've reduced the complexity a lot. Yeah. So that's the complexity for you and then we have minimum folk distance, and this has to do with let's reset this first of all. This has to do with our Alpha obstacle. Let's create another Alpha obstacle. Let's create an Alpha obstacle and let's change the angles to curves, to curves so as to drive our points better. Yeah, so I have this looking like this. Now, I'm just going to select my guy and boost up my Alpha obstacle to 100 so that our Alpha is now affected or our Alpha affects the flow of our lightning, right? So select my origin, and just move it here. With my Alpha, sorry, I click that. I think I'll just move my Alpha a bit and my origin, move it here and my direction. Now this minimum fog distance basically controls the fog distance. This actually doesn't have to do with our Alpha obstacle. It's a termination threshold that has to do with our Alpha obstacle. The minimum fog distance basically controls the distance between our forks. It has nothing to do with our Alpha obstacle, but our mask will work still because the next option is the termination threshold, the minimum fog distance, we can see that as we increase this, we have less distance between our fox as we increase or as we increase this, we have more distance between our fox that's between branches, and as we reduce this, we have less distance between our branches or frogs. That's the minimum fog distance, and then we have the next guy, which is our termination threshold. Now the termination threshold is basically a threshold for how far our alpha or our mask is going to terminate our lighting based on the Alpha Obste. We have this at 100, it's going to be easier for our lighting to penetrate or to go over our mask. It's going to be easier for our lighting to go over our mask or to go around our mask just like we're seeing it right now. That's what it does, it makes our lightning strong enough to go over or go around our mask. This also depends on other settings here. So we can adjust other settings to make to achieve certain looks or specific looks. That's basically the termination threshold. But as we reduce the termination threshold, it's going to reduce the threshold of lightning. It's going to be harder for lightning to go over. It's going to be harder for lightning to go over. Okay. That's one thing it does. Reduces the threshold. So if we reduce the threshold, it's going to make our lighting even weaker, we can see that our lighting is basically weaker, right? So it's not even going close to our mask to less going over and around it. Yeah, that's how this guy works. That's how the termination threshold works. Let's reset this back and now let's let's boost up our Alpha obstacle, has to look at the next guy. Now for the next guy, which is the main core collision only, if you enable this, it's going to apply the termination threshold and the forking or sorry, the Alpha obstacle, only to the main core, only to the main core. The forking, that's the branches which you can see here, will no longer be affected by it. Will no longer be affected by the Alpha obstacle, we see them going through, but the main core will be affected. That's this for now, we can actually delete our mask. So as to see the remaining options. Now we have fractal types and fractal types where we set to linear, and this is basically the way our lighting is designed, all the way it's breaking, we get. We set to semilinear right now and we have it at linear now. We can see basically the difference we get. Semlinear is this, and then we have spline, which is basically this, which simplifies everything. Basically give us a line. Yeah. And yeah, basically, that's the fractal types for you and we have the dran. The quadran is basically, let's first of all, increase our forking. Yeah, the udran let's have it at zero now. Now the udrane is basically how far our lightning goes depending on our forking, on our forking on our branches which have been exposed. Okay. So we can see that we have a few of them here, and our main call is not that far or it's not going far, right? But as soon as we reduce our ca drain, it basically exposes our fox and thereby increasing the appearance of our call lightning. So this is basically what it does, okay? Yeah, it increases the appearance of our call lightning based on the exposed fox. That's simply what it does. And then we have the fork strength, which is the strength of our fox of our branches, and this is what we do. Okay, reduces the strength or increases the strength of our fox. You can see that with it at 100, we have a lot of fox and we have them really bright. And as we lower them, we basically have them faint, very faint. And yeah, we just have our call now. And finally, we have a fog variation, which controls the design of our fox or the variation of our fox. We can see that as we because of the value, we have different designs or different ways our fks are formed. That's it for our fog variation. With this, we've basically covered all our settings and with all these settings, you can go in and create really incredible looks incredible effects. We are definitely going to be using this effect in further lessons to create amazing stuff, amazing stuff, really amazing stuff because this effect is amazing effect. That's it for this effect guys and that's it for this video. It's been a really long one and I'm sure it was worth it. That's it for this one. See you in the next one. Bye bye. 34. 