An Ultimate After Effects Masterclass - Beginner to Pro VFX | Eyevenear | Skillshare

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An Ultimate After Effects Masterclass - Beginner to Pro VFX

teacher avatar Eyevenear, Teacher in Audiovisuals and AI

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      THIS IS AFTER EFFECTS!

      1:00

    • 2.

      Download The Resources!

      0:58

    • 3.

      Optimize The Software

      4:28

    • 4.

      Full UI Tour

      2:45

    • 5.

      All The Types Of Layers (in short)

      13:06

    • 6.

      Blending Modes & Track Matte

      4:11

    • 7.

      Motion Graphics (Basic)

      9:06

    • 8.

      Motion (Advanced)

      16:02

    • 9.

      Morphing (Basic Method)

      3:18

    • 10.

      Morphing (Allaround Method)

      13:14

    • 11.

      Morphing (Advanced Method)

      10:30

    • 12.

      Precomposing

      8:43

    • 13.

      Kinetic Typography (Basics)

      5:58

    • 14.

      Kinetic Typography (Advanced)

      12:46

    • 15.

      2D Tracking (Basics)

      6:18

    • 16.

      2d Tracking (Advanced)

      7:58

    • 17.

      Lock-on Effect

      3:56

    • 18.

      3D Tracking (And More)

      9:42

    • 19.

      3d Tracking (Mocha Method)

      6:02

    • 20.

      Speedramping

      14:47

    • 21.

      Keying (Rotoscope + Ai)

      10:07

    • 22.

      Keying (Green Screen)

      7:36

    • 23.

      Face Tracking

      8:30

    • 24.

      Remove Objects

      9:08

    • 25.

      Displacement

      3:15

    • 26.

      Depth Maps

      7:50

    • 27.

      3D Camera Principles

      10:11

    • 28.

      Camera Animation (Basic Method)

      2:23

    • 29.

      Camera Animation (Advanced Method)

      11:01

    • 30.

      Depth Of Field

      3:24

    • 31.

      Basic Extrusion

      2:16

    • 32.

      Character Rigging (Puppet Pin Method)

      7:03

    • 33.

      Character Rigging (Duik Angela Method)

      18:37

    • 34.

      Expressions (Intro)

      0:21

    • 35.

      Mirroring vs Parenting (expressions)

      4:21

    • 36.

      Value & Slider (expressions)

      2:50

    • 37.

      Auto-opposite (expressions)

      1:35

    • 38.

      Wiggle (expressions)

      3:45

    • 39.

      Index (expressions)

      1:56

    • 40.

      Rescaling (expressions)

      3:51

    • 41.

      Time (expressions)

      2:10

    • 42.

      IF Conditions (expressions)

      2:50

    • 43.

      Presets (expressions)

      3:51

    • 44.

      Good To Knows (expressions)

      3:59

    • 45.

      RGB Split

      6:21

    • 46.

      Glitch Displace

      10:47

    • 47.

      Trail Methods

      8:22

    • 48.

      Looping Methods

      11:12

    • 49.

      Particles

      19:55

    • 50.

      Parallax

      5:01

    • 51.

      Ascii Technique

      8:44

    • 52.

      Clouds

      7:18

    • 53.

      Glass Shatter

      5:12

    • 54.

      Grading (Simple Routine)

      9:45

    • 55.

      Video Outpaint

      2:03

    • 56.

      Audio Reactive Effects

      7:04

    • 57.

      Audio effects???! (literally)

      5:48

    • 58.

      VR + 3D Elements + Lights

      12:10

    • 59.

      MOV vs MP4 (technical)

      6:53

    • 60.

      Media Encoder (background rendering)

      2:41

    • 61.

      Export Settings

      1:54

    • 62.

      Single vs Multi Frame Rendering

      2:55

    • 63.

      The Perfect MP4 Compression

      4:37

    • 64.

      Render Engines (technical)

      0:48

    • 65.

      Proxy (Normal Methods)

      5:29

    • 66.

      Proxy (Advanced Method)

      5:07

    • 67.

      Still Image Export and PNG Sequences

      4:36

    • 68.

      Real Motion Blur (Secret Trick)

      4:23

    • 69.

      Project Size Optimize

      5:04

    • 70.

      Dynamic Link With Premiere

      3:50

    • 71.

      Projects Inside Projects (Templates Godsend)

      3:18

    • 72.

      Mogrt Import / Export

      6:24

    • 73.

      Where to find Templates (Motion Array)

      5:32

    • 74.

      Make Custom Scripts with Chat GPT Ai

      4:03

    • 75.

      Protect Your Templates From Theft

      8:33

    • 76.

      Plugin and Scripts Recommendations

      1:40

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About This Class

DISCLAIMER: This Course will NOT make you a pro overnight. But it'll get you in the right direction. Becoming a pro requires consistent practice and passion. If you have that, eventually, also thanks to having completed this course, you WILL make it. You have my full, thoughtful support. Alright letsgooo!

Ok, You are someone who wants to communicate.

It's no secret that After Effects is the center of everything when it comes to Motion Picture.

  • It can really change one's life if you master all its facets.

The problem with that is that it takes about 12 years to reach such a result for free, and some people don't wanna wait that long, that's why this gig is my present to you:

You will take the absolute shortcut to proficiency and reach it in a few classes because i will show you exactly what you need and let your knowledge expand to its max.

Be it live sessions or a series of customized tutorials that solve all your issues, or even me working for your project directly, this is where your search will stop for a while. I'm someone you'll never forget and i know, that i'll never forget you as well.

Some people want to learn how to edit their music videos (either with real footage or AI video), others want to remove backgrounds, create visualizers or do motion graphics or lyrics videos animations, or edit templates or make custom scripts with chat gpt ai and more.

‎‎‎Let's talk.‎‎‎‎‎

‎‎‎‎‎‎

Meet Your Teacher

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Eyevenear

Teacher in Audiovisuals and AI

Teacher

I'm an Italian/Canadian Audiovisual Specialist and Twine Game Designer.

I've built a Top-Rated community of students in Fiverr in 3 years.

My Skillshare courses are a thoughtful present to those who normally can't afford my 1:1 classes but still wanna reach a decent level with arts.

I also teach in real life. I'm developing an action-puzzle game.

YES, i do have AI video/audio proficiency.

With tens of thousands of hours spent in music and video making,

I help other creatives push their craft into whole new levels.

Innovation comes from ideas. Show me what you can do.

See full profile

Level: All Levels

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Transcripts

1. THIS IS AFTER EFFECTS!: Hey, guys. I'm Set. Whether you use AI or manual editing, you're probably wondering why everyone is talking about Afterefet. Well, let me just show you. For example, we can perflytrack something that moves and keep it aperfly stabilized or dc. Or you can create motion graphics animation like this. And maybe you need some text that is pushy and pulsy. And you know what? Let's make it three D and give it some lighting. What else can you do? Well, you can change the background, you can move it or you can remove the foreground and change the penguin. You can perfly speed Bram gesters to music. You can create CR environments to contain odio reactors. Or you can create three D movement from a free spring like that. And finally, my favorite ich art. If you're ready to start, let me know. 2. Download The Resources!: All right, so before you start doing anything, you need to download the resources of the course. So you need to go to the landing page of the course and then scroll down, go to Projects and Resources here and click on this Dynamic Link, first of all, and it will lead you to a Google Drive folder, so you need to simply download this file, right? After you have downloaded the zip fully, simply right click Extract here, and it'll ask you a password. The password is, let me show you Leviathan. One, two, three, dot, dot, dot. This is the password. All right, Leviathan, one, two, three, dot dot dot. Alright. And then simply press Enter. Wait a couple seconds. And, you have the full files. Alright. So at that point, you have all the files extracted for you. Alright? That's it. Now we're ready. 3. Optimize The Software: All right. So before we even start doing anything, we need to make sure that After fax is optimized to be a little more stable and fast. So let's open the program completely until you reach the screen, and then you go to file. Well, actually, edit preferences, and then go to memory and performance. Wait a couple seconds and then disable this. Disable this option here, enable Multi frame that has to be off in case you have it, disable it. Then this number here needs to be between one quarter and half of your taller RAM, right? So that's the sweet spot. So in this case, as you can see, I have it on 50% of my RAM. In your case, maybe you can afford to go to one quarter. Make sure that it's 25-50% of your total RAM. That's it. Then go here on scripting and enable this guy allow script. That has to be on. Then go to AutoSave and enable put this number to four or five and then increase this number at least to 50. That's my recommendation because you never know when after facts will crash, and you may lose some precious minutes of work. So the higher this number is, and the lower this is, the better. So these are my settings. Just go around that area. All right. Okay. Then go to previews here and check design fundamentally check. This has to be on. Then go to general and so check this on here. This has to be on this has to be off. So enable home screen has to be off. Finally, go to media and cache here and this number has to be in at least 30. That's my recommendation, and then the highest, the better. So fundamentally, this is a space in the SSD where Aftereffects will draw garbage data to be faster when you ran the stuff. Just change these folders to the custom folder that you choose. Don't use external SSDs for this, has to be internal, so it's fastest as possible. So change that folder here, here and here. Once you have done all these things, you can finally close and remember to purge the cache data every so days. You know, maybe three or four days, once a week, it depends on how much you use A refract. So to do that, go to edit, purge, and then all memory and cache. So let's see how much data. Okay, in my case, as you can see, I have 64 gigabytes, so just clean it completely. So remember to purge that data often because if that space runs out, Afterefax stops working instantly. So the larger the folder is, the better it is fundamentally, right? So remember to do it. And finally, you know what? Just create the empty project. So just randomly, you know, click a new composition. Just don't worry for now. Confirm. Like this and go immediately here, composition, preview, and uncheck this case frames has to be off. Remember this, when you work on a project, you may accidentally close the windows like this and you may get you know, feel lost. Oh, wait, wait. What happened? Right? So if this happens, don't worry. Just go to Window. Workspace and reset. Boom. So that brings you back to square one, alright? And always remember that the final result is always going to be only displayed on this window called composition. Here, right? So if you happen to be here here here, it will never display what is happening truly on the composition, alright? Go here, composition. And that's it. You are free to move around the windows like this as you like. You can save your custom presets here, workspaces, where you want. But remember that that's how to go back to square one in case you kind of close accidentally windows. Once you have done all these things, for the most part, after effects will be fully optimized on your side. So we can call this a win already. Wow. 4. Full UI Tour: Let's make a little tour of the entire interface, right? So when you make a new project, remember to just press Command N or Control N or just click here New and select the resolution of the project. So even if you foot is four K, I recommend actually working on a ten ADP composition because that way, you're going to make everything all faster. Let's just choose standard ten ADP. Also, 80% of the screens of the world is still ten ADP, so most people will never appreciate four K. But the way, that's fine. Recall your footage is four K, but then go to ten ADP when you are here. Then let's just choose 24 frame rate per second. To have a cinematic feel or you can go double in case you make it more gaming genre so advance, if you need fluidity, just go to 48 or 60, 50 where we want. That's fully custom. So let's go to 24, and that's it. And finally, choose a length for the timeline. So let's give it 1 minute and that should be it. Alright, so let's go and order. Here is where you drag in all the material, so it can be anything. Images, videos, wherever you desire is going to be always dragged in here first. Or you can also drag it straight down here in the timeline area here, right? So here we have the time cursor, so we can move around to see all the different parts. Obviously, we can zoom in zoom out like this, like this, using the wheel of the mouse, or you can just use this nice button here. Or if you have a touch pad, just do the pinch and we'll also do that. Finally, here on the right, we have all these nice drawers that we can click and open only when we need them. You know, so I can open this and then I'll re close it. Just click, click, you know, we'll open and reclose only when needed. And all these things can be rearranged to your custom liking, so you can do this, right? So there's full freedom about that. It's fully modular. At the center, always going to see the final result, what we're doing, right? So here is what we're going to look at most of the time, usually. And finally, here at the time we have some extra tools, I'm going to show you a full exploration of all these things. Later, don't worry about that. But for now, just make sure about two things. First, turn this on. Snapping has to be on along with this. So on on on here. And finally, if your computer is not the most powerful, maybe you can go to lower quality. So here, maybe let's go to half a little bit. In more drastic situations, you should go even lower. But for now, let's go to one quarter. And yeah, so that's fundamentally the full UI exploration just for now. So now let's go a little deeper. 5. All The Types Of Layers (in short): To Alright, so now let's do a full exploration of all the main type of layers that we're going to use in Arp fax and also the main properties that you can change, right? When you work with layers, you have two options. You either drag in pre existing stuff, right? And that's already going to be one type of layer, right? You're going to have images, videos, audio, sometimes or Photoshop files, blender files, three D models. Whatever of those files can be dragged in here, straight into the timeline, and then you can work with those, right? But sometimes you can generate fundamentally layers from scratch, you know, in rpafax natively. Right. So to do that, you need to right click here. And then, and you have the first option, text. All right, so fundamentally, just type something, for example, hello and click elsewhere. Every single layer has some basic properties that you can change, and those are accessible by pressing the initial of that property. So if we press R, we have the rotation, and we can change it. Right? Then if we press P, we have the X and Y, obviously, and then S for scale, right? Very simple. All these things can also be done in case with a mouse, but I don't recommend that it's very risky. So only very extreme cases, you may need to do it. So I never use this. I think it's more precise if you do it this way. Also, when you change a value from here with a mouse, you have three levels of precision. You can just drag with a mouse like this. Or if you press control, it's going to do a fine tuning, so it's going to increase the values way more slowly, you know, And whereas if you need to change the values way more violently, fundamentally, just use shift. Right? So remember all these three levels of precision. I'm going to use those. I can grant you. And then we have the anchor point. So the anchor point is never changed this way from here because as you can see, kind of changes the position of the layer. It's very annoying. But there's a trick, very good trick. You go here, how this tool. And you can change the central gravity of the layer, just like that without making it move, right? So for example, if this is going to be a ticker, we're going to place it somewhere here, probably. So that way when it rotates, it rotates from there, right? Or if we need to center this text fully, we can place it exactly there, right? So now the central gravity of this layer is there, and consequently in case we rotate it, right? Woof makes more sense, right? So remember all this, very important. And sometimes to reposition the anchor point, you need to actually bypass this snapping behavior, right? So to do that, the trick is to hold control, and you're going to bypass the snapping only temporally, because most of the time, in my experience, you're going to need this on along with this and this. So that's the trick. Final property that you can change on a layer is the transparency. So if you press T, we have the opacity here, and obviously, this allows us to maybe overlay some layers or make a layer semi visible on a scene. There are many uses for this. All right, so the second type of layer is the solid. So you're rightly here, and we have the solid here. Which is fundamentally a basic shape that can become something else, right? So that's what its main purpose, you know, so we're going to convert it sometimes to something that is completely different at times, right? So that's its main feature. And Okay, let's call it, for example, basic material. Let's call it actually because we still don't know what it's gonna be. So, alright. And we can make it become a square by default or fill the screen completely, and we give it a default color. Alright. So again, so this has, again, those basic properties, right? Those are always available on most of the layers like this, right? And then you can design it by using some effects, you know, or you convert it to something that is completely different using a specific generation effect, right? So this can become, for example, a particle system, or it can become a texter or a glitch source for something else. There are so many purposes for the solid layer, but this is the main core functionality. This is going to most likely become something else. It's very rare that you're going to use the sold just for its bare initial shape. That's the point, you know. But sometimes actually serves that purpose, you know, so for example, you can do it as a background color, right? So you can right click on the layer, transform, fill complete the frame like this, fit to comp. It's right? Now it's going to be just simply as a serve as a background color, so you place it actually below, right? So you know that this now the text is above the solid, right? Remember this. So the order of the layers matters is kind of a hierarchy. So it goes from the bottom to the top. And obviously, the reason why we don't see the text is white on white. So when you change the color of the text, so you select the text and you go to character and just change the color, you know, maybe to black. Right. So now we start to see the text on the back. If we place the back on top of the text, obviously, we don't see it anymore. So you can see that the order matters a lot. Then we have shape layers. So shape layers instead, are a more native way to control shapes. So it means that we don't lose quality. First of all, in case we do very high Zoom amounts compared to the solid, and we have special facts that are integrated and only exclusive from the shape layer. Let me show you. For example, we start to create it, right? Shape layer. And as you can see, by default, we don't have any shape because this already by default, expects us to draw a custom shape, so it can be a rectangular shape or a circle, wherever, or a custom shape, you know, like this, right? And then you close it, okay? And the shape is always going to be made of two components, the stroke here, and the fill. So let me show you. First of all, we don't see what is happening because we are white on white, right? So why not disabling all the layers with the I, okay? So now we start to see the Acer shape layer. But you see what it did? I had you press the I twice, right? It's very annoying. Why not pressing this button here instead This does the same thing. So place any layer instantly in solo. So remember these two buttons, the solo versus the I. Okay, so the shape layer, as you can see, has now it's completely white. We can still change it. And let me show you we can tweak the thickness of the external line fundamentally the stroke. We can disable the internal color like this. And obviously we now have a empty shape. So we can customize this fully at any moment. There's nothing destructive in all this, you know. So you can tweak the shape, and then the main feature of the shape layers specialized for shape manipulation. So you can then morph this natively into something else. I'm going to show you a layer it's very cool, and you can make very cool things. That's the point. In short, remember, the main difference between solid and shape layer is that the solid is gonna most likely be used to convert it to something else, you know, like particles or a texture, usually, very rarely, you're going to use it just for its bare shape, even though there is a way. I'm going to show you even dying case. In all your DO cases, where, for example, you need full control on the shape itself, use a shape layer. Then let's continue our exploration. So let's go back to here new and we have the camera. So the camera is fundamentally a way to control your point of view into a scene. So for now, let me just show you very quickly. I'm not going to explain just for now. We're going to go deeper layer. So it just looks like this. I just layer it up. Then I you change the perspective just by changing the position of the camera into the scene, right? As you can see, right now, it doesn't change anything because the layers need to be three D for this to work. So as long as we check this on this cube here, and we change the Z axis of the camera. Now, whoo. You see what is happening? We start to change the perspective. But for now, don't worry about this. I'm going to show you a layer this on a dedicated chapter. Don't worry about this. Then we have also the control layers. So a controller is fundamentally a null object. So you create a null object like this, and you call it usually controller like this or something else. The null object is fundamentally ghost layer. Doesn't do anything. It's just this guy here. And what it does is that usually it just places controllers on this layer. And then many layers are going to refer to the controllers on this layer, you know? So that's the point. It's going to act like the center of control of many things all at once, right? And one of the simplest way that this is used usually is you just select all the slave layers, right? And you parent those to the controller layer. So for example, this background a little smaller like this, right. Okay, so we have our tax, the shape, and the second shape there, right? So let's say that we want a way to control the position of all these at once very easily. So you can simply select all these three layers and then create a cable from here, parent, create a cable to the controller simply. Boom. Alright, now they are connected to the controller, which means that as soon as we change any of the transform properties of the no object. You see what is happening? Now they are all following this. Now there's a quick way to control all them at once, right? So that's a fundamental principle of parenting as well in the null object, right? There is one more type of layer that you may need, which is the adjustment layer. So this guy has a unique feature, fundamentally, whatever effect you apply on this layer will automatically be applied to all the layers beneath it. So it means that we place the adjustment layer conveniently here at the top for now, and we call it post, right? And we go to one effect called simply glow here. We drag this guy into the post layer. Let me show you. Woof. You see what is happening? Now, all the layers at once are being subject to the globe at once, so we can decrease the threshold to detect all the colors more like this and then spread the radius. You see what is happening? Just like this to all three layers at once, because the post layer now is above earthing, right? Which means that now to exclude some layers from the adjustment in layer, we just need to change the position of the layers here in the hierarchy, right? So if we want to exclude the text from this because CNT kind of burns the colors, right, let's just put it above the post layer here. Poof, right? Now it's excluded. It's completely above, so it's fine, right? So, so that's the fundamental principle. And you can identify a adjustment layer by this icon here, you know? So little curiosity. In theory, you can convert anything to an adjustment layer using this icon here, but don't do it. That's my recommendation. Use always a native adjustment layer because that is going to behave always in a consistent way. Alright, so, and finally, we have the light, which is fundamentally a layer that you're going to use way less often because it goes usually in combination with a three D model that you drag in or with a camera or all at the same time. So camera plus light plus three D models, you know. So it's kind of a more niche case and finally, same thing for here, the Cinema four D or PhotoshotFles. These you're probably never going to use except Photosht files. You're going to drag those in, usually, you know, or Illustrator files. Okay? And before closing this chapter, let's just go and do a little recap. So these are most of the type of layers that we saw. And remember that by expanding each layer, you can see their full exclusive properties. So some of these properties are common, so like the transform, but some layers have exclusive properties to their type specifically. So for example, the text layer has this guy here, the animate, right? We can explore it later, the worry here, which with all many things also here has the text section here. That's completely exclusive to this type of layer with the source text property and these things here. Then we have the shape layer, which has the contents instead available like this here, which divides fundamentally the control of the fill versus stroke and also has a mini effect section exclusive just for it, you know, here. And the other layers are a little simpler, so the solid kind of a simple layer, yeah, has the effects versus transform. That's it. And then object even simple doesn't have anything, transform, right. So remember to explore these things and get yourself a little comfortable with these principle first before going over the next sections, alright? 6. Blending Modes & Track Matte: Every single layer can interact with all the layers in different ways from the metric. You know, there's one way which is to use the blending modes. Right. So for example, as you can see this tax here, right now, it kind of disappears, right? So just put this tax on purpose, first of all, completely above like this. Alright. Okay. So the blending modes is a cool way to kind of make layers interact color wise or using the brightness. So this is kind of an experimental thing, but it can be very fun. For example, if you use the exclusion here on the text, you know, right now, it kind of disappears. So if the text was actually white on white, let me change it back to full white. Let's go here. Okay? Alright. Okay? So as you can see, now appeared again, even though it's white on white, because now we're using the exclusion blending mode, which kind of subtracts fundamentally, you know, the color of this inch to the background, right? And that's just an simple example on how you can make layers interact using the blending mode. Remember this, you know, so this will now interact where is below it. Same thing for trach mate, which is fundamentally a way to tell a layer to exist only where the opacity of another layer is, or where the luminance of another layer is. The luminance is just I don't know what you say brightness. Let's say, you know, let me show you a simple way to explain the Shakmt. So, for example, we have a second background layer, so just duplicate this guy, okay? And we make it a different color. Okay, so let's make it maybe just something like this. Okay. All right. And then we make it bigger. So just increase, increase, increase. Alright, and we put it somewhere here. Alright. Okay. So let's say that we want to tell this custom shape, let me just isolate these two. So right now, I'm talking about this guy and this guy. Okay, so let's say that we want this custom shape to exist only where this layer is. Right. So do that, you can do it with blending mode sometimes, but that sounds more like a jump for the track matte. So let me show you. You just tell shape layer one here, which we're going to call like crown one, okay? You just connect it to the back layer, like this. Boom, like this. Alright. Okay. You see what is happening? Now we start to have the crown visible only where the intersection with the er layer is fundamentally, right. So it means that now if I move the crown layer around Poof, right? That's the point. And there's also obviously this kind of a default thing. You know, by default, kind of hides the modulator layer, but maybe you want to keep this visible. So let's keep it visible, actually, like this. Alright. So now, when we move the crown, we actually see it appear, you know, as it intersects the background layer like this, you know? That's the point. And you can also do the opposite. You can move the back che layer like this, and it will make that way progressively reveal. The other layer. That's it. You know, so you can make layers interact in very fun ways. And you can also invert the behavior like this. So it's going to now disappear only where the intersection between the two layers happens, right? So hide now back to you, right? In that way, we can have this effect. We can make the layer disappear, right? And these principles are extremely important, and we're going to use those for er. That's the point. So make sure that you make some practice with these h. 7. Motion Graphics (Basic): All right, so in this section, we're going to maximize your knowledge of motion. By motion, I mean not necessarily moving a layer around. So let's make a empty shape like this shape. Let's make 512, five, 12, so it's going to be square. Okay? So by motion doesn't mean moving this around. That's it. I'm going to show you a technique that you're going to be able to use for any property you want in general, right? So it means that you can engage also rotation. Or what else? Scale, position. We already know it. Or weirder things, for example, opacity and effects properties. So effects, for example, have sometimes percentages like this. So this technique I'm going to show you is going to be valid through anything you want, not just position. In this case, we're going to use it for simplicity on a jump animation, but remember this concept. You just need to learn the technique at its core and then use it for wherever you want in your projects, alright? And we're going to go in order. I'm going to show you the basic method first and then the advanced method, alright? It doesn't mean that the basic is bad. Actually, you should know it as well because sometimes it's convenient to convert to the advanced one. And right, so let's go. Let's make this square jump. So we're going to engage for sure, the scaled property. In the rotation and position at the same time. This is a very classical type of need in. In most cases where you need to move stomping, you're going to engage these three things. And again, remember that you can use this technique for whatever other property. Alright? So let's go. Let's make this square, first of all, appear. So let's choose our initial value. So let's say that it's going to be not that big. Like this, alright. Okay. Even before that, choose the anchor point. The anchor point is this thing here, the middle of the object. You can change it using this icon here. Make sure that these three buttons are enabled. And that way, you can snap the anchor point to any point of the object. That will become the center of gravity of that element. That way, it will scale up from that spot. You know, sometimes you need that. In this case, let's keep it at the center, so let's keep it here. Okay. So, let me make a little bigger. So, let's say that it goes from 0% to one, two, three, four, five, to that size, okay? That's how it appears. Okay. And then we wait for, let's say, about 20 frames. And here, we're going to start the movement. So let's make it jump first. So for sure, we want to make it go vertically. So let's go one, two, three, four, five, six, go higher, jump around here, okay? And then return. So say about 20 frames later, copy this keyframe, paste. Okay? So let's see what is happening so far. So it pops in, jumps and then returns here. Alright. Okay, let's also make it rotate clockwise while it jumps. So we go back to this keyframe, right? While such you jump. Let's place the rotation here, okay, and then at the end of it. So when it lands here, let's make it rotate 360. So this first number here means one full resolution. So if we increase it by one, it will do one clockwise, full 360. Boom. Wow. You see what's happening? Alright, so let's start you look this animation. Let's see what is happening so far. Okay, boom, boom. Alright, that's a masterpiece. I'm kidding. Alright, so and then we start you enable motion. Motion blur is this jack box here. Alright. And let's see. Okay, it looks terrible. Alright, let's see how we can make this look a little better, right? So first of all, we need to use busier curves. So after you have chosen just the bare coordinates of each property during your animation, you need to use most likely curves. So to do that, select everything. And then press F Fini like this. Or if it doesn't work, you can right click on all the keyframes, interpolation, and then change linear to busier. Boom. Alright, that's slightly better. Let's also make it pop out at the end of the animation. So we wait slightly here and then copy and paste the scale, right? And also we flip it because IIS is going to just go to zero instantly. So we right click on these two keyframes, Keyframe assistant. Time reverse keyframes. Boom. Alright, so that kind of flips those two values, so it will automatically close back to zero. So let's see what is happening. So it pops in. Oh, yeah, I think I forgot something. Let's We start this with F nine. Okay, let's see. Boom. Boom, boom. Alright. Okay. So we should have a little cycle. Alright. Let's see how we can improve the animation. So first of all, it's still you linear, right. So we need to actually make it effect, like, boom, boom, right? So let's tweak the rotation, first of all, so let's select this key from here, the rotation, and we go to the graph with us. Okay. And let's make a lot most ways. All right. As you can see it's still linear, so let's make it. For example, let's push. When you open this for the first time, the graph editor, make sure that you double check these settings. Click here on the I and copy my settings here. Okay. Then go here. Make sure that it shows only the value graph, not the speed graph. Avoid this like anything else. So enable only this value graph. Okay. Okay, that's just copy my settings here, what you see here. Okay? So, this way, we can make exponential curve. So for example, we can kind of make it rotate a little more at the beginning of the jump, okay? And then we kind of make it accelerate slightly around the end. So we start to obtain this, boom, boom, okay? Or just simply this just Okay. Okay. And then let's do the kind of the same thing on the on the jump on the Y on the vertical movement, right? So we squeeze this value down, so we'll jump higher, right? A little more violently at the beginning, boom and then we can do an exponential decrease exponential, line. Okay, let's see. Boom. Boom. Okay, it's still not that already starts to feel better as an animation, but still not as realistic as you can see, you know? So let's see what we can do. For example, we can add a slide bounce at the end of it. So here, at the very end, we can actually go maybe two frames later. We copy this keyframe, right? The final landing white position, copy paste. And we go to the previous keyframe, this, and actually we push this slightly lower. You know, slightly lower. That way, it will kind of bounce. Let me see. Boom, boom. You see what happens? Can I add that detail, boom, right? So, very important. Okay, but still not as realistic as we want. So why not try to smooth these three key rams even more. So we can try to right click right click on all three. Okay? Interpolation. And we use continuous bezier. Continuous bezier, as the name says, we'll try to make a continuous change instead of making a manual busier, you see? Alright. Even better, okay? But still not the best. And this is kind of the limit of the first method of animation of the properties. So that's the thing. You know, it kind of feels still kind of sequential. That's kind of a hard limitation of this first method. It's not your fault. It's not my fault. It's just the way it is, right? So sometimes this is well enough to make any project to just solve your animation needs, right? But if you need superior smoothness in your animation, we need to escalate this situation and go to the advanced approach, right? So, be careful because we're going to go slightly more complex now, alright? Let's go. 8. Motion (Advanced): Alright, so first of all, now let's duplicate this layer here and let's call the old one just backup or just old. Okay? Let's make it slightly transparent, like this so we're gonna keep it there just as a comparison later. So for 'let's disable it. Alright, so now we have a new one. New. And so let me show you the principle. So to achieve true smoothness in animations, you need to not animate the element directly. That's the first thing, because the core limitation of Afrofax in actually any animation program is that you only have one lane per property, which is still good. You know, you can make pretty much all the stuff that, but you are limited with a sequential sequence of keyframe, you know, so you can do only A, B, CD like this, only from the left to the right, right, and only in one lane. But there's a way to override this limitation by fundamentally having multiple streams of keyframes on the same property at the same time. So that way, they average each other, and that's how you reach a more realistic smoothness. That's the principle we're going to use. Alright, let's put this into practice. First of all, let's delete all this animation. We don't need that anymore. Let's keep it down all the as a reference, so let's delete this, delete everything like this. So not animate the element directly. Instead, we're going to create a controller. So right click New no object. So the null object is the purpose of this is to just control other layers. That's what the null object does. It looks like this, a simple square like this. So it doesn't have any meaning. It's just a simple controller, right? So first of all, let's call it Control one, okay? And let's also calibrate it calibrate it, right? So there is a way to fully synchronize the anchor point and the position completely to our actual object here, right? So the trick is to simply use this cable here, the parent here to the actual object like this. But before doing this, hold shift the whole time, like this. Alright? So cable, shift, and then release the mouse, Okay? And finally, release shift. Okay, you see what happened? Now the square is fully synchronized with our object here. At that point, you can disengage the parenting here. And instead, parent our actual object to the controller. So in this time without shift, so simply the cable. No shift, Ls, boom. Alright? So this is called calibration. So now the controller is fully calibrated to the object. And let me show you what is happening. Now, if I rotate the controller Poof. You see what is happening? I actually moving exactly the square as if we were just controlling the square natively. Alright? That's the reason why we did this. Do this always. Let's start you animate now, simply the properties on the controller. So rotation, Y, scale. Alright. So for now, well, you already know this. So simply go here, zero, 32. So we wait 20 frames here, we can search you move. And that's now the first difference. Instead of doing the entire animation, on the position on the controller, we only do one movement per controller, right? So here, it means that we're going to do only the upward movement, right? So we go here, and we do about 20:20 frames, yeah. And we move those up. That's only one moment. Alright? One moment per controller. Okay, so goes up. Let's do the same with a rotation. So rotation goes from this to four rotation. The rotation doesn't need too much too many controllers. So let's do a single controller in this case, yeah. Okay, so it goes there. As you can see, so far, it's only half of the vertical movement, right? Okay? And then let's start to enable the Bzire curve on all these key frames. So have nine. Then we select the position. Let's go to the graph, and we push like this. So we go up. Fast like this. And then same thing here. On the rotation, we just do similar curve as earlier like this. The rotation doesn't change, really, like this. Okay? The trick is just in the y. Okay? At this point, we have only half of the movement. You're probably wondering why? Well, simply we need to do one moment per controller. So at this point, we go back at the beginning of this moment. So here, and we duplicate the controller. So now we have controller number two, right? And let's pull up the keyframes, pressing, as you can see that's the shortcut and we need to clean the keyframes that we don't need on the controller two. So these have been used, so we don't need those anymore. Rotation, also, we don't need that, and the position as well. So actually let's delete everything like this, okay? And before doing anything else, we need to parent Control one to control two simply like this. Boom. Alright? So as you can see, so far, nothing changed, but there is simply one thing that happened now. Let me show you see what happens? Now we can still keep controlling the square from controller two as well. So this is the fundamental principle. We have a chain of controllers, and each does one moment, only one, you know, one movement per property, you know. Okay, so let's go here. And as you can guess, this is going to do the pullback movement. So we enable y position here, right? And then it's going to push the square down in place around here. Okay, let's see. Let's pull up the old let's see where it actually lands. Okay, so it's actually there, right? So let's pull this down here. Okay. Oh, sorry. Let's go here. Okay, that's the actual position, so let's just override it here. Okay. To use the snapping in Affaxino hold shift. So normally it goes free hand mode, but if you hold shift, it will snap to the closest event. So remember this. Okay, so let's disable the old one for now. Okay. So that's what is happening. While the Control one is pulling is pushing the square up, at the same time, the control two is pulling it back down in place, you know? And fundamentally, these opposing forces are averaging each other in a natural way. So final strokes youuld now enable the zero curve also on the pull back, right? Let's go to the graph, and we need to do the opposite. So here on the push up moment we did this curve, so kind of violently push it up, right? Boom on the pullback Animation, we actually need to do a exponential curve like this. So I will actually wait some time and then pull it back in place. Alright. And what else? Let's check this out for now. Let's see what is happening. Let's also close it back at the end. Finally, we can close the square, simply go back to 0%. Let me check that. Oh, yeah, obviously, we need to close it from the layer that is centered so we can close it from the native one, actually. Okay, I think we can also do from the Control one. Yeah. Control one is calibrated. I just forgot to calibrate Control two. So if you need the scale to work from Controller two, we would have had to calibrate it as well, as you can see, because the anchor point is not calibrated. But it's fine. Just go back to a previous controller that is fully calibrated. In this case, Control one. And then you can close it from here. Like this right click, flip Boom. Okay. And Okay, let's see what's happening so far. Boom, boom, boom. Woof. Okay? And it's still not over. There is still one more thing that we can do. In Fairfax, there is a area for the Asi Shu enable additional features on a property that Asi Shu use last keyframes, but still trigger animation. It's called descripting or expressions. In other words, I'm going to here from now on, I'm going to give you some of my personal expressions that I created over the years. And I'm going to show you how you install those and how to use them, alright? So they will appear here in the effects section and just search keywords. So the first one is called overshoot. Okay, just type overshoot here. Overshoot is the property of element when kind of stops in real life, right? And instead of stopping drastically, it will actually have a slight bounce back kind of recoil, you know, like, boom, right? Boom. That's what overshoot does on a property will make it aware of the momentum that accumulates. Very important stuff, right? To install this, you need to simply select a property that has key frames. That's the trick. So in this case, this guy here and then go into animation and then save Okay? And then you will automatically make this folder pop up. As you can see, it's called user presets. This is where all the scripts, all the scripts that I will send you will go, too. So you need to get the file. You see it right now from the resources of the squares and paste it into this folder here, right? Let me show you where it is. Overshoot here. Alright? So paste that introduce folder here, user presets, and then just reboot Afterefax. After you do that, when you search overshoot, you will see this file here. Alright. So, okay, that's said. Now that we have this, we can simply select the property that we need to make it momentum aware, right. So in this case, Y position and double click on overshoot. Ff, the property changed color. And that's why now has the bounces Poof. You see what is happening? Boom, boom. All right. Okay. And this, let me show you what is happening. We can see this behavior graphically by going to the graph editor, select y position. And when you double click it, you will see this button here. The As you see what the expression is doing after the keyframes is done working, right? And obviously, this is responsive to how much momentum you accumulate. So obviously, if you're writing very slow, there will be no bounds and the other way around, right? So, now you're very free to do this. Okay, and you can also tweak the exact type of bounce. So when you double click a property that has an expression, you can see its source code here. In this case, we have a couple two numbers that we can edit. We have frequency and decay. So frequency is the tension of the spring. So ten means ten times a second. So let's actually make it a little slower, so maybe four. And then decay, the higher it is, it will bounce for the least time. So let's make it bounce last, maybe 20. And now let's see what is happening. Okay, let's see. Boom. Alright, let's see what's happening. So that's fundamentally now a single bounce. Okay. And then let's add the same expression to the rotation, right? So let's right click on Y position, copy expression only. And then let's go to the property that has the rotation animation. So let's see. Let's see what it is. Here is. Okay, so select rotation and paste. Okay, now is FV is also rotation aware. The momentum is also applied to the rotation. F. Simply at that. Boom. Alright. You see how more smooth this type of animation is. So let's actually compare it with the previous method. So now we do count. All right. Yeah. Let's pick it places side by side. Let's go here. Okay? See how more stiff the first method is compared to the second one here. All right. So that's my precedent for you. So this solution is very important to achieve ultimate smoothness in any project you desire, alright? So the core principle is this. When you need simple animation, the first method is fine. If you need ultimate smoothness, you need to use multiple control layers, one for each movement, right? And each one needs to be calibrated. And then, make sure that you average the values simultaneously so that they will kind of achieve this level smoothness. Seems like that. And yeah, just play around with this and have fun. Alright, and finally, let me show you a practical example of an application of this technique, right? So, this is a recent thing that I did using this technique on D objects. Let me show you. All right, so this was for my new sound logo. As you can see, I really use this technique. So I switch objects left, right, left, right. And to achieve that smoothness, I really use this technique. Let's go here, key frames. Let me show you a little bit of the real projects behind it. So let me go here. All right, here we are. Let's go. Let's go into the main scene. Alright. So as you can see, I switch objects. And you see what is happening here? I have all the controllers. Right? And it's really the same technique I just showed you. So, fundamentally, I go left, right. And for each object, there are at least two n objects that counterbalance the forces. So there's one that pushes the object to the right, and at the same time, there's another one that already pulls it back to the left, you know, and same thing for the rotation, you know, and then obviously there's other thing going on, right? But the core principle is this. So just to show you that with this technique, you can then use it and repurposes infinite in infinite ways, right? So as long as you learn the core of this, then you can do whatever you want in real projects, alright? 9. Morphing (Basic Method): All right, so when it comes to morphing a element into another, there are different ways to do that, right? And which technique you need to use depends on how complex the morphing they need is, right? So let's go for the first case, the simplest one. So if the shape you need to morph to is pretty simple, kind of geometrical, you can do it internally into the element itself using masks. So we have the the project that we create so far, right? So let's just select our shape here and we're going to double click on the rectangle tool up here. That way, it will automatically create a so called mask, which fundamentally is the area that allows us to see only one part of the image. So right now, we have this thing here. Let me show you happens. You see what happens? I can also edit specifically one of these points where the shift clicking on one of the edges so you see what is happening. So now, for example, it's kind of like a boomerang, right? Right? And this can be seen from here. In case you close it, just press or double M c, and you can feather it like this, you know, we can expand it. Am I? So, but one of the features is to morph the shape dynamically here. So we animate this property path. So we turn one keyframe on here. So now we have this new shape here. Actually, you know what? Let's go back in time. Okay? And we actually place one keyframe with this shape. So the standard rectal like this. Boom. Alright. Now, let's pull up all the key frames so we can start to go exactly before the jump. So we go here. And the first shape is going to be here. Let's color it differently. Let's go here. Label yellow. Alright. Okay. So then let's go one, two, three, four, frames later, right? And here, we're going to just draw our costume shape. So we go here and just click on one of the edges. And for example, we morph it into a boomerang like this. Okay. And then we go back just before the landing. So we go the landing is here, okay? So we can simply cut and paste these two and reverse them as we already know. So we go here, reverse, okay? That way it will morph into a boomerang and then morph back into a square just before the landing, right? So let's just compress these things. And that is already the first way to morph shape into another dynamically. Woof. You know, Woom Woom, wom. Alright? And you can choose obviously how fast the morphing happens just by doing this, this, and this. Let's go here. Now it's more gradual, right? And you can use Bessie as well to make it even smoother. Let's see. All right. And that's the first case. 10. Morphing (Allaround Method): If we need to morph to a more complex shape, like for example, this nice alarm clock, let me show you here. Obviously, we cannot recreate manually a mask that perfectly recreates this guy here, right? So we need some kind of more automatic way to morph from shape A to shape B more easily, right? So I'm going to show you an easy way to do that. So let's go here to our main compensation. Let's delete the first case like this, right. So it's just a simple square, alright? So first of all, we need to prepare the image. So we right click on our image that we need to morph to. So the clock this. Let's drag it here. Okay. And first of all, Gase has background, so we can remove it with extract, like this. So in case we can remove easily the white background like this, right, like this. And let's also filter just the things that we don't need. So we use the pen tool, simply remove maybe these lines here and the floor. Alright. Simply click, click. Remember to close the shape, and boom. Alright. Okay, so, and finally, let's reverse the color. So maybe just extract. Sorry, we need to use fill, and then just white. Okay. All right, all these things. And finally, applying nice glow. So we maximize the aesthetics of the object, first of all. Always important. Alright. Okay, now it's ready. And so how do we morph from shape A to the clock, right? So the first thing that we need to do is to have a way to perfectly synchronize the clock with a shape so we can make them do exactly the same movement, right? So one way to do that is to start to use precompositions. So we can simply pack the shape into a kind of a folder. So it's called precomp. So we right click on shape. Precompose. And then just select the first option. For now, don't worry about the second option. Select leave here. And then let's call this shape one. Alright, and just confirm. Okay. So as you can see, nothing changed, still perfectly working. Everything is fine. The only thing I changed is that now we have this icon here, which means that we can double click on shape one, and it will lead us to a dedicated timeline for this, you know, where we just see the bare content, you know, like a steel frame, you know? So, fundamentally, when you do a precomposition in leave mode, it just serves as a place holder element, which means that now, if we duplicate this guy, Okay. And then we also right click on this new copy, reveal reveal layer source. It will automatically select it here at this level, and then we duplicate it as well here and now it becomes shape, okay. So make sure that the copy here is selected and shape two is selected also here. Then you hold option if you are on Mac or Alt and then drag slowly, shape you into the copy here. And you would see the confirmation by the fact that the name changes. So now what happened is that, let me show you. For now, everything is fine again, okay. But actually, now we can change the content of this shape independently from shape one, right? So, in other words, now we can just cut the clock here. Okay, and we paste it inside shape too. So we let this paste, our new shape, so we just center it. So right click Transform fit to width here. Okay, and then manually tweak it to this okay until it's fully centered as much as possible, maybe a little bigger. Okay. When you move values with mouse, you have three levels of precision. When you use just the mouse, it's just level one. When you hold control, it will actually move kind of a fine tuning mode, you know, more precisely like this. Or if you need to increase the numbers significantly, hold shift. Okay. Alright. So that's it. Okay, that seems fine. So let's go outside of here. To move between the coosons as you can see, I'm using this mean technique. I'm pressing Tab to do that. So when you press left, it will automatically go to the surface of the iceberg. This is especially important in real projects because you cannot rely on these tabs here because they will start to accumulate to maybe lose the point where you are. So if you do that, you can orient yourself really easily. Okay, that's it. Let me show you what is happening. Woof. You see what is happening? It's really working. We really have just the clock doing exactly the same animation as the shape. Alright? And that's where we're gonna now we're ready for the morphing, right? Because now they're doing exactly the same movement. Okay? Maybe we can make the clock a little bigger. So let's see let's make it. Let's make the square slightly transparent. Yeah, maybe we can make it a little bigger, right? So let's go back inside and we make it a little bigger like this. So now there's an issue. If I go outside of the boundaries of this square, it will crop the clock, right? But there is a way to preserve the information that goes outside by enabling this button here, this button here on shape, let me show you. And obviously, we need to disable the mask because we don't need it on shape. So right, so that way, we preserve the full information. Okay. And if you wonder if there's a way to tweak the size of an element, while watching how it looks in the final result, yes, there is a way. Sure, you lock the composition view here, and then you double click on Shape J and then we can put these tabs side by side like this. So here we have the final result on left, and here we are just in the local timeline here. So that way, we can resize it while being able to assess how it looks like in the final result, right? So we can easily choose a more profit size or maybe something around this. Okay. All right. So finally, then just delete this and re unlock. Okay. Let's go back to the surface. Okay, that's it. The size is better. So let's go back to 100%. All right. And now we're ready for the morphing. So for the morphing, we need to use an adjustment layer. So let's compress all this stuff. We right click here New Adjustment layer. Okay? And we're going to call it morpher. And here we just need to use two effects. One is a Gaussian blur. Double click. And then a median is called median, like this. Double click. Alright, now we're going to turn on two keyframes, one on the blurriness amount, and one on the radius. Okay. Let's pull those out like this. Make sure that the adjustment layer is above everything. The adjustment layer