34 Audio waveform, Audio spectrum 1: Hey, there. Welcome back. This video, we're going to learn how to use two effects in After Effects. We're going to learn how to use the Audio waveform effect and the Audio spectrum effect here in After Effects. So these effects are used to visualize audio, and I'm just going to go ahead and bring in an audio right away. So I'll go into my folder and bring in this free music audio, hiding port. So the music can be found in your folder. So just use the music or use whatever music you have or you want to use, okay? Now, I'm just going to go ahead and create a new composition 1920 by ten TP, hit okay. And then next I'll do is create a new solid the color doesn't matter because we're going to be adding the effect on our solid. So I'll come here, search for audio, and our two effects should appear, the Audio spectrum and the Audio waveform. So we're going to start with the Audio waveform. So add the Audio waveform to your layer or to your solid. And immediately, we see this line, which is a basic visualization of an empty Audio waveform. Because if we hit play, we see any animation of our waveform. So it's basically empty right now, and we actually need to bring in our audio into our composition. So drag your audio into your composition, bring it here and make sure your composition is 30 seconds long. And if I double hit L or hit L two times, you are going to see our Audio waveform for our audio layer. Okay? So if you just play this our audio play. Yeah, it's a good audio, and you just close this and I want to hide my layer so I don't select it accidentally, right? I just enable the shy feature here and enable it on the layer, and our layer will just get hidden. And now we can start working with our effect. So go back to my effect control, select my solid, and we have some set of options for Audio waveform. Now the first option is the audio layer, which is the layer we want to simulate, which is, of course, our free music layer, which is the audio layer, of course, to select your free music. And as soon as we play now, we're going to see that we are having animation. We having animation, and basically, that's what it does. So we have certain tier which enable us customize this effect to the little to the tiniest details. Okay? Let's look at them. We have the first guy, which is the start point, which is this point. It's the start point of our Audio waveform, and we have the endpoint, which is this guy, the endpoint for audio Wave we can move our start point and end points to our desired locations, but can reset this to have the default location which is here to here. So our audio we form is basically visualizing our audio from one point to another. So if you just scroll over our timeline just a bit, we're going to see that. Okay, I actually hit Reset, so I have to go back and select my music. Okay, perfect. So if I just move this a bit, we're going to see that our audio is actually coming from here to here, from the right to the left. So we see it coming, coming, coming, okay? So when it gets to places like this where the music is intense, it's a bit not very easy to see how it's moving, okay? But it's actually moving from one point from this point to this point, okay? So that's how our audio is moving. Yeah. And then yeah, we've looked at the start and end point, we have parts. We're going to come to this later on. But let's look at the other options we have. So this guy displayed samples, and this is basically helping us control the detail of our foam. So let's bring our time here, and we have it currently set to one around 20 samples. So as we move this, we're going to see that our foam gets more and more detailed, right? So let's make it one 21st. 120, and we can see that this is basically what we see. But as soon as we push this up, we're going to have more and more details or more and more complexity to our samples or to our waveform. That's the displayed samples. Then we have the maximum height, and this is the maximum height of the Audio waveform. So how high is our highest waveforms. That's basically it. So as we make this high or make the maximum height higher, we're going to see that. Our w foam is now even more conspicuous, and it's plain, more visibly, okay? Yeah, so maybe we can just make this 120 and boost our maximum height. So we see it having less details and a very good height. Yeah, so that's the maximum height for you. And then we have the next guy, which is the audio duration, which is in milliseconds. Okay? Let me just make this bigger. So it's in milliseconds. Now what's audio duration? Audio duration is basically the amount of audio displayed between the start and end points. So if we bring our time here and just boost up the audio duration, we're going to see that we have a lot of audio being displayed now. We have a lot of audio being displayed now between our start and end points. Let's just play this and see. We can see that because we have a lot of audio, it's not moving like it was moving before, right? It's moving a bit slowly. Or a bit slower than how it was before. That's because we are compressing a lot of information in a shorter time. When it was lower, we had more information or less information rather within this time. But as we make this higher or make the audio duration higher, we are bringing in a lot of information, which will ultimately reduce the speed of our movement. Yeah. So that's the audio duration, and then the audio offset, which is also in milliseconds, it's basically an offset. Okay? It means we can basically offset or determine the positioning of our Audio waveform, okay? So we can determine the placement of our Audio waveform using the audio offset. So as I make this or boost the figures, you're going to see that our audio is moving. Okay? So we can say, at this point, we want the Audio waveform to be this. Okay? So we can use it to basically offset our audio and place our Audio waveform in a specific time. Okay? So that's the audio offset. I'm just going to hit reset so as to bring back the default settings. Select my music back, my music layer back. And now let's look at the others. We have the thickness, which is of course the thickness of our Audio waveform. So as I make this as I zoom in, we're going to see that our Audio waveform is now thicker. I was thin, now it's thicker, we have the softness, which softens our Audio waveform. I want to use the softness to tree and we see that our Audio waveform is sharper now. Yeah. So we also have the random seed. And we have analog. We're going to come to this later. Let's look at the colors first, the