has this you know, I already told you, so it will apply the effects that it has on everything that is below it, so to these guys, right? Okay, that's why it's here. Alright, so let's search you put these two keyframes in sync with the beginning of the jump. So here. Right? Boom. Okay? So obviously, we need to fade out from shape one and at the same time, fade in to shape two, right? So let's also do the fade. So we go to shape one, and we do a simple one, two, three, four, fade out. Boom. And then we copy these two keyframes, we paste to shape two, and we reverse those, right? So fade shape two will fade in, so they will cross fade, right? One goes out, one goes in. Let me show you what is happening. Boom, right? Boom. And also, when we return, we return to the square. So let's just copy this again. Yeah, actually, well, at this point, we can just do this. So this can go here. So it fades back out, and this is a fade in, so we can use it to make it fade back in. Boom, you know, so as you can see, when you make a project, you can recycle more and more stuff as you go. Alright? So let's see what is happening so far, fades out, fades back to square. Alright? Okay, so far so good. Then let's you make the actual morphing, right? So let's go to the morpher. And the way it works is that you increase the blurriness. Like this around go kind of in the middle of the cross rate, so around here. Okay? And then increase the blurriness to a certain amount. Let's say, let's go with maybe maybe 20, something like this Through enough, okay? And then median, increase it. Remember to enable this button here, operate. Boom. Okay? And then increase slowly. You see what is happening? Now it's kind of morphing the two shapes. It's kind of merging the edges of the shapes. That's the cold thing about this techniqu just around here, okay? And then just return, choose zero. So copy this paste, right? So kind of does a more gradual morphing between the two shapes with this technique. You know, of. And then just use bezier always in these cases, then copy all these six and repeat just when we return to the normal shape. So we go here. Boom, boom, you know? Let's make a shift. Slightly. Let's see. Boom, boom. Alright. Okay, let's see what we have so far. Oof. Alright. Okay, fair enough. And if you really want to add even more smoothness, we can enable a motion blur on top of this. You're probably wondering why because we already have a motion blur here. So the point is that these motion blurs only work when we animate the transform properties, right? So but here, there's a way to trigger motion blur brutally, even though we're not physically animating the transform properties. Right. So it means that these values here, in theory, are creating additional movement that may be smoothed by motion blur. So why not adding an additional adjustment layer with the motion blur Okay. And we disable the default motion blur for now, so we disable these guys. So we need to use two motion bs at once, right? We use a single one at the top of everything. I was more efficient. So we go here and we search. There are two motion burrs in our ffex. There's force motion blur or pixel motion blur. Pixel is higher quality but heavier. Force is the opposite, so it looks slightly worse but more efficient. So let's go with this for now. Okay? And to see what it's doing automatically it's detecting the moment. Let's increase these maybe 30 tube. Okay, let's see. Let's give sag a couple seconds. So you can see it's heavier Now's render Okay, in case you can decrease the quality here to have faster review. Okay? Let's see what's happening. Woof. You see what's happening. So now we start to have a very decent morphing between two shapes, you know? And that's now a more advanced approach, right? So when you go from initial shape to a more complex shape, this is the way to morph to where we want. Finally, the cool thing is that now, thanks to the precompositions, we can at any moment, change the shapes to wherever we want. So now you're not forced to shape one should be just a square. You can do whatever you want. It can be even a second image. Hey, for example, we have this Xbox controller, so we go inside, shape one with lead or with disable the old shape, drag this in. Sanford. I was always a little here, maybe a little bigger. Okay, and now it's already working. Let me show you poof. Boom. So this will automatically morph into shape you. Just like that. Woof. You see? That's it. Works like magic. Alright? So yeah, have fun. 11. Morphing (Advanced Method): Oh. Alright, so in case you wonder if there is an ultimate version of this technique, the answer is yes. This version doesn't require a motion blur or a morpher so we can start to disable these. The disadvantage is that I slide more complex, even more complex. But if you're ready, I'm going to show you this. Okay, so let's go to here. Okay? We don't need shape anymore for this version. So we just copy the alarm clock here and we delete shaped. We don't need it anymore. And we just paste it natively inside shape one. So just paste it here for now. And let's make the alarm clock a little smaller. Alright. Let's kind of equalize the size of the two elements a little bit. Alright. Okay. That's fine. Maybe the controller can be a little lower. Like this Alright. Okay. So this will allow us to natively morph between two images in the most close way as possible, right? So fundamentally is not compromises. Alright. Okay, and so now we are here, and the first thing you need to do is to normalize the scale of the elements. As you can see the scale properties right now, it's different here. So once you find a way to make the scale, we become 100 for both, right? So to do this, simply precompose these two layers separately. So control shift sim. And we call this controller. In this case, let's use the second option, move. So confirm. Okay. And now the scale becomes 100. Same thing for this. Here and confirm. Okay, 100 100. So now they are normalized. That's how it set. Okay, so first thing is to now gather a mask that perfectly replicates the outline of this first shape. Alright. So we select the first shape, and we go to layer auto trace. Okay, make sure that the background is removed. In this case, is ready removed. So we can simply skip to this step here, and we need to detect the Alpha. The Alpha is the transparency of a layer, right? So since we know that there's no background, they will automatically, right now, detect the outlines, make sure that preview is enabled, and copy my settings. Usually these settings are pretty good you ready recognize this. Okay? And then just confirm, make sure that this is disabled, and then copy my settings and confirm. Alright, so now we have a perfect mask that replicate the outlines of this layer, alright? Okay, and that's step one. Let's do the same for the clock. So we go here. Know, simply. So now here's an issue. The clock is a little more complex. You know, you can see has many holes everywhere, you know, so there's no way we can summarize this shape with just one mask. It's gonna probably create multiple mask, you know, one for this piece here, one for the middle, one for the center. It's gonna be very, very hard to manage. So one way to brutally make after effects detect this as a single shape is to use, again, this effect here, median here. So use median on the shape. Enable this check box and then slowly increase. So it will kind of merge the edges as much as possible. So find some kind of compromise. You know, for example, okay, this search will be useful because right now it's merging these edges, so it's going to be detected as a single shape, and kind of increase this number when it such you detect most of the entire shape. That's the sweet spot, alright? Don't worry about these elements at the center. Right now, most of the images detected as one shape, and that's what we want. Alright, so let's keep it this way. And now we can just go, again, on layer auto trace and that's it. I will already use my latest settings and just confirm. Okay, and that's our second mask. You know, I will probably do two masks, but it's fine. Sometimes there's false positives, so we can delete mask number two, and that's our single mask, alright? Okay, that's one. And now that we have these two masks, let's copy the mask of the clock. Let's call it clock. Okay? And let's call this controller X box. Okay. So copy the clock mask and paste it into the controller layer. Boom. Okay, so now both masks are on the controller. Let's go back to the controller now. Okay. And at this point, we're almost ready. We go to one effect called reshape, okay? And apply it on the controller layer and change the source mask to mask to Xbox, obviously, Destination mask to clock. Okay? And now what happens is that as we transition with this percentage 0-100, let me show you what happens. If the shape morphs in a weird way, when you increase this number, it means that simply you need to re tweak the correspondence point. That's how it's called, which is this line here, you know? So simply go to one of the edges that you see here when you see this little circle, and now it's ready to calibrate the correspondence point. So one way to do it is to go to 100%, okay? And then simply move the correspondence point probably we need to move this guy up exactly here. So until the shape remains calibrated, you know, to the right verse, like this. So now what it means that now it should be better because now if we go exactly, you see what happens, it brutally morphs from the controller to the outlines of the clock, alright, which is what we want. Now it will natively morph shape one into shape two. That's the point. Alright? So now as gas, we need to animate this guy. So we enable the percent automation. Now it's ready to go here, and we go from 04 frames, and then 100%. Okay. And that's the first one. Alright, so now, as you can guess, we need to simply do the same thing in reverse to the clock. So how do we recycle all this? Well, let's delete this copy the two masks on the clock here, and then simply copy also the reshape into the clock. And then just simply reverse the key frames of the percentage. So just select these two. Reverse. Okay. And let's see what is happening on the clock in three, it should be the same thing, but in reverse, if there is extra deformation, it means that simply you need to swap the two masks. Let's go here. Okay, let's see. Eat is going from the controller to the clock. Eat is going to the revers. And that's it. And then now it should be pretty much ready. And then we can also do the fade as well, between the two shapes. So we go here and controller fades out. And the clock does the opposite. So instead of copying and pasting the same keyframes here, we can right click on opacity, edit expression, and then just type 100 minus and then make a cable from here to the opacity. And now it will automatically fade in as controller fades out, you know, so that's a little scripting to avoid copy and pasting too many keyframes, you know. So at this point, we can also copy and paste these keyframes, reverse, Okay. And let's see what we have so far. At this point, we can search time all of this appropriately with the jump animation. So we go back to the base timeline here. So the jump starts exactly here. Okay. Let's go here. Okay. That's correct. And then the jump ends here. Okay. So we go back here and go here. Alright, so let me show you what is happening. So this fades in we have the controller. The controller fades into the clock. We don't need a median effect anymore on the clock, right? So we go to the median on the clock and we disable it. So it's just a normal alarm. So morph into the clock, and then then I forgot just the percentage. Let's go. We also reverse the percentage, obviously. So Let's use the same trick for the percentage, so we can disable these keyframes. Don't need those, we can use scripting. So simply 100 minus cable to the percentage here. Boom. So now we can control everything from here. So copy and paste and reverse. Boom, boom. Right? So now, morph into the clock and then back into the controller. Who, you know? All right. And at this point, the result is that we start to have the controller. Let's go heal bigger. We have the controller natively morphing into the clock. We need to at this point, disable the fades at this level here. We don't need these fades anymore. It can remain 100% all the time, it already internally fade inside, right? So let's see what's happening. Wow. You know, that's the cleanest type of morphine that you can achieve in Afterfax, you know, because, as you can see, it's now natively morphing between the two shapes, you know, there is no flaw at this point. And, yeah, that's my present for you. And this method doesn't require additional motion blur, so we can say goodbye to this. Doesn't require the morpher. The dual disadvantage is a little more complex, right, because you need to prepare the two perfect masks. You need to morph those. But if you want the flawless morphing, that's the way. 12. Precomposing: Precomposing what it is. So very simply is a way to make a layer become a placeholder. That's the main feature of precomposing. So for example, we have this object animated right now, and we want to be able to change it with a custom image, video where we want layer because we still don't know what we will use for this animation, right? So to do that, we simply right click on the element, precompose, and then just leave all then in case you can give a custom name again like this and then just confirm. So that's how it looks like. And let me show you, first of all, all the key frames, all the effects are still outside. We need to do this. So in this case, there were not effects, so there was no but let's add one again on purpose, Latus so that's the main bare minimum of precomposing simply making become a place holder, right? Which means that now I can just simply go inside here and I can change this with something else here, and I drag it here, and as soon as I go outside, it will instantly change the square with this guy here, right? So let's let me just remove the background super quickly like this. Alright. Okay, here's. Let's go. Let's go to Cosco. Alright, simply like that, right? So the same animation now is applied on whatever image I put inside the pre comp. That's the way it works. So you can also work on this dedicated timeline to do whatever you want. You can design the object better on this frame here. And then as soon as you go outside, they will just apply the animation. You know, that's it. So that's the first use of pre compositions, place holders. The second feature is syncing multiple objects. So obviously, if I duplicate this precomp and I shift it now we have two of these guys, right? And I can still show you separate changes. I, for example, mirror the second one. So I unlink this and I flip the horizontal axis with minus. And obviously, now, it's going to look different. The second one is flipped or I can change the size differently, right? So we have separate control on these things. And right now, the content of these precomps is synchronized. It means that as soon as they do any change to either of these two, it will change for both. So if I go back to the square and I go back here, as you can see, both return to B at the square. So right now they are synchronized. Sometimes you want this behavior to be like that, you know, especially in templates. So this allows you to change like 20 layers all at once. Just by changing the content in any of those. So that's one of the uses of this. But sometimes you may need to have a separate control on the content of each composition, right? So to do that, you need to first of all, duplicate the pre comp at the project level from here, not from the timeline, because if you duplicate it just from here, it's still synchronized. So to really detach it, you need to right click on the composition here, the first one, reveal. Reveal the source, and it will automatically highlight it here on the project, and then you duplicate it from here. Okay? Now, this here is a true independent copy. Means that if I double click on shape Q here, now I can change to the beatboxer image here, and then I go back to the composition to the main comp here, right? So at this point, all you need to do is you select the copy here on the timeline and select shape Q in the project view, and then keep press and overwrite on this copy here. You will see the name changing. That's the confirmation that I worked. And now, now we have actually independent content on both containers. And now we can do what we want. So if you resize a layer and you make it go outside of the boundaries of the precomp. So for example, if you make this guy outside like this, when we go back to the main composition, as you can see, will be cropped, right? So to preserve the information that goes outside of the boundaries, simply click this check box on. So shape two, now click this guy. Boom. Now it will preserve the additional information. And then you can further tweak it like this. We can do what we want, alright? You're probably wondering when you precompose like this, total shift C you have also a second option, move all. So move all is a more drastic precomposition. Fundamentally, it will make AffecT that the content has been pre rendered, right? So it will kind of pack everything inside. Also all the keyframes, all the effects, everything, all the properties will kind of return to default values. So let me show you if I now select these two precomps and re precomp them with move all on here, and I call this all and I just confirm. Now, let me show you this new pre comp doesn't have any key frames. So I'm just pressing you, as you can see, there is no keyframes, nor ex. There is nothing. And all the values return to 100% just standard default values, right? So sometimes you may want to have this option. To kind of normalize something, you know, to make it become almost as if it was pre rendered. So, especially with the technique that I used this earlier, if you remember, with a reshape with a morph technique, right? Because I needed to normalize layers to kind of pretend that both were the same, both work with the same exact values, 100%, 100%, you know, even though they had different scale values by pre comping multiple layers, After facts will think that they are just rendered, you know, just simple MP fours, fundamentally, you know, and that's a very important feature that you may need as you saw in the previous section, right? So leave versus move all. The only disadvantage of pre comping usually is first of all, you don't need to pre comp every single thing. So do this only if it's needed. Alright? Second thing, the only disadvantage is that you lose this check box here, the frame blending, which is important only if your project needs time remapping. So we're going to talk about that later. So just be aware of this. You lose this chat box here when you precomp something. You can still time remap inside. So if you go to the actual layer, if it's a video, right, in this case, it doesn't make sense. So, in fact, this was not available. But just be aware that when you precop something, this chat box disappears. Finally, sometimes you realize that you don't need to have something precomposed, right? So you need to kind of put it back outside from here. So one way is to simply double click to enter that pre comp and cut, right? Cut everything, go outside and paste it outside. That's one way, you know, simply. If you wonder if there is some kind of button to actually un precompose something, well, you need to install a free script. I'm going to send you the link. That. It's a free script that you can install from this website. Let me show you. Okay, here it's called Unprecmpose. You can find on this website. I'm going to send you the link. And all you need to do you put $0 here, and you can purchase this for free and just follow the guide to install it very easily. And then when you reboot Afterfax from that moment on, you will have a new button available. Let me show you here. When you select the layer, in this case, all, you go to layer and you have this new button here, un precomposed. So when you press this, simply confirm, boom, and delete this weird thing. We don't need it. And as you can see, it just unpacked the content. You know, it just exploded the precomposition back to its content. You know, I still do it manually because it's kind of safer. You know exactly what is happening. So that's one way to reverse or simply go to a previous version of the project 13. Kinetic Typography (Basics): Alright, so let's talk about text for a second. So to make text, you need to right click here. New text layer. And first of all, type where we want. So for example, hell, oh, how are you? Right. And then, first of all, let me show you a basic customization for the tax staatics, alright? So where I recommend that you use always a drop shadow plus a glow. So let's apply both effects. First of all, here. Okay. And we place the glow before the shadow here. So the order of the effects in effet is important. So they go from from the top to the bottom. So the glow now is applied before the shadow. Alright? So in this case, we have a black background, so we can reverse the color of the shadow to white. Like this and we make it a little more distant like this and we smooth it. All right. You know, so we can integrate this a little better. And then let me show you the basics of the text. So first of all, you select the text layer, right, like this. You can change the content at anytime by double clicking it like this. So you can do, like, test like this, you know. And to customize the font, the color of the text. You can go to character here. If you don't see this, go to window and click character. And here you can change all the basic things. So you can change the color, as I told you, like this, right, or the font. So just select a font that you want, like this, very simple, you know, and the size like this, all the things that you know about the text fundamentally are here and the paragraph. So you can kind of just find the text to the center from left to right, right? And the anchor point, change this as soon as possible. So you can place the anchor point to the actual center of the text or to the left according to what you need. You know, do this as soon as possible before doing any animation. Remember this. And in case you want more cool fonts, you can download them from this website. I'm just you just see right now on the bottom left of the screen, right? So I just give you two links to gather fonts, you know. So you can download those files install them, and then reboot upper packs. And you will see those new fonts available here in the character section, alright? So that said, let me show you how to animate, first of all, the content of the text dynamically. So instead of using multiple text layers like this, very boring. Each one will have a different word, why not changing a single text layer dynamically according to what we need, right? So to do that, we need to expand the properties and go to text source text, enable keyframe. This keyframe contains this word here. So if at any moment, you want to change it, just go here and double click the text again and just change it. So second. All right. And second T will automatically make a new keyframe, and this contains that word. So now, it will switch between the two words. Wow, just like that. And then just repeat this for as many words as you want, like this. So you can make a verbatim description like this with very high costimization, right? And every single word can have a completely different settings. So you can change the size, the text, the color completely. You can change it even for specific letters, you know, into the word. And one of the coolest effects that you can apply to text is saber glow, the hyper glow. So saber is a free, amazing plugin that you can install it. I'm going to send you just the link right now. You see it and install that plugin and then reboot Afterfact. So you will see the plugin here. It's called saber just like this. And to use it, you need to simply create a solid. Okay. Let's call it text. Let's call it hyper glow. Okay? The color doesn't matter. Apply the, make sure that the solid is full screen, at least, like this right. And then we apply the saber effect here. Okay? And we're going to talk about this plug in probably later a little more. But for now, let's use it for the text. So we go to customize core change it to text. And then link it to the text layer. So text like this, Poof. Alright. So now what it's doing is to exactly do the hyper glow on the text that we want. So let's change the size of the intensity like this Poof. You know, see what's happening? And then you can just disable the original text if you want, if you don't need it. And you choose one of the presets if you don't have time to do your own like this, you know, like this. And you see what is happening? It's crazy. Change to where we want. The size is little too big, so change the core, just tweak it. It depends on the word. Alright, and you see how many pieces you have. So this plugin is very powerful. It's crazy that it's free. So just customize tweak the size, you know, it depends on the text. So at any moment, you go back to the text here and you change the actual size like this, and it will just work. Fantastic, you know? And this is a very cool way to make the text look super cooled very quickly, you know? If you just need basic customization of the text, but still be efficient, these things are pretty much all you need to know, you know? And then remember that the text can be animated standard with everything that we saw so far, so we can animate the text. Normally, obviously, all these things can be done. You know, all the things that we saw can be done on the text completely. So you can use adjustment layers above it. You can move this with the overshoot expression to make it bounce back and forth. But if you need for most people, these are just the things that you need to know about text. 14. Kinetic Typography (Advanced): One way to start to use the text in a more advanced way is to animate each character independently. So to do that, we need to expand the full properties, and we can see one of the unique features of text layers, the animators. So this button, I'll also target one property, first of all, and as you can see there's full choice in where we want. So I invite you to explore every single one of these things. But for now, let's let's go simple. Let's go with a very classic, a typewriter effect. So we need to target the opacity, for sure. So we go here Okay. And first of all, it will tell you, okay, what type of change do you want to do to that property? Okay, we need to do 0%, first of all. So the text for now will disappear. All right. Okay. Then we have one thing here. We have the animator that we just created, which is targeting the opacity property, okay? And then we have the range selector. So the range selector allows you to apply this change progressively to the text string. So it means that now we can move, for example, start and poof. We see the text appearing progressively, right? And as you can guess, then we need to just animate this 0-100 over time. So one, two, three, four, five, six, and 100 Woof, right? So now, we can just type this in, right? And then you can simply just time this with a change of words. For example, this goes in like this. Then maybe as soon as we change the word, we can simply reset. So copy and paste this, right? And now there is one issue, right? Between this keyframe and this is going to kind of go backwards, right? So to avoid this, you can right click on the second keyframe here. So it's going to hold the value, so let's keep the word completely open. So it kind of types in the first word, then keeps it open. And then as soon as there's any change to that value, finally, it will jump to that new value. So in this case, 0%, which makes sense, and then type the word out. So it means that the best keyframes for type out are these. So now we copy and paste. And with this system, you can just simply type in the new word. For example, double click again here, third and then copy and paste. Again, this is true, boom. That way for every single word is going to be perfect. One, and three. Alright. That's it. And Yara, Yara. If you have a longer string, for example, multi words, one, two, three, four, five. Okay. You can also target entire words instead of every single letter. So you can change these behaviors from inside the animators. Then you go to advanced and then just tweak it to what we want. You can target, as you can see entire words. So in this case, when we tie that out, we'll do this, right? Just the words themselves. Or what we want, even the entire line. You can completely customize the behavior. Or you can also randomize the order. This can be a cool feature. If you turn this on, when you then animate the start, you see what's happening, it kind of randomizes it. So let's go back to letters. Okay, so you can get a cooler feature like this. Okay? So these are just one of the infinite things you can do. So then obviously, remember that you can target where we want. So you can go here and create a dedicated animator for every single property that you want. So let me just do a second example. We go to rotation. So now we have a second animator for the rotation, and it's going to rotate every single character like this, okay? And we change the range selector, advanced randomize on. Okay? And then we put start to maybe 50% like this. Okay? So that way, only certain words will be randomized like this, to me, slightly skewed, right? And one trick that I like usually is to duplicate this second animator here. Now we have animator three down here, which has the same thing, right? So we reverse the rotation to -13 degrees, okay? So that way, it will actually target more words to the opposite direction. And we can do this. We expand the range selector again. We go to advanced and if you scroll all the way down, there is one cool feature called sed. The SD is allows you to shuffle the randomization in a unique way to differentiate it with the previous animator, right? Otherwise, they have the same shuffle. So just change this number randomly. And as you can see, every time you change it, they will shuffle the words in a different way. Alright? So remember to do this to differentiate your randomizers, right? And, yeah, as you can see, it can become very, very complex very quickly. But that's the cool thing. Then another very cool feature of text is that you can convert it instantly to shape layers. So if you right click on the text, and you go to create, you can convert either to a mask, a solid with masks or shapes layers. The most versatile solution is shape layers. So if you do create shapes from text, it will make a shape layer, obviously. And you see what is happening? Every single word, every single letter now actually is a dedicated layer. So let me show you if we expand the contents of this shape layer here, every single letter now has its dedicated layer, which is crazy, right? Even subcomponents, because in this case, the font is very complex. So it means that then you can do what we want. So one of the things that you can do if you have the time is to morph letters into each other. But that can take a long time. But okay, if you have the time, you can do it. So you go here, you animate the path fundamentally of each word, and then you kind of cut and paste new shapes into each other, and then it will kind of morph, like we did in the previous section with masks. You know, it's kind of a slyly inefficient way to do this. Uh, but, you know, if you have the time, yeah, you can do it because it's kind of fully vectorial. You don't lose quality resolution, just to show you. But one of the cool things that you can do when you convert to shape layer is that you have access to the exclusive effects of shape layers, right? So when you go here on a shape layer, you have Ed here, and you have these effects that only shape layers have. One of the coolest ones is wiggle paths. So you go this guy here, okay? And now at the bottom, we have this effect here, and let me show you what it's doing. It allows you to regulate these things if you increase size, for example, now it's lagging because there are so many layers. You know what, create a lighter layer. So you go here to the word. Okay, now it will work. Wiggle pass Poo, here's. Let me show you if we increase size. You see what it's doing? It allows you to explode, text in a cool way, you know, and then you can all these things can be animated. You see what is happening? So you can achieve very cool designs to kind of glitch the text. For example, if glitch art is your thing, you can achieve very cool effects like this because then you can animate this guy over time, right? Like this. So you start from zero, and then you just regulate the speed, maybe 15 seconds like this and then go back to zero, right? So you show, for example, a word, and then kind of glitches and then back to zero, right? And obviously, for this, we can use motion blur, right? So let's go to an adjustment layer, and we apply a nice pixel motion blur. Like this. And now it's detecting the movement, right? To increase the amount of motion b, you can increase this value here. So let's double it. Okay, and let's see. Maybe we can increase also the amplitudes. So let's try detail higher. Okay, let's try the size a little higher, exactly. And then just tweak it, you know, tea infrared combinations like this, see what we can do like this, like this. Let's randomize everything a little bit. Okay, let's see. Let's give you some time to render. Right? Boom. And then return to normal. Alright? So you can do very cool things with this. And finally, one of the coolest things about text is that you can use expressions on it, you know, to display content dynamically or where you want. So one of the coolest things you can do is to apply an expression on source text to show a number that's progressive over time. So we link source text to a slider that we have on the text itself, like this called source. And now, obviously, it's going to show the number on the slider. And if you animate the slider number, obviously is going to increase the number progressively. So we go 2-20, and it's going to do this. Obviously, now there's an issue. The number is not rounded. That's why it's showing all the digits. So assumes there is a way to round it. Let me show you the expression. It's very simple, actually. Simply, you add this thing here, value to fixed. And then here with this number, you can choose how many digits you want to show. So if you increase it, you can allow one, for example, like this, right? Or more than that. Let's change the font to a more simple one because this can be a confusing. Let's go here. Let's call calibre. Change the font. Change. Okay, here is. Yeah. You know, and then let's go back to zero. That way, it will only snap to integers, you know? Even if we do this. You see what's happening? Just like that. And you can add a symbol after the number if you want. You know, if we are talking about money, you can do it very simply by just going to the expression of the source text. And then after the number source, you just type plus. And then quotes. And inside the quotes, you type the symbol that you want to add after the text. Like this. So in this case, we're talking about dollars. So we add the dollar symbol, and now it's going to natively add the dollar symbol always at the end of the number, just like this, right? And obviously, this, you can add more words like this or to them also at the beginning of the text if you want, so you can do this. Completely free. So it's going to print that content. Remember to add the plus, and then you can do, for example, account like this and it's going to print all that stuff automatically. Wow. You see how cool it is? Just out. Alright? So, full freedom. One of the things that I created using these things has been a clock in the past. So if I go here, let's create a fresh layer. Actually, we can probably do it on this itself. Let's go here. And let's see should still have that preset. It's called AM Clock. Let's see. Let's see Let's see here AM PM clock. Dob click? Alright. And let's see. We have a single slider here. Were you should go. That controls the time. Okay. And in theory, when we reach 12, we will go automatically 2:00 P.M. Right? Let's see. Boom. Okay. And as you can guess, to change these things, dynamically, there is some if conditions behind this, right? So let me show you in case you want to study this. Okay? That's the full expression to make something like this, right? So we have some at the beginning, some definitions to make the code more compact, right? And you can define the hours, the minutes. And then we have some if conditions to simply assess if we are on AM or PM here. And at the end, there is simply some printing of everything. So we have the hours, the symbol of the column, and then the minutes, and then a space, and then simply PM or AM, which is the variable called C, right? Here. That's it. 15. 2D Tracking (Basics): Alright, so let's talk about tracking for a second. Tracking is the ability to detect movement in the video, and then you can do many things. For example, you can stick an object to that moving object or you can stabilize the video and many things in between these two things. Alright, we're going to see all these things case by case. So let's first of all, drag a clip like this. Okay. And right. So as you can see this video, I'm just moving my remote control, right. And we're going to track the remote control so we can stick an object to it. Alright? So that's first case. So there are many ways to deal with this. One way is using the internal tracker in Afrofax. So if you don't see this tab in your case, you need to go to window and call it from here, Tracker. Alright? Okay, so now we click the footage and then we go here, tracker and as you can see, there are four options. For this first case, we need to use track motion. So click that. We see this thing here. So the tracker is divided in three areas. We have the target with this little thing here, this cross. So that goes exactly the center of the target. We're going to target this button here. Then we have this bigger square, which is kind of the main area occupied by the target. So in this case, just make sure that it's slightly bigger than that, okay? And finally, the search area. So this analyzes the difference between the different frames. So it means that the wider this is, the safer the tracking will be, but also it will take longer. So you need to do a compromise, you need to do a trade off. So according to how much you move, for example, let's see. So you can see, I don't really move it down much even in the worst case. So I think that this size of frame should be enough. Let's go a little bigger, maybe slightly bigger, something like that, should be enough. Okay. And then just track forward here. And before we do that, we need to choose which properties you want to track. In this case, we need to just the bare position, X and Y position. That's it. Before we do that, we are going to increase the precision of the tracking by going to options. And then we go to enable all these chat boxes. Always keep these on. These just increase the precision of the tracking. And then we increase this percentage, so that only 10% of error is allowed, right? And then we just confirm, and we're going to cross fingers and we track forward to using this button here. Alright, boom. Okay. Now it is tracking. So let's just skip forward until it's done. And that's it. Alright. So when the tracking is done, we need to apply it on a layer. We need to apply the data now, right? So you can actually check how we went just by playing the video. Just a little bit. Do jumps. If it doesn't jump in weird ways while it tracks, it means that it's going to be pretty much stable. So it seems that it's pretty much stable. So let's create a layer that we want you to stick into exactly in the spot. For example, a text. So we create a new tax layer. Okay, we're going to call it here, okay? And then the way it works is that we simply go back to the tracker data, which is here on the layer here, layer, and then just select the tracker here, okay? And we're ready to edit the target of the data, right? So we click here, Edit start target and we say, Okay, it's going to go to the layer called here, right. Okay? And then simply apply X and Y, obviously, right? So we can also choose selectively only X and Y, X and only Y. So okay, I'm kind of tempted by using only X in this case, but you know what? Let's use X X and Y. Let's go. Boom. Alright. And then let's play. Let's see what is happening so far. Poof. Alright. Seems reasonably good. Alright, poof. Then we can start to enable the motion blur, first of all, you know? And so we can maximize the aesthetics of this text. You know, let's use our standard routine. Here, some nice glow. Like this and some shadow. Okay, Ant, we increase distance, and we smooth the shadow a little bit. So it's more integrated into the real environment. Let's see, right? So maybe we can reduce the opacity of the shadow litt bit. We can hide all these annoying lines by pressing this button. Okay, let's see. Alright. Wow. Alright, you know, that's it. So that's already first way to integrate something into a moving object, right? And if you wonder if there's a way to tweak the actual position of the text, yes, we can simply by going to the position. Oh, okay, there's an issue. CNC now is busy, right? The X and Y is busy with something else, right? So how do we tweak this? If it's already busy? Well, at this point, you should already know. Well, we can use a transform effect to further tweak it, you know, double click on the text with transform like this, and we have a second transform now so we can further tweak it like this, right? Or use simply a parent. So just no object. Okay. And we parent the text to the opposite, like this, boom. Now we can then tweak it from this, right? So like this, boom. Just use the method you prefer. Now we can also calibrate it, so it goes actually at the center of the object, so that way we can also scale it more easily. Woof. You know, that's it. So this is the first way to track moving objects. 16. 2d Tracking (Advanced): Alright, so now let's go a little more complex. Let's suppose that we need to stick a text actually onto my face and not into the remote, right? Okay, so you may probably already sense the issue that it's going to happen. So let's as let's do a step back, okay? And let's do a new tracking. So we go back here, tracker. Track motion. Okay? And we need to track this time maybe maybe the hole in my nos trill. Let's try that. Yeah. So you need the high contrast point, that's the point, right? So or maybe the tip of the nose or the straighter this because it's pretty high contrast may be useful. Okay, let's try that way, okay? So you may already guess what is going to happen now. So we're going to attempt to track in that precise spot. So let's see what happens if I try to do this. Okay. You see what happened? It messed up because obviously the remote control, the remote passed in front of it, right, and interfered with the tracking process, which makes this useless when you have a occluding object fundamentally. The base tracker in Afrofax works only for the first case when you have a non occluded object, okay? So in all the other cases, you need to escalate and use an effect called mocha. So let's do that. So we don't need this. We actually select the layer. Let's go back here for a second. Okay, we're going to use one effect called mocha, which is already pre installed in AfrofaxT guy here, Mocha AE. So let's apply it on the footage. Make sure that you are in full resolution. And then simply click the logo, and it will tell you, Okay, do you want to log in? Just skip everything in case it tells you that? Just skip still skip. Now we need to go to the first frame. Let's go just exactly before the moment. Okay, around here. Okay? So we need to do two masks. One on the face and one on the remote control, right? So let's click on this button here. Okay, let's make a simple rectangular mask around the remote and don't do it exactly on it. For this purpose, since this is the occlusion, we need to make it slightly bigger than the area. So around here. Okay, slightly wider than the area of the occluder object. Okay? Just like this. To close the mask, click right click. So left click points places the points, right click, closes the mask. Okay, so then we call this remote. Okay. Then let's click on this button again. Let's make a second mask around the face this time. So let's go here. Again, it goes slightly wider than needed. You know, around here, around here. Click, click click, and then right click, you close. Okay. So that's our second mask, let's name it face. Okay. And now let's tweak the settings of the two masks. So in both, we need to disable everything except translation, which means that it's going to track only X and Y. So click on both, disable everything except translation. All right. So then remote is going to do a wide motion. So let's keep it on large motion, whereas the phase is going to do a small motion. So click small like this. Okay, then we're still on phase, increase on both masks the precision to 90%, 90%, 90%. Alright. Okay, that's good. And now they are ready to go. So you can just track forward. So let's click this button. Okay, before we do that, be careful. Remember to place the occluding masks above our target mask, right? So the face is our target. We need to place the occluding object above it. So place it above like this. Boom. Okay. Down fundamentally will tell the phase to ignore the mask over the remote, and that way will not screw up. You know, that's the point. And finally, before starting the tracking, that will check this button here, press it S, and that will show where actually we'll be able to stick stuff on. So, click the phase mask and place this rectangle around the actual center of the phase around here. Alright, that's fine. We can also regulate this. But for the purpose of this, the only thing is just the need to check is that it's centered. That's it. Okay, don't worry about that. Then click the other mask and double check that also is centered. Pretty much it is. So we can keep it that way. And finally, we can track. So forward. Yes. The speed of this process depends on your GPU power. When the tracking is complete, you can double check. Everything is fine. Alright, so we can search you save Control S, exit from here. Now, we're back in the software. So at this point, we can just create a fresh text layer, so let's make a new one here. Let's call it mocha. Okay. And let's stick the style english at this. Alright. And now we're going to apply the new tracking to mocha. Alright? Let's keep it actually centered ready on the face. Already here up. Just smooth it. Okay, here. And now the point is this, we're going to go to the Toca here, right? We expand the options, tracking data, create the track data from the face design, right? So we use the data of the face, right? So confirm. And then as you can see, we see the points there, and now we just need to send this data to mocha. So be careful for this specific purpose, make sure that the position is not separated in the target. So in this case, it is. So when you right click, separate dimensions get disabled, so it returns to normal. In that way, we go back to Mocha and we can just go to scroll down here, export, layer export, ch mocha. Make sure that you enable transform. Alright then just apply. Let's see what is happening so far. Poof. So now we have the text, stick to my face, even though the remote is interfering with that. It's crazy, right? And that's the thing. And also, in case we can even reuse we can also use the remote data. So let's also do that. Let's double also this layer. Actually, let's make another fresh layer. Like this. Again, text. Let's call this remote. Okay, let's move it somewhere where it's visible, okay? Apply the style. Okay. So now we go back to the footage here and so in this case, just click on Create data again, right? This time, we need the data of the remode. So click that, confirm. Okay, at this point, double check the X and Y on the target. Remote is not separated. So in this case, we need to re merge it again a right click, disable this. Okay? Now it's ready. So go back to Mocha in the footage video, scroll all the way down, change the target to remote. And finally, just confirm. Alright, so now we can see what is happening. Poof. That's it. So that's this whole data is used by Mocha in this case, right? And, yeah. 17. Lock-on Effect: Another very cool thing that you can do with the tracking data is to stabilize, actually, the true stabilization, but not in the way you expect. Let's just disable everything, right? Let's keep only the footage, and we go here back on the mocha on the footage, right? If you remember, we have now two masks, one for the remote and one for the face. So let's make sure that remote is selected, and we create the data of that again. And this time we invert the data. Boom. And finally, we apply it on the footage itself, so layer six. Okay, and make sure that X and Y are not separated. So, right click, bring them back together and finally apply here. Woof. So let me show you what is happening. Alright? So it's keeping now the remote centered and on moving. So it's doing the opposite, right? I kind of reversed the movement in the real video. So that's so it kind of stabilized the entire video based on the remote, right? That's a very powerful effect that you can do on where we want. So we start to enable motion blur here. Okay? And to compensate these borders, you have multiple options. First of all, we can scale up, so we create a known object. Simply and we parent the footage you go so we can scale up. Let's see. Okay? Let's see how much we need to scale up more. Okay, more, okay. Alright. And then if you want to scale up too much, you can also help using p tile on the footage and then just increase 500 in all directions and change you unfold or slide. Okay. That way, we can kind of sacrifice a little less of the frame. And then we do a simple animation on the exposition of the non object and also maybe also the rotation in sync with the movement that I do on the video, so it will kind of stay fully centered. So because as you can see, by default is not sell at the center, so we can move it back in place. So let's go. Let's go like this. Let's move where we want, you know, here. Okay? And then we wait for the beginning of the moment. Okay? That's where I start the moment, right? So let's go. And then we go at the end of the moment here. Okay? As you can see, there's also a slide rotation, so I'll bring it back. Normal like this and just change. Just bring it back in place, then play. Okay? Again, here there is an issue, so we go here, the next movement starts, so we place these keyframes here and then we start a new correction here, right, so we bring it back the center plus rotation back like this. Okay, and then we do a nice busier to all these things. And that way, you can keep the video completely centered on the remote control, you know? So that's a very crazy effect that you can do. And obviously, it's you can repurpose this in infinite ways, but that's the core trick for this. And, you know, in the end, this is simply just how to stabilize a shaky video, right. But the point is that if you stabilize it on a small object, it will kind of think that we need to we need to kind of lock the video into that specific spot, you know, and it will kind of create this particular effect, you know, that's the point. So you can use this for technical reasons, right, to eliminate shaky footage or for creative reasons to achieve this specific effect. That's the point. 18. 3D Tracking (And More): Alright, so let's talk about three D tracking, right? So first of all, let's import nice video. And let's create a empty timeline here. Okay, as you can see, this video has some issues in the first place, right? There's some stuff going on. So we are walking in this environment. We're gonna stick some objects into this environment, you know, in a three D space. Alright, so Nisha solve a couple of issues. Before doing the tracking, we optimize the footage. So first of all, let's trim only the part of the video we need. So, for example, around here. Okay, so then let's start to um rotate the video, right? So Miu it's a vertical video, so we rotate 90 degrees. Okay, and we change the resolution of the project. We swap these numbers simply we already know these things at this point. Alright? So first issue, we have the fish eye. So the fish eye allows us to see more information but distorts the image around the borders. So let's remove that by using compensation, it's called. Boom. And then we increase this number to about 45. This depends on the degrees of your fish eye. And then we go to diagonal and revers. Boom. Alright, and then increase this number until the lines of the video return to be kind of straight. Let's see. Alright. That can be a good compromise. This is called aberration, this artifact here. But it's still pretty good. You know, now we have a pretty much straight video with straight lines. And we can start to use it. Now there is one issue. The video is kind of shaky, right? Because we're just walking. We didn't use any gimbals, any cage to make the video the camera heavier, more stable. It Spear handheld, the light the camera was pretty light. So let's correct the shakiness a little bit automatically using warp stabilizer. So we precomposed the video. Like this shot the fished. Okay. All right. And we apply wor stabilizer. So when you use this, I recommend using detailed analysis for better resolution, for better results. Okay? And we reduce the smoothness to maybe 27% and crop last 27 as well. Okay? And let's see what is happening. As you can see, it's very fast. Make sure that you crop the video to trim only the part of the video and you analyze. Otherwise it will take way longer. Alright, let's see what is happening just for this. Alright, ready, way more stable. But as you can see, there are some weird things happening, some weird artifacts here, some kind of micro jumps. Okay? So if the artifacts are too high, you can try to reduce the smoothness and this number, play with these two or change to a less drastic correction. So let's try to go back to your perspective. Okay. All right. Let's see. Now it should be more stable and we have too many art nets. Okay, maybe 20%. And maybe a little smoother, 40% here. Okay, let's see. Alright. Okay. That seems better. So we can work with that, right? Compared to just starting with this. Let me show you. Right? So it was completely out of control now, compared to using this, right? Now it's way more stable. Alright? That's very important thing. Having a stable footage grants you a very stable tracking, and then, you know, crazy shots. Alright. So now we recompose this. Let's make our fax thing that we already had this stable video. So stabilized. Okay. Boom. Okay, so now we have this footage. Fantastic. So now we're ready for the actual tracking. So we go here tracking the effect is called camera tracker. Okay. Let's apply it and enable detailed analysis as well. Boom. Okay, let's wait a couple seconds. When the tracking is complete, make sure that you select the effect camera tracker here, and we'll show you the tracking points, you know? So we can see those as we move into the footage. So right now we are able to stick wherever we want on any of these points in the video. You know, that's the cool thing. So we can make these points a little bigger. Sometimes if they are small, you can tweak those. And now, for example, let's as you stick a text on the ground of this footage, right? So we go around here and we select just with the left click. These points, you know, that we are interested on. And as you can see, we'll create automatically a polygon in that area and then right click at the center of that. Okay? And then create solid and camera. Boom. Okay. So the solid right now is gonna have a placeholder to just check how stable the object will be in that spot. So let's see what is happening already. Woof, let me show you. So we're moving. We're moving. And that shape is exactly there on the ground. You see how crazy it is. So now we're able to stick where we want exactly there. Alright, so let's create a text layer. First of all, new text. Okay, let's call this happy. Okay, let's maximize the aesthetics of the text. First of all, let's go here, default glow. We already have it. Okay, and maybe let's add the shadow. Okay. So first of all, we make the text, three D, so three D on on the text. And then to make it teleport already automatically where the solid is, we use the truck I showed you earlier with parenting. So shift parent to the solid. Boom, and it will go exactly there. At this point, we can delete the solid. And then we just need to tweak the size of the text. So just bigger, like this. Woof let me show you what is happening. Whoo. It's already there. You see what's happening? Just that. So this is a very powerful technique for branding or music videos or movies where we want, you know? So, Okay, now at this point, we go there, we act oriented the text where we want, in case the slide you off, we can move with the rings like this. You can do wherever you want, like this, you know, you choose the style that you prefer, you know, like this. You can choose the font at anytime, completely free. And thanks to the shadow, we can integrate it, integrate it even better into this environment. So, for example, the shadow distance a little bit. Okay, maybe a little bigger, you know, tweak completely free, you know, like those maybe even bigger. Okay. The Kristi thing that stays there is completely stable. That's the point. No jumps. Boom. Alright. The text can also be animated over time. So if you enable a automation on the Y position, actually, let's enable on all three dimensions, X Y Z, we can do this where we go slightly earlier. Okay, let's go. For example, let's go around here, okay? Okay, we go slightly earlier around here. And then with this arrow here, you move it up in the video like this, right? So you can literally make it fall down in the video, you know, like this. Boom, right? And then you can enable our overshoot expression. So we go here, overshoot on all three dimensions. In this way, it will kind of fall down in place. So let's see what is happening. We go there. Boom, right? So obviously, let's make it become a little faster. M, right? And then you can add some kind of impact to the video so that it kind of it's fully integrated. So it kind of makes sense to make a slight vertical shake on the video. So you can also add a tiny detail exactly when the text lands, you can go to the position of the video, the wide position in this case, right? And then you enable overshoot as well on that property. And then you go one frame after, like this, and you just place change the vertical 100 pixels, something like that. And then you go back to the original value. And that way will kind of bounce back in place. Let's expand the video to avoid the black bars. So we go here. We just reptile like this. Okay? So just use a classic reptile like this. So now it's expanded. Alright, in that way, we'll be more integrated. Let me show. Ff, right? Boom. You see how much integrated now is. Boom. Alright? So that's the trick. Okay, so let's go back to the main quest the three D tracking. So we go here. And that's how you integrate elements into the environment already with the three D tracking you can see, is very very intuitive at that point. You know, you simply track the footage after you optimized it for stable tracking, and that's it. You know, the double frame rate is one of the most important things. You know, when you record your footage in 50 frame, 60 frame per second, it will grant you more smoothness, you know, and all these things. Okay. 19. 3d Tracking (Mocha Method): A Let's go now one level above this. Let's suppose that we want you stick actually a text actually here on this first column. So let's go at the beginning of this footage. Let's suppose we want you to stick a text actually here. By the way, I know that you put this probably even higher. Let's go this even higher here. Okay. Oh, okay. Actually, the issue of this text is that we need to simply disable it before that point, it makes sense to trim the text element, you know, from here. That way, it will not exist, and that's fine. Boom. Alright? Okay. So let's suppose now we want to stick a text here, exactly this rectangle, right? So, now we're going to use a second method for three D tracking. A we going to use Mocha? So let's go at the beginning of the footage exactly here. Be here, okay? Okay. And let's use Mocha. And then we click the logo, obviously. And we're going to now, first of all, place a mask exactly on this rectangle here. So one of the additional features of Mocha is that we can fundamentally do a localized three D tracking. So we just close a mask here on the target. Okay? And then we press the S to calibrate exactly where the text will be. So we tweak now these edges exactly in the desired spot. So this time it's very important to calibrate this fully, not anymore just the center, but all four edges of this. Okay? And then we enable a perspective down here, 90% precision is good, and then just zoom out and start to track forward. And usually this works fantastic. So let's see seems that it's pretty stable. Okay, obviously, when the mask starts to go too much out of frame, it may stop because we placed a too high percentage. You know, there are not enough pixels. So let's go with 50% when we arrive at this point, and you should be able to at least push it out. Okay, still too high. Okay, let's try with 30%. Okay, let's see. Cross fingers, and, okay, one more. One more pixels. Alright, let's go 28%. We just need to make it go out. That's the thing. Okay, even at this point it's literally the last frame, so it's fine. So let's try 10%. Okay, perfect. Okay, that's done. Okay, so at this point, the text is completely out complete, so we can save and then go out of here. Okay. So now let's create a second text layer. So we go here, new text. Okay, and we apply the same sling of the previous one. So copy and paste, wait on these things. Okay, here is. So now we do one thing. We precompose the text this time. So this one here gets precomposed. So we call this love, okay. Alright, so now we go inside Love and you make sure that the text is fully stretched to the full frame, so it will look weird. Transform, Fit comp. Boom. So, it must look like this. Fully stretched to the full frame, alright? Then you go out of here, and you go to the video here, the footage. You go to the mocha settings, tracking data, create the just export the data from the mocha, you know, that's the single math that we did. Okay. And then simply port the corner pin with mochonleu on the love word. So we go here, layer por to love. And then make sure in this case, we have X and Y separated. So always make sure that they are not separated for this to work. All right, so they should be like this, normal. And then finally, mocha export, love. Ooh. You see what happened? The text teleported there, and let me show you. It's pretty stable. It's there. Proof. Just do that, you know? And, meanwhile, the second word falls down, it's crazy, right? So that's the beauty of all this. And obviously, let's start you maximize the aesthetics. So we start motion blur everywhere on the words. Okay? And then you integrate this even better. You can keep it like this if that's your style, or you can do, for example, some blending mode here. So you change the blending mode to overlay, for example, so it will kind of interact with the colors of the footage, like this. So this depends entirely on your style, what you want, what you need, like this. So that's completely your choice. Anytime, remember that you can just go inside love here and change the word to where we want. If you change the word, make sure that you re stretch the full frame. So right click Transform, fit to come again. So make sure that the word stays inside the outlines of this frame. Otherwise, it will be cropped. So that way, then it will automatically be fixed at this level. Alright? Remember just that. And this can be actually where we want. Wherever you place here, even an image also works. So, this case is for text, but even if you place a logo, nemage, a video, where we want. So we have a generalized three D tracking with automatic effect here, camera tracker, and a localized three D tracking, thank you Mocha. Okay? And the truth, the final trick is should then just combine these two things. You know, that's the point. 20. Speedramping: All right, so let's talk about time remapping for a second, okay? So here I just shot two videos where I kind of rotate around two objects. And so let me show you just the source videos. First of all, let me go here, here and here. So I simply orbit around object one, you know, and then I go I repeated the same type of shot with a second object. Try to keep the same movement, you know, same position like this. Okay. And I'm going to skip some parts because at this point, if you reach this point in the course, you already know what it did. So I first of all, stabilized the video with Warp stabilizer, you know, with these settings here. And then I just used Mocha to stabilize the video at the center of the object. So I used the lock on effect that I showed you earlier to try to keep the video stable around only that object, you know. So these are the two processes that I did already on these two videos, where you know these things at this point, and we can skip to the time remapping part. So these videos are now just ready to go, are stabilized, but they're still not time remapped, okay? So the trick for achieving very clean time remapping is also the music. So you need to have some kind of audio that guide the flow of the entire video, right? So, in this case, we have a simple music beat. Let me just show you just listened for a second. We have a drop. All right. So we're going to synchronize the two clips with the first bit of this drop. Alright? So let's first of all, enable Ttermimpping. Let me show you how it works. So you select the clips where you need to use this and you press Control Alt Or if it doesn't work, just right click Time, enable Timmy mapping. Okay, so when you enable time remapping, it will automatically place two keyframes, one at the beginning and one at the very end of that clip. Be careful because if the video is actually longer than it should be, it may place the keyframe somewhere else, for example, here. So the true end of this video, for example, is not here. It's actually earlier. So let's manually place a keyframe on the very last visible frame of the cube video. So let's go there. Let's see what it is. So it should be actually here. Alright? So we place one keyframe here, and we lead this here. So we should have two keyframes. One at the beginning, one at the end of the video. Let's double check that the JBL video is also right, so the beginning is right. Let's see the end. Yeah. Okay. Okay. Make sure that actually it's not a blank frame as well. So double check, go one frame earlier and place one keyframe, delete this one. So we should have always two keyframes only one and two. Alright, so now the time remapping is ready to go. So the way it works is that by default, when you place doesn't matter where you place the second keyframe. It kind of gives you 100% certainty that the video will end by that point in time. That's how it works. It's not a percentage, it's not anything. It just tells you that the video will end there. So it means that if we place this on 1 second here, the video will become extremely faster, right? Let me show you. You see that just doing the movement extremely faster now, right? Because it's been compressed in that amount of time. So let's actually time this. So let's go with the video with the cube first. So we place the cube in solo, okay? And the attack is easier to do because it it you simply move the beginning of the video and sing with the beat of the song. So now I'm going to scrub through the music using Control and click. In that way, as you can see, I can listen a little bit the audio as I move. See what's happening? And if I stay still, while holding control, I can also if I keep the mouse pressed, it will play repeatedly that sample where I am amped. You see? So that way I can very precisely go where there's the trends in the boom, the thump of the kick, right? Okay, here's. Alright, I just found the attack. So that's where the cube video needs to start. So we just place there. Alright. That's the first part. Then the end of this mini clip needs to be. So well, okay, let's first see how many movement we do. We do two movements. We go here to the right, and then we return back. Alright? So, it means that we can well, actually, you know, to make it even simpler, we can simply use only the first half of the movement. So we go here in the cube. Okay? And we go exactly where the movement ends. So exactly here. Okay. And we place one keyframe here. Okay? So we don't need the rest of the video. We just return back. We'll just reverse it from here. So we delete this keyframe here. We only have two keyframes now. Okay, so this is where the first movement ends. So it means that here now we to choose in the music where to synchronize it. So for example. Let's go with the snare. So the snare is so we have so we're going to alternate. So let's see. Okay, the snare is there, so let's see. Here is. So I just found this snare. Okay. So here we place this keyframe here. Okay. And then we need to repeat. We need to return back at the beginning of this video, right? So we copy the first keyframe simply, and we paste it somewhere here and we're going to paste it exactly in sync with a kick of the next beat. So let's see where it is. Here, right? You hear it. And then we means that we need to place this keyframe here. So now, fundamentally, what is happening is that we go from point A to point B in the video, and then we return to point A, right? So we have one, two, and then three. Okay? So it kind of completes the cycle. And the clip also ends here, so we also chop it here. Alright? Okay. That's the first part of time remapping. Let's just do the same thing that we did with cube with the JBL. So at this point of the video, we also switch to the JBL. So we start to enable that, okay? And we do the same thing. So let's place one keyframe at the end of the movement. So it's exactly here, okay, one here. And then we will just return back. So we need all two keyframes for now, exactly. And let's do the same thing. So we find we have the cook here already here. Let's find the snare. Okay. And we go. We place that keyframe here. Copy the first keyframe so we can go back to complete the cycle. Let's find a kick. Here is. Okay, paste. So as you can see, music is extremely important for this. Okay, so now they are both ready to go, but they are still not interplated correctly. So let me show you what we have so far. Let me loop this part here. Okay. Also, I think we can go double speed. I think it's still slow. All right. Okay, so we can actually go double speed. So let's go like this. I mean, the clipo sheet can potentially enter even here. So to do that, we can simply select the key frames that we did so far. And while holding Alt or if you use Mac option, you can select the last keyframe of the series and you can compress everything proportionally. Alright? So we can just make the clip end here at this point on the second one instead of the third on the snare. So we can simply select these and compress those and then hold shift so they will snap also here. Okay, then we make the JBL do the same thing. So it starts here, and then we go to the snare. Okay. Here is okay. Okay. And then we compress, boom. Okay, now let's see the timing. Okay. So at this point, we can start to enable Bezier on the time like this. And then we go to the graph editor. And the curve that we need to use is entering fast into the footage. So like this, we enter fast into these videos like this. And then we do exponential curve to go out of the video, like this. So this is the curve that usually people use, something like this. Okay? And let's see what we have so far. Ooh. You see what is happening? Now we start to talk, right? So, and then let's start you add some additional effects. So a mushroom blur is placed on top of everything, plus some kind of color correction. You know, we're gonna deal with this later. I'm going to show you what it is. And for now, let's just see what is happening so far. Let's go here. So you see how perfect loop stat to be. So we have the hu clips alternating perfectly on time because they have a very similar moment. They are both stabilized and they are both time remapped to have a special curve that I showed you here. So we enter fast into the video. We kind of slow down at the end of the B movement here, and then we return at the beginning of the video with exponential curve. That's the fundamental principle for a smooth time remapping, you know. And yeah, so And then just repeat it for every single clip. You know, that's the work. You know, you just synchronize each to the beats of the music. That's the very important part. Make sure that they're not too slow, no too fast. That depends on the music. And then add some post production. You know, that's the thing that really made it very smooth, right? So the motion br really does a lot in this. So then, let me just simulate more clips like this, double double double, like this. Okay. In theory, it should be still symmetrical, so you can just move this here. Exactly. Yeah. So let's just look these four bits repeatedly, you'll see. Give some time to render. Maybe reduce the quality of the motiombr right. Use tend AP, you know, four K is so efficient. Perfectly on time. One, two, three, four. One, two, three, four. Alright? So that's a secret for time remapping. And in the end, it's literally just this. You know, you simply control where each frame of the video will land on. And the music is extremely important. You know they get confused with this, right? And the only thing that needs to make you aware of is that when you precompose a layer, you lose the ability to use the so called frame blending, which normally is available on the videos. So let me show you if we go back to the source video, Okay? As you can see, we have this switch available, this frame blending. So this allows create additional frames where normally there wouldn't be any. This is very important in case you do heavy stretching with the time remapping. You know, if you do it like this, if you have a couple of frames here and you stretch the video a lot. Now obviously, we have less temporal resolution between these two points of the video, right? And that's why you may need to turn on frame blending. So frame blending creates some kind of echo effect. You see what is happening here? You kind of stretch smooth the the slow down that you did, right? So, and this is available only if you import MP a video, fundamentally. So if you precompose it, you lose the ability to do this. So, and that's why shooting a double frame rate helps you because you already have so many frames that it kind of doesn't matter to turn design. You may not need it because you have already 60 or crazy cases, even 120 frames per second. You can do it. You just set up the composition to up all those frames and it will work. You know, I will give you those frames. Or even if you don't change this to 120, and you just import the video that has 120 frames internally, that information is preserved when you stretch it violently like this, you know? And that allows you should not use too much CPU. That's the point because this makes everything heavier. In the cases where you need this, okay, that's fine. Remember that there are two modes, echo mode, which is the one that we just enabled here that creates a echo, as you can see, or morph mode. So if you really click this, it will enable a more subtle interpolation. As you can see, even not noticeable right now. You see that it's really almost impossible to notice. So it's kind of some morphing between the frames. Very clean, you know, I like to do very high movement. And then to disable it just repress this button. Okay? So one check that I did sometimes was to, um, export the precomposition as an MP four before doing the time be mapping. That way, I can use again, frame blending because it becomes available again. If you import this as an actual P four, you know, that's the point. But, you know, it's a choice. So in this case, it was not necessary because I already recorded at a high frame rate. So that was that was fine, you know? 21. Keying (Rotoscope + Ai): King is the art of cutting out a specific part of a footage in order to put something behind it or erase the object from the scene. So let's suppose that I recorded a video of myself moving like this, left and right, okay? And I realized after the recording that I forgot to place an object here, this is exact spot. But the issue is that I can if I put something here, then eventually I pass in front of it, right? So how do I recreate the illusion that the object is still behind me? Well, we need to use rotoscoping or something similar. So let's first of all, trim the video in just that part. So we don't need to work too much. Let's go around here. Yeah, let's go from here to here, and then back away. Alright. Okay, that's enough. Let's snap it here. Okay, that's the main video. Then I recorded without moving the camera, I just recorded a second video where I just put the object where I wanted, you know, there, right? So and we're going to call cube. So that is kind of a small detail. You know, the cube needed to be there, right? So first of all, we make a simple mask on the cube video, so we make simple mask like this. And also, this doesn't need to be a video. We can just freeze the frame, right? Make a simple frozen frame of this second video. Let me show you, right? So right click on the cube video, time and freeze. Alright, so now is like a simple image, you know, the issue now is that, obviously, when I pass in front of it, it will still be above me, whereas it should be behind me, right? So let's fix that. First of all, let's just increase the feathering of the mask a little bit so a little smoother. A right. Okay, so let's proceed with the Ro scoping. So the way it works is that you click on this tool here. We can also press Alt W, and double click on the footage. So before you do that, make a copy of the footage. So just double it and place it above everything. And we can call this Roo. Okay. So double click on this guy here, above everything. And now you will see the brush here. So the way it works is that you tweak the size. So let's make a medium size, in this case, like this. Okay. And you draw inside the subject to isolate. So boom, and it will automatically detect the points of a higher contrast. So just correct it, you know, just tweak a little bit. You can do some clicks or drag like this. If it gets points that you don't need, hold Alt and then bring it back in place like this. Boom, you know, the more you correct it, the more precise it becomes because it's kind of a micro AI that learns what you need, you know? So we need this, we need this, alright, that seems decent. Don't worry about the very fine tune details here, because actually the hair can be detected by the second tool here. So when you have a main mask that is decent, you go here and you click again with Alt this is called roto edge. So you just go around the perimeter around the hair, and it will also feather fundamentally the edges for even better dettion like this. Okay. And now let's double check what is happening in the main comp. Alright, so far seems fine, but let me isolate the rotoscoping. You see, now we start to have myself isolated. Alright? Okay. So at this point, we just need to track the rest of the footage. So good news, it will happen automatically for the most part. So we go forward 1 second at a time, as you can see, tracking the frames. Okay. And let's go forward all the way to the end. Less renders the full thing full quality. Remember to remain full quality when you use rotoscoping. There is a way to roll lower quality, but when you are still creating the mask, you need to be the highest quality possible. Okay? Let's go to the first frame let's see what is happening so far. Alright. Seems decent. You know, that's it. Okay? At this point, let's smooth the cube a little more. Let's go. Okay. Alright. And, okay, even like this, already, the issue is solved. As you can see now I create a delusion that the cube was already there in the first place, right? And okay, then at this point, we need to consolidate the rotoscoping, because if I do any change right now, it will recalculate this area here, which is very annoying, right? So to consolidate this work, we can simply go full screen, double click here on layer. You see a hidden button called freeze. So when you press freeze, it will just save, does work, you know? And that way, we can also finally go back to lower quality, you know, core, half, and that's fine. Now it's completely frozen, and the video should be fine. Let's see. Exactly, there are no weird jumps. That's good. And we can finally go lower quality. And what recommends you enable motion blur in the roto scoping, because in the end, it's just an effect. As you can see, have some features here. Sometimes you need to increase feathering, contrast shift edge and same for the refined edge. So the refined edge is the second thing that we did for the hair, which has fundamentally the same settings as the main pass. You know, increase the slightly sometimes when you have additional issues, but in this case, it's not needed. But the most important one is the motion blur. If you enable this, it will kind of smooth the edges exactly here. You know, you kind of integrate it even better. Okay, now the point is that we have fundamentally a perfect rotoscoping already, and the cube is exactly where it needs to be. It's behind me. Alright? Who. So that's the first solution. But as you can see, it's a little painful because it uses all CPU. It's a little slow if you don't have enough power your CPU. So I'm going to show you now a second method that, in theory is even better than this. Alright? Very quick, easy to learn. So let's just go back to our footage. Okay, here, and we're going to export it as an MP four. So simply press Control M, and you select just a random preset here. Select 15 megabytes/second here and then just save it somewhere. Okay, so you just call it pre AI. Okay, and safe. Alright, so now I'm going to show you a tool called Matt Anyone. So this is a free open tour tool that you can install locally if you have a Invidia GPU. If you don't have it, I'm going to leave you a link to use it online for free or with a membership, to have a quicker processing time, right? So, in my case, I have installed locally, so I'm going to just jump on the tool here. And this is how it looks like. Drag the video here, first of all, so we go here, pre AI. Okay. And then I click on Send to masking. Okay. And then I need to do two clicks, one on my head and one on my body. Alright, in this case, I got very lucky, just detected the whole body already with the first click. Maybe I need you to detect this part of the headphones. So let's do some additional clicks here. Let's see. Alright, so in case it's problematic, you can clear the clicks and redo a new attempt from scratch. Okay. That's it. You know, one click here. That's it. You know. That way, when I process the video, it will still be completely clean. Let me show you right now, when I process it, boom, boom. Okay. So what do we do with this weird video? Well, we download it first Alpha output. Okay? We call this post AI, and we import that video back into Afterefat. So we go here, import, post AI and we put it back above everything here in the project, right? In sync with our video. So in this case, just the beginning of the timeline. All right, so at this point, we just need to select a new copy. Let's make a new copy of the main video. Let's call it Roo two, okay? And we're going to keep the cube enabled. All right. So we simply now use the Track Matte from Roo tu to post AI, like this. Boom. And then click this button here. So normally, as you probably saw already earlier, Track Matte allows you to tell a layer to exist only where the Alpha information of another layer is, right? Which is not what we want. In this case, this black and white thing is the black in this video is not true transparency, as you can see, is actually opaque, it's actually rendered, right? So in this case, to detect this, we need to use the Luma mode of the track Matte, which, you know, the words is simply this button here. When you click this button, it will use the Luma information. So that's fine. So in this case, we can finally disable this mat. We don't need to see it anymore. And right now, the roto che, in theory, it should be already isolated. Listen. Poof. You see what is happening? So it's using the white and the black of that video chee due the difference, and it's kind of isolating what is not white as a transparent thing, you know? So, in other words, now we can just put Roto che above everything here, and we reenable the cube there. The main is below everything, and in theory, now it should work. Poof. That's it, you know? And remember that once you have a rotoscoping setting ready to go, you can have fun with this. So I can now put whatever I want behind me so I can make it a nice taxi boom, you know, and that's it, you know, so I have my video, and I can put information behind me. So that's a very classic thumbil creation routine, right? So, so, yeah, you usually don't you will not need more than this. You know, you can already do whatever you want just with these two tools, rotoscoping, and not anyone, alright? 22. Keying (Green Screen): Alright, so before we change topic, let me just show you a couple more methods to king stuff, right? We cannot get out of here without talking about a green screen, for example, right? So, obviously, if you have a green screen or blue screen behind you, we already know that there is an effect that allows you click on the background and remove it, right? So, but that's just not the single way to use the effect. You can actually use it on whatever point of the frame has a very high contrast point, alright? Let me show what I mean. So let's get this example here. Let's make a project. Alright, so for example, we have this footage here, okay. So as you can see this piece of paper behind here have a very high contrast point compared to everything else, right? So you can simply use this effect here, which normally is used for the green screen here, key lite, okay? So we drag it inch in the footage, and then we simply click this button. You choose the color that we need to remove. So normally, if you have a green or blue screen, you just click here somewhere and it will sample that color and remove it, right? So let me show you what happens. If I click in the background here, it will try to remove. Obviously, it's not perfect because it's not the green screen, but this will work better because it's a very high contrast point. So let's try that. Let's try one of these points. Wow. Okay, okay, way better. As you can see, removed all these sheets here, but also remove more stuff that we don't need. So there is a way to make this effect only work in a specific area of the frame, right? So as you can guess, we simply make a mask here, so simply a rectangle mask around this area. Okay. And then we double click on the effect and scroll all the way down here until you see compositing options. This has a plus and minus button. Click the plus. And this will now tell this effect to work only in this area. Oof. You see how cold it is. So you can link effects to specific masks. Thanks to this feature, right? So now, obviously, the rest of the frame is safe, you know, no issues. And we can just work on removing those sheets, you know? So let me show you how kilte works. First of all, sampling the color this way is not the only way. If you hold control, as you can see, the tool becomes slightly bigger, and fundamentally, it will sample a wider area. So sometimes doing this trick will sample the color in even better way. Remember that? Okay, that said for now is fine. Normally, after you do this, you don't need to regulate too many things, but if needed, you can do this. First of all, try to regulate the screen gain versus balance. So increase this in case, let me show you what happens. You know, we'll kind of excavate more. And balance does pretty much the same thing. You know, if you increase it, we'll kind of excavate a little more, a little less, if needed. So this kind of a first quick fine tuning of the green screen removal, alright? Then if more correction is needed, go here on screen mat instead you tweak these settings, for example, let's search you make the borders a little more clear. So for example, let's search you play with Clip black. Okay, that's too much. Let's try with clip white. Alright, you see what's happening. So if I decrease Clip White, it will make the borders clear. Alright, let's kip it this way. And then just play with clip rollback. So just increase these values slowly to see to kind of fully understand what these do screen shrink growth. So let me show you if I increase this, obviously, it will make the mask. Shrink or grow, right? So let's make it smaller like this and more contained. And finally, softness is kind of a feather, you know, for the borders. Alright. And so you don't need to touch anything else, right? So these are the things that you need to touch in most cases, just to go in a little more advanced removal. And this is valid whether you're removing a green screen, a localized green screen like this case or a green screen man. You know, you know, one of those people that wear those weird suits. That's also valid. You know, that's also one trick for this. So in most cases, it will solve all your needs already with screen mat plus this and plus having a well lit environment. Alright? Now, obviously, we can actually put something behind that point. So we can put, for example, a nice texter from now, just random slid is fine. Yeah, noise. Let's generate a random texture here, turbulent noise. And let's make it alive automatically where you know, these things, time multiply by 400. Okay, and then just make a random thing contrast right, just like this. Okay, and then put it obviously behind the layer. So just here. Boom. You see what's happening? Okay. And then just tweak the contrast of everything. So for example, let's go back here to the mask. We forgot to add some feathering on the mask. So just a little higher, like this. You see how it starts to blend start you blend it better with the original, right? And then it's just a merry tweaking, again, these numbers like this, right? So you can choose how much this happens, you know? It's really all here. Just balance these numbers until you find your sweet spot. So and that's one of the ways to key out stuff using effects instead of rotoscoping, you know. Okay, so let's go forward into this footage. If the high contrast color is a white or black, you can take advantage of one of these other effects, extracts very very good. So let's go here. Let's apply one extract after the kelte. The keylte is working only here, that's done. So for example, if you have a mostly a white color to remove or a black color, you can use extract. So this is fundamentally the full spectrum of luminance right now into this frame. So if we reduce, if we increase black point to see what is happening, I removing everything starting from the dark colors until it leaves only the whites, obviously, right? Boom, right? And just find a spot where your color, your desired area remains visible, you know. So and then we can smooth it a little bit. And that's a quick way to have, for example, a instant rolescoping of this card. So we can put now stuff behind this card specifically, right? So, so and then, as you can see, is this completely working in the video like this, you know, that's it. And then second case, very similar to extract, there is also a Luma key. That's also a very good one. Fundamentally does the same thing. So if you increase threshold key out darker, it does exactly the same thing. You know, some people use this same exact thing, you know, very similar and increase feather to smooth the edges, just like that, you know? That's it. And the opposite is true in case you have a black color to remove. So if you go here, also, it needs to do the deposit. So let's go back to your extract. Let's bring it back to square one, okay? So if we remove the colors from the other side from the bright side, we will end up having only blacks at a certain point. Let me show you slow, slow slow until we have only the darks, right? So, in this case, it's more complicated because you can see, there are already more colors in the frame that already share this specific tonality of black. So it's not truly absolute 23. Face Tracking: Alright, so let's talk for a second about tracking, using the masks in Afrofat. So so far, we tracked the masks using the mocha tool, right? But the truth is that you can also track movement using the masks in Afrofax already. The reason why we didn't tackle those so far is that after the introduction of mocha, they kind of fell kind of in the back burner. You know, they kind of got used a little less as tracking tools, and just for static masks more, you know? But for completion, let me just show you also what you can do normally with the masks. There's a couple of features that are very cool. Alright, so let's go with some footage here, okay? And so let's go here. As you can see in this video, some face expressions because we're going to use exactly one feature that works like that. So let's go exactly here give me a second. Okay. Alright. For example, we go here here here, and Alright. Okay, let's just trim a little part here. So first of all, let me just show you very quickly. Normally, in theory, you can do this. You can use simple masks like this. You know, let me go here. You can make a rectangle. Los like layer like this, right? Okay, so we have a layer here. And if you right click a mask, it will tell you track mask. And let me show you what happens when we pull up the tracker. Whew, we have the tracking options for that mask, you know, and very similar to Mocha. You know, fundamentally, the higher the level of position, the more precise the mask will be. So, for example, we want you to track all the position. Okay, you just track forward, and it will literally create a mask that tracks the face in this case, right? So, but the thing is now Mocha became a default plugin available, so it's always better to do it there fundamentally, that's the point. But there's still one exclusive feature that we can use in the masks, which is the phase tracking, right? So instead of making a square like this, let's make some kind of circle. So we go here, old click. Yeah, let's make some kind of circle around the face. Alright, like this. Okay. Then we right click on the mask track. And here, we're going to go all the way to the lower options. Here the last one phase tracking detail features. Alright, so you select this guy, and then we're going to set the rest post. So this is pretty much the rest post because I don't have any relevant facial expression so far. So we just set that. And then we just track forward. Make sure that you kind of trim the layer, and also you constrain the work area, so that way will automatically stop the tracking when it arrives there. So now it's fully trimmed. Let's go tracking. And Whoo. You see what is happening? Now it's detecting all the facial expressions as I go, you know? And what happens now is that, first of all, we have a perft mask around the face. So, in some cases, maybe for funny scenes, you can do this where you can have only the face floating around, right? And then you can move it like this, right? So that's really one of Maybe for tutorials, you know, funny tutorial can be like this, you know, just with the face there. Right. But another cool thing is that every single point that we see here on phase track points now is a coordinate that we can use for something else, right? So let me just show you. For example, let's first of all, slice this pace a little bit, right? So let's create an adjustment layer here. Okay. Let's call this Distort. Let's make this face a little more cartoony. Let's go to cartoon. Okay, I'm looking improvising right now though, let's see. Just let me randomize this a little bit. Try only edges. Okay. Let's try it with mosaic. So we kind of pixelify this first of all, that will click. Okay, and then we link vertical blocks with horizontal, so we can edit both numbers at the same time. So let's try 50. Okay, maybe a little higher. Alright, then we use posterize. To kind of decrease the bit depth of the colors. You know, it's kind of a jiff effect like this. Alright, then let's use vector blur. Okay? And let's see how we can squeeze the shape a little bit. Alright, of. Okay. Alright. And then finally, let's try cartoon at the end of the chain here. Okay? Maybe that's too much. Let's try fill. Alright, and then we just put a glow where you knows. Okay, so some kind of quick processing, you know, to make this phase a little more like a character, you know, of a story. And then finally, we duplicate mosaic and pasteurize, duplicate, and put at the end of the chain, more one more pass. Maybe we increase the resolution of the second mosaic. Let's see. Alright. Okay. Maybe you disable this. Okay, so we start to have a more sliced phase, okay? So let's suppose that we want to stick something exactly on one of the pieces of the face. We can do it. So we right click, create a solid, for example. Let's suppose we want to make some statistic. So we make a line that starts from one of the points of the face. So for example, line one. And now, you know what? We squeeze this layer like this. Alright. And we change the anchor point. First of all, we change it to the right like this because I want you, for example, stick it to this point here around this point of my mouth, right? So we go, we click the layer with the face, and as you can see this effect, and now it's available. Face track points. When you click it, it shows all the points. So the way I do this is to just touch one of the point that we need. So in this case, this point. So when you touch it, it will automatically highlight it. So let me show the keyframes. So every single these points is busy with keyframes. When you touch one of these, it will automatically highlight you see what's happening? It says, Okay, here I am. All right. So now we need to just parent the position of the solid to these coordinates. Mouth, right. Alright. So now that we know this, we simply go to the position of the line, make sure that it's not separated, and then link straight to mouth right at this case. Let's go here. Go go go. Okay, mouth right. Let me show you what is happening. Now we can just design finish designing the line so we make it a little thinner, first of all, Okay, and shorter. So we go like this, just with a scale brutally, like this. And that's it, you know, now we have a line that says exactly on my mouth the whole time there, you know? And then we can just take a text with instructions, so we make a nice text. We know this. So for example, mouse. Okay, like this. And at this point, as you can guess, we just parent the text to the line like this. And then we can just tweak the initial position of the text. So we calibrate it as well. We put the anchor point where it makes more sense to be. So here, and we can just snap it to the line. Boom, right? And then we just scale it down, like this. We enable mochondu on everything, like this. And let's see what is happening so far. Oh, you know, that's it. And let's put these things below everything. Let's see what happens. Okay, obviously, it got screwed up. So let's just apply some glow to make everything a little cooler. Simple and efficient. You know, that's it. And then the possibilities are infinite. So you can also so you can use this for a case like this where you need to stem something from that point of the face or to stick something on the point of the past, you know? So for example, when you use cases where you need to remove a spot, you know, that you have on the face, you know, some kind of issue on the skin, you can use this tracking technique to stick a little shape there, and then you can, for example, remove that. So I'm going to show you that later how to remove stuff from a footage. So you can use that as a mat as a mask, right? That's there, like a patch. And this is a very reliable technique to do that stuff like that. 24. Remove Objects: Finally, let me show you how to remove objects from a footage or an image, which is something that is still related to tracking, right? So let's take this footage as an example, first of all, okay, you see this thing here. We need to remove that, right? And we're going to see also how to remove static objects, you know, maybe one of these sheets on the wall, you know? So let's go with this second case because it's the simplest one. So let's first of all, change the work area to only one frame. So just constrain the area like this. You can also press B and N in case the circuit doesn't work. Alright, so now we are going to all on this frame. Okay, and then let's make a mask. Using this tool here, simply pen tool. You can use whatever method you want for the masking. It depends how complex the situation is. So in this case, I know that I can pull it off simply with a standard mask. So I go here, here, here, we just surround the object to remove simply, you know, with a couple of clicks, click this, surround it. Alright else. Alright, by default, the mask is going to isolate only that spot, but we need to do the opposite. In this case, we need to cut a hole in that spot. So we pull up the mask and we invert. Boom. Okay? If you have multiple masks, you need to not use invert, but just keep change the actual mode of the mask to subtract, right? So in this case, it's only one mask, so we can simply invert it. Alright, so now we simply have we're a hole fundamentally on the footage there. There is just transparency right now, which is what we want, because now at this point, we can pull up this tool here. Content aware fill, which is this guy here. And so you can see it's already detecting that single spot there in the video. You see this hole here. So now we just copy my settings here. So we have three types of cases. We have object when there's something that moves, surface, which is what we need is just a static object. And then we have some additional processing that we enable. Usually, keeping this on is good. So keep this on and also on trunk, right? And then simply make sure that the work area is enabled, like this work area, and then generate. Boom. Alright. Let's see what happened. Poof. Okay, we have a first case. But as you can see the mask was not big enough. So we see this line here, so it's not fully blended with the rest around it. So let's go back one step, and let's try to expand the mask a little bit. Maybe 15 like this. Alright. Okay. Let's try again. Now it should be better, Poof. Alright. Okay, we're better, right? And what this tool does is that uses I to kind of guess what's around it and kind of feel it like a patch. You know, In fact, it creates a PNG, which is a patch image. You know, let me show you. You know, it's really a patch, you know, I post there to kind of fill it. And for people that don't know your video, if you do a clean job, they will never tell that there was something there. You know, if you want to wait to make a seamless, most perfect filling, you go to Adobe Firefly, and then you use the inpainting model to import your image. And then when you can actually have the best contextual refilling or simply go to Pod shop and use the content that we're fill. Of Photoshop, which is better because you can type a prompt. Here is no prompt, automatic. But from small objects, this is fine. And in case you need to place something above this thing, it's going to be fine because you won't let her see these imperfections, you know, that's the point. So it's always a game of trade off, as you can see. Okay, so let's go back for now. And so that's just one frame, which is an issue, right, right? We need to make it extendable for the entire video, right? So we simply freeze this thing. Time, freeze? And now we can extend it simply like this, go to the end. Boom. Alright, just like that. Now, here's an issue, as you can see, even though it was a steel frame, there's a change in colors because the camera was in automatic mode, right? So let's try to actually simply extend the video to a longer area, right? So let's let's go back here. Okay, maybe let's go back a little more. Okay. So even though it's a still place there's some issues because actually, there's some fluctuations in light. So let's re enable our mask. Okay? And actually reprocess. Okay. What it does is that it analyzes the footage and then it renders a dynamic sequence of PNGs right now. So now should be way more subtle. As you can see, po way better, right? Because now it's more integrated. It's not just a still image. So in the end, if there are fluctuations, yes, you still need to use a video, even though it seems to be just a steel frame, you know? So so now is really more subtle. At this point, let's stretch you remove the second thing, which is this thicker here in my shirt. So since it's a simple shape, in theory, we could attempt to use the standard mask simply here, here, here, we track it, right? We do a negative, a subtraction. But by default, I recommend developing the habit of using mocha for these things because it grants you the most precision and reliability. You know, we have just more control for these things at this point. So let's just select the footage and we go to FX and we apply Mocha. First of all, just drag it into the footage. Open it. First of all, let's go here and here. Okay, so first of all, we create a mask around the subject to remove. So in this case, let's go here and go slightly wider than the actual object. So it has space for error in case there is high movement. And then let's disable everything except translation, and don't change anything else. Change this automatic. And then let's track forward. Should be pretty fine. Poof. You know, pretty fast, pretty reliable. And, and then we just save Okay. At this point, we need to duplicate the footage. Okay, let's call this Mt. And in the mat, we simply enable one thing on the mocha. We go to Matt and show mat here. Alright. You see this thing here. And you can start to recognize where this is, right? So then we simply connect the footage to mat using track mat in Luma mode, right? Because this thing here because the mat by default, let me check exactly. The black of the mat is actually rendered, right? So we need to use the Luma mode instead of the Alpha mode, right? So you see that it's actually rendered. So it means that here, simply, we check this on. Okay? So now, in theory on the footage, exactly, we see all that part of the video, but we need to do the opposite. We need to cut a hole there. So simply just invert, right, and that's it. So at this point, let's see what we have. So we have a hole exactly there. And that's it. Now we can also felter it a little bit. Let's go back to mat here. We can fer it just a little bit, a little, you know, okay? And then go to our best friend here, the the content aware. So let's go here, work area, strong surface. Okay, in this case, we need to change object, right, because it's moving. Okay. And if we don't need expansions, it should be pretty good already that way and generate. Wait a couple seconds. Alright, let's see play the video, and let's see what all looks like. Poof. Alright. Okay, so reason will be good, right? Because if you show these two people, they may never notice that something is going on down there, right? So, in case we can change the look of that slightly by just shrinking the mask a little bit, or just change one of these modes. You may be subtle. Let's see. Let's see. But, you know, the point is that for most people, they will never know that we removed something, that there was something there. You know, it's fundamentally perfect, you know, and that's it, because people will just look in the eyes, you know, the talking person, you know, that's the point. And yeah, so that's how to remove objects. So it depends on the complexity of the object. But if you use Moka, if you have patience, you can remove very complex objects, even, you know. Yeah. And then sometimes in the most dangerous cases, is to rebuild something. You know, for, we've removed this cube, it may not fully understand TV versus walls. So ins you kind of create a little patch here, and that's where using Photoshop helps you rebuild what's behind, right? That's the point. But yeah, for the most part, it's crazy, right? 