inside color. The inside color is the inside color of our Audio waveform. You can see that the inside color down changes as I make this white. We have the outside color, which is, of course, the outside color of our Audio waveform. This also change. Make this blue, it's going to change. So we have white and blue. I'm just going to make my height my maximum height a bit bigger. Yeah, so the next thing we're going to look at is the waveform options. We have monu, we have left, we have right. Okay? These are just way of our audio simulating our audio channels. So we have the Mnu channel, we have the left and right. So this will simulate those channels, those audio channels on our w form, right? And then the next thing we have is display options. We have the analog lines, and these are analog lines we're seeing. We can display our audio in digital. So digital gives us digital lines. So we can just lines. So we are basically displaying our audio in just lines, okay? Just this. Yeah, so that's the digital for you. And then we have the analog, analog dots, which this setting is based on. Now, these are the analog dots. They are just dots, basically. Yeah, so these are just dots and we can increase their thickness, their color, and everything just like we did the digital, right? And then this random seed will control how random our dots are the randomness of our dot. So as we increase the value, we're going to see that we are basically creating randomizations in the arrangements of our analog dots. That's it for our analog dot, and then we now should look at the path options. Now the path options, we basically align our audio to a specific part. Let's just draw a path, random paths. And now we click here, we're going to see our mask one, select mask one, we see that our audio now aligns itself to our path. We can change this to digital We see that everything now is aligned to our path or even analog lines like before. Yeah. So let me just create a different path, an ellipse. I'm just going to create an ellipse so as to see how it's going to visualize on an ellipse or it's going to be visualized on an ellipse. Then for the max I'm going to select none so that it doesn't mask the solid. Yeah. Then we just move this and place it properly. Yeah, then instead of max one now, we select max two and our Audio waveform should be aligned to our mask too. Do you see this beautiful pattern you're getting? Now we can, of course, maybe change our color, maybe give it a more interesting color. Yeah, and then maybe use digital instead. Incredible. I'll just reduce the thickness. Yeah. Maybe increase the softness a bit and this is what we have. So yeah, so basically, this is just our audio we form effect. And we have one more option we didn't look at, which is composite on original. We should just blend this on the original layer, which in this case, solid, right, a black solid. So it's actually blending this with black solid. But let me show you one thing you can use this to achieve. So I'll just duplicate the effect, Control J or Control D rather and then compose it on original. And for this, I'm going to select analog dots, and I'll just try to change some things about our dots, maybe the thickness and maybe the color, maybe inside color, change the bit and heat, okay. Now if we play this, we're going to see that our dots are actually aligned to our lines. It's actually blending with the first effect or with this other effect here. This is actually on top. Our dots are actually on top, it's blending with the original. So that's one thing we can get of these now, we are not going to be seeing the original, o? But if you enable this, we are going to be seeing our dots and our original. Yeah. And it means we can furthermore make changes to our dots. Furthermore, make changes to our dots, maybe do this and maybe even increase the height, okay, maximum height, so that our dots go over the original. Okay? So we can do a whole lot of other things so that our dots go over the original, okay? Incredible. Yeah, so that's it for this effect, the audio form effect. Now let's look at the next effect. Let's just delete these ones and look at the Audio spectrum effect. Now the Audio spectrum effect is very similar to the audio foam effect, only that it doesn't travel from one point to another. Now, let's select none for mask so that it doesn't use our mask. And I would like to delete our mask, but I will just leave it. Okay, let me just delete our masks so that we can come to that later. Okay, so delete our masks, and now we have the audio layer, which is, of course, the audio layer. Yeah, so if we play our music now, we're going to see that this guy is not traveling between point A and point B. It's not traveling between point A and point B. It's just playing everything within point A and point B. Yeah. And then we have start point and endpoint on. Of course, it is at the start and endpoint, just like the audio we form effect. We have parts, which of course are the parts. Okay, we're going to come to this later on. We have the use polar parts. It's also related to parts. So we're going to come to it later on. We have start frequency, and this actually enables us select the frequency of the audio when we start. Okay, so we can make this bigger, can increase the frequency, and we can see that it's reducing the detail we get, because now there are a lot of frequencies and make this smaller, it's going to limit the amount of frequencies and by that, increasing our detail, just like how we see that these lines have now gotten bigger because I reduce the start frequency. And then the end frequency helps us control how much frequency we visualize in the spectrum. So we can make this plenty out, and of course, as you can see, we are getting less details because we have a large spectrum of frequencies, right so the lower the more detail kind of you get. So that's the frequencies for you. And we have the frequency bands. Now these are the number of bands. These are the number of lines we get. We get to select