25. Displacement: Displacement maps are an extremely important thing because fundamentally, you can use one channel of one layer to modulate another layer, right? So every single layer has at least four channels, RGB and the Alpha channel, right? So fundamentally, red, green, blue, and the transparency. Let me show you in practice how it works. So, for example, we have here a texter file. Okay, let's make a new comp. Alright, so let's suppose that we want to integrate a text, int this texture in a realistic way. Alright? To do that? We need to First of all, call this texture. Okay? In we create a text. Alright? Where do you know this so far? Uh, let's say, happy, okay? And we center it, right, let's apply our classic globe. So normally, we can use the blending mode. That already helps. Let me show you like this. Alright, that already makes an amazing job, right? But the text right now it's still just flat. It's just perfect symmetrical, right? But what if there was a way to kind of make it actually interact with the texture to kind of make it actually spread into the texture gradually, you know? So to do that, we need to use displacement map. So we go here and we search displacement. Okay. And we apply displacement map on the text. First of all, here. Boom. Okay. And now we need to tell it. What is the source of the modulation, right? So the source is the texter here. So we go here and choose Texer Alright. And then we're going to choose the channel that is going to be used for the modulation, right? So as you can see, these are all the choices that we have available. As I told you, we have all the channels plus the brightness, luminance. So in this case, since it's kind of a black and white texture in a way, we can use pretty much just luminance. So let's use that for the horizontal displacement and the same for the vertical. And now what happens is that we can regulate the amount of this. So let's ho with 00 for now. And let me go slowly. Increasing the horizontal displacement. Watch carefully what is going to happen here. Wow. You see what is happening? Now I can slightly spread the text into the texture. You see that now it's way more integrated. So now it's zero. Let me go slyly. To the left. You see how now it's kind of spreading the text into the textar, you know? And then let's try also vertically. Let's see how much we can push it, you know, so now it's fully interacting with it, you know? That's the beauty of the texture and the displacement maps. And this has infinite use cases. You know, if you have, for example, a glass distortion that involves displacement maps. If you want to use this on video, that also works. So just have fun because it's incredible. 26. Depth Maps: Now that we familiarize a little bit with displacement, let's escalate a little bit, and let's go with the concept of depth maps. Alright? So we have this image, right, and we want to be able to create some psudo three D movement into the image. Alright. So there is a way to do it thanks to the so called depth map, which is something that looks like this. Let me show you. Is an image that looks like this. Alright. So fundamentally, this is an image that detects what is closer and what is more distant from the camera in an image or a video, right? And then thanks to a displacement map, you know, we can create a three D movement into the image or more things that I'm going to show you in a second. All right? So first of all, let me show you how to create this weird thing, right? So there is a free tool that I'm going to send you. So all you need to do is you drag the image into the tool and just press submit and we'll just give you this image and download it and put it back here, right? And in case the size is different when you import it like this, for example, make sure that you stretch it back to full screen and precompose it. So for this rock to work, the two layers need to be normalized. So the scale on both layers need to be fundamentally 101 hundred, right? Okay. That said. Let's actually go here and let's call this depth and this is going to be the picture. Okay. So the depth map means should be invisible. We don't need to see it in us. Let's keep it where we want. Let's keep it here. Okay. And now we apply a displacement map on the picture. Okay? And we change the source of displacement to the depth map, obviously. Now we change the source of displacement to luminance again. Okay. And let me show you what is happening already. So if I move this. We see what's happening, we start to be able to kind of rotate into the entire environment as if we were in a three D place. You know, it's crazy. But this was just a three D image. How the hell is that possible? Well, that's the beauty of the three D displacement with that maps, you know? So obviously, you cannot push it damn much because then it's gonna show the trick, right? But if you move gently just a little bit, you know, there's an area where you can use it, you know, to kind of make a slight three D movement, you know, very quickly. This is also called parallax, in a way, you know, so this is already some form of so called parallax, you know? Okay, let's engage these two parameters since these are now interesting. So and we can make it automation. You know, we can make, for example, 0-3 seconds here we go to zero, zero. Okay, and that's really. One thing. You know, you see that now we actually have some movement. But depth maps can also be used in other ways. So we can also use one effect called camera lens blur. Okay? Which by default, this effect, all it does is you just blur in the most realistic way, right? Simulating an actual camera, right? But it has a feature called blur map. So if we connect this to a depth map like this, now we can control the focal distance, right? So let me show you what happens. If we move this value slowly, let me show you. You see what happens? Now we can really change the point of focus in the image as if we were controlling the camera into this environment, right? So we can choose near focus versus far. Right. It's crazy. Right. Okay, so that's a parameter that we can automate, so we can engage it with keyframes. Alright. And now let's use, for example, we can also synchronize all this with a scale in the image. So let's engage, also the scale. Alright. And let's scale in slightly. So we go here. We go to 115 probably. Like this. Alright. And while we zoom in, we go from this focus level, a new one. Let's go with a cube and focus. Let's see if we can find the spot. All right. Maybe we can halt this number. Okay? And finally, we can expand the borders of the image by using a classic reptile. So we go here, like we already know this. We apply the reptile before everything. Remember this. And the blur needs to be applied after the displacement map. Otherwise, you will see some imperfections. Okay, let's see what we have so far. Let's smooth everything with some busier. Okay, let's make half so it's quicker to render. All right, right. We're getting there, you know. And let's also automate. Let's also smooth the D map, right? So we can simply apply a Gaussian blur on that map. We do, and we increase it to 50. So the death map right now, technically looks like this, right? We are kind of smoothing the edges of it, you know? So to make the displacement map aware of this Gaussian blur that we added on the layer, simply go back to the displacement map settings and change here from source to effects and masks. So it will also take account of that, you know? All right, so now we start have some more movement, okay? Let's also maybe add some more moment. Let's go here. Let's see how much we can push this value choose, so maybe we can go from this situation to this. Let's see. Okay, that's way better. Alright. And then also let's automate the amount of blur here from 15 to maybe way lower number. Maybe it's five or three. Yeah. Okay. And finally, let's add maybe a camera shake, you know, some kind of handheld shake. So we can simply use some wiggles that we already know about. So we go here. I just saved a preset that uses the same principles I already explained to you in the past. So we go here. We made the wiggle a little slower and a little wider. So 0.5 degrees 1 hertz frequency here, we can say, again, one and ten pixels. Alright. Alright, poof. You see how now the scene starts to really come together, you know? And, yeah, and then we can just have fun. We can have some Color correction. You know, let's see. Let's I'm gonna explain this later, but for now, let's just do a quick adjustment like this. Alright. Let's see how the full scene starts to come together, you know? That's it. That's it. So as you can see, that maps plus displacement maps, plus this trick with the blur allow you to adapt to an image and make it look more three dimensional, you know? So, so remember these things because the uses of this are fundamentally infinite, alright? 27. 3D Camera Principles: Et's talk about three D. Alright? So let's make a new composition here else let's make ten ADP should be fine. All right. Okay, so let's work with text for now. Let's go here let me show you one thing. We type something. Every single layer normally can be converted into three D by clicking this icon here, this cube here. When you turn it on, fundamentally enables the third dimension on every property. Rotation, scale, and position now have the Z axis. Alright? So, the first thing that I do when I make a layer, three D is to calibrate it. So we just change the anchor point to the center of it, right? So you can simply like with three D layers, go at the center of the layer first when you see XYZ, and then you can change like grab it from there when you see XYZ and snap it at the center of it. Alright, now it's calibrated. So let's put at the center of the frame. First of all, so go here and move it. Alright. Okay. And that's now fully calibrated and centered. Okay, so where do you know that we can move the layer now like this with a mouse. Were you know these things. So we can skip that, right? So instead, let's talk about cameras. So cameras are fundamentally a way to have the point of view control on the entire scene, you know, so as if we were exactly in the scene, right? So you can imagine the camera like a giant null control that controls everything at once, you know? That's what it does fundamentally. And it's very convenient. So let me show you. Let's right c here, and let's create the first camera. Okay, there are two types of cameras, the one node and two nodes. So let's start with one node, which is simpler to use. Okay? Let's call this Cam one. Okay? Don't change anything else. Keep everything default. If you have specific requirements, you can simulate specific types of cameras. So in this case, let's go with 35 millimeters and don't use the field for now and just confirm. Okay, so as you can see, when you enable the camera, normally, the view doesn't change. It remains exactly the same. But let me show you one thing. As soon as we change the position of the camera, the Z position, we get closer to the element. You see what's happening? Because we're Lily now moving into the scene, closer to the object. So we're not making the objects bigger. It's just us getting closer to it, right? Okay. So before we do anything, let's actually arrange multiple layers in the three D environment. So let's duplicate this layer, okay? And we shift slightly like this, and then we change the content a little bit, just make a different word. Okay. Two. And so we're going to push it somewhere else. So instead of making it smaller, we're going to actually move it away. So we push it with a Z axis somewhere else, somewhere there. And here's the first issue, as you can see, doing this just with this view can be a little confusing, right? So we can enable multiple views by double clicking on the composition tab, and then we enable two views here. And then we can see the scene from the top as well, so we can zoom out. You see what is happening now, the camera is here. We're here. This is our point of view right now. The word one is here, as you can see here, and the word he is exactly down here. You see where it is? That's where we pushed that so far, you know? And we can go as distant as we want. We can push it all the way. You know, so just push it to a useful distance. So for now, this should be enough. Let's put it here. Okay? So here in the video looks smaller, but actually, it's just distant from the camera, alright? Okay, and then let's make a third word. So let's duplicate this one more time. Let's go back to. This view, okay, let's call this three Okay, and we're gonna put it on the other side of the frame. So let's go here somewhere here should be fine. Yeah, exactly. And maybe even more distant. Like, those Okay. And also, you know what, let's rotate slightly these three layers. So that is going to have that rotation. That's gonna be slightly different like this. Okay, that should be fine. Okay, so let's first of all, increase the ecstatics of the layers. So adjustment layers work as fine, even if the layers are three D. So let's call this post. We use our best friend, the default go. That should be fine. All right. Exactly. Okay. So now, let me show you one thing. When we move inside the environment using the camera, fundamentally, we can also rotate our point of view. So remember that fundamentally the camera right now represents our head into the environment. So it means that if I go into the scene, if I go like this, I go closer, let me enable the chew view, so we see exactly where I'm going. Alright, now we're here, right? So if I go closer to the first word, obviously, we see a bigger, okay? But suppose that I surpass it. Obviously now's behind me, okay? So now I'm surrounded by the words have word two here, word three is there, word one is behind me, okay? So if I want you orbit, I can do it by rotating the Y axis. So I just move it with a mouse like this, and see what is happening? Right now, it's as if I kind of looking around the scene. So I kind rotate until I will see, obviously, the first word, but reverse because we are behind it, right? That's the point. So so that's I think it's one of the best ways to fully understand the first type of camera, you know, so you simply move around the environment, and you can rotate your point of view at any point, right? And all these things can be automated, right? Okay. So before we start with the animation, let's first do the same thing, but with a two node camera. Let's disable the camera. Okay? And actually, let me show you one thing. If I go to a specific position and I then disable the camera, you see what happens, the view shifts to a default view because you can bypass cameras instantly, just like this, you know? So the eye actually turns the camera off and makes the scene return fundamentally to D, you know? Or just without cameras. That's the point that keeps the point of view static, you know? Okay. And one more thing, only one camera can coexist. Per time. So if you have multiple cameras, only one of them would be active at a time, which means my recommendation is to if you need more cameras, you can do it. But make sure that they are kind of sequential, you kind of trim one camera when, you know, until the point where you need it, and then you switch the second camera, like this that way, it will switch to the second point of view, with that camera, you know, so they cannot coexist, even if you get them simultaneously, unless you precompose them. So if you precompose the entire scene with a camera, yes, that's one trick to make multiple cameras coexist. But normally, they are not meant to do that. So you keep those sequential, right? Okay, also, just to tell you that using multiple cameras like this can be useful if you want to experiment with different types of cameras. So maybe they're gonna have the same exact automation, but they're gonna be different cameras. Maybe one has a wider angle, one is narrower, right? That's one case where you may want to have multiple cameras at the same time like this. But you can only turn on one at a time, right? Okay. That's said. Let's just step back. And let me create a second camera for now. Let's go here, new camera. And let's make it to node camera instead. Okay. So the difference with a node is simply that we have an additional value called point of interest. So let's go here. You see what we have here. So the point of interest, in other words, is the anchor point. So the one node camera doesn't have a anchor point. The two node has. So by the anchor point for a camera, if fundamentally this thing here, and the feature of this point is the fact that doesn't matter where we go with the position of the camera, let me show you. So so right now we're here. The position is here, right? This is the anchor point. So now even if I move away horizontally, you see what is happening, the camera keeps looking at that spot. So that's the fundamental difference with a one node camera, you know? So, in case you want to have a specific target to look at all the time, you need a point of interest to make it easier to manage. You know? So if I go horizontally, vertically, it doesn't matter. I will always look at that target I chose. And obviously, the target can change dynamically by automating a point of interest position, you know? And if you don't need this, simply go with one node camera. That's the simple question that you need to ask yourself in case you need to use one node versus two nodes. So in this case, as you can see, if I rotate, you'll not care about it. It will just change the point of view like this because there's no target. There is no point of interest. So 28. Camera Animation (Basic Method): Let me show you how to approach animation when you use cameras, right? There are two methods. Let's first choose our initial position. So we're going to start with this exam position. Let's actually enable keyframes on X Y Z on both rotation and position and also orientation. All right. So we stat to have all the keyframes ready for ready to go. So let's go to 1 second into the timeline. And the cool thing about this method is that we can select the target where we need to go to. So in this case, the word che here. And then we simply click on View and look at selected layers. Boom, of. You see what happened? It will automatically go to phase the target automatically. And since we had the keyframes already enabled, now we have the coordinate to go there, exactly. And then we just need to regulate the rotation a little bit. Let's go here. All right. And as you can guess, now it goes from position one to position two. Wow, just like that. Right? So then, for example, we can go back to the first position again. So we go here, for example, around second two, right? So we copy and paste the keyframes, and then we go to word three. So we go again on second three. And then we just click it, look at selected layers. And then again, just regulate the angle like this. Alright. So now we start from center, then back to center and word three. Alright. Okay. So at this point, I'll start you make these key frames a little smoother. So we simply enable sie everywhere, and then I'll start to make everything a little cooler by enabling motimbler Okay, and that's already a first way to manage animation for elements that are arranged and in the environment, you know, very simple. So we can case also time the curves like this, you know, remember that you can also do this at any time, like this. So there's some timing that you can still do, and that can feel also very good. You know, you can do stuff like this, right? Kind of slow down. So there's a certain level of expression that you can achieve already with this method. 29. Camera Animation (Advanced Method): So far, with first method, we are pretty much able to go from first target to a second target, and then go back to the source position and then jump to wherever or target in sequence. So this is really good solution. But if you really want to have smooth motion, we need to escalate this. Well, let's go to the very start of the composition, right? Let's delete all the keyframes because now we're going to do something completely new. First of all, let's make a noll object. So let's go here. No object and and that's where most people make a mistake. So you make the null object three D. Okay. Let's name it Control one. Let's go here. Okay. So let's see where three D where the null is. Okay, as you can see, the null is here, whereas the camera is here, alright? So, most people start to parent the camera like this straight the null object, and then they start to make the technique I showed you earlier with multiple null objects, one per movement. Okay, that's fine. But they forget always do one thing, which is to calibrate the null object. So before parenting the camera, we actually do this. So before parenting, we select the null object, and we use the trick with shift parent to the camera. That way, look carefully what is happening here to the null object. Shift parent to the camera. Boom. Woof. You see what happened? Now it goes exactly where the camera is completely synchronized. That way, when we finally parent the camera to the null, fundamentally, the numbers that we see here represent fully the coordinator of the camera. That's the point of this, right? So it's going to be way easier to use, and you're going to see the reason in a couple of seconds, right? So the camera, obviously, we don't touch it, let's keep it like this. Alright. And let's start make the automations. So let's go there are two ways to do this. We'll enable XYZ, as always, may be also here. Let's enable all these things. So the method is pretty much the same now, so we can simply go slightly the future here, and we can either grab now the null. And we just move like this until we snap to the target. So the target is there. So we can either approach it slowly like this, one exit at a time, like this, you know, and that's already one way. Or you can just grab it from the center. So if you see X Y Z, you can also grab it and snap to the target and then go slightly far from it like this. And that's already one solution, you know. And then there's also a slightly more complicated way. If you really like the feature I showed you earlier, where you select a target, and you just select the target and you go to view, look at selected layers. Thanks to the fact that the null is calibrated, we can still use that feature, but it's slightly different the way we use it. So we need to do this. We open the coordinates of the camera here. So we select the target here and we go to view, selected layers. Alright, so you see what happened now. The feature is still working, but we need to do one thing. These numbers here on the camera, we need to cut. We need to cut these. And add those to the actual key frames of the position of the control that we're using, you know? So it means that we need to add those to the X now, so plus that number. Then again, cut from Y and paste it here, plus, again, so plus that number. The camera in the end needs to stay 000. So those numbers are just the numbers that I need to extrapolate, you know, from there. So now from this number, again, we go here at the end of it, plus that number. Boom. You know, so Thanks to the fact that we calibrate the null objects, we can still use that feature. All right? Okay, let's continue. Let's go to 2 seconds. Okay, let's go back. Now we need you a second moment, right, so we need to duplicate controller. Okay, and we return to the next position using the new controller. So we go here. And obviously, remember to parent. Obviously, parent Control one to control two before doing any change, okay? And now it should be fine. Let's go here. Exactly. Alright, so for now, we're going here, then we go to two, go back here. Okay, let's go to number three. And then we start to do the smooth the smoothness step. So we need to a new movement. So Control three now, right? So we delete all the previous key frames. Parent Control 22 Control three. Alright, now we're ready to move it. So let's see where we are. At any moment, you can see where you are by just clicking the latest controller. So we are exactly here, which makes sense. We need to reach this point. Okay, so let's do it manually, for example. So we go here, X Y Z, move move move. Go to the target, snap it, and then go lie away from it. Alright, that's it. You know, and Okay. Let's also maybe also rotate it a little bit. Let's see. As you can see, the Zac is still working completely synchronized. So remember to calibrate ole object. It's so important because otherwise, these rotations will start to not make sense anymore. So that's a very important trick. Alright, let's rotate it a little bit, like this. And finally, maybe let's go back to the initial position. So Control four, parent, And actually, we just copy and paste. We just move these in theory. Should be fine, let's see. Exactly. Wow, that's it. Alright. Okay, so now we start to have all the key frames, right? So to smooth these guys, we need to, first of all, select all of them. And such you enable busier. Boom. Okay. So now we simply use the trick I showed you in the motion section where I explain the technique where we start each next movement before the latest one ends, right? So, fundamentally, we start to overlap these slightly like this, you know? And how much you need to overlap these depends on how smooth the animation want to be, you know? But the principle is this. We cannot intersect each movement with each other, you know, that weight is going to be a area where each movement starts to average with each other, you know, and that's what really produces the smoothness. So let's go here, here. Okay, let's make the first move a little slower. Alright. And then if you stretch the key frames a lot, you may need to reset the Bzier. So reselect everything and repress Fn one more and more. Okay. And what else? We have the motion blur enabled. Let me check. Exactly. Okay, let's see. At this point, we don't need the key views anymore, so we can go back to one view, full screen, Alright, let's see what we have so far, Render. Let's give me some time. Alright, so we are here at the beginning. Let's see. Okay, so for example, right now, the interpolation is so high that it doesn't approach the word two even remotely. It's just it already starts the next moment too early. So we need to tweak it, right? How do we tweak it? Well, simply go to the first moment, okay? And we need to simply tweak the first few moments. So for example, we can make this start slightly later, not by moving the key frames by changing the curve. So the second moment, we go to its curve. You make it start a little slower, you know, like this. And make sure that each moment fundamentally ends with a slow inertia. So in the end, it doesn't matter if you do this or this. Here it needs to end in a slow fashion. That's the trick. So here again, let's delay the Z axis of the second movement. That way we have more time for the first moment to complete. So let's go here. Maybe we can make it a little faster like this. Alright, so now we're regulating the first movement. So you can see this technique obviously is a little more complex because you need to do these regulations, but, I mean, you need to choose if you have time, you do this way. Otherwise, if you don't have time, use the first method, you know? So let's see. Wow. You see what is happening now? Klas also continue with the smoothness for all the other movements. So we go here. Movement three, same thing, so we go here and slow these curves at the beginning of it. Same here, and same here. Boom. Slow it at the beginning. Oh, right. And then what else? Fourth moment also. Let's see. So, this can also start slightly earlier, like this. Alright. Let's go to the key frames. Okay, so this can be delayed slightly like this. We're almost done. And this goes like this. Oh, right. Okay, so let's see. Let's render all this. Let's give it some time. Okay, Woof. You see what is happening? Now, instead of zigzagging, which in the coordinates of the different steps of the animation, there is a averaging between each step. You know, kind of slows down, then smoothly changes to the next target. So it kind of navigates into the scene in a smoother and more integrated way. So that's the secret for this second method, alright? So again, the trade off is that it takes longer to realize something like this, compared to this, this kind of quick, you know, quick and dirty. But actually, sometimes this is pretty efficient. You just do this way and just pull it off, you know, that's the point. So when you do have time, use the first method. You know, which is a little more staggery, right? But it does the job, right? When you have the time, use the second method, you know, kind of whoo whoo, right? So, so, and this is incredibly powerful. You can do what you want. People use it for anime edits or incredible transitions in real footage. The implementations of this technique are infinite. You, you know, so have fun. 30. Depth Of Field: Before we go away, let me just show you one couple of things about the cameras. So the camera has also a feature called depth of field, which fundamentally is like in real life property where according to the distance elements, we can keep only one element in pocus at a time, right? So let me show you what I mean. We expand the camera properties here. Okay. And we enable depth of field, first of all, boom. Okay. Then let's go for a second back to the views. Okay? Let me show you what is happening here on the view on the right. Alright, so this is our camera. We already know it, okay? So, now that we enable depth of field, we should see one additional parameter, which is the focus distance. So when I move this line, you see this line here, that's the line where everything will be fully in focus, you know. So it means that if something is outside of that line either before it or after it, it will progressively get defocused, you know? So let's, for example, see where the number one is. Okay, is there. So let's make sure that it's exactly coinciding with the focus line. So we go here. It's gonna be exactly there, right? Whereas, we already know that the other elements are there. So now let me show you one thing. If I increase the aperture, you see what's happening? Poof. Now the other elements that are outside of the focus line, obviously they are getting out of focus, right? So that's the very important thing to add realism to your scene, right? And obviously, this reacts dynamically to the position of the camera, right? So you can already guess what's gonna happen if I play. Poof. Obviously, when we approach the words, they get in focus. And again, back out of focus when we get back to word one, right? So this is additional thing that you can add to your projects. Be careful because this makes thing heavier to render. So maybe you can toggle this on and off dynamically as you need to check, right? But this is very easy way to use it. So regulate the focus distance first with this prometer. You know, and then just increase the aperture. You have more or less blurring for stuff that is out of focus. And then, these are kind of more nerdy things. Don't touch these if you don't care. And finally, the zoom level here is fundamentally the type of lenses that we use. So, fundamentally, if you want to have a shy effect, change the zoom level. Let me show you let me show you what happens to the camera. If we squeeze it like this, you see what happens, it kind of allows us to see more of the frame at a time, right? As if we were installing a fish eye, but it comes with a cont of a fish eye, which means that we distort the image a little bit more, right? So whereas if you want a macro view or a tunnel view, you can do it by doing the opposite, you know, kind of a telescopic zoom lens. You can do it that way, you know, like those, right? But as you can see, obviously, it's very narrow now, so we're going to have a very narrow view. 31. Basic Extrusion: Let me tell you one thing a little extra. In Arafax you can change the renderer here by enabling fundamentally changing some features for three D, right? There is one mode to make the text truly three D by changing to Cinema four D here. And this has an advantage, which is the ability to make text truly three D. So now that I have Cinema four D enabled, let me show you what I can do. I can go here and I can enable geometry options and extrusion depth. So when you enable this, to see what is happening, now the text is actually three D has truly depth, you know, and also reacts with light we're going to cover later. But you probably notice that we lost the ability to have depth of field. So that's kind of a trade off. You either have depth of field but only two d layers or truly three d layers and not depth of field. But actually, even that that's not true. There is a way to work around it. So actually, well, let's go back to the normal renderer. Okay, now we have Dulfeld. Okay. What if we precompose one? So we precompose this word, right into its own container, Okay? And we make a three D. Alright, so now the field is still working, right? But inside inside it, we can now enable a local cinema four D just for this word. And that way, we have the ability to make a three D again. Without breaking the depth field on the outside, right? So we can kind of rotate this word, keeping, you know, the perspective of the word a little more interesting, right? And here at this level, we are now still with depth fulfilled available. So that's a workaround for these things, right? So always don't get miscouraged. You know, think about it. Think about all the things that we can do. There is almost always a work around issues. 32. Character Rigging (Puppet Pin Method): Alright, so when it comes to animating characters, you can always find yourself in two major situations. The first is the case where you have only a pre rendered frame of the character, right? So the second case is where instead, you have full control on every single piece of the character, right? So we're going to analyze the first case first, which is the easiest to kind of understand, and then we go more complex with the second case, right? So I suppose that we have just single image. So right now, let me simulate that by precomposing all the pieces into one, so we say character one. Alright. Okay, so we have this single image, right? We can already notice the first issue, the fact that it's just pre rendered, so we can now really have full control on making a pose that is significantly different compared to the initial one, alright? But there is a way to still have some control over the pieces of the character, right? We need to use one tool called puppet pin. This one here. So you click this tool and we start to zoom in and create one joint on every single joint of the body of the character. So in this case, we place one on the neck. One on the shoulders, you know, when they attach to the body and then on the forearm hand, let's repeat the same thing on the other side. Okay? And then one between the body and the waist, right? So exactly here. Okay? And then one between the waist and the legs. And finally, between the ankles, fundamentally on the knees, you know? And then down here between the feet and the ankles. Alright. Okay. So now we place one joint, one point on every single major joint of the body, right? And you will actually notice one thing. After you Do that, see what is happening. Now we should be able to move every one of these pieces. In an elastic fashion, you know, so we start to give elastic property to the body of the character, which gives us some control. You know, that's already a micro victory, right? So we start to have some level of control. So we can not do one thing. For example, we don't need to really control certain joints directly. So this, for example, is useless, this is useless. So let's just make this become automatic. So how do we do it? Well, first of all, as you create each point, it will automatically place one keyframe in the timeline inside the puppet effect. Let me show you here. So if we press you, we see all the keyframes already. That I have the coordinates of every one of these points. So when you move these, it will obviously change the position of that joint. So if I move this, let me see which one it is, obviously, it's down here, right? If I move it, you see what is happening? Okay. So let's stop that issue I was talking about. This, for example, we don't need this elbow or in, so to make it become automatic, we just identify it first. Okay, so it's number three. So this is the way it works. We don't need keyframes on this, so we disable that, and then we compress it and re expand it. That way we see this option here. This is the type of pin. There are three types position, starch, and a band. You can ignore band because it's kind of useless. So, starch is what we need, because when you enable starch, it will not give us any key frame because now it's kind of a rigid point that reacts automatically to the points around it, right? Okay, and in fact, I can now move instead the hand which makes more sense and who. You see what happens? The elbow automatically reacts according to that. Alright? So we can do the same thing here on the other side. Let's see which one it is, okay? Here, here, and just enable starch. Alright, so now also this reacts to that automatically, you know? So, in yada, yada. So, same thing for the knees. So let's try here. Let's go's see what happens. We just enable a starch. And that way, have a behavior that makes a little more sense, you know, right? As long as you then animate the feat in this case, in a way that makes more sense, you know, in a coordinate that makes more sense, it will fully work. So obviously, here we have keyframes, so we have keyframe one, and then we can go to keyframe two around here and we go in this position, right? So now, obviously, the character will do that movement, right? And also we can use a little trick to auto make it loop infinitely, right? Because maybe you want to make idle animation, right? So to do that, we need to first close the loop with the keyframes. So we have keyframe one, keyframe B, and then return to keyframe A. So we return here. Alright. So obviously, cup and paste in these keyframes infinitely is going to be very annoying. So we're going to use an expression as, yes. So we simply just click on this property with to enable Expression, right? Where do you know how to do this? Old click. And then we simply go to one of the presets here, go to property. Property and then loop out duration. This is what we need. This is one. So when you click this fundamentally, it will read all the keyframes in that property from the beginning. And then as soon as it ends the last keyframe, it will immediately restart the loop of the three keyframes in this case, right? And in other words, now, it will automatically loop that moment forever, right? So that's one way to make a loop very easily. So you just create one cycle fundamentally and then it will repeat it the whole time, right? That's it. Okay, so let's now, for example, go to the neck. Let's say that we want the neck to move slightly like this. We can simply apply our best friend, the wiggle expression. So we go down here, we apply a simple wiggle, and we say, Okay, it's gonna move one times a second and five, maybe ten pixels max omnidirectionally. Alright? Let's see. Now what happens. Alright. So the characters should be a lot more alive, right? And, yeah, and all the other things are just connected work the same way. So you either move it manually with key frames, right? So you create the different poses over time, right? Or you use expressions to kind of create loops or randomizations. But the only limitation is there's gonna be some artifacts if you move too much in the position, right? Because it's gonna squeeze the character a little bit. So, this method has some limitation. That's the point. But for small motion, this may still work as a method, you know? 33. Character Rigging (Duik Angela Method): If the puppet pin is not enough to animate your character, I should escalate the situation. So first of all, you need to have separate control on every single piece of the character, right? So you need to break it down. So if you have a starting image, you need to break it down using just duplicating the layer multiple times. And for each layer, you make a mask to isolate exactly each piece of the limbs, right? So or if you have native control over those parts, you already have those, right? So in my case, I generate these using shape layers. That actually can be a good idea. You put the image blow and you rebuild natively using shape layers. That's valid. That's a strategy, right? So after you have broken down all the pieces for safety, I recommend precomposing every single piece in the final ring, alright? So let's because sometimes maybe if you duplicate some pieces, they may still result as copies of each other and not independent pieces. So, to make sure that they have a unique identifier, I'm going to precompose each piece like this. Like this. And I'm going to do it for every single layer. But there's an issue. As you can see, already here, already positioned the anchor point in a better place, you know, where the joint should be, right? When I precompose it, I lose that information, right? So I need to redo the same thing again unless I check this checkbox on Okay. And at that point, when I reposition the anchor point, it will actually detect the anchor point that already I already positioned inside. So then I can just easily just reposition it like this. And now I'm just skip forward because I'm going to just do this for every single piece. Alright, so first of all, let me show you what it did. So let's go in order through all the layers. So we have arm left, which is the first piece of the arm here. And forearm and hand. So you can see watch carefully where I place the anchor points. One, w, three, one, three. Alright? Cool. Then I repeat the same thing for the other arm, same thing. Okay. Then we have a leg left, the knee, and the conjunction between the ankle and the feet, you know? So one, w, three. Let me show you so watch carefully the anchor point again, one, two, three. Okay, so then same thing your leg, right? And then the most confusing the head, chest, and waist. Alright? So the waist, you should place it around this spot here, which is connected then to the spine to the chest. You know, I call the chest, but you can call the body, where and the chest is the one that's different, place at the center like this, okay? And then finally, in case you have a neck, you can have additional piece, or in my case, there's no neck. So simply straight to the head, and the head has the anchor point there, right? Okay. So that's how use this as a rule of thumb to make all your raking pre raking fundamentally, because we still didn't do the actual raking, right? Okay, this is the preparation of the layers. So once you have this situation, you're ready to pull up a plugin called Duik. So **** is an amazing free plug in open source that you need to download from this website that you see right now. Just follow the guide, download for Mac or Windows, wherever you use, and fold the installation guide it's very easy and reboot Afrofax. And then you will see it pop up here, Window scroll down here and you see **** Angela. This one here. That's the plug in. So you click it. This is how the plug in looks like. Alright? So first of all, we're going to create the bones. That's how they are called. We click here, bones and we select the type of animal that we're going to use. So in this case, just human. And as you can see, we had all the different types of limbs, and we need to select the pieces of each limp in a specific way. Okay, so we need to fundamentally select each limb from its base to the tip of it. Alright? So in this case, we click on the arm piece first, then the forearm, and then the hand. Okay, so now they are all three selected. In this specific order, we click on human, and then we shift click on arm and we choose a couple of things. So, for example, the orientation must make sense. So now, that's right. Front back in this case, does make sense because, okay, let's say that this should be in front because it's the part that is visible above the body. So let's say that it's in front, in this case. And then we choose how many pieces. We are three pieces, so that makes sense. One, two, three, right? And then while holding Control, remember this is very important. Keep control pressed the whole time and then confirm arm here, confirmation. Alright, wit the bind completes, and you will see here a couple of things happening. Then if you see your pieces engaged with parenting, me the you did it right. Alright? If this remains empty, maybe you forgot to press control, something happened, so retry again until you see exactly as I have it here on my side, alright? Okay. Then we start to see the bone. So this is one bone, how it looks like, you know? And the tip needs to be tweaked manually. So we go here and we just move the tip of the bone exactly in sync with the tip of the actual limp, you know, like this. Alright. Okay. And that's one bone. Now we just repeat for the older arm. And good news. Now we just select it. So, same thing. Arm forearm hand and we go, again, human here, arm. So now we don't need to shift click. This time, we can straight just control click like this because Dweck is aware of the past limbs that we did already of that type, you know, so it will automatically say, Okay, probably you need to do the opposite side now. And in fact, that's what we need. Alright? So let's tweak the tip of this. Alright. Here, I just forgot to place the anchor point a spot so just take your time when you place the anchor points, right? So then let's go to the leg. Let's go here. Let's see what it is. Leg, ankle, leg, ankle, and foot. Obviously. Okay, one, two, three, right? And we click here. Human. Shift click Shift click before, because it's the first leg still, okay? And this is the right side. This is the front. And it's made of three pieces, thigh, cuff, and foot. Okay, then just control, click again. Remember, control, click. Very important. Alright, then again, tweak the tip. Okay. And finally, the other leg. So let's go here, one, two, three, Human, and then control, click straight. Alright. So as you can see, the process becomes easier and easier as you progress, we're almost down the way. And then we go to the hardest one, the waist. So the body follows this in principle. So from the origin point, from the waist going up. So we have then it's like the waist first, then the chest, and then the head. Okay? And finally, we go here, human spine shift click. Okay? So we have the head, yes, we have the hips, yes. We have one piece for the spine or next zero pieces. Alright, so and then just control click on spine. Okay, Let's tweak this here. And now it's fully rigged. Okay, we have all the bones that we need. Okay? So, now it's actually the magic. So we simply select all these layers, the points, both these layers that appeared. These are called guide layers. Fundamentally guide layer has this icon here, and its property is it will be automatically excluded from the render, right? So let's select everything at this point. Control A. And then let's go scroll down here on the plug and you see Auto Rig. So simply click it and wait a couple seconds. We'll take some time. And now fundamentally at the top of the timeline, we're going to see a bunch of layers called controllers. Those are the only layers that technically, we will just need to animate. All the rest fundamentally can be hidden or almost. So I'm going to show you a few seconds. The length of this frosts depends on the power of your CPU, but usually it's over within one, two, 3 minutes, you know, depends on your computer. Alright, so let me show you what happened. So at the top of the timeline now we have these new layers with a C. These are the ones that we need to move to change the position off to animate the character, you know, that's it. So all the rest can be hidden. So let me show you because, as you can see, we actually have so many layers, right? So these are our actual visual elements. So, in case you issue, keep those visible because maybe you initial apply some effect, keep these visible. But for simplicity for now, let's hide everything, you know, so we select these we don't need to see the bones anymore. So we select all the bones layers, which let's unlock these. So we can select also the other ones. So unlock everything. So you fundamentally select the first layer with the star that you see. And so you can select everything until here. So don't select the ones with the C because those are the controllers. So all these can become off actus, right. And for now, we can also select everything again, actus, except the ones with the C, and then enable this icon here. The shy icon allows you to hide something from the hierarchy like this, boom, and then press the same icon again here. Right? So now we have only these layers that are the only thing that we need to add at this point. All right. So let's go here, so let's go here. Frond, we don't see the plug in anymore. All right. So let me show you what is happening. Now, we can start to verify if the rigging happened correctly. So if we change the position of this icon here, so let me just move it slightly in a better place. Let me rotate it. Okay. So each of these layers controls this icon here, which can be moved with a mouse, and let me show you what happens if I move it. Woof. You see what it's doing? Is the so right now, we're kind of holding the hand of the character, and obviously, the forearm and arm are reacting accordingly, automatically, right? So let's check the other arm as well just oriented. As you can see, each layer has its option to orient the D, the icon make it more sense, you know, make it more sense. Okay, let's move it. Alright. Yeah. This also works fine. All right. If the angle of the elbow is not what you need, if you need to reverse the angle of the elbow or the knees, simply reverse this value here. You see this value here, side. So if you reverse this number, so in this case, from -100 to 100, it will flip the verse of the elbow, right? So now, it will do it this way, right? So, so but in this case, let's just return to normal because it was an experiment. Alright, okay. And then let's go. Let's check all the pieces. So check the rigging happened correctly before doing anything. So let's search you move this around. Let's see. Yes, sir, this works. Alright. And let's see also this Poof. You see what's happening. Everything is working fine. And finally, let's we probably need to disable one of these icons. We don't need it. So the head is probably doing the head. Yeah, poof. You see how everything is connected. And then this icon probably we don't need. The body. Let me see. Yeah, this kind of changes everything at once. You know, how cool is it? You know, everything is connected. You have an idea how complicated this would be to do it manually, right? So there are kind of complex relationships between every single piece now. Okay, for example, we don't need this controller, really, so we can disable it because we can control from the chest, probably. Let's see. Yes. Okay. But even better, probably from the waist. Let's see here. Okay, yeah, it's fundamentally the same thing. Yeah, so you can control from the waist, from the hips, you know, like those. Okay, so and then yeah, okay, now it's fully confirmed. So the rigging happened successfully, and at this point, as you can guess, all you need to do is to animate the position of each of these, right? And you can change the rotation of every single one of these guys. So if I change the hips, obviously, it will rotate the entire body now. Oof. Right? So you can create infinite combinations, every pose you desire with full consistency, you know? That's why creating characters this way will always be better than just AI. You know, AI will always have some limitations. So if you learn this, you will definitely find a job eventually in the industry, you know, and this will be a very precious skill. If this is specifically what you need to do in After effats, well, I invite you to study projects that have been done there, you know, for example, this amazing channel that I invite you to do to study because they create their videos with Adobe doctors, you know, including After facts, as well, you know? And in case, let me show you a couple extra things. **** is not just rigging. You can also do simple animations. So let me go back into the plugin. There is one entire area that has a walking and running system, right? So let me show you very quickly. We go here, we select all the pieces, all the controllers, simply, and then we go to this button here, the play button. Okay? And then you see what we have here. These are all things I invite you to try. But one of those is the walk one cycle, alright? So we just click this button and it will automatically create a new button at the top of everything. It's wait a couple of seconds because it's probably processing some stuff. So now we have a new layer here, which is the controller for the walk cycle. So for now, you know what? Let me just play to show you what is happening. Woof. The character became alive, so now it's trying to walk, right? It's a little stubborn because we didn't calibrate the initial position of the layers, right? So the position needs to make sense for this cycle to work. So simply calibrate the position of the arms of the body, right? Usually, a standing position is the perfect case. So you need to place your character initially in a standing position, you know, still like this, not a T pose, still like this. And the cool thing, though, is that when you click here, the controller, let's make a different color. When you click the controller of the walk cycle, you have these amazing values that can animate dynamically over time. One of those is simply the walk versus run. So if you do 0%, obviously, it's not going to do anything. It's going to now it's just to our still position. So you can return to this for now, so we can create a better initial pose. Okay? And then we increase this again. We can also make the character run. You know, there are so many things that you can do. Okay, the cool thing is they can morph, hoof between running and walking dynamically, right? So let me do a little loop so we don't take forever to render. You can see this. Alright, so you see what is happening, right? And you can choose every single aspect of the movement. So you can go here, you can choose the width of the step, right? You can kind of tweak also the angle of the feet. So if you click on the feet, specifically, so in this case, legs, as you can see, if we have a foot roll, so you can tweak the actual angle of the feet when they walk, you know, like this. So every single aspect can be tweaked very easily, like this, you know? And, yeah, that's one of the most amazing things about this. You just need to explore this. That's my recommendation. You can tweak the speed, the inertia, the swing, angle, you know, every single thing. You know, now I see. You see what is happening. Now it's crazy. Yeah. And it's just a matter of tweaking this, right? You calibrate it fundamentally for your specific case. And then you can find it with some effects. You can apply our best friend on the glow and also some motion blur like this, okay? Let's give some time to render. Yeah, so that's it. You know, so remember, this is a very powerful system. So I think this is ready enough to get you going. I want you to explore it by yourself because that's the way you are gonna go you're gonna have the most fun, you know? So but, yeah, I hope that you enjoy this, you know, because, in case you need to go even deeper, just look for tutorials, go even deeper into this plug in, you know, but I just wanted to make you aware of this plugin and its basic routines, alright? 