the number of lines or control the number of lines. So now we have a lot of them, so they are almost just a straight line. Okay? We are not seeing the demarcations any longer because we have a lot of them. Yeah. You make this 120, and yeah, we have less of them now. And we have the maximum height, which is just the maximum height, as you know it from the previous effect. The maximum height of our bands, we can see that our bands are now very conspicuous and very visible. Yeah, so that maximum height, we have the audio duration, which is of course in milliseconds, and this is basically the amount of audio we are displaying in the spectrum. The amount of audio we are displaying in the spectrum. And the offset is as well how we offset the positioning of our Audio spectrum, just like we saw in the previous effect. Audio duration, Audio spectrum. Now, let's play this. Now you see there is less activity because we've increased the audio duration. So that's where you get when you increase the audio duration. So that's why you get when you increase the audio duration and we have the thickness, the next. So that's the thickness of our spectrum, right? I'm just going to reset this and select back my audio. And yeah, to boost up my maximum height. And now the thickness is, of course, the thickness of our audio, we have the inner circle, inside color and then the outside color, which of course are the inside and outside color like in the previous effect. And we have the softness which is also the softness of our lines of our lines. Apart from this, we have some other effects. We have this hue interpolation. Now, this hue interpolation, let's change our inside and outside color, and I think I want to make this yeah, this color. Now, let's first of all, look at the blend overlapping colors, right? So if you click on blend overlapping colors and you play, it's just going to blend and let's first of all, make our bands or frequency bands a bit much so that they overlap, so that they overlap. Now, as soon as you play, you're going to see that it's blending the overlapping colors. So let me just check this so that you see what we have without the blend of overlapping colors. So this is what we have without blend of overlapping colors, we have the inside colors separate and then the outside colours separate. Well, as soon as we blend with lapping colours, we're going to be blending the inside and outside colors, okay? Yeah, so that's basically what we get with blend developing colors and we have the hue interpolation. Now in this we just kind of create some really cool look. Let me just make the Revolution one. So now you see that it now interpolate it now creates this dynamism in our color look, okay? So it creates a lot of colors. And we can keep increasing the revolution. So let's see four revolutions. And we're going to see that it repeats the color loop in four places. If you observe, you're going to see that. It's basically the same color loop that gets repeated, okay? And we can change the angle to have something different. Okay. But basically, that's it. And we have the dynamic hue phase. Now, the dynamic hue phase basically applies a hue shift. So it basically shifts our hue. It animts our hue and shifts it to the highest frequencies. So before looking at that, let's look at the color symmetry first. Now the color symmetry basically is a symmetry. Over colours. So as I check it, we're going to see that we have less colours, right? Or less division of color. So what it's doing it's basically creating a mirror of the colors from here to here from here to here. So what we have from here to here is exactly what we have from here to here. Now, that's the color symmetry option. That's what it does. Without it, we're just going to have a phosphate revolutions of these colors, phosphate revolutions of these colors. So we have this guy here, we have this guy here, we have this guy here and this guy here. These are the divisions. We have four divisions. But with it, we actually have eight divisions because it's mirroring our color based on symmetry. So that's based on the center Of our spectrum. So we have the same thing happening here happening here, okay? That's in the color shifting or in the hue shifting. Yeah, so that's the color symmetry. And then the hue or the dynamic hue field. So let's just bring this. And let's look at the color we have here. So we have, let's look at the very conspicuous one. Yeah, okay, we have a purple color here, something that looks like purple. So as we play this, we're going to see that now we have something that looks like a green here. So it has been shifted based on the frequencies, okay, based on the heights and based on the frequencies. So that's what the dynamic hue face does. Okay? Dynamic que face shifts our colors from one place to another. If we just have it unchecked, we're going to have the same thing as our music play. So let's uncheck it. I've unchecked it now, let's observe this guy here, this purple guy here. Now, if I play this, we are no longer having what looks like a green. We are always going to be having the purple. The one that is similarly purple. Yeah. That's what this guy does, and we have the display options. We have digital. This is just what we had in the previous effect in the Audio waveform effect. So we can display digitally, we can display in analog lines. So these are analog lines. Let me just reduce the thickness so that we see exactly what we have. So these are analog lines, we have the analog dots, which are dots just like the analog dots of the waveform effect. Go back to digital, and then we have the side options. We have A and B, which is top and bottom, and we have A, which will just display the top. So if we just want to display the top effect, the effect or just on the top, we are going to see, we are going to select the side A and then side B's going to display the bottom of our effect. Then we have the next option, which is average or durational averaging. This will just smoothen our waveform. We see that