34. Expressions (Intro): Alright, let's talk about expressions for a second. Fundamentally is a internal scripting language in signed aftereffects that allows you to use less keyframes or none, but still create movement. So fundamentally, create movement without using keyframes. The second purpose of expressions is to create special relationships between parameters. 35. Mirroring vs Parenting (expressions): One of the first uses of expressions is mirror values. So let's create a second shape here and let's shift it somewhere else a little bit like this. Alright, so we have shape two, shape one here. Okay. So suppose I want you to link the horizontal movement of shape so that it mirrors shape one, alright? So we pull up the positions of both here. And as you can see, we have the cable available through every single property, right? So what we're going to do is should go to shape position and make a cable exposition of shape one, and watch carefully what happens when it release the mouse. Boom. You see what happens? First of all, the color of the number of position and shape two changed, which means that now there is an expression going on. Let's double click to check what is happening. There is a full text here, which just indicates the reference to the exposition of shape one. So right now we are brutally applying the same number of shape one X to shape two. That's the reason why it instantly jumped there. In this link, it's working in real time. It means that if we animate shape one, like this, you see what happens, Shape two will also follow along like this. Because every single as you can see, we accelerate the number being updated in real time. So it's always mirroring, referencing to this, and it's fundamentally overriding the internal value of that originally this head. So we can still see that value by clicking here. So you see originally has still 326, but it's been overridden by the expression, right? And we can bypass this at any time by pressing this button here. Boom. So as you can see, as soon as I disable the expression, it will easily return to the fixed value that normally has or eventually some key frames. So if we have keyframes here that even go to the opposite way, for example, it will just read those instead, you know. But if I just enable this expression that just tells it, Okay, actually, the value that you need to have is the one from shape one. In that case, it will completely ignore these keyframes and also the value that we give here manually. It will just refer to shape one. And that's why it just works as the word parenthood. But be careful because this is different compared to the parenting from here, from the cable here. So let me show you the difference. Fundamentally, when you parent, let me just go back like this. Okay? So, right now, we have these two layers like this, alright? No expressions, nothing, okay? So the difference with the full parenting is that if we parent shape two to shape one with the standard parenting, so from here, First of all, as you can see, doesn't jump. Immediately, doesn't go to the same X value. That's the first difference. And what we just told Shape two to do is to follow shape one, starting from this relative position. So it means that now we can still control shape two independently. So for example, this can still go somewhere else. We can control this value as we want, so it's not busy. And it will only move if we move the parent, which is shape one. So if we move shape one, yes, it will follow along, but it will never jump as with expression. So that's the fundamental difference. Parenting keeps the relative position intact. Whereas if you brutally mirror the value from the expression, it will actually synchronize instantly to that value. So even though these two things may sound or look similar, they still have fundamental differences. So be careful, so that way you recognize when to use the parenting versus when to use the mirroring. 36. Value & Slider (expressions): Oh. Okay, so now, let's just step back. We just deleted the shape two. We are just with one, and another expression that you need to know is called value. So let's enable an expression here, again, Alt click or option click and just type value here. Okay? So value means the internal value that we input here, you know, or the keyframes that we use. So just read itself fundamentally. So it means that right now, it's as if the expression is not enabled because if we change the value manually, it will still work. If we have keyframes, it will still work. All everything is good. Let me show you. Look, this, you know, still working. Alright. So, but now we can apply a relative offset to this value. For example, we can apply a operational change, so we can do minus, divide it, multiply wherever we want. So, for example, let's go simple, plus, okay? And if I just click outside, right now, we will just break because the expression is incomplete, right? So we just specify where to get the offset value from, right? So this can be everything you want. You can just go here. After the plus and then continue the expression just with a cable. You say, Okay, get the number from here from something else can be from here, from an effect value. Where you want. But to make it make sense the most, let's actually create a slider. That's how it's called slider, which just represents a number. We apply it on the layer itself here. And now, as you can see, this by default just doesn't do anything. It's just a number. And let's call this offset, X offset. Okay? And then we go here back to the expression, continue it and cable. Shoot the slider here. Now, just close the expression, click here. Boom. Alright, so right now, it's still just working fine, is reading exactly these values on the keyframes. But if we change something on the upset, if we increase it, poof. You see what is happening? It's applying a extra increase on the value, right? And obviously, this is dynamic, so you can animate the offset dynamically. So now we have a new keyframe here. So that you can do extra change of movement. So you have your normal exposition, plus the offset in case, you know? And that's obviously a simplified version of this to make you just understand how it works, right? So there are infinite uses for this. So you can do very complex relationships just for this simple principle, value and operation that are references to something else. 37. Auto-opposite (expressions): Okay, then another case where you may benefit from expressions is that you need a layer to do the opposite of another layer, right? So we already saw this case earlier. The most frequent cases where you have a layer that does the opacity, you know, goes 0-100, right? And you need another layer to do the opposite. So in that case, you have a second layer, obviously, here. And instead of copying, pasting the keyframes here, you reverse those, why simply just applying a simple expression on the opacity of the other layer? I'm just going to place this number to a random number just to show you that it doesn't matter. So you just enable an expression. And if you know the peak value of the other layer, so we know that the peak is 100. We need to go 100-0 in this case, on the shaped, right? So we simply type the maximum, which is 100 minus this guy, right? Boom. In that way, when this is on zero, this is on 100 and the other way around. So they will automatically do the opposite of each other. You will do a cross fade automatically. And that way, you can just control it from a single layer, right? So then you just do this deposit here, just reverse again. And that way, you have a cross fade of two layers automatically, right? So this obviously is valid for anything you want. As long as you know the peak value, this trick will work. 38. Wiggle (expressions): Two let's go back to shape one. So another expression that you will need a lot sometimes is the wiggle. So wiggle is an expression that allows you to randomize a value at a certain speed and at a certain amount. So for example, we can randomize the position of this square to make it more live. So in this case, let's compress X and Y to one single parameter by right clicking and disable separate in this case. Okay, so now even though we can apply one independent wiggle if they were separated. So right now we just compress those for simplicity, right? So now we just apply a single expression on position, and we tie wiggle. And inside these brackets, we need to type two numbers. One is the frequency, which goes from zero to the frame rate. Frame rate is the max number you can get to this. So in this case, just go to five, which means five times the second. And then coma. And here, the maximum number of pixels that the square can diverge its position two. So let's try with 100 pixels. Okay, and close, and now it's already working. Let's enable the motion blur. You see what is happening? Now it's randomly going to 100 pixels max from the starting position, you know. And obviously, if I increase this number, the first frequency, it will become faster, right, or slower. So but as you can see right now these numbers are fixed, and secas, we can make this become dynamic. So we go to the slider here and we can call it frequency. Make a second slider called amplitude, and then we can just connect the two numbers like this to the sliders. So this is going to be the frequency, and this is going to be the amplitude here. And now we just give obviously we give numbers that make more sense. For example, ten and 25. And that's it. Now we can control frequency and amplitude dynamically because these have keyframes here, right? So we can make, for example, a shake system with this. That's the very classic case. So you go here and you start from zero amplitude, obviously, right? Then you instantly go to a higher value, for example, 150, and then just decrease back to maybe more relaxed setting maybe ten, and also the frequency, we can go to one and make everything a bisier. Let's see what happens. So we have the just no shake and the boom and then it returns to be a more relaxed setting. So let's give it two pixels will be fine. Yeah, you know? And so that's one use of this, you know, and as you can guess, you can apply a wiggle to every single property independently. So be careful with rotation because rotation works with degrees. So we need we don't need to have those high numbers, so maybe we can do two and let's say, one degree max like this, yeah, or maybe like this 51. Okay. You see that now, we have the slight shake also on the rotation. Let's make it a little higher, maybe two degrees Max. You see that now is more apparent. So all these things can be controlled dynamically, you know, so it's your choice. The cool thing is that wiggle doesn't bypass the key frames or the internal the initial value. So you can still decide the initial value from here and also use keyframes while it still wiggles the position, you know, the current position, so it will just keep working. 39. Index (expressions): There are some cases where you need to create some kind of grid, some kind of custom design where we have multiple shapes of the same type, and every single shape should be slightly shifted like this progressively, right? So instead of doing this manually, which will never be as perfect as you want, why not using expression to make it perfect? So we keep only the first one for now, then we go to position and we enable an expression, and we type value, which means right now this number that we see here plus plus 400. So that's our shift in pixel to do for every copy, multiply it by index. So index is fundamentally this number here. Every layer has a unique identifier, which is called index. It's this number here. So right now, all of this is going to be multiplied by one, right? And as you can guess, all you need to do now is to shift this guy to the left. And then duplicate this layer. So let me shape one. Okay, so if I duplicate this layer, Wow. You see what is happening? As I duplicate, obviously, the index, it increases automatically, two, three, four, five, and consequently, every layer is going to be perfectly 400 pixels to the right of the previous one. That's it. Oh, trivia. You can notice that even though you can notice that layers with the same name can coexist. The reason is that actually this is not the true name of the layer. It's just a temporary local name. To see the true name of the layer, you can just click on layer name, and we'll show you the source name, right? So remember this. I will never rename the actual file in case you import files from the drive. So when you rename a file inside the Fafaxs safe. It will just be a temporary name that it's only in our forfex. 40. Rescaling (expressions): Another very useful expression is called linear. So fundamentally, being able to rescale a range of values into another range of values. So a practical use of this is when you need to make something audio reactive. Let's make a clean, new shape. Okay. And we start to apply some kind of fake mouth very quickly. So let's use split. Okay, split very quickly. Okay, so this effect when you increase this value, it will make the mouth talk, right? Okay, so we know that this value here needs to go from zero to maybe around 30. Alright? Okay, that's our first range that we need. Okay, and also we need that this is the property that we need to apply the expression to, right? So let's actually enable an expression here. Okay. Then, we need to drag in a sound. So I just dragged in this audio here. Let's check out the waveform. Let's hear it. Hey, Annia D gum. Okay. Hey, Annia gum. All right. So now infaxs a way it should convert a audio waveform into keyframes. Alright? So that way, we can then send those keyframes to a property so we can make it react when you hear the audio, you know? Alright, so do that when you should right, click on the sound, first of all. And then assistant and then convert audio to keyframes. Boom. Alright, so now we have a new layer up here. We can call it envelope. And if we check out the keyframes, we can see that we have three streams of keyframes. We can delete left and right channels. We don't need those. We only need both channels keyframes. All right? Let's see what is happening if we see the graph editor. As you can see, we have a S of keyframes are perfectly replicates the waveform, right? And these values have defined values. So let's see the range. So they go around from zero, obviously, to around ten, maybe nine. All right. Okay. After we assess what is the range of the input, this envelope, we start to go back to our split. Property that we need to animate, and we start to type our expressions. So we go here and we type linear. Then we define where the values are coming from. So while the cursor is blinking, we connect it to the source. So both channels here. Okay. And then we need to type in the source range. So the source ranges 0-9, if you remember, Alright, so 09. Then we define the destination range. So we can now rescale the numbers between 09 to whatever range we desire. All right, so we just continue to type coma. We need to do this 0-30, remember, right? So okay, and then just close the expression cts. Now what is happening is that only when the audio talks, we should see this guy talking, listen. Hey, Arno. An. Just like that. Hey, A. That's it. And a little curiosity, if you want to change the linear to a more curved interpolation, you can do it just by typing ease. Boom. Okay? That's it. All right. So that's a type of case where you need to re scale ranges of values. And obviously, you can do this. You can do this forever where else you want. This is just only one of the uses. 41. Time (expressions): Sometimes you just want to make a value automatically alive over time. Another way to do it instead of using wiggle is use time. So let me show you. We have a simple shape again and we want for example, this object to rotate over time like this, we can use time, so we enable an expression and we type time multiplied by a certain number. So fundamentally the higher this number is, the more faster it will go over time. So let's try with 20 per now. Okay. So now every second is going to rotate by 20 degrees infinitely until the end of the timeline, you know, forever, right? We can also invert the rs by multiplying by -20. Like this. Okay? And this expression is extremely useful, for example, on noise based properties that have evolution as a properties. One of those is called fractal noise. Okay, which generates a taxor right? And as I told you, evolution here, which is a degree value, right, which moves the taxor always in a different way. So to create perpetual change on a taxor that has a evolution, and I can grant you that many plugins have this. You can just enable time here, multiply by, for example, 100, now it will be always different. Let's disable the rotation. Okay, boom. So now, it will always keep changing, right? Like this automatically, right? So you need to use key frames just enable one of these, and it will be fine. Alright? Too quickly display the expressions on a layer, like similarly to how you do with you to show the keyframes on a layer, you can double tap E very quickly. So if you press E, it would just show like this. But if you press E twice, quick, it will automatically show the actual existing expressions. Alright. And yeah, so remember this. 42. IF Conditions (expressions): Another behavior that you may need is to make something happen only when certain conditions are met, right? So we can set that up in After effect. So we create again in our simple shape again, like this. And we say we want the rotation. The rotation should be, we need the time to be applied, not all the time, but only when a certain condition is met, you know? So let's make it go a little faster exactly, alright? Okay? So let's suppose to do this, we can use whatever we want as a condition, right? But for simplicity, let's go with a check box. So we install a check box on this layer, okay? Alright. Check box is fundamentally simply a number that goes from zero or one, you know, so it's kind of a true or false statement. Let me show you if I enable. We can also animate this dynamically, as you can see, right? So let's actually do it. Let's go. Initially, it's going to be off, and then it's going to be on. Alright? Okay. So let's go Lectus. Yeah. This is called hold keyframe. It's just a static value, Lectus. I kind of holds that value instantly. Alright. So now let's set up the F condition on the rotation. So we go here and we type make a little more space. Sorry. Alright, so we type brackets. If the check box is zero is one, actually. And then square bracket is going to be the result. So in San square bracket, we're going to type the time, right? So if the check box is equal to one, just apply the time automation, right? Otherwise, so we type. Otherwise, just use the internal value, fixed value, value like this. So that's a basic simple if condition, you know, so and then we just close it, right? And let me show you what is happening. Now, as you can see, it's not moving, which makes sense because this is zero. Still, it's closed. But as soon as we encounter the true statement, Wow. You see what's happening? Let me show you. Boom. Right? That's it. So with this system, you can make certain behaviors and expressions trigger only when certain conditions are met, right? This is a very powerful thing that you can use to build scripts and in general in certain projects, you know, to avoid using too many connections, integrate everything inside the big if statement. 43. Presets (expressions): When you make projects, you may realize that you use the same exact thing multiple times every time. So to avoid losing time to do the same thing manually, why not creating presets? So presets are a very powerful feature of Effex because you can selectively save specific things of a layer, so you can reuse those later on another layer. Alright, so let me show you how to create a preset. So let's make our best friend again, our standard shape here. Okay. So suppose that I reuse exactly the same time the glow, you know, every time. So let me make the presets. Always this glow with the same setting like this. So I want you to make it become the starting point, you know? So, okay, select the thing that you want to save and the preset. So in this case, just the glow. Like this, boom. Okay. And then just go to animation, save and just give a name. So in this case, default glow Okay. And from now on, he when you make a new layer, so let's suppose that we have a fresh layer like this, maybe with a different shape, like this, completely different, you know, Okay? If we maybe even we want to apply this setting a different type of layer. So maybe an adjustment layer. Like this. Okay? So we go to effects and presets and we search our preset, so default glow. Alright, and then just press Enter. Woof, that's it. So it will automatically call our settings to that layer that we selected. That's it. Right? And the presets can also save where we want can also include key frames and expressions or only one of these things in the preset. So you're completely free. So you can also save multiple effects like this where you want. The preset will include it. The most extreme case is where you want to save the entire settings of that layer. So it will really call that layer and make it look like that. So for example, we apply the default glow, okay? Alright. So suppose won't you be able to call this exact shape as well, you know, with these exact settings. To do that, you need to expand the full settings, and it will always show you transform and effects. So for this need, you need to select both effects and transform. And let's also, you know what? Let's also do some key frames here, here, right, okay? And also, let's enable motion blur. Let's just enable a couple of things. And also maybe a way goal here. Way goal. Okay, maybe ten and 20. Okay. Alright, so we have pretty much all the stuff happening at this point. So we select both transform and effects like this. And then we just save it as a preset, save. Okay, let's call this random bar, like this. So now we just this layer completely. Okay, so at this point, we just go create a new layer. Complete fresh layer, so let's call this fresh. Okay. And if we drag this into the layer or just double click on random bar, Wow. You see what happens? It will literally apply the full settings or our preset. You know, I will literally just apply the key frames, the expression is there, the glow is here, you know, all the effects are there. And that's how powerful the presets are. So please use presets to reduce redundancy in your projects. Alright? 44. Good To Knows (expressions): What I want to show you is slightly unusual, but sometimes you need this. I call it long distance cables, right? So let's make it duplicate of this composition. So we have this main one and then duplicate it main two. Alright. So they have exactly the same content. Okay, so now, let's suppose that we want the square in main one to mirror the value of the rotation in main two here, okay? So how do we do it? Because they are they are completely in different compositions. You know, they are somewhere else, right? But there's a way to do it. If you undock the composition Mint here side by side. Now we can see two time lens at once, right? And you probably guess what we're about to do. We can simply connect just the square in Main one, all the way to the one in Mint like this. Boom. You see what is happening now? Let's just go to not only just give a value to, the one in Mint, okay? So we just rotated this. So now if we go back to main one, in theory, we should see the same thing, the same square. Woof. You see what's happening? That's it. So this is I call it long distance connections, you know, because it just makes a longer reference fundamentally. But just to make you aware that you can also do this in Aftereffex. The only limitation is that sometimes the long distance cables may not respond in real time changes, right? So they may only snapshot the first value, right? So but just be aware of this. But I think it's very important to be aware of this possibility because sometimes it may be resolving a big issue. I mean, so far, I just brutally use always the cable to connect something to something else, you know, like this, and it will brutally just compile the reference to the entire value, right? But the truth is that to keep clean to keep some expressions cleaner, especially when you use more complex, longer expressions, you need to use variables. So variables are very simple. You just define those at the very beginning of the expression. So here, we can just type wherever number or void, where we want. So it can be anything you want. So maybe in this case, for simplicity, let's just say X. X equals. And then we just compiled. So we say, Okay, X is this the check box. Okay? And then type a semi column. And then for now one, you can reference to this just using X in the rest of the expressions. So here we can just delete all this thing here and just type X. So if X equals one, etc et cetera. So let's see. Just works. Alright? So that's the way you keep everything cleaner, more organized. Alright, so we will reprise talking about expressions again later in this course. But just to make you aware, here, if you press this button, it will make you access all the presets to do what you want on any property, you know. But the truth is that the ones I showed you are the most likely to use in a project, you know. But remember that there is an entire universe of scripting that you can access to, right? It depends on how deeply you know the language, you know. And in case you don't know it deeply, you can just use Chat TPT as a coder partner, you know, to build custom behavior expressions to what you need. You know, remember that's a very powerful tool that can help you at anytime, right? 45. RGB Split: Alright, so let's have some fun with glitch art. One of the fundamental techniques of this type of art is RGB split, right? So we need to have control over the three separate channels of an element, reds, greens and blues, right? So to do that, we need to first of all, precompose one custom image of our choice, in this case, our favorite controller ever. Okay? So now it's already precompose, okay, here, and we are going to disable it, actually. Boom. Okay. So now we simply create one solid Okay, let's call this one. And here, we're going to apply one effect called set channels here. So set channels is pretty interesting because it allows the solid to pull to fetch any of the four channels RGB and Alpha from another. Layer, you know? So we have the four channels source here, ready to go. So we're going to use that. So in the solid here, we simply say, Okay, get the red from the source, the greens from there, and also the blues from there, and also the Alpha from there. Alright, so now, even though source is disabled, now we still have the controller. You know, that's it. So this is already one interesting use of this effect. Lost mirror completely the look of another layer. Even when that layer, for example, has so many effects, right, this can be an efficient way to duplicate, fundamentally, an entire chain of layers, you know, duplicate the look of that, not just the layers, right? It's a way more efficient solution. Okay, that's said. Let's now return to our purpose. We need to have control over the three separate channels. So simply before doing that, let's set up also the shake system. So let's make also a null object here, and we can control this call this control, and we add a nice slider to this called amplitude. Okay? So we're going to use fixed frequency and just control the amplitude. And let's make a simple animation. For now, yeah, I'll just enable one key from there. That's fine. Okay, so now on the position of of the solid, we're going to merge. We're going to merge the two dimensions. So merge, and here we enable simple wiggle, you know, but it's going to have ten frequency and dynamic amplitude. So the amplitude is going to be gathered from the ampitude slider on the control layer, right? Here. Okay. So now, obviously it's zero. It's just still, right? Okay. So now let's apply the same thing to the rotation. So copy expression only, and based on the rotation. And we just need to maybe reduce the number received because probably we're going to go to a higher number, you know, like 25. So for a rotation, we need to probably divide that number by at least, yeah, kind of 75%. So multiply the number 0.20 0.1 to reduce it automatically, right? Now it's ready to go. So let's start you making automation shake. So we go one, three, four, five frames, and we go to 35, and then 25 frames later back to zero. Okay, so far so good. And let's enable motion blur everywhere. Okay. And let's polish these keyframes, so they are a little more interesting. So let's go here. Let's make it come impulse animation. Boom, okay? Maybe also more drastic. Let's say, boom. Alright. Okay, okay. So, so far so good, right? Nothing weird, but now it's time for the magic. So let's go to our solid, and let's just disengage one of the three channels simply. So we actually we can already actually duplicate duplicate this three times. Okay? So we now have three copies. So on the one above earthing, let's just disengage the first the first box here. So there's the first channel, right right now is gathering the red channel from the source. Just disengage that. None. Okay, now, select the next. Let's just double check what is happening. You see what is happening. Now here, layer two is fetching all the reds from source. That's what is going on, right? So let's call this layer reds now, right? Red. Okay? Let's go to the next one, and let's disengage the next checkbox. So this one here, the second one. Alright, now we have the greens. And then let's enable this, the third one and disengage the third channel, and we have the blues. Woof. So let me show you what is happening so far. Okay, it's still not done because we need you now reassemble the three channels together, right? So to do that, we use blending modes. So we go here and select the three channels. Like this, and enable dark darkened mode here. Ooh. You see what's happening? Now, it looks normal. But actually, it's just an illusion because now we have separate controls over the three channels, right? And as you can guess, as soon as we shake this image, we're gonna see the RGB split, which is Poof one of the fundamentals of glitch art, right? And, yeah, so that's already a RGB split system, ready to go. So at any time, then you can duplicate these keyframes and shake it even more drastically if you want. For example, the second shake can go a little crazier, for example, like this. Let's see. One, two, right? What we want. Okay? So because the three channels split temporally, but then as soon as they return to the exact same position, they obviously resemble the original untouched image. 46. Glitch Displace: Alright, so now let's level up, and let's make another very famous glitch effect, which is the horizontal displacement of an image, right? So to do that, we need to, first of all, chop this sequence. So let's make it a little shorter only 3 seconds, and let's precompose. We just create a solid here. And we need to call this map. Okay? And then we recompose the displacement map already. So move all inside it like this. Okay? And let's go inside here. Okay? So here, we need to use a turbulent noise or you can use a fractal noise. Fractal noise or turbulent noise are pretty equivalent to facts. You know, it's turbulent noise in this case. Okay. And all we need to do is to make the evolution alive automatically using some time. We already know this. So time you go here, just type time, multiply it by 4,000. Okay? And then we simply change noise type to block. Okay? And then increase the contrast a little bit, and then maybe change the algorithm to something else, maybe smeary. This doesn't matter, for now. So let me show you we need to wait to see what is happening on the outside, right? So let's put this let's return to the surface for a second here and let's lock the window. And then let's go back inside the map composition. And then we can put these two window Sab aside like this, right? So now here, the one on the left is the final result. The one on the right is just map source. So on the source level, we don't need to see the map. So we can disable it like this. So we need to see the actual controller, right? Okay. So let's actually go back to the map here. So you see what's happening, we start to see the source map on the right and the result on the left. Okay, so here we can search to design our noise. But before we do that, let's go back to the controller, and we search to use a displacement Map effect, right? So we apply it on the controller layer, and we link it to the map, obviously. Okay? And we're going to use luminance as a source for the modulation. Let's increase the horizontal displacement to at least 200. Yeah. You see what is happening. And so this technique is not just for the classic horizontal displacement, but also for granular displacement or for disintegration of a layer, right? So the uses are pretty much infinite. Okay, maybe also slide. Very cool displacement never hurts. Okay? Alright, so let's return to the map design here. And so you see here, we have all the settings for the map. So, let's first of all, make it a little bigger. So we should transform here and scale up. Like this. You see what's happening? So that way, we make the chunks bigger, right? So there's still, even though we scale up, it's still, as you can see, too detailed, you know, it's too detailed. So to reduce the level of detail, you can either reduce the complexity value which is here, right, reduce it. It will exactly do that. It will kind of it's called posterization, fundamentally. You know, see what is happening, becomes simpler, alright? So for this specific effect, we need this to be simpler. So let's keep it around too, probably, yeah. Okay? And what else? This is also changing already dynamically, right? You see how it's breaking apart. The image. Woof, right? You see where we're going with this, okay? And what else? You know what? Let's keep the settings of the noise now visible at all times, okay? So we can design it even without this window open. So after the major part major settings are decided here at this level, we can cart close this window. We don't need to see it anymore, so let's close it. So let's return to one window mode, and we see just the final result here. But we still have the noise settings ready to go, thanks to the lock here. And then let's start you making automation on the amount. Of the displacement, right? So when you go here displacement, displacement amount, and let's automate it. Let's make it kind of jump instantly, choose specific values. So let's make the star from zero, right? 00. So does our shake initially? Let's lock these keyframes, as well, toggle hold. Okay? So does our initial shake, right? And then it explodes to fall displacement. Let's also keep these keyframes still. Okay, just for a few frames will be about 20 frames and then jump back to 00. So boom, boom. Okay. And let's see what we have so far. Okay? One che. Okay? Maybe a little shorter. Let's keep this pretty compact. Let's see. One. Okay. All right, so we're going somewhere now. And at this point, let's start some motion blur, so we put an ice adjustment layer after everything, we go here. Let's go where the displacement is happening. So we go here. Let's use a force motion blur. Okay, and let's see. Alright. So now to finalize this, we need to maximize the flexibility of the glitch map, you know? So I'm going to now add a couple more things to then just have fun regulating the exact type of regulation that we want. So let's first of all, fix one issue. Right now, the change of the texture is just almost uncontrollable. So we can quantize we can quantize the change of this value here by adding one line here called posterize time. So if you put that number here, it will update the value only that number of times a second, right? Right now, for example, it's just one fixed value every second. Okay. So let's make that more interesting by adding a slider, first of all. Here, we just call it pose postise frequency. Okay, and we link it obviously to this. Okay. Second thing, as you can see, we have this line here, this cross the whole time. So in order to move this thing away, we simply need to add a wiggle to the position of the noise. Let me show you. You see what is happening? So it means that we can add simply a wiggle. Should this guy here, wiggle, ten, and maybe 500 and then pasteurize this as well. So just comp and paste the same line here, shoot this guy. Boom. Okay. And now we're controlling both things from this slider right. And then why not being able to stretch the text search to horizontal or vertical, right? So to do that, let's see if we can do it internally. Here, we can. We can simply uncheck uniform scaling, okay? And that way, we can brutally stretch the text search to be only horizontal or vertical. Even if this slider gives us only 600, we actually go over that number. Alright, that's good. Okay. We have an internal control over that. And finally, let's add an actual final effect called posterite again, but this is for the visual part. So this kind of decreases the resolution of the shades of colors. Okay, so now with all of this in place, we can simply lock this thing here. Okay? And let's return to our main composition. So the surface simply. And foo, you see what is happening? Now we actually have just full control on our glitch. So kay, you see what's happening? Right now, it's just one single glitch, you know, just fixed. It's not changing. So because the posterization is, the frequency is literally zero, so let's make it a little higher maybe four. Okay, let's see. Alright. You see what's happening? So it becomes kind of a little more live. Let's double it. Alright. And at this point, we have full control on the glitch. So you simply go where the glitch is happening here and you can decrease the posturization, the visual posterization of the map, for example, that's one thing. Then if you pull this number up, it will make the texture more horizontal, right? You see what's happening? Right? Or vertical by doing the opposite. You know, this back to 100, this goes to 10,000. And now we will do mostly vertical line glatch, right? You see what's happening? So, in this case, let's go over the classical horizontal, okay? That's already start to be interesting, okay? And then we can regulate the width of the lines, obviously, by increasing this, as well. So let's increase this, right? See what is happening. Let me show you Okay. You know, so you can really have now at this point, infinite combinations, right? And what else? And then remember that you can simply change the type of algorithm here to any texture, you know, and you have really crazy infinite combinations. You know, it's just never ending. This is very fun, you know, if you increase this, people will kind of return more detailed. And but the point is thanks to the system, we start to have a full custom glitch system. And, you know, the funny thing is that there are paid plugins that do the same thing, but this is really a legit replica of a very expensive plugin. Oh, yeah, and finally, let me just show you a final trick. When you find the settings that you want, for the texture, for the speed, for everything, you can finally go at the very bottom of the turbulent noise settings. And you have a very secret feature here called seed. If you change the sd, it will just shuffle the whole noise. It will create straight away, a new combination of that noise. You know, that's it. So you can simply kind of play it by lock, you know, just navigate the different seat until you find one that does exactly the thing that you want. You know, that's another approach, you know, is completely legit, you know, like this. So you see how crazy it is, and that's completely free for you, alright? 47. Trail Methods: Creating a trail effect where you have control over a line form like this and morphing the align into custom shapes and still tracing the align is a very typical technique because you may use it in so many different cases via effects on footage or motion graphics, so many things. So there are different approaches, and each one has advantages and disadvantages. Okay, so let me show you we create a simple solid. Here, stroke one. Okay? And we're going to use paint for this method. So we go here on the paint tool, brush tool, double click on the layer, and then make the first line like this. Okay? And then enable paint on transparent. Alright. And also, you will see the options for the brush that you're using. You can smooth it, here, you can tweak what we want the color. And we need to make sure that we enable single frame. Even though if you need just to be just a fixed frame, you can do it. But in this case, for this, we need animation. So we need to enable single frame mode like this. Okay. So now what happens is that starting from this spot, I can simply go one frame forward like this, and then you know, I can just continue tracing the line, so I can just go from here and I say, Okay, the next frame is going to be like, you know, then again, from here, next frame, continue. Next frame, Lectus. So this is a very classic technique for music videos, for example. So if you have a footage behind this layer, you will see the subject moving, and you can trace every single moment of the character, right? And that's it. So now, obviously, when we play the timeline, so let's go back to composition, we see the animation. Poof. You see what is happening? So, you probably saw this on social media, and that's the way they do this. Then we can customize the aesthetics of the line so we can kind of make a little cooler. Well, that makes it look one to times cooler, right? And okay, the second method uses a shape layer. So we go to make a shape layer, first of all, like this, okay? And we create the custom shape. So produce, make sure that fill is disabled. So fill has to be off. Okay? And you can use either one of geometrical shapes or you can do it manually again. So let's do this manually like this. Okay. And you can either keep the shape open or close it. You can do both. So in this case, let's close it, okay? And the shape layer is always divided in two categories. You have the contents here that contain the shape, which is this one here, and the shape is made by two components, the fill and the stroke. In this case, the fill is invisible, so it doesn't matter. But the stroke is this line that we see, so we can expand it here. And we can customize the aesthetics of the shape of the line. We can make it dashed like this. If it's needed, we can customize where we aspect the desire. And one of the cooler thing of this method is that we can taper the line, right? Let me show you. You know, star should be cooler like this, right? And then we can also make it move over time. So to do that, we need to enable one of the effects called the trim paths. So we go here, click Add Trim Paths here. Boom. And now we can control that from these two values. So if we control start and end to see what is happening. We can open and close the line from point A to point B, right? And we can also make it shorter and make it cycle automatically with offset value like this. You see what is happening? So this is very useful for animations, loops, right, in case you need to act to put something for a video game or wherever. So let's automate this automatically with some nice time like this. So now becomes live automatically, right? And let's the timeline, okay? And the cool thing about this method is that we can also morph the line dynamically to different shape over time. So for example, we start from this shape, okay. But then if we go to the path property, we can simply enable one key frame. Go, for example, slightly forward here, and then you select the path property only, like this. And when you see the line is ready, so you hold shift and click one of the points, and now it's ready. So we can morph it into this new shape, for example, like this. Okay? And obviously, now it's gonna morph between two shapes. While it keeps looping. You see what's happening? That's it. And now you can morph this to whatever shape you want. There's no limit, you know? We can also make toggle hold, so it will instantly jump through these shapes with one single layer. That's equal part, right? You know, let's put a nice adjustment layer as well. Like here, boom, boom, boom. So it looks already cooler. And let's suppose that you have a custom image here. So we want you morph into this image outline, right? So we can do it by simply precomposing the image like this. We make the composition one frame long for that image. That way, we can use a hyper optimized bro scoping, right? So we can simply detect very easily the edges of the image. That's done, and then we can simply freeze, and it's going to be only that frame, right? So in that way we have already the image outlines ready to go, right? And then we can simply select the layer, go to layer, autotrace, current frame, and let's put this back to two. Exactly. Let's make sure that it detects only one mask. So let's increase the blur a little bit. In case we're going to remove that one. Okay, just confirm, we simply remove the second mask, right? And then we just copy the mask path key frame from the solid, so copy. At this point, we can delete this and then just go back to the shape here, go forward here and just select path and paste. So you see what happened? It converts the mask from the solid into the one for the shape. And that's the way morph into more complex shapes automatically. Who, you see what's happening? So that's it. And final bonus feature is the fact that you can use multiple paths at the same time on the same shape layer. So you can really use one shape layer in the end but use multiple masks simultaneously. So you can return here on the pen tool, make sure that you're not on shape layer anymore. Make sure that you select stroke here. And then with the pen tool, you can simply draw a second shape like this. You know, and that will work in conjunction with wherever you already do it, you know? And that will have its own separate path property, and that can also morph. They all work simultaneously. Or you can make them work sequentially, actually. So if that's your thing, you need to simply scroll all the way down to our effect, the trim paths here and simply change this feature from simultaneously to sequentially. And obviously, it will do a sequence instead. And finally, there's a third approach which is kind of outdated, which is simply creating a solid. You make a path, you know, simply you can close it or keep it open, and then use this effect stroke, which kind of does the same thing, but very more limited. You know, you have very similar things. You don't have the ability to taper the line. But in some specific cases, you may need to use this instead of the shape layer. You know, that's the point. You know, so let me show you, you know, so it's kind of a basic way to do the a stroke line, you know, fundamentally, but it's way more limited. So yeah, it's important that you're aware of this anyway. Alright? 