we have a smoother waveform. It removes the stiffness. We cannot increase then, the bun frequency. Let's just increase the heights so that we have this more conspicuously. We see how smooth how we form is, that's thanks to duration averaging. It's averaging the duration, averaging the heights of our Audio spectrum. Let's select A and B and see it fully. Incredible. So we have composite with original and or composite on original, and this does the same thing as compositing our effect on the original layer, and it can work also and create the same effect. We used it to create when looking at the Audio waveform. So let's just create a path to look at the path option. Yeah. So this is our path and come here and select mask one, now we see that it wraps our effect around our mask. Incredible. This is an incredible look. Yeah, so we can see the kind of crazy things we can create with this effect. So we have the use polar path. Now, if we have this check, it's going to just concentrate our effect on one point, just like we can see here. Okay? It's concentrating our effect on one point. Maybe I should reduce my resolution to see this better. Yeah. Basically, it's concentrating our effect on one point, just like this. Okay? And it does that on the first point on the first point of our path. So what if we want to change the point? What if we want it to appear on the second point? We just need to select our second point and then right click and come to mask and shape path and then set first vertex. And this will just bring this point or make this point our first vertex and we can now see that our effect cls here. Okay, place in the first vertex now. Yeah, so that's how to change the positioning of our effect. I'm just going to delete this. And yeah, basically, that's it for the audio reform and Audio spectrum effects. And that brings us to the end of this video. See you in the next one. Bye bye. 35. 35 CC Environment: Hey, welcome back. In this video, we're going to learn how to use the T D environment effect. Now, this effect is a really cool effect, and we can use this effect to achieve a lot of cool stuff, such as integrating objects into three D environments, such as compositing and so on and so forth. Okay? So let's go ahead and create a new composition so that we see how to go about this. Now, I'm just going to go to my folder for this module. Okay, this is my folder, and in my folder, I'm going to bring in this HDRI image. This is named Cobblestone street night, it's an HDR image, and just select it and bring it into your scene. You can go ahead and use any other image if you like, this effect doesn't only work with HDRI images. So now create your new composition, and I'm just going to bring in my HRI image into my composition. And here we have our composition. With our HRI image, we can see how big our HDI image is. I'm just going to create a new solid, create a new solid heat okay. And I'm going to type in CC Environment to bring in my effect, and I'm going to apply my effect to my solid. So we've now applied our effect to our solid, and we can actually disable our layer that's our hdR layer, select our solid. And here we have our effect, the CC Environment, and then the first option we have here is environment. So we are going to select our environment. Okay, so click here and select the Cobblestone street night. So you select the environment, and for source, it's just going to be source. And right away, we can see that we are not seeing anything. That's because this effect only works with a three D camera. Okay? So we have to actually create a three D camera. So we can do that by clicking here, right click and then new end camera. I'm just going to choose this camera, this preset 28 MM and lens and dok. And then now we can see our our HDR image. Okay? So what's this effect? What does it actually do? If I select my black solid right here, you can see that we have some sets of options. We've looked at the environment. We have mapping. We have a number of them. Let's use spherical for now, and then we have horizontal pan. Now, if we adjust this, we're going to see that we are basically going round our image or we are rotating our camera. Okay, so we can use this to adjust around our image or even use our camera. To rotate around our image. Okay? Now, this effect also works with other kinds of layers, doesn't have to be an HGRI image. Okay? So just take note of that. You can experiment with other kinds of layers as well, normal layers, okay? Footage, videos, images, and so on and so forth. So select your solid, and now we see that we can pan around our image. And this basically allows us to be inside our HI environment. So we can now add stuff to our environment. We can admit stuff in our environment. Okay, we can basically composite items in this environment. We can do a whole lot of other things, a whole lot of cool stuff. Okay? So this is one way we can bring stuff into our environment and admit them in TD space. Okay, so we have this filter environment. Now, this will just increase the quality of our tDa of our HI image. So this increases the quality and of course, whenever you increase your quality, you know that it takes too long in your computer. So just take note of that. Okay? But yeah, the next guy is the lens distortion. So this is what the lens distortion does. It's similar to the Zoom effect in our camera, but it's not really the Zoom effect. The Zoom has a different effect. But this distorts our lens, and it zooms our guy out like this. Okay? So we can use this to create Zoom effects. We can maybe zoom into our scene, okay? This can come in really handy in situations like that. Now, apart adjusting our environment settings. We can select our camera and go to our camera settings and then go to camera options and even our transform and basically adjust our settings, we see that we are adjusting the orientation slider and we are basically adjusting our orientation. That's the orientation of our camera. We get yeah, I'm just going to hit reset on this. And we also have a camera tool here. This is a camera tool. This is our orbit around tool. You can use this to orbit around. Okay? Just like this. Okay? Yeah. So let's look at the Zoom here, the Zoom effect for the camera. So you can select it and you can zoom out for your scene. You can zoom into your scene. You can even add stuff in your scene. Okay. Yeah, so we can see the effect the zoom is giving us. It's a bit different from the lens distortion. But all of them do have a Zoom attribute because they zoom into our skin and zoom out of our sin. Yeah. So let's try adding something. Let's add a text. So let's see After Effects. Okay, let's just say. Yeah, let's just say After Effects. I'm a bit confused on what to type. So let's see After Effects. After Effects. Yeah. So we have our after effect text, and let's just position it well. Let's see a font. Let's select a font. That's a bit compressed, unlike the previous one selected. So this will do increase our size. Okay. Perfect. Let's add a stroke. So click here to add the stroke and let's reduce our stroke size. Se our stroke size, make this really dark color. Just to make our text conspicuous, okay? Now we can select this and maybe boost up our stroke size a bit. You see that our stroke is behind our text. Perfect. Now, it's not going to work unless you enable your three D option for this layer. You have to come here and enable the three D option here. If you're not seeing this, of course, you have to hit your toggle switch button to switch between these modes, and then enable your three D layer. Now we can see that our text has now been adjusted in three D space, and we can use this gizmos to adjust our positioning, our scaling, our rotation of our text in three D space. So you see our text is behaving like a three layer. Okay? Yeah. Now we can animit our camera and we can now see that basically our text is reacting to our three d space. So we've rotated even behind our After Effects. So the camera is basically looking at our After Effects text and we're going around it. We're going around it. Okay? So let's look at Zoom. Let's zoom out and then zoom into our text. So I'm going to click Open now Zoom and I'll just zoom out a bit. Zoom out Okay, and maybe adjust my camera just a bit and yeah, do this, and then just create the keyframe for Zoom. Come to 5 seconds or no, not 5 seconds. 5 seconds is too much. Come to 1 second, and just zoom into your scene. Here zoom into your scene. I think let's zoom past. We can actually zoom past our text, but I think it's going to be too we're going to be zooming too much into our scene. So let me just reduce the zoom. So let's play from here to here and see. Yeah, I didn't even know we actually zoomed this far. I don't want it to be this much, so I reduce it so from here, we zoomed into here. We have a text in three D space, and we could even now create a keyframe for our transform properties and then kind of just rotate around our text like this. Maybe we can teat a kiss first and then go bit in time and go around our text. Okay, so we have this, and then we have this I don't know why it did that, but you get the point. You get the point. It enables us animate our camera and even go into our scene and add stuff to our scene. Let's look at really cool example this time. Now, I'll just delete this not necessarily. I can just go to file and then open project. Go to Open Project. Don't save this. Now let's go into our folder. That's our folder for this module. Then you're going to see this footage background composition folder open And bring in this footage background composition or compositing and then it open. Now it's going to open this project. Just open this and you're going to see that we have this guy. It's transparent. I've gone ahead and added a chroma or key light effect rather to this. It's originally a screen background, a green screen video. The guy is on a green screen and I just added this effect and removed the background. We're going to come to this effect in subsequent lectures or in a subsequent modio. But that's what I did to remove the background. Now, I'm just going to create my new composition, 1920 by ten ATP, go back to my folder and I'm going to bring in this neon photo studio ITK EXR. This is also an HR image, so hid in port, and I'll bring in my HR image here. I'll create my new solid. It and then add my environment effect, and I'm just going to hide my GRI image and select my neon photo studio and then create a new camera adok so as to see our HGRI image. We can select our guy here that's our black solid and then just go ahead and pan around maybe zoom out a bit or even use, I'm just going to use my Zoom option here under my camera options, use Zoom Zoom out I'm just going to hit shift so as to zoom out quicker. Okay. So you can see that there's a bit of distortion, too much distortion. So I'm just going to reset this and select back this guy good. So now we don't have that distortion from the CC Environment effect. So let's just use our camera zoom zoom out to see our HDRI image. So this is where we get with our HDRI image, with our Pooto studio HI image. So now let's just pan around or let's treat around to see the space. So we are inside our space now. We're inside our space, we can see this is just a foota studio or just a studio or just a room, okay, whatever you want to call it. But this is what it is. I'll just zoom out a bit or maybe zoom in. Let's try compositing our transparent background footage into our scene. That's what we're going to be doing here. Select your composition, that's the green screen footage composition, drag it in. Release it. I'm just going to change it to a tree layer, change it to tree layer, and then bring it on top of what do we call it? Our black solid. Good. Now with this, let's make it a normal layer for now, and I'm just going to scale this down first, or scale this down. Sometimes we don't really need to even change it into a green sorry, into a tree layer. Sometimes we don't need that honestly. Especially in instances