48. Looping Methods: Looping a piece of footage can be very challenging, especially if there is high movement, and there are so many different cases. So the ideal case is the case where you have synthesized completely something in Afrofax and that way you have native control over what you see. It means that we can, for example, here, natively decrease the movement of each of these eggs back to zero, right? Or we can make them go back to exactly the first decision that they have on the first frame of the animation, right? So right now, obviously, they end up in a different pose, but since we have native control on each egg, we can, in theory, control each one to kind of match the first frame of the animation, you know? So that's the ideal case, but not always this happens. We deal with footage, right? The first method that you can attempt is boomerang effect. So you simply enable timely mapping on the footage here, and you simply just go backwards. So you copy the first keyframe like this. Double check the keyframe here is not empty, so we actually we need to place one keyframe here, okay, and simply paste later like this. And obviously, the video now is going to go in reverse, starting from that spot, but at least we are 100% sure that it will eventually go back exactly to the first frame, and we'll close the loop right now, right? Because the last frame is matching. Exactly the first one. It means that now we can just export this 15 second thing and then just let the file play back repeatedly, right? So that's one thing. But again, the disadvantage of this is that if there is high movement at the end of the cycle, it may give away the fact that it's going backwards. Even if you use bezier like this, you can try to smooth this with some bezier like this. Alright. You know, this is slightly better, especially if you use, for example, a wide time effect here. You can try to use this, you can interpolate the neighbor keyframes, so we can link this to this. Okay? For example, around the spot where time gets reversed, we can increase this value slightly. So now it's going to interpolate three frames, four then three backwards. We go back a little bit here, zero, three, and back to zero. Okay, let's see what happens. Let's give it some time. So kind of add some additional interpolation to not give away that easily the fact that it's going backwards, you know? This is the first strategy that I invite you to use in certain cases where you recognize that you can solve it already this way, especially when the movement is very slow. In all the other cases, we need to use a different strategy, which is to actually go forward with time, so let's make. This called Math one. Hey, let's do a step back, and here, let's disable time remapping. Okay, we're back to square one. Let's disable also the interpolator. So if you cannot use the reverse strategy, you need to go forward with time. So in that case, the second technique is simply cross fading between the first part of the video with the last part. Let me show you what I mean. Okay? So we do a chop. And the first 2 seconds of the video like this. Okay? And then we snap this smaller chop at the end of the video and we put above it. And then we do a fade in. So we just make it go from 0% to 100, right? And that's the fundamental principle of this. Fundamentally, it will make the beginning of the video fade in, right? And that way, poof, you know, the time goes just forward and it just continues to go, right? So, the only issue with this is that if there's too much movement, you need to do a couple more compensations. For example, let's start to improve this by making the second video, you know, this guy. Fade out at the same time. So we enable a nice expression that we already saw at the beginning of this course, 100 minus this opacity. So we also fade out. Okay? That's really one thing. To make the fade smoother, we can use also a camera lens blur here. Let me show you. Fundamentally, it is a cara lens blur that has the radius linked to the opacity of this layer, the below one, so that it automatically increases the blur amount when this fades out. Fundamentally, it's a trick to fade out more professional and smoother, right? Then over this, we can also tweak the position of the layer above, so we animate rotation, scale, and position all at the same time. We know that for sure. At the end, needs to reach those keyframes because we need to fully match the first frame, right? So we cannot we cannot move these keyframes at this point, but we can move those earlier than that point. So around here, you see that there is a misalignment. We can compensate it by simply rotating. Wow, you know, the video a little bit. Like this, like this, you know, just a little bit, will be way more aligned. And then use Bzier as always. Let's use Bzier everywhere. Like this, boom. Let's see. Okay, we're better. So let's give sometimes render. Okay. Let's make it even slower. And then we can also add a adjustment layer on top of this. Okay, we use the technique I show you at the beginning, the very beginning course, you know, in the morph section of this course, we use this technique already, if you remember. So we're going to reuse that now. So Gaussian plus median. We're going to animate radius and blurriness here only when only when the morph only when the video is ending. So from here to here, we increase blur, plus median, right? Like this. And it will do the opposite at the beginning of the video. So copying paste, swap. Okay, and then nice busier. Let's see. Okay, so it starts that way, and then it ends also. That way, okay? Let's just play it in real time, full speed. Don't watch the timeline. Let's just go back here. Okay, play. Alright, so this is already a more advanced fix and allows you should have the video going just forward the whole time and have, in theory, a perfect artificial loop. You know, that's the point because it's not natively looping, obviously. But this is a way to still have it in a smooth way, reasonably smooth, you know? It's very important to watch the result in full resolution to see that actually there are some flickers that are not actually there. And finally, the third method that you should look something is used simply some kind of distortion to hide the cut, you know, create another adjustment layer above everything. We call this glitch and we use an effect called glitch again. We can use the one we built together in the previous exercise. But for now, for simplicity, let's just use another plug in that does the same thing, you know. Also, let's use some more shambler and we're going to animate simply the amount. Of glitch from this value here, small glitches. All right, so we start from a higher amount, obviously, like this. Okay. Let's change this to simply black and white. Okay. We go to simply ten frames after and it goes zero, and then obviously, you copy and paste these key frames at the end of the loop. Here? Oh, even earlier at this point, the danger of this metal is you can do whatever you want at this point, so you can cut and restart the loop a little more freely because there is no problem. You see what is happening? At this point, it doesn't matter because thanks to the distortion, hide the trick. You know, we can literally restart the loop at any point, as long as it's long enough, you know, at least four, 5 seconds, you know? So, so answer, so these are the three main concepts for perfect looping. And each case shines on a different type of footage, right? And finally, in as you can use even AI nowadays to morph perfectly, between a problematic first frame and last frame of the loop, you know? So for example, if you have this footage, start with this frame like this, you know, so you can see, I don't return in the same pose, I either reverse the video, right, which is going to be maybe it's going to be apparent, right? So the new way to do these things to loop a video perfectly is to export the first frame and the last frame of the loop, right? So in this case, these two frames. And then simply go to this website here. Let me show you. You go to Video Generation image video, and you drag in the first frame here. Make sure you select clink 1.6 for this, and then you go to end frame. And then here in the prom, just type something simple. So that describes the subject and action that will be performed to morph between the chew frames, you know? So in this case, simply a guy slowly moving, you know, between che poses, does it. You know, something simple. And then make the video as short as possible. One output. Let's make a little more relevance, convert your creativity, maybe 0.65. So you can also scroll down here and just add something that you don't want. So, for example, blurry, shaky, distorted, deformed, Okay, and finally, you simply generate. Okay, 3 minutes left, right? Just wait that finishes. Alright, here's list. Woo. Alright, that's it. Right? So so that's the way you loop the video without going backwards in time. We actually use the yin to go forward in time, right? So at that point, we simply download the video here, download. Once you have the video imported back in the timeline, obviously, it just needs you connected with the last frame of your video, right? And at that point, it will just allow you to naturally. Go back to the first frame of the video. Like this, Woom goes back, at that point, you just pack everything together, and that's the perfect loop. That's it. You know, boom. So one che one che without going backwards in time actually goes forward. 49. Particles: Oh. So after effects as an entire category of effects inside the generate and simulation categories. Let me show you. You have an entire folder here, simulation versus generate as well. So I invite you explore these two folders and just play with the prometers of all these things. You have very much fun with that, right? And you will find out so many cool things that you can generate. But one of the most useful ones is the particle systems. So we're going to explore that today. So we need to generate a new solid here. So let's call the particles. And we're going to use one effect called Parole world. So we apply it on the effect here. Wow. Here is. By default, it looks like a fountain. So not much interesting, alright? So let me show you how to tweak this for any single thing you desire, alright? So with this, you can do dust, snow, impact, effects or fireworks. There are so many uses of this. And also, you can use a custom texture and use fulm design the particles. It looks like your custom symbol, where we want, right? So let's go slowly through everything. First of all, the bith rate obviously determines how many particles there are gonna be. So the lower this is, the last particles we have. Longevity is self expiratory, so fundamentally, the bigger, the longer each particle is going to persist on screen, you know? So for now, let's go to 2 seconds per particle. And then let's go to producer. So here we can choose the actual origin point of the particle. So for example, if we need to design some kind of rain, we put it above the screen, right, and we're going to see the particles falling down. Or if you want the opposite, we put it below the screen like this. And then on the physics, we simply reverse the gravity, right? So they're going to be pulled up like this, right? So it depends on what we need. And then we have also the radius. The radius is very interesting because it allows you to give some depth to the whole thing. So if you increase the radius Z, you see what happens? We start to have some depth. And this is also reactive to virtual cameras. So if you increase the radius Z, then you can zoom in inside this environment, right? So it's very cool and also react to depth of field. Okay? That's it. Then we have obviously these all the radiuses. So this is very important in case you want to have a general turbulent system or the dust, you know, so in this case, we're going to design some kind of firework. So we need the adi to be pretty pretty close like this, okay? And then we have velocity here in the physics, which obviously determines how fast the particles already get generated and resistance, which is fundamentally the opposite. Fundamentally, you can set up a system where the particles start very fast, but then they kind of slow down very quickly because of the viscosity of the air around it. So you can achieve kind of a firework effect this way, you know, and then you can change the algorithm here, that determines how the particles expand fundamentally. So everyone is completely different. Let me show you. Jet sideways is one of my favorites. Vartex know, there are so many things, so many cases that makes this tool very versatile, you know? So for now, let's stay on fire like this, okay? And then the extra here adds extra randomization to every single particle fundamentally. You see that. The more I increase this, the more they will kind of disperse. Just skip to the particle design here. So here you can first of all, change the color of the birth of each particle and also the death color so we can do two colors, right? So that particle has one color when appears and then gradually fade to the second color, you know? Or you can change that behavior from here. You know, we can have custom color or whatever you want. And we can change the design of the particle, right? So let's first of all, zoom in a little bit. So we go here to the camera here and swig a little closer. Let me show you so fundamentally here, we can change the type of particle, and you see how many options we have. So we have, for example, motion polygon. That can be very interesting. If we tweak it, we can make the birth size bigger. That size is very small, like this, let's increase the amount of particles. Okay. Change the type here. So there are so many things that you can do. And then we show you we have also 43d elements that we can choose. So if we do dra hedrin, every single one actually is going to be every single particle. Now, is a three element, you know? So we can make very big particles like this that go actually also very small like this. And then we need to just tweak the rotation values like this. So every single particle is going to be a little more alive. We can expand it. There are so many things that we can do, you know? And for now, let's go a little simple. Let's go back by back through our simple lines. That's said. Now, let me just skip to the fun part. We can automate the position of this system, you know? So let me show you if I do some key frames here, and I move it and I move slowly forward LTs let me show you if I go lower here and here. Okay? Automate the birth rate, I can open the particles only when I need them, so I can go from zero birth rate to a higher value, maybe even ten like this, and then back to zero. And let me show you what is happening. Wow. You see what is happening? Now I start to have a directionality only when I need it, right? So let me decrease this value to maybe four. You know, so we can make very very custom systems just with the stuff. And also, you can assign a custom texture to the particles. So if we change the particle type to textured, if we import a custom image and we precompose it like this. Okay, and we just prepare it, remove the background, where you know these things, go to the particle system, and you assign the texture layer. Obviously, we hide the texture source. And what happens now is that is gonna use that image for every single particle, right? So that can be a cool way to use that image, you know, if you have a custom symbol, right? Okay, so for now, let's just go back to the normal line. Okay. All right. Oh, yeah, now there's too much glow so let's disable one of these. Now, we're going to go a little more advanced. I'm going to show you ways to make this system controllable a little more automatically, right? Because as you can see right now, we have to manually use the opening of the particles versus the position, right? So what if we want you to synchronize this to a custom trail that we designed with a shape layer? Well, there's a way to do it perfectly. So we just just step back for a second, let's design the trail very quickly. So at this point, where do you know this? So I'm gonna skip some parts. We go here. We call this trail. Simple shape layer. We make the trail with a with a simple pentle obviously, make those. While the path is selected, if you by accident deselect it, don't worry. You can simply go inside the contents. Here, you already know it, shape one, stroke, select the path here. Alright? Boom, while this is selected, just shift, click one of the points, and you can adjust it. Alright? So for now, we have this nice path, okay? While the path is selected, you can do stuff like this. You go go to window, scroll all the way down, and there is one script that Afrofax gives you by default, create nodes from paths. So we need to select this. And opens this window here. Don't worry, press trace here. Boom. Okay. Obviously, we need to select the path. Sorry. Alright. Alright, poof. So just slack the path and click Trace. Then it closes weird window, and now let me show you what happened. Now we have a new known object. Let's call this coordinates. Because also we have two keyframes here that have a simple percentage that goes 0-100. And as you can guess now, we have coordinates to go from that point to that point, right? So first of all, let's disable the expression of this percentage because by default, kind of loops infinitely, so we don't need that behavior in this case, so let's disable this. Okay. And also, let's shift these keyframes here. So for now, we go 0-100. Let's do it a little quicker than that. Let's go from here to here. Alright. So let me show you what is happening in the coordinates of this layer. You see that they are updating, right? So we're gonna use that in a few seconds. First of all, and that's where I'm going to show you one thing. There are two twin effects for particle world. So when you don't need this feature to sync it with a custom trail, use Particle world. If you need that specific feature, you need to use a slightly different version of this effect called particle systems two. So you just type here, particle system here, and we drag here, and now we disable. Actually, we delete the first particles, right? Else because this one here has a slight kind of has the same parameters, but some of those are slightly different. So this version of the effect has some limitations, which is why by default. I recommend using particle world, but this has a specific feature for this purpose, which is here. Producer has a single parameter with the raw coordinates for the coordinates here. So we need to have this in this case. So in other words, we simply enable expression on position here. Of the particle system, and then we link it to the raw coordinate of the known object up here, right? So let's mix little space. So just a cable from here all the way up here. Alright, so now in theory, we should see the particles. Foo. You see what's happening? It's following exactly our path. Alright? Okay, we're going to go back later there. So for now, let's ultimate the design of the trail. We're going to smooth the line, so we go to the design settings, scroll all the way down, taper, let's give some directionality. So we're going from here to here. So let's taper the tail. So we go here, you know? All right. Then since the path here, if you remember, it's just a percentage that goes 0-100, right? Go back to the shape layer, add trim paths. And now we have the two percentages to open and close the line, right? Okay? And assume gas, we simply need to link to the key frames up there here of the non object. And so far, now let me show you. Now the line is opening automatically. Alright? Make start, also, do the same path fundamentally to close it, you know, 0-100 as well, but slightly later, right? So to do that, we can simply use a script, I'm going to send you right now, alright? And this script allows you to delay delay some automation that is received from a specific value, alright? So let me help you set this up. After you have installed the script, after you have installed this custom expression, the way I showed you already in the expression section, you simply create a new solid here. We're going to delete this layer, so this is just to make the expression work. The expression is called delay delay automation. So select the dummy layer and double click. All right. And now we just expose the expression here, and we copy the raw text. And we're going to paste that code into the start of the trim paths here. So we go into expression and paste, right, and then just go to the dummy, copy these sliders and paste those on the shape layer. Alright, initial control is simply delayed. So this value here is the value in frames. Okay? So let's put it to up 24, which means a full second at this frame rate, probably, yeah. Okay? So now we can simply go to this expression here and we define the source. So the source is simply the end, so we simply link it. Let me mix space, right? So we simply highlight source. Okay, and we say, okay, get the value from end. And now delay it by the number of frames that we put here on delayed amount, right? So, in other words, now we should see the line opening and then 1 second later closing. Poof. Alright. So at this point, it becomes very easy. We can simply reduce this number, probably when you reduce it to six. Alright, poof. That's it. You know? Fundamentally, in all this, we're using only two keyframes originally just coordinates. There are no keyframes on trail. It's completely automated. Alright. Alright, so let's go back to the main quest. Now there is an issue. First of all, we can let me show you a very cool, very cool parameter that I didn't show you yet. If we go back to the physics settings here, let me reduce the birth rate just for those. Oh, right. Okay. So right now, it's a set to be coal, right? But there's one more thing that we can add to add realism to this particle. So we can make it take account of the actual diversion of direction, right? So to do that, we simply go to the physics settings here, and we enable this value here, inherit velocity. This takes account of the change of the position, right? So let me show you if I increase the hundred, Wow. So the particles kind of echo that change. You know, let me tweak it, alright? You see what is happening? So it kind of feels better, right? Now there's still one issue. After the trail has completed its path, the birth rate is still open. Kind of remains there hanging, right? So we need to kind of manually close it. It's very boring. But actually, we're now going to do that. There is a expression that automatically opens the birth rate only when the position is moving, right? So this is called automatic gate. So let me show you because I'm going to send you now a second custom expression, the unit to install in order to use this. So let's simply create a new dammi layer. Okay, and we apply the new expression, which is called default gate. This is the name. Alright? So, select the dummy layer and double click. Alright. And we have a new slider here. So let's you paste this sliner to the particles layer here at the bottom, right. Okay? And then we go back to the dummy. Let's copy this expression. Okay, paste, boom, boom. Alright. So let me show you what is happening. Now, we don't see anything, just because we simply initial click on now on this expression that we paste it inside birth rate, and we need to define obviously the source of movement, which means that the reason why we need to do this is that this expression is just not for the particle systems. You can repurpose this for anything you want. So in other words, you can make a parameter go between two values. Only when another parameter is changing, right? So when the modulator changes, you can go from value one to value two instantly, and then back to value one when the modulator value is not changing anymore. That's how this expression works. It's not just for this case. That's the point. So in this case, we need to read. We need to detect the change in the position of the particle system. So we simply highlight this specific line here. I left a comment for you. So comments to make it clear. So let's highlight this the source, and we get it from the particle system position. Here. Fundamentally, when the position is not changing, it will go to zero, so it closes the particles. When it's changing, it jumps to 100, but it multiplies that number by this slider here. So we can tweak it a little more easily, right? Without going through the text. Alright, so at this point, we search working. Whoa. You see what's happening? So now we see the P holes opening only when we are moving the trail, right? Isn't that great. And at that point, we can tweak how many power holes we want just by changing the multiplier here, you know? So we tweak it to our liking. Maybe there are too many power holes still. Let's reduce it, reduce it. Less. A little more. Let's see. Alright. And I didn't tell you the final trick. The final cool thing about this is that we can still change the path at any moment. So if we go back to the path here, we can still select it. Let's go here. Let me show you shape, path. We can still change the path, and poof. You see what is happening? The particles are completely linked to all this, still. So it will still follow whatever is happening. So it will kind of update in real time to whatever new path, we give it. So you can really be creative with this. Hey, so we can use Bzier for example, here on the trajectory. Okay, we make it a little slower, right? And then we make something like this, kind of exponential. Let's see. Let's say poof, right? You can design where you want at this point, whatever trajectory you need for your custom case, right? That's the point. That's the beauty of this system. So it's completely dynamic, and in the end, after all this is rigged, you can really control it simply from these two keyframes. So everything is controlled from the path and these two keyframes. That's it. There are no other keyframes involved in this system. It's all expression, all scripting, right? And then we can just maximize the aesthetics of this. At the end by applying a nice standard motion bler top of everything like this motion proller. Poof. So you can really have fun with it. 50. Parallax: Right, so the parallax technique consists of creating the illusion that some elements that are far from the camera are actually also way, way, really big. So fundamentally, when you move and you see the foreground elements being very fast, at the same time, the background moves very slow, you know, very similar to when you are on a train, right? You see the cars next to the train and moving extremely fast. But the mountains, you know, very far from the train are still moving, but way slower, even though the train is moving fast, right? So to recreate the same principle in Affax, we need to really follow the same principle in real life. So let's simulate a couple of things. So let's first make a background. Let's go here. Solid. Let's call this back. Okay, we're going to make a simple grid for this here. Okay, we make it three D immediately. Okay, let's and also, let's create a foreground element. So we make a second solid Okay, and make it a little smaller three D. Alright, so now foreground is the foreground element is gonna be this guy, and the background is gonna be that one there. Alright, so at this point, let's actually make a three D camera. This trick works with both types of camera doesn't matter, okay? So right now, the trick is not working because the two elements are exactly in the same place, which is not what we want. So the trick is to simply move the background away from the camera, so we push it all the way far, you know, all the way, like 10,000 pixels a lot like this, right? So let me show you. Now it's there behind that. And then we just compensate the size of the background so that it fills the screen again, right? So now it looks as if nothing changed, but actually it did. So if I now move the camera around, let me show you. You see what's happening? We are now moving way faster for the foreground element than for the background element, right? And that's the fundamental principle of any parallax. At this point, you just need to make the depth of field more apparent, so we can simply use it. The camera like this. Alright, increase, right? So let me show you. Then we tweak the focused point. Let me show you like this. Alright, you see? So now we have our foreground elements in focus, right? And the background is moving extremely slow, you know, that's it. And then you can expand the texture, can make it even bigger like this, or you can tie it like this with reptile. We already know this at this point, right? And that will be fully working, you know? And the more distant the background element is, the slower will be, right? So that's the principle. So, in other words, simply push the element far from the camera and then compensate it by remaking it bigger. That's it. You know, and now at this point, we can simply make this position alive automatically, like some wiggle, and also same thing on the rotation. For the foreground element, we're moving way faster compared to the background. And that's the fundamental principle of the parallax, right? Then if you have Duik installed, you can enable this behavior automatically for any layer just by calling Duik. Here. Let's bring it back to square one. So transform to comp. Okay? Now it's back normal, okay? But if we go to Duik and we go to the camera section, there is an amazing button called Z Link. So fundamentally, when you select one or multiple layers, so in this case, let's do it for both, like this. And we press this button here, Zink, now all I need to do is just push the back away. Okay? And you see what's happening, the size will automatically increase the more I push the layer away, you know? So let me just increase this number. You see that now it's getting out of focus because obviously it's getting away from the camera. Let me show you. So if we go to the two view mode. Okay, now we are watching the scene from the top. Okay, we are here, the camera is here, right? So the background right now is let me see what it is. Now it's here, okay? So, in theory, the more I push the layer away, the bigger automatically becomes. Let me show you. You see what's happening? If I push it away also automatically, it becomes bigger. So thanks to the **** button, fundamentally, you can then simply choose how slow that element will move in relation to everything else flow control. 51. Ascii Technique: The fundamental principle of ASCI art is to remap specific values of a footage or wherever you have in cho specific symbols. As you know, every single footage has dark colors, medium colors, and bright colors. So if you remap, those specific three ranges hoot specific opacity of symbols is going to create the ASCI art in a dynamic way. So we're going to do that. Alright, so let me show you how to do it. So we create, first of all, a ten by 801080 by 1080 composition. This works with any dimensar you want. But in this case, for simplicity, I'm going to keep it square, right? So let's do it. Let's call this footage. So here's where we're going to put our footage. Okay. So let's drag it into the composition and make sure that it fills the screen completely. So we have this amazing Jeff in this case. Let's go fit height. Don't worry about the resolution because this is going to be remapped completely, so it doesn't really matter. Let's go here. Alright, we have our nice character doing a simple movement. Okay. Oh, right. Okay, so this is the footage I'm going to work with. Okay, so then we're going to create a second composition. Okay. And here, we're going to choose the resolution of the grid, right? In this case, let's make it 36 by 36, right? Make sure that it has the same aspect ratio as your footage composition. That's the only condition of this. Alright? So in this case, let's make this number because it's kind of a sweet spot for good definition and speed. Okay? So let's call this composition shape one, okay? And inside this comp, now we have we're going to choose the first symbol fundamentally so. Let's create a simple square. So let's call this simple square, make it slightly smaller like this, and that's it. Alright, so now let's make a third composition, 1080 by 1080 again. So the same resolution as the footage, okay? And we're going to call this main. So this is where all the stuff is going to eventually happen like this main. Okay, so inside main, now we're going to drag in footage and shape one together. Boom. Okay. All right. So now let's first of all, put footage in solo for now. Actually, okay, so now for now, let's put shape and solo, and we're going to align it to the left, top left of the screen, right? Just like this. Okay. So then we go to one effect called rap tile here, and we're going to tile it all the way to fill the screen to the right and to the bottom, L. Very simple. As you can see, is perfectly synchronized with our footage with our composition, you know? And the reason is because the math makes sense. Okay? So at this point, we just select the footage, like and we apply one effect called Mosaic. And here's the tricky part. We need to do a formula to choose to create a perfect grid that matches our shape one grid, alright? So to do that, we simply divide the dimension. We divide the dimensions of our original footage. So if you remember, it's 1080, 1080, buy the dimensions of the grid of the single shape, right? So we need to divide, in this case, 1080 by 36. So we go here and a divided by 36. And obviously, since it's one, one, we simply do the same through this, right? And now is doing a perfect match grid, right? That's the trick. Okay, at this point, we start to hide finally the footage forever, like this and simply track mat, shape one, chew the footage. Okay? And in the end, let's return to the footage one last time here. We apply extract like this. And then here we're going to choose the three ranges I talked to you about. So for this symbol, for example, let's choose maybe the dark colors. So we're gonna squeeze down this slider until we set you see F, you see what's happening. We start to see the character being resavled, you know? Let me show you, right? Okay, let's do the aposte. Let's Archie actually invert it. Let me do a little loop here. Let's do the aparte. Let's actually invert it. Okay, yeah, you see what's happening? That's the straight fundamentally. Now you see what is happening, right? So we can now choose exactly to which range of the footage the symbol will trigger. Or not simply. That's the fundamental principle of all this. So okay, let's finalize the area where this will be visible. Okay, that's going to be the first range, and that's it. Okay. So at this point, all we need to do is to duplicate these two layers. So footage and shape one get duplicated. Let's give them a color. So duplicate, give them a different color so we don't get confused. Now we're going to simply go to the project view and duplicate shape natively here. So now we have shape two and override it on shape one with all to where you know this truck so that way, we can use a different symbol for the second range. So let's first of all, for example, rotate. We make it smaller. Let's make it a kind of a d dot, yeah, something like this. So it's a little tiny dot. Okay. And at this point, we go back to Maine. Here and then simply map, shape, this footage now, right? Just link it to the new copy of footage, right? So that way, we can use a different range for that symbol, right? So if I move this Wo You see what's happening? Now, obviously, the dots, the second symbol is going to be triggered on a different range, right? So let's let's choose. Obviously, we need to a different range. So let's for example, go all the way here. Okay? So it's going to do the opposite of the squares fundamental, you know. Right? Okay, and what else? And then, let's do a third final range. So we again, duplicate these once more, put at the top. Link shape three with footage three, okay? And also, let's create a native shape three here and override it on this guy, right? So we can choose a different shape once more. So we got it up. Let's make kind of an empty shape for this. We go, let's double click here. We use a simple mask, so we can quickly simply expand, shrink the mask, right? Just like this. Y, then, let's go outside of here. Alright, and then obviously, let's change the different range again for footage three. Let's see. Let's go kind of intermediate place, yeah. So kind of Alright, something like this kind of partially triggered. Okay, we can also smooth this a little bit if it's required, if it looks good, right? You see what's happening? Okay, let's smooth all the ranges a little bit. Same for fog one. Okay. Let's keep this very strict, like this. Okay? And finally, you know what? Let's maximize the aesthetics by using a nice classic glow at the top of everything. So we go here. Boom. And let's see. And finally, let's add a nice motion blur, as well. Like those Poof. Alright, let me show you. Let's play through full quality. Poof. You see what is happening? So that's the fundamental principle of this. So with this technique, you can do what you want. You can choose as many ranges, as many symbols as you want. And the cool thing is, it generates a full quality vectorial ASC matrix, right? So this is not our footage anymore. It's just pure vectorial shapes. So it's full quality, full resolution. And it can look very amazing, you know, especially if you put this, you see what's happening. You can really achieve kind of retro retro style things, right, if you add nice grain like this add grain here to earthing. That can be one idea. There are so many uses for this that can, you know, that's completely without plugins, right? That's a crazy thing. So just have fun. 52. Clouds: All right, so to make steam or clouds and affats only to make a simple solid. This and then we're going to use a mask. So we go here and let's make a first ellipse like this, and then you feather it. So remember to increase this guy, right? And then simply apply an adjustment layer of bomb here with a tripling display. So you apply this guy here, okay? And then we enable a evolution time multiply by 100, so it starts to be moving like this, right? And then we go to simply tweak the complexity. To add detail versus the amount versus the size. So the first size needs to be smaller. And, you see what's happening? So if it's small enough, it will su to become more realistic. If you want it to be more cartoony, use a bigger amount like this, right? So this is where you need to choose. So in this case, let's go for realistic. So we keep a very granular and detailed texture, right? And then we duplicate our post adjustment layer with a second one, a bomb earthing. The second one instead, is going to have a bigger size distortion and way lower amount. So let's keep around ten. Okay, maybe the lower five. Okay. And at this point, all you need to do is to choose how many clouds you want. So you can go back here to the clouds and you can change it safe, right? Or you can simply duplicate this guy, so you have more if you want a duplicate, if you want a longer cloud, you can do it. Just simply duplicate it like those, right? Just like that. So that's the fundamental principle to do custom clouds and so you can have fun, right? I like those. That's it. One of the coolest effects that you can do in fx is to scatter an image into pieces like if it was in front of a glass, fundamentally, you know, a glass shattering. Alright, to do that, we need to first of all, create a dummy layer. So let's go here, solid. Let's call this dummy. Okay? And we need to apply one effect called shatter, right? So we go here and first of all, change the mode to rendered. And then change the type of shape to glass. Even though you can use more weird shapes, let me show you what is happening for you at the beginning, fourth. See what is happening. So one of the coolest way to use this is to obviously use it as a glass sharing. So we go here, pattern, change glass. Okay. And right, no, now starts to look cooler, right? So the first thing that we need to be able to control is the moment where the sharing happens, right? Otherwise, this becomes useless. So to do that, we need to go to force one and animate one keyframe on radius. Here. Alright, so we go here, and we need to now make that value jump from zero so we can keep zero at the beginning of the timeline, we hold it. And then it will just jump to that value that already have by default. So when wherever we place this keyframe, the sharing will happen. So let me show you. So it's waiting, and then eventually it will scatter there. Boom. Alright. So now that we know this, let's go here and we'll regulate the exact detail of the scattering. So, for example, if you want more fragments or less, change repetitions here, you know? So I can do less scatter or more. Right? Let me show you. Obviously, this becomes super detailed or less detailed. Then I can choose the depth of the fragment. Let me show you. It kind of makes those more three D or less, you know, there are inferent combinations. And then if you like the way it looks, but just want you reshuffle the scattering pattern, simply move slightly one of these parameters simply, you know, we can change their origin point or the direction or the petition, slightly, you know, completely reshuffle earthing when you move all these. Then let's call down here to the physics here, and here we can choose exactly what it says. So we can choose, for example, no gravity. So the points will just float frontally, right? Or we can change the variance or the sizes. You know, you can see how quickly I can make this become unique for my needs. You know, randomness, is constity makes those slow down after the explosion like this, right? So you can become very cold very fast with this, you know? So let me just not too much rotation, right? Okay. And so, yeah, so very simple to use. You can apply a text so many things back layer, front layer. But let's suppose that you should be able to apply this on a custom image, right? So to do that, simply precompose this guy. So as always, we precompose it. We, you know, leave mode, share this. Okay? So now, if we go inside here, double click, we simply disable the dummy, and finally we import one image. Here and let's stretch it full screen. Alright, let's go outside. And who, it's really working, obviously. Okay? And finally, let's suppose that I want to be able to scatter a specific area of the image, right? So there's a way very precise way, which is to create a solid here and we call this scatter shatter mat, okay? And in this solid, we're gonna make a simple circle mask like this, right, and then we're going to feather it slightly. And we're going to hide now the matting, and we go back to the shatter effect here. And so when you scroll down, there is a gradient setting. At that point, all you need to do is just simply place link the gradient layer to the shatter mat that we just created, okay? Then you change these to effects and masks, and finally place threshold to 1%. Fundamentally, poof. I will read the white as the only point where the shatter will you happen from, right? So let me show you. So if you go here now, as you can see, only scatter from that specific area. And you can change that, you know, spot perfectly matching Wow. We can now scatter all that area. You know, we can break a specific point like this and obviously reacts to the mass. So if you make it bigger, it will be bigger, like this, you know, very handy, you know, like this, so you can create very interesting effects where you kind of destroy all the specific part of an image, you know, like this. And at that point, you box the shatter settings here and make the depth a little bigger. In this case, for example, m3d, and just have fun with everything else. Alright. 53. Glass Shatter: One of the coolest effects that you can do in fact is to scatter an image into pieces like if it was in front of a glass, fundamentally, you know, a glass shattering. Alright, to do that, we need to first of all, create a dummy layer. So let's go here. Sold. Let's call this dummy. Okay? And we need to apply one effect called shatter, right? So we go here and first of all, change the mode to rendered. And then change the type of shape to glass. Even though you can use more weird shapes, let me show you what is happening for you at the beginning, fourth. See what is happening. So one of the coolest way to use this is to obviously use it as a glass sharing. So we go here, pattern, change glass. Okay. And right, no, now starts to look cooler, right? So the first thing that we need to be able to control is the moment where the sharing happens, right? Otherwise, this becomes useless. So to do that, we need to go to force one and animate one keyframe on radius here. Alright, so we go here, and we need to now make that value jump from zero so we can keep zero at the beginning of the timeline, we hold it. And then it will just jump to down value that I already have by default. So when wherever we place this key frame, the sharing will happen. So let me show you. So it's waiting, and then eventually it will scatter there. Boom. Alright. So now that we know this, let's go here and we'll regulate the exact detail of the scattering. So for example, if you want more fragments or less, change repetitions here, you know? So I can do less scatter or more. Right? Let me show you. Obviously, this becomes super detailed or less detailed. Then I can choose the depth of the fragment. Let me show you. It kind of makes those more three D or less, you know, there are inference combinations. And then if you like the way it looks, but just want you reshuffle the scattering pattern, simply move slightly one of these parameters simply, you know, we can change their origin point or the direction or their petition, slightly, you know, completely reshuffle earthing when you move all these. Then let's call down here to the physics here, and here we can choose exactly what it's at. So we can choose, for example, no gravity. So the points will just float frontally, right? Or we can change the variance or the sizes. You know, you can see how quickly I can make this become unique for my needs. You know, randomness, is constit makes those slow down after the explosion like this, right? So it can become very cold very fast with this, you know? So let me just not use too much rotation, right? Okay. And so, yeah, so very simple to use. You can apply a text so many things back layer, front layer. But let's suppose that should able to apply this on a custom image, right? So to do that, simply precompose this guy. So as always, we precompose it. We know leave mode, shatter this. Okay? So now, if we go inside here, double click, we simply disable the dummy, and finally we import one image. Here and let's stretch it full screen. Alright, let's go outside. And who, it's really working, obviously. Okay? And finally, let's suppose that you want to be able to scatter a specific area of the image, right? So there's a way very precise way, which is to create a solid here, and we call this scatter shatter mat, okay? And in this solid, we're gonna make a simple circle mask like this, right, and then we're going to feather it slightly. And we're going to hide now the matting, and we go back to the shatter effect here. And so we need to scroll down, there is a gradient setting. At that point, all you need to do is just simply place link the gradient layer to the shatter map that we just created, okay? Then you change these to effects and masks, and finally place threshold to 1%. Fundamentally, of, I will read the white as the only point where the shatter will leach you happen from, right? So let me show you. So if you go here now, as you can see, will only scatter from that specific area. And you can change that, you know, pull perfectly matching Wow. We can now scatter all that area. You know, we can break a specific point like this and obviously reacts to the mass. So if you make it bigger, it will be bigger, like this, you know, very handy, you know, like this, you can create very interesting effects where you kind of destroy all the specific part of an image, you know, like this. And at that point, you can go the shatter settings here and make the depth a little bigger. In this case, for example, more three D, and just have fun with everything else. Alright. 