like this where our character is basically just static. Okay, so let's rotate our camera to see the best way to position our guy. So we can position him here. We can scale him down. So these are basics in compositing. Well, we're not doing anything advanced here. So right away, you can see how realistic it looks, how realistic this looks. Okay? Try turning the T D effect on and C. With the TD effect being turned on, we can see how into our scene he has gone. I don't want to do that. Let me just remove the Tre effect and let's work with it like this. In order to make this more realistic or more real or look more real, we need to add some shadows, we need to add a lot of things, we need to do a lot of color adjustment to our HDR image because we can see that our character has more contrast as compared to our background. We would want to fit everything together perfectly. This is basically what we have now. We can see him in our space, and this look fairly realistic, honestly. Without even going the extra mile, it's already looking fairly realistic. Let's just repeat this and see. Okay. I think this will suffice. Let's see where we get with this with this little ton, okay? Yeah, so I think this will suffice. Let's play and see. Yeah, we can see how real everything looks. He's basically in our scene in our three D space, okay? And we can, furthermore, go ahead and add more effects to our background, make our background look better, make our scene look better. Okay, do a whole lot of adjustments to make this thing look even more realistic and more cool, okay? But this is just for you to see how we could use the CC Environment effect to add objects into our scene, just like how we've done with this one, okay? And that's it for this video on CC Environment. See you in the next one. Bye bye. 36. 36 Exercise - Chromatic effect: Hey, welcome back. So in this exercise, we're going to be working on an interesting project for this module on effects and presets. Okay? So we're going to be creating a chromatic text effect, and we're going to be using a lot of effects in the process so that we see how we combine lots of effects to achieve specific incredible looks. Okay? So o of talking, let's go ahead and do this. So go ahead and open your file Okay. In your full down effect and preset, you're going to see the chromatic text effect exercise after effect file, select it and hit open. And when you open it up, you're going to see that I have provided this text animation. You have created this little text animation using text animators. Okay. So before I continue, I'm just going to go ahead and save this or save a copy so that you have the one you're going to use without the effect you're going to be adding. So I'm going to hit Save. And now let's go ahead and start working on our exercise. Okay? So this is our text animation. We can see that it's a very simple text and mission. Of course, you can go in and see what I've done here. I've just used simple text and meters. But the next thing you're going to do is just come to file. So you come rectangle or ship, select the rectangle two and just create a rectangular shape like this. Just about this size. Yeah, just about this size. And we just want to come here, click here and make sure you have the gradient feel selected. Make sure your gradient is looking like mine, so it should be from black to white, right? And then hit okay and you just want to come in here and make this arranged this way, okay? Make the gradient look like this. So from top to bottom, not from right to left, like I had it before. So this looks perfect. So I'm just going to select this to control all home and control whom to align my ankle points to the middle and also my shape the middle of my composition, and I'll select my shape here, come to RD and give it a repeater. With the repeater, just go into my repeater and make this eight copies and then come to transform and make the position here zero, and then start adjusting this other position. And I just want to adjust the position, making it look like this. Okay? So I just want to have one copy here, and the next copy should be a booth like this. Or out of the film. Yeah. So this is what we want to have first. Then we're just going to come to our effects and presets and start to add our effect. And the first effect we're going to be adding is the wave warp effect. So wave warp effect. Yeah, this is a wave warp effect added, and we just want this to be say 150 or 149 or 148, about the size. That's the width, increase the height a bit. Maybe 13, and then the next effect we're going to be adding is the turbulent displacee effect. So we just want to add the turbulent displacee effect. It's our turbulent displace effect go down, and now we want to just boost up the amount of bit. And then for the size, we just want to make this around 140. So 142 looks good. Okay? And maybe I'll just slightly increase the size of my shape here, okay, so that it looks a bit thicker. Yeah, so this works. And then the next thing I'm going to do is come here to my evolution, pull down all and click here, and I just want to add an expression. Okay? So what I just want to do now is just type time. Okay, and then times 55. Now, this will create an expression. An expression is basically a code you add to a property in after effects in order to create animations or to add keyframes to it. Okay? But these keyframes, we don't see them. We don't see the keyframes. They just added. And then after effect performs those actions without us actually creating those keyframes, okay? So that's a very easy way to create complex animations that require lots of keyframes without really adding any keyframe. So that's just expressions for you now. The next thing you're going to do is come here and add the first Bx plow. And we just want let's just enable the text or bring our time here so that we can see the text. And we just want to boost this up a bit. Let's see 11. 11 looks good, and iterations maybe six or five doesn't really matter. Yeah, but this is what we want to achieve. So if I play this now you're going to see that our evolution is animating because of our expression, and this is basically what we now have. Looking perfect. Now the next thing I'm going to do is just come here, select my shape, hit P for position, create a keyframe here, come here, bring it here, while holding down shift to take it in a straight line. So we want to start from here and then we want to come to the end. Let's hit 10 seconds. So let's just make this 10 seconds long. So maybe bring this here or hit N right click and trim come to walk area, and I just want to then bring my shape down here. Okay? So if I bring this now and play this, we're going to see what we've got. Incredible. I want to also create another copy that makes the movement faster. So what I would do is just select the shape here, Control T to duplicate, and coming to my last qfme here, what I want to do is just bring this guy even lower so that it's faster. Okay? Perfect. Something like this looks good. So if I play this now, we're going to see that one of them is faster. That's this one, which is the one we duplicated. Perfect. Now, the next thing we're going to do is select our two ship layers, right click and precompose layers and just name this displacement because we're going to be using them or the layer as a displacement map, but we are not going to be using the normal displacement map which we learned in this module on effects. We are going to be using a special displacement map. So for the displacement pre composition, I just want to select it and basically delete it from this text composition. So delete it so that we have it only here on its own. We'll just close this and create a new composition, hit okay. And now in this composition, I just want to bring my text. I want to also bring my displacement. My displacement should be on top of my text. And then on top of my text, I'll just select my text and right click here and add a new adjustment layer. Okay, and I just want to make this 10 seconds so hit N, trim come to walk hera and then I want to add another effect. And that is our displacement effect, which in this case is the CC glass effect. So we just go ahead and add the CC glass effect to the layer here, I just meant layer here, and now we just want to select our adjustment layer and then open the surfaces, and now for bump map, we want to go ahead and select our displacement layer, and then we want to just change this to effects and masks. So when I play this, we're going to see that first of all, I actually need to disable my displacement layer. Now when I play this, we're going to see that we are having this displacement, which has been derived from our displacement map. Perfect. Basically, this is the first step we want to achieve. So this already looks really cool, right? Perfect. Now, I just want to select I just want to lay and do Control D and add another effect. I'll just delete this effect, the class effect. I just want to add what we call the camera lens blow effect. Okay. And for my camera lens blow effect, I just want to come here to blow map, and I want to select my displacement, okay? So that the displacement or the blow is only confined to our displacement. And for sauce, I want to make this effect and masks. So now, when I just boost up my blow reduce here, you're going to see that our blow is just confined to our displacement, as you can see here. Okay? So for our blow, we just want to make this 7%, or seven. And you can see the really cool subtle effect it gives incredible. Perfect. Now the next thing I want to do is just select these guys that's the adjustment layer and the text layer and do Control D and select them and just bring them on top of the adjustment layer and Control D one more time and bring them on top of the adjustment layer so that we have them paired like this. So 12121, two, I just want to select the first guy that's the text layer here. And for my text layer, I want to come here and add the channel mixer. Channel mixer effect. So channel mixer effect, I'll just add the channel mix effect. And for this first guy, I will kind of make the green channel zero and also the blue channel is zero, and just select the effect copy and paste it on the next guy that on the next text, and I'll just reset this make this zero, and make the blue zero. And only enable the green channel, and do the same thing for this one, so Control V and reset, make the zero, make this zero, and only enable the blue channel, so that we have this. And the next thing we're going to be doing here is selecting our text and go and change the blend mode. Let's use the Add blend mode. Go and add and go and add. Perfect. So this is now what we get Now, let's play this and see what we now have. Incredible. We can see the incredible displacement we're getting with the chromatic effect. Everything just looks incredibly perfect. Okay? So this is how we can use multiple effect to achieve incredible looks like this. And this looks perfect. So I'll just do Controls to save this and maybe I'll just do file dependencies, collect files, hit collect, and hit save. Yeah, so everything looks incredibly perfect. And that's how we can use several effects to achieve an incredibly looking chromatic displacement effect here in after effects. So that's it for this one, guys, and see you in the next one. Bye bye. 37. 37 Conclusion: Congratulations on completing the effects and presets class. You've learned how to approach effects more confidently, work with presets, create custom mission presets, and use a wide range of tools for color correction, stylization, distortion, lighting, and more. Now it's time to put that knowledge into action to be sure to push your Chromatic text title and mission in the project section. And since this class is part of a bigger after effect series, I encourage you to consider the next class and also check out any earlier classes you may have missed. Keep creating, keep experimenting and keep pushing your skills further I'll see you in the next class.