54. Grading (Simple Routine): A very common routine that you may use when you deal with footage is the following. They just import this footage into timeline, right? So first of all, if the footage has been recorded with some distortion lenses, unless you want to keep that on purpose, we need to reduce or eliminate that. So let's go to compensation. Here and this allows you remove the distortion. So let's just increase this reverse diagonal, and let's just straighten the lines back a little bit. You see that now we're recovering the actual lines of the reality. You know, it's not disordered anymore that much, right? All right. Okay. So after that, a sanded routine for color correction is used, first of all, a filter. So uenary color is where it's at. I recommend using this because it's kind of a mini effect that contains everything you need for color correction. You know, it's very versatile. The most important ones are the basic section here. In case came in case you use log footage, you need to input your camera specific input filter here, right? In this case, I didn't shoot log, so I didn't choose this filter. And you can do the first tweaks or right from here, you can make the footage kind of warmer, colder, right? But before even that, I recommend already choosing a main creative filter. So you go here, creative, and you choose from one of the available filters. You see? So there are so many, and fundamentally, there are cold ones in this area here, and then there are warm ones down here. And then black and white ones here. All right. So and then you can also install filters for Apha fat. So these are called lots, L, UT, right. You can find those online or YouTubers share those on times. You know, there are so many ways. That's set one of my favorite ones is blue intent. So if you apply this, Okay. And the filter fundamentally remaps the colors to a specific out color. You know, that's what it does. And as you can see it does many things at once. It makes it instantly more cinematic, a little better. The colors become more vivid and use the intensity of the filter. So you can use more less, right? So in this case, I like to use a lot of this, so it just increases a little more. Is one, 50%. From here, then go back to the basic correction and just start to tweak the footage in case it's needed. Only if it's needed. You don't need to do it always. So maybe just a little bit of contrast here or maybe the temperature, we can make it a little more warm or cold, right? Those are the main choices. And let's return. Like this. Let me show you a couple more things. Curves I never use kind of dangerous. Color weirs also never use it. It's kind of these two things are very dangerous. Secondary color cushion can be interesting because lows you shoot target specific color with a key here, you sample a specific color, for example, the sky. So we go here, click on the sky. So this is similar to the key light. Fundamentally, samples a color, and then you can check what is detecting here, and then you refine or change the color, all of that detected area. So if you go here to temperature, for example, you see what's happening. So it's kind of allowing us to change in weird ways, only specific colors, but use this only if necessary, right? So the quickest way you already finish the color correction is simply going here, apply a filter, and maybe took the basic correction, you know, the ID footage should be already clean. That's the point. You should learn how to shoot proper footage, and that way, you need to do simple basic corrections here. And then just leave it for the fun part. That's the point. All right. So at that point, we can apply a classic vignette. That's a very important effect that every single project has, especially if it's cinematic. This allows you to kind of smooth the edges of the screen like this. You kind of concentrate the focus at the center of the screen, right, which is where the action happens. So you can smooth these two values like this, you know, very important stuff. And then between the lumetri and the vignette, we can apply a grain effect. So we go here, just search ad grain, and then apply just apply it between. Between the lumentr and the vignette here. Alright, and then just switch final, choose one of the line random presets, doesn't matter. And then just hoot the intensity of this. So this makes add some particular some imperfections to the frogen purpose. So let's control it from this amount here. So let's maybe 0.4. Right? And so that makes it subtly more detailed. That's the point, you know? And then, very important on any piece of footage that is cinematic, you need to use the letterbox. Letterbox are those black bars that movies have. To simulate that in an easy way, you can do this. Create a solid above everything here. Let's call this letterbox. Okay. And then here on this solid, we use one fact called jars here. And then simply just reduce height and width is 0% like this. And then just Wow, you see what's happening just tweak the percentage from here. You know, you can tweak how narrow the letterbox can be, you know? So there's no standard choice. You can ly do your costume letterbox, you know? It's a completely artistic choice. And this can also function as a way to compensate one thing. If you remember at the beginning, we use the ans compensation effect, right, which is very important to remove the fish eye, right? So if we scale the footage down, okay? And we enable resize here, max two X Okay? And we put compensation after the lumetr. Wow, we see fundamentally some information that we are losing right now because of the lans compensation, you know? So there is a way to record it, which is to simply scale the footage as much as possible until the horizontal borders touch the screen. So we squeeze it, okay, around here. Alright. Okay, so that's one way to preserve as much information as possible. But as you can see, there's also distortion here happening on the top and bottom, right? So to hide that, we can simply use the letterbox. So we keep the letterbox at the top, and we increase the percentage until we can cover the artifact completely, you know, around here. And that's it, right? So that way, we preserve the widest point of view on the footage, right? While also straightening lines back to normal, right? And also, we use the letter box that we would have used anyway to keep the footage more cinematic, right? That's the point. And, yeah, that's that's one of the tricks that I always use. And that way, even if you use a single camera, you can make your footage very cinematic. Let me show you, you know, that can look beautiful, you know, to tell a story, you know, like those and that's suit. In case the car space that you're working with is not standard, you can change it anytime by going here on the A BPC, right? And then just change it from here. Assume color Gamma here, right? Here. Okay. And, okay. And then in case you have HDR footage, you can manage the dynamic range tweaking from here from this specific effect. So apply commander HDR compender to the to the footage that you're working with. So this allows you tweak the highlights, right, bring those back in range, right? So if your footage is HDR, not compressed, this effect will shine with that type of footage. And finally, if you need to analyze the colors of your footage in a more scientific way. Well, in that case, go to window and then scopes here, Domtar scopes, and then you can keep this here close to your footage. And fundamentally, doesn't matter where you will go. I will show you the balance of the RGB channels or more. So the one I recommend the most, the beginner friendly one is here, right click. Parade. Parade is the most easy to understand. Let me say all this. So because it kind of splits the three channels RGB, and you can see the amplitude of each from in the visible spectrum from the matter, you know, so wherever frame you are on, it will show you the representation of that broken down. So you can see you can play around with the facts here on the Lumtri you understand how every single thing here influences the graph. You know, you can squeeze, see what's happening, for example, here. Or the contrast, obviously is going to change the difference between the highest and lowest points. So if I compress, you see what's happening? Now it's expanding. Now it's gonna compress all the colors, you know, like this. You see what's happening? And, yeah, yada, yada. So just play around with these and see carefully what is happening here. You can see that there is a slight prevalence of blue compared to the rest in this footage. And so, but the truth is that after you develop your own eye for your footage, you will not need these anymore damach, you know? So you will just close those or keep this, you know, close the whole time. And because you will develop your own eye. It's a little bit like playing your instrument. You know, you will kind of develop your own ear, and then you can just play without sheets. 55. Video Outpaint: One of the most powerful tools that you can use is video out painting. Fundamentally, you start with the footage that is cropped for some reason, and then you can simply recreate contextual content around it to kind of expand the frame back of the footage, right? So you have more information created with AI in a contextual way. It's crazy, right? So this video was generated starting just from this simple close up. And as you can see, you can go back to create information that was not there in the first place, right? And so this is called video out painting. The way to use it is to use I'm going to send you this tutorial here is a tool called runaway. So you follow this tutorial and you can use it. So you're probably wondering which cases this makes sense use. Well, if you remember, when we did the stabilization exercise here, that's one case where this makes sense, right? Because, for example, when you use heavy stabilization for time remapping, you may lose a lot of information around the frame in order to stabilize it. So if you go to the cube here, and if you remember right now, we're forced to zoom in a lot, right? And we are using some rudimentary method to tile the footage, right? We simply using tiling. But what if we can simply create actual information around the frame? That way, there will be no artifacts, and we can avoid using reptile like this and simply keep it more zoomed out while staying super zoomed in, super stabilized, right? That's the point. So that's one application of this. So you fundamentally import just the video like this, you know, we just keep it crop like this. You export this video and then expand it, right? And then you reimport it here, and then you just go out of here. And that way, you can simply zoom out more and keep the civilization intact. You know, that's the point. 56. Audio Reactive Effects: To make audio reactive stuff, in our refactor, you have three main ways. Alright? So let's just import something that has audio. First of all, we have already here this amazing MP four, which contains audio. Let me show you here, boom, boom, boom. Alright, let's see. Here's the volume of those Look. Okay, so let's just choose the work area to analyze. First of all, let's start from the beginning to this point here. All right? That should be enough. Okay, so then let's just right click on the file that contains the audio, right? So let's click keyframe assistant, and then convert audio to keyframes. Boom. And this creates a new layer that contains the keyframes that represent this audio waveform fundamentally, right? So after we have that, we can simply delete left and right channel sliders. We don't need those. Only both channels is important. So let's call this envelop. Okay. And let's keep this visible for now. And now let's start to create the element that we want to animate. So we make a nice Shape layer, for example, can be anything. But in this case, let's stay simple. Let's call this shape one. Okay. And we're going to make a simple wiggle on its position. So let's go here, create a nice wig. We call six. And then instead of a fixed amplitude, we're going to link the amplitude to the actual envelope of the audio, right? So that way in more silent parts, is going to be controlled at the center, and then it's going to diverge violently from the center only when there are peaks in the audio, you know? Okay, so to do that, we need to first assess what is the range of the key frames of the envelope. So we simply go here on the slider, graph editor. As you can see it goes between zero and around 15, maybe 20. Yeah, around 15, yeah. Okay, so zero, 15. Let's remember remember twos numbers. And then we type just A. Alright. And here, we're going to define what A is. So A equals both channels. Okay, let's first type linear because we're going to rescale now the numbers of both channels, which originally go 0-15 to a range, let's say, 1-500 pixels. Alright? Okay. So now fundamental in more silent parts, it's gonna be very controlled, very still. Let's make the shape layer very small now so we can see what it's doing, okay? We enable mochbre. Let's let me show you what is happening. Let's see if that's working already. Ooh. You see what's happening? So, only when there is a high peak in the audio, the shape layer becomes crazier, right? Only when there is a peak. And then returns at decentra, right? You see what's happening? Okay. So now, such you make the layer a little cooler. So we apply our default glow. We already know the spoomEls that's it. Okay? And so that's one thing. Let's apply the same type of wiggle to the rotation. So it becomes more interesting Wiggle here, copy expression, paste to the rotation, change slightly the wiggle rotation to something else. So let's start from 0.1, and that should be it. Let's see. All right. Okay, so that's fundamentally the first way to use audio reactivity in Afterefact. Alright? Let's go with the second way. So we use we make a copy of shape one, so we have Shape two now. So on shape two, instead, we're going to use we're gonna disable for now the wiggles. So, boom, boom. So it got stays there, so we see what's happening. And we apply one effect called waveform, audio waveform. And we apply it before the glow. Okay, so let's zoom in. And so as you can see by default makes a line like this. So we can link now this effect to the source of the audio. So in this case, beatbox MP four. So not anymore, the keyframes, but the actual audio file straight. Boom Alright, so let me show you what's happening. As you can see, it's ready. Reacting. Let's make the lines a little higher. Alright, you see what's happening Poof. Let's change the color. Okay. Just white white for now. And now, why not telling this waveform to be exactly on the outlines of this layer? We can do it by using a mask. So since this is ready a square, we can simply make a rectangle tool here. Double click. Now, the mask is ready there in the right place, and then we can link it to the path. You know, path mask one. Woof. That's it. Right. That's it. That's it. Okay, let's tweak slightly the aesthetics of this. Let's increase maybe the lines. You can have fun with these stings, experiment a little bit. And that's already the second way to make audio reactivity. So let's actually re enable the wiggles. So it also has its own path, right? Strike. And finally, shape three is simply the same type of effect, but different. So on shape three, we lead audio waveform, and we apply instead spectrum. Here, it's called spectrum, it works the same way as waveform. So you simply link it to the beatbox file, okay? And simply for now, again, disable the wiggles to see what it's doing. Okay? And we use the path which at this point is ready, ready to go. We need to increase the max height of the lines, so we'll never see those. Exactly. Change the colors, change the start and frequency. This depends on the audio input. So in this case, probably we need to decrease the range 100-1 thousand. Exactly, right? So this effect normally use for or reactors, right? Okay, and let's make it thick a little higher poof, right? Okay, let's keep it this way for now. And let's re enable finally our amazing wiggles. And finally, as in gas, we are going to put everything back together. Let's see the three squares now with their own independent wiggles, but they are all connected to the amplitude of the beat box to diverge from the century. Let's also make them interact with maybe with some nice landing mode. Alright, let's see. Wo That's Sith. Have fun. 57. Audio effects???! (literally): You may be surprised to know that Aftereffx has some audio effects notation, actually. So changing the volume is just not the only thing you can do, actually, you know, in theory, yeah, you can do some simple fades like this, you know, go from minus 192 to any number to do fade outs, fade ins. But actually, if you go to effXs, you have an entire category of effts that you can do here. So I'm going to show you the most useful ones. So, for example, applying a reverb can be useful. So if we do this. You see what happens? So it's simulating a room for this audio. To preview audio instantly without rendering, you can just press the dot on the number pad. In case you don't have number pad, you need to disable all the eyes on all the layers to have the same behavior like this. So disable all the eyes. So we'll just press space bar. And just previous the audio, you know. Okay, and then let me show you the settings of this. So okay, play with the reverb. You can make a longer reverb, select this, increase these numbers. Okay. And then the most important thing is dry versus wet. Fundamentally, dry is the original unprocessed audio. Wet is the opposite. So by doing two keyframes, one of this and one of this, you can do a cross fade, which in zero effect to 100% effect or just a little bit of it, right? So that's one thing. And then let me show you a couple more things. For example, slander can be very important on specific edits, specifically anime edits. This is a very used effect on when you want to decrease the intensity of the audio just for a second, and then return to Max power, right? Let me show you what this does. You hear what it's doing? So it's kind of modulating the sound and make slightly weaker in a way, right? But that's the trick. You cannot increase this value dynamically. So let me do an example. We go here, we go and sync, for example, one of the beats. Okay, let's say that I want to do this. Okay, for example, here. So here we increase the dry. We actually decrease the dry from 100 to maybe 25%. At the same time, the wet does the opposite. So let's just set this up to do exactly the opposite. W 100 minus the dry simply to so we can use too many keyframes. Let's see. And then you just return to full power. So actually, Zu dus 0% and then return to 100% dry later. Like this, and then we use some nice viziers like this. Let me show you. Okay. And this. Something like this. Let me see what happens. Right? So it's kind of an important detail that you need to implement in some specific type of edits. You know. This works wonders with drops of music. You know, it can be very fun. And then what else? We have the delay is kind of a reverb, so in the end, you don't need to use it. And then all these effects are kind of more niche. Okay, maybe sometimes it can be useful to use this instead. High, low pass this allows you to make the audio muffled on purpose. So we can start from completely open spectrum, so 20,000. Then we make a nice keyframe on this parameter here, and then we can close the spectrum gradually. Until we do, for example, 500 and will become muffled, didn't you change, obviously to low pass. Okay. Let's see. You see what happens? So now here then becomes muffled right here, it's opens. And then You see that becomes manfold here. I'm going to give you one preset that allows you to fade out any audio in a smooth way, right? So just install this expression. And the way it works is you simply drag in the just precomposed the audio track, right? And then let me show you. We just apply the expresion It's called fade out. Default fade out here, right? So double click. And you will see some keyframes here up here. And now, fundamentally, wherever you place these keyframes will make the audio end there, you know? So let me show you and we'll kind of make it do in a smooth way. No. So let me show you. Alright. Woof. You see what happened? So instead of just stopping with a dry fade out or stopping suddenly, it's gonna going into some kind of roomy thing and then fade out in the smoothest way possible, you know, let me just play again. You know, and then the audio actually finishes. I don't recommend going to advance with audio and Afrofax because it's very basic in the end. You know, we have very it's kind of clunky. So this is as far as you can go, you know? So if you need more advanced treatment, go in a specific softer or at least go in premiere. Premieres already better. Or if you're a producer, just do it separately in C based or FL Studio or Ableton Amazing Softers. Use those if you are more advanced or B? 58. VR + 3D Elements + Lights: After fax is able to create VR videos, so let me show you how to do it. We simply go here composition and VR and create VR environment, first of all. All right, let's choose the resolution two k, 24 frames per second and create new VR mind master, and we're going to use at node camera plus a three D null. And also, we're going to use three D logins and then create. Alright. For now, let's close this thing. Okay, this all looks like. Fundamentally, it's a simple square composition, and the camera represents where we are going to be into the video initially. So we can animate that camera. And also in the video, we're going to be able to orbit around the objects, you know? Okay, so let me show you. For example, let's make a simple three D solid. Let's make a grid. Let's become the ground, right? So, three D, then we go here. Let's generate the simple grids. We already know this stuff. Alright. Just a walk look. And so we start to rotate the ground layer by 90 degrees. Let's go here 90. Alright. And then we start to move our point of view, we need to use this controller here. Alright? So as in gas, if we change the vertical position, Woof. See what is happening? Now we are here, right? Okay, so let me show you if I start your orbit using the Y rotation, obviously, we're going to look around ourselves, right? So let's go actually more at the center of the ground. So we go forward a little bit, like this. So now we are more centered. Like this. Let me do shark. Exactly. At this point, let's start to tile the ground. So we go here. Let's use reptile. We know this, expand like this, 3,000 pixels in all directions. Now we have more room to move around. Why do you see what's happening? Okay, now we're here. And what else? Let's keep it this way for now, okay? And let's start to collocate three D elements into this environment, right? So let's make nice text simply for now, like this. Let's make a phrase A. Hey, let's just pull this text, three D. So, as you can see, the second view is very important to know where we are, right? So this is at the ground. We are Let me see we are here, right? The text is here. Okay. Let me just raise it. I think I just should be probably Yo, here, here is. Yeah. So just look around to see where it is, right? Okay, so let's just choose this point of view, okay. Let's just let's go here. You can also create multiple cameras. So choose different point of views. So for now, let's just go by eye. Let's go here. Let's return to one view mode, okay? Yeah, so let's go here. All right, choose Let's just choose where this guy is gonna be. So let's go. Change the position, twit it tweak. Okay, a little smaller should be fine. Alright, rotate. Make a simple animation on the camera, right? So let's suppose that we're going to go from this position going forward all the way to somewhere else. So we move like this right, so we scroll scroll, scroll. We move into this environment somewhere else, right? Like this. Okay, so let's go back here, okay? Let's duplicate the text layer, and we push. We change the word. Let's go. Let's go here, solo. Double click. Okay. Hey, how. Alright. And we push. Obviously, this guy somewhere else. Let's go here, scroll. You know, Legos how? And then we go forward. The camera is already scrolling, right? So we do play this layer again, L, push again. Okay, we go forward. How are You. Okay, and finally, so we have full control on every single element in our point of view, also, right? So let's go. Let me just create the final layer here. How are you? Let's go back here. Alright here's. Okay, let's see how much we can push it, so we arrive here probably we can push it a little more right exactly until here. Okay. Okay. And then finally, supply a nice glow at the top of everything. So adjustment layer, post, make it three D and apply one effect called VR glow. So you have also VR effects. So this glow is specifically made for VR. Let me show you. You see what's happening. So it makes triggers the glow like this. And finally, we can also use some light in this environment, right? So let's create a couple of lights. So right click. Light. There are different types of light. So let's go with spotlight first. Spotlight can be very confusing to understand. Fundamentally, it's like a camera. A two node camera has position and also the point of interest. So one trick to not get confused is to simply use the shift parent trick, so you snap it that way exactly to the target. So shift parent to the first word here, and then just raise it up like this and then tweak the position. So let's see what is happening where here. Let's see. Let's go over here, change the anchor point. Alright, see, thank you to the snapping. We can choose exactly. You know, which area we're gonna lit. So let's go here. Alright. So the word is there, the light is there, so we need to rotate it for sure. Let's go like this. Okay, and also tweak it or should be a little higher. Exactly. Okay, increase the intensity of the line for sure. So let's go here, increase, increase, increase. Alright, here's. So we just push it in front of the Oh, here's. Alright. Okay. So then you just tweak the cone settings of the line, have fun with these things. Elects. Let me show you. Alright let's make it very narrow. Ex ante Electus. Okay, and then you can let me place a second type of light on the next word. For example, you can use also a point light, which is fundamentally a one node light. It's kind of a skere. So it's a make it harder already, and we give it directly the position of the second word. So we go a little forward here and we give it the position of the how word. Alright, see what's happening. Now the light is exactly on this word. So we can place it easily in a slightly different place like this. Okay, let's change the intensity. Maybe we should push it slightly before exactly like this. Or after, you know, that's your choice. Okay, let's put it somewhere here. Okay. Then let's go forward again. And finally, let's make a third the type of light called ambient. So the ambient says does what it says. You know, we choose the base level of light for the entire environment. So let's go with ambient. Let's choose 100%. Let me show you. You know, obviously, this defines the purpose of odd light. So let's decrease the intensity of the ambient light. So let's choose different percentage. Let's go here, maybe 10%. Let's see. Alright. Okay, let's choose, something like this. And finally, let's place this at the top of everything. Let's place a nice vignette. Okay. Okay, so then you start to design everything you want here in this environment. And finally, when you're ready to ask for it, we need to simply go back to select that composition that we used so far VR Master reveal. While this is selected, you go to composition, VR, create, and then this time instead of the first option, we need to select the second option. Create VR from current composition, right? Make sure that our composition is selected and simply make sure copy settingc this in case you use especially three D plugins, you may need to keep this and this enabled, this case, we don't need this and simply generate and if it brings you to this weird view, it means that I worked. So and then we can actually add one additional glow on top of everything. At this point, it's kind of converted back to a two D 16 by nine frame. So let's just blast the colors a little bit. So it just becomes visible. Just a quick test, obviously. But just to show you the gist of how this works, let's go here. Okay. And finally, what else? Yeah. Okay, so at this point, we export this whole thing. To export VR video from Aprovx you need to use at least to have media encoder installed. Alright? Make sure they have media encoder installed. So then we send this render queue, but we invoke media encoder, so click this button. Alright? Okay. So once you're here, you simply go to the settings. So you can choose P four where we want. So in this case, let's go with MP four standard. And in the settings, remember to enable one specific chat box. Go all the way down here, and there is one chat box that will fix everything for us. You know, here's BR video, check this on. Alright, this will inject a specific meta data for YouTube you detect this as a shatic video, and it will make this interactive. So let me show you. So this point we can just export. Let's call this four and export export. Alright, let's just jump back to YouTube. Once the video is completely loaded and elaborated, you can simply click on the link. Let me show you how it looks like. Alright, so fundamentally, it starts from the position that we last left the camera on in After facts, right? And is gonna do exactly the moment that we told it. And let me show you. We can navigate into the video. Whoo. You see what's happening? So people can then just Look, you know, find for details that can hide in your environment, right? You can also use audio. You can make it very immersive with us, you know, like this. You can also use depth of field. It's completely supporting everything, you know, three D elements, JOB files, OBJ files. Where we want, drag it in, you know, use lights for shading. We we want. That's it. Alright. And make sure that you use high resolution, so it's going to give you a full quality, and that's it. That's it. So have fun. Make sure that your computer is powerful enough and make sure that you have a GPU with Cuda. So in Va, cards usually are the best, and that's it. 59. MOV vs MP4 (technical): Alright, so when your project is complete, it's time to export it, right? So you're going to have two macro choices. If after the X ft, you need to go back into another software, for example, even after fax itself, maybe you need to preserve the full quality one on one, right? Whereas if you need to just go to the upload, you need to x42, maybe a more compressed file. Um, just to have a more manageable size, right? So, in that case, we're going to use MP four, right? So let's go slowly on the two cases. In this case, we're gonna export to preserve the full quality of all this. Alright? So, in this case, you go this weird thing moving we need to choose the area of the timeline that we're gonna or, right? So in this case, the timeline is 10 seconds. I need to export the whole thing, so I keep it this way. In case you need to for specific parts of the timeline, simply press B and N. That's a shortcut. Choose a area, you know, like this, you know, B and N. Alright? You can bring up these keys by going to here, edit, keyboard shortcuts. And here just remap wherever you want. Tech whatever key you like, right? So we go to File, Export, and add to render queue. This. Here there are three main rows that we need to regulate. Usually you don't need to touch the first one. Best settings means that it will automatically choose the best settings. So don't touch it. We'll use the full quality, alright? Then to chose the actor format, we need you to click the second row. So let's go here. Okay. And so if we need to choose preserve the full quality, we need to choose quick time, quick time here, and then here, make sure that animation is enabled. So don't be misled by the name, even though it says animation actually is all around preset that works with everything, not just animation, even footage. So fundamentally, it will allow you to have a slightly smaller file without QLT loss. Alright. So let's use animation forever. And then you have two choices. If the video has transparency, I need to preserve it, right? You need to click here, RGB and Enable also plus Alpha. Otherwise, if you just need to export the video with RGB, right? So you need to actually render the black as black, use RGB, right? So then copy myself to this. In case you need to change the size, you should kind of upscale it slightly for YouTube. You can do it from here, resize, change the size like this. And then remember to enable the audio in case your project has audio, keep the sample rate as the original. Don't change it. And this, the higher the better, so through the two, it's fine. And then don't change anything else. Make sure that stereo and confirm. And then just choose the final folder. Okay so we're going to place it here. For example, test Okay, and then just press Enter or click this Render. Wait a couple seconds, drink some water, boom. Alright, done. So at that point, you will we can double check if the file plays correctly. On some Max, the MOB file doesn't play correctly, so you need to download VLC. VLC is able to play mov files correctly, so I'm going to give you a link right now. Okay. And o, whereas Windows just works. Even though I recommend using VLC anyway. So let's just recycle these render settings. Duplicate with file name, okay? Let's go with a second case, where we need to compress the file, right? So let's go here, second row again, change the package to 8264. Okay? Don't watch any other format, this ho 64. And then to choose the actual final size, you need to go to form options. So in case you need to respect the specific file size limit, you go to VBR here and then decrease this slider. The smaller this is, the smaller the final file will be. These are the megabytes per second. But also, it will trade off the quality. For example, when I need to import this back into a digital audio workstation, I initially go very low, maybe 2 megabytes/second, you know. Whereas, if this is for the final upload, the higher the better. So 100 megabyte, 200 megabyte, 50 is very good, right? So in my experience around so A density that is 20-50 megabytes/second, that should be indistinguishable quality, you know. But, you know, for now, if you want to preserve the most that's possible, keep it around 50 and up. Alright, VBR means variable bitrate. Fundamentally, it will take slightly longer to export, but it will probably make a slightly smaller file, more efficient. And this is the other way around. If you don't have time, you need the fastest export possible. Use CBR, which is constant bit rate, but obviously we'll make slightly bigger file. So in this case, we have time, so let's use VBR and then just go here and confirm. Don't change anything else. And that's the thing. Remember that MP four is not able to preserve the fourth channel. As you can see, Alpha becomes unavailable, right? So if you need to still use Alpha channel, because you need to reimport the file into another software or into the software itself, you're forced to use MOV. And finally, just keep here everything the same, same rules for the ad you apply, and just confirm, and then just render. Okay. And now we're going to compare the two file sizes, right? As you can see, the MOV is 37 megabytes versus four of the B four. Okay? So as you can see, let me just play through. Let's see the quality of the two files. Okay? So this is the MOV. Alright. And let's see the second one P four. Alright. There's just a slight difference with blacks, but it's fine because it makes sense, you know, this is slightly more compressed, so it kind of loses slightly some dynamic range. But it's fundamentally undistinguishable. Now you can take your conclusions. Okay, the truth is that if you try to import the MOV into YouTube YouTube, it may sometimes remain stuck in the encoding process. So that's why using a more universal format, P four is still better. And I'm going to show you in a few minutes how to preserve full quality using p four. 60. Media Encoder (background rendering): If you wonder if there's a way to actually fully predict the file size when you export as P four, yes, but you need to use another Adobe software called Media Encoder. All right? Make sure, first of all, that's the same version as your after effects, right? So if you use After effac 25, encoder needs to be 25, 26, 27, 28, all right? Make sure that those are matching. Okay? That's said. Let's right click here on the MP four. Okay? And simply to use it, instead of pressing Rando from Afrofax, we need to use this second button, Q in A and E. Alright? So click this button. Don't worry about the stings there. It will automatically override those setings. Okay, so now we are here. This is how it looks like. And we simply works the same way. You choose the package first, the file format. And here, actually, we have some extra options, HS 65, which is a newer and colder actually better than HS 64. So we're going to use that. And here, if you go to video settings and you scroll down slowly, you may see the slider for the size. Here, okay? So these things we know, but you see here, we have the prediction of the actual file size, which is pretty handy, right? Okay. And don't use ever slowest here because it's going to take forever. Use just one step before that higher in case you like quality. And then just press here, play, and they will do the same thing that we did play here. The cool thing about using media encoder is that, first of all, is the most stable type of render. So it kind of reduces the possibility of crashes during the render. And it allows you to use after effects while it renders on the other side. So keeps after effects completely free to keep being used at the same time. Weight is kind of dangerous. So you can do that only if you really have a very powerful computer with er cores, at least at least 16 cores, and also 5 gigahertz of speed, and at least 64 gigabytes of RAM. So those are kind of the min things to really make the stunt. So having a render going there plus keep working on another project here. But that's something that it's possible. So it's called render in background. That's one advantage because if you are critical on time, you can do stuff like that. Even though the best option is always having a complete separate machine for the renders, and then that way, you can keep working on your main machine full power. 61. Export Settings: If you notice that you use the same exact settings for the export very often. It's going to be very boring after a while to set those up manually every time here, here, here, right? So there is a way to make templates for these export settings. So for example, we just go click this arrow here on the second row here, and it's going to give you the option to create template. So scroll all the way down, make template. You create, first of all, the settings of your template from here. So you set up this, complete this up. And then let's go this test here. Okay? And then you can make that become the default for the movie export or in case it's for a frame export, you change it from here. And that name becomes immediately available. So if Kol called this test 13, it will also show it here. Movie default now should be an option. Test one, two, three, alright? So very handy. And that way, when you set that up, it will automatically show that template type template. Then the next time you trigger a port. So if you do control, if you go to the export, in this case, it chooses a different preset that I set up, that's it. So that's how you automatically certain settings ready to go, so you can jump stretch to the rando button. And you can also change the naming of the file. For example, you can make it fetch automatically the name of the composition or of the project just by clicking here, this button here and you can create a template for which name the export you automatically have. So for example here, I have a template for project name. And automatically gets the name of this project file, as you can see. And yeah, all these things are tiny things that make you save time, time, and time, which is the most important resource that we have. 62. Single vs Multi Frame Rendering: Um, let's go to edit preferences and memory performance. So right now, I'm giving the computer the permission to use about 80% of all my RAM, you know, so so it's going to use 100 out of 127128, okay? But we're going to export in single frame mode. So one frame at a time, right? So let's see how fast the render is. But we need to first dump the memory because it is already rendered. So it's completely in ram memory right now. So let's dump it with the shortcut. I showed you at the very beginning of this course, so we clean the memory, okay? Exactly. So now, we go to the port Q, and we just call this file a single. Okay, boom. I render. Let's see how long it takes. All right, 13 seconds. Alright, so now let's first of all, clean the cache so we cannot cheat. So control old P, and clean. All right. Now let's go change one simple thing. Edit. Preferences, memory, and we're going to enable multi frame rendering. So enable this guy. And in my case, I'm going to give permission to after effects to use up to 90% of my entire CPU and up to 75% of my whole RAM, alright? And maybe it'll just slightly more. Let's get just 24 for the system. Okay. So let's just go back here and attempt a new render and don't change anything else. So let me try to make a new file, and let's see. Woof. Alright? You see what just happened? It took 7 seconds compared to 13 or earlier. Alright? So this is how fast the render can come with multi frame rendering. The issue is that it's very risky. So for short renders or when there are not too many effects, that makes sense. And also if you have a BV CPU, so you need to have at least eight physical cores and 5 gigahertz speed and 64 gigabytes of Ram. These are pretty much the minimum things to evaluate using multi frame rendering in certain conditions. But normally you keep it off. Otherwise, you may just lose more time because the renderings may fail, and then you know, in the process of attempting new renders every time, you may just lose more time compared to just run a single single frame render that just runs smoothly in one attempt, you know? So that's the point. But for short renders and for not complex projects, multi frame render, by all means, use it because as you can see, it gives you a significant boost in speed. 63. The Perfect MP4 Compression: Two so there is a way to compress a MOV file into a las MP four. And to do that, we need to use a software called D Coder. If you have Mac, you need to use alternative, which is exactly the same software. It's called hand brake. I'm going to give you the link of both right now, alright? So the way it works is we need to simply open this software, so we go here. Okay. And we drag in our file, first of all, so we want the one that we just exploited with Afrofax the MOV, which is 34 megabytes big right now, okay? So let's actually, let's open this gear here. And we go here and you select MP four. Okay? And then you check on web optimized. Okay? And just copy my settings fundamental. Then you go to sizing here and just copy exactly all my settings here. Alright? And then simply in case your footage has just double check that the input and output resolutions are the same, right? If they are the same, simply tweak it from here. So simply change one of these dimensions in case it's four K. You can actually artificially change the resolution like this. It will automatically upscale it. So in my case, let's keep it as the original one on one like this, okay? And then just go to video filters. Make sure that everything is off. Then go to video encoding, copy exactly my settings, you know, screenshot this. Make sure that is everything the same. And finally, this is the most important thing. Here, you need to type hyphen hyphen lossless. This simple string here tells the file to use the lossless compression, okay? And then, just go audio here and just use this setting here. And then just confirm to confirm, simply go out of this window here from this x here. And then you can just press encode. You choose the final destination of the file and wait a couple seconds. Alright, and poof, you see what happened. Now the file is ten times smaller. So 4 megabytes, and the quality should be exceptional. So let's go to the file. Let's see how it looks like. Alright. So, this is the way to have MP four while preserving the full quality as much as possible, right? So, and this is a exclusive feature to this type of software. You cannot do this internally in offre fax or encoder. So you need to use coder or a handbrake. Okay? And that's my preset for you. And then you can save these settings as a preset, simply go here, save us, right. So as you can see, I have many presets here. If you want some general guidelines, this preset is perfect for YouTube. Even better if you let me show you. What I do exactly for YouTube is to even use a MKV format because MKV actually allows you to use the same thing that I showed you here, plus last less audio as well. So that's the plus of using MKB format, but this is only for YouTube. The other platforms force you to use as audio compression. So you need to use the other one I showed you, A AC. Okay. And what else? Then IG, remember that it's not very tolerant with high quality files. So in my experience, the file needs should be within 100 megabytes big max. You know, doesn't tolerate bigger than that. TikTok instead is more tolerant. You can go all the way to half gigabytes file size. Anything higher than that is just inefficient. So instead, YouTube, you can go even to 1 gigabyte file with this preset. Don't import MOB files into YouTube. It's going to take forever, and sometimes it may interrupt the process of the encoding in YouTube. It may give you errors, right? So just use either MKV for YouTube or MP four, Lastls for the other platforms. In case IG in case one of the other flat platforms rejects your file, simply don't Lastlss. So disable this strength and create a loss preset, as well, okay? And just play with the sliders. 64. Render Engines (technical): You may also experience different render times by changing the render engine. So actually, when you go to the project window, you also see this sway shaped icon. If you click it, you will see the options of your computer. So if you have a GPU or just a CPU with a graphic acceleration, you may see different options here. So Guda is usually the fastest possible option that you may have. In some computers, it's usually the slowest ones, you have only the first option here. So this kind of level one, level two, level three, right. But sometimes you can now use level three for some reason, becomes completely unsustainable and unstable. So you need to downgrade to level two x for. Normally use the highest level, you can see, one, two, three. 65. Proxy (Normal Methods): Sometimes your project may be unmanageably slow, so I'm going to show you four ways to increase the speed of the previews, right? So right now we have a four K video. Let me show you, okay? And so you can see if I put this on full quality with just these two effects, emotional lure plus displacement over time, let me show you what happens. You see how long it takes to make one single frame, and I can grant you that the CPR musing is not slow. As you can see, it's taking some time. And the first option is to simply decrease the quality of the preview. So you go here and you decrease it to one quarter. Let's see. Alright. Okay, that's already one solution. Simply do this. Right. In case you need to escalate, you have a little even more speed than this. Okay. Let's first of all, you know, let me just fix this by the way. The time code is broken. As you can see, we now start from zero. So if the time code is broken, per control K. And change this number here to zero. Boom, boom, boom. Alright. Now it starts actually from zero. Alright. So even after you put this on quarter, it will still be uh, slow. So you need to try the second method. Press this button here on every single layer. So this is kind of a microcompression that, in some cases may make become the preview faster, even faster. So this has two modes. This is no compression. This is slight compression, and this is heavy compression. Heavy compression may cause issues, how some artifacts. So don't use it. That's my recommendation. But so in most cases, just use the first mode like this. Let's see. If we go to fall, let's see. Okay, still taking some time? Okay, I already became slightly faster. Earlier, it was taking about 1.1 seconds per frame in full quality. Now, we already went down to 900 milliseconds, which is already a micro improvement. Alright? Alright. Okay. So, but in case, this is still not fast enough. Okay, let's go to the third method, which is create a proxy. A proxy is really a compressed version of one of the footage files, fundamentally, you know, and so we can right click on the footage that is creating this issue. So let's reveal this. First of all, to see what it is. And then just right click on the file at this level here, create proxy movie. Okay, and first of all, let's change the folder. Change the preset here to HS 64, 5 megawatts/second here. Okay? And then change the resolution also to a lower resolution. So just enable resize, and then let's go all the way down to standard HD. Alright? Like this. And then let's keep everything pretty much the same. Just copy my settings here here here and confirm. Okay. In case you in case you need to have transparency, you need to stay to MOV. But in case you don't have transparency, in case it's just the video, you can do exactly this. So just confirm, no Audi is needed. Okay? And so let's place this file in a folder called proxies next to your project. And also don't place it on an external drive. Use all your files always locally when you work on that project, right? So let's just save the file here, we can call it proxy one. Okay, and convert. So what it's going to do now is to convert the file to this new version, so it's making a copy, and then it's going to connect it automatically to the original file, four K file, right? So we're going to see now a second option up here here when the conversion is completed, and we are able to toggle back and forth between the two versions, alright? And that hopefully is going to give us a further improvement in the preview generations. Alright? So let's see. Okay, let's go back here and let's see what is happening. We so to see the check box somewhere. I think I just created the proxy. Oh, I didn't set it. Okay, yeah. I forgot you set the proxy as well. It's fine. So we we click on the file and set proxy and go to the file. In this case, is the V drive. So let's go here and simply double click on the file here, proxy one. Alright, now it's connected. Okay. As you can see, we have this checkbox. When this is on, it will use the file right here, 720. When we check it, obviously, it's going to use default standard uncompressed version of the footage, alright? So the point is that it will this is all you need to do, just make sure that you enable this, keep this on, and it will automatically apply it on the timeline, you know, to wherever copy of the footage is being used. So let's see if there's any additional improvement in the speed. Yeah, still pretty much slow, right? Still taking almost a full second. Since it's still 1 second, it's crazy, right? If the issue persists at this point, why don't you escalate with a fourth final method, which I called native proxy. 66. Proxy (Advanced Method): This method is very simple. We search you or create an object in your main timeline, so no object. And we call it scaler. Okay? And we start you parent everything to that scaler. So like this, boom. Okay? And then let's change the resolution, the actual resolution of this project. So control K down to 720, like this. Alright? Boom. Okay. And then let's simply open the scale of the scalar here and then type 100 divided by the vertical resolution of the original resolution. In this case, four K, so is 21 60, right? And then multiply it by the new resolution that we're currently using. So right now we're 720, so times 720. So to recap, 100 divided 21 60 times 720. So this formula allows you to give the perfect number to the scale so that it looks the same again. Boom. Oof. Alright. Okay. And, and then, okay, now that we have this, we can scale this back up like this. Alright. So at this point, this is not over. We still have here the 44k file, right, which is very annoying, very heavy. So let's precompose the footage file. So we simply place it inside amazing leave all pre comp here. So we call this footage, okay? And inside it. So inside this guy, double click. We disable the original. So this round the original four K. Okay? Which is this file here, right? So this file here now we need to uncheck the proxy of for this method. So we finally keep it original. We don't need the proxy of this anymore. So we can unlink it, L this. Set proxy? None. Goodbye. All right. So it's just four K original. We disable it now. We disable. And here, as you can, guess, we import natively the 720 version of the file. So just double click this. Okay, import the 720 and drag it here at the beginning. So now it's perfectly synchronized. And then just kill it up for now. So just right click on the file, transform and fit to come. Boom. Alright. Okay. So this is the very light version of the file, right? Remember that this is just the 720, right? And I see in yes, now, when we go back to the main composition, where we're going to do our project with the effects all full quality, right? Let's go here. So, right. Let's make sure that this is the main composition. Let's see which one it is. Okay. So now that we're back on the main composition, we can do our product as regular, you know. But the point is that now, even though we are on full quality here, we should have a significant gain in speed. Let's see if that's true. Poof. You see how quicker is rendering, even though we are in full quality? It's maybe two feet, less than it's taking it's like 75% faster. And you didn't hear the best thing. If we can go even lower now. If we go to one quarter, now it's gonna be even faster. Wow. Almost real time, right. But then, obviously, the resolution such to be so low that maybe a little problematic to understand what is happening. But you can you can pretty much do it, even if you want. So now it's really let's see, even 100 milliseconds. Right? We're y almost ten times as fast now, alright? So and then when you're done with the project, when all the effects have been done, you simply go back to four K. You do the reverse of what we did. So you go back here, footage, Renable the four K, right, and then you go back to the main composition. You change the resolution, right here, change the resolution of the entire project back to four K, right? And then simply the scaler here, which for the whole time, has been just here waiting. We just put it back to 100%. And then simply we are ready for the full port. Obviously, now returned to be very slow. Let's see. No, we'll probably, over 1 second. We're already gaining ten times the speed of render, you know? So that's the point. When you work, speed is the most important thing, right? And this is the ultimate way I found in my life to have a ultimate proxy, true proxy that gives you advantage of preview speed, right? All those things unfortunately are iffy, right? So, this is a custom solution that I created for you. So you're welcome. 67. Still Image Export and PNG Sequences: Exporting a frame Affax is reasonably easy. I need to go to the frame but you need to export out. So for example, this guy here, and we press Control hot a Alright. I will automatically bring us to the render queue for the frame. So it's really targeting just the frame this time. And just as I showed you, with the videos, you simply create a preset for the PNGs in case, you know, here. But the point the first time you will need to do this manually, and you need to also have Photoshop installed. Go here. I feel like it will ask you to install Photoshop, but probably by the way, the first time we'll ask you to save a PSD file somewhere. So when it does ask you that, save that file somewhere I will never be deleted or moved. That way, from the second export on, it will only ask you just the PNG straight. Okay, so at this point, that's it, we go here, PNG, just go here, select either PNG for full quality, no loss, or if you need to compress it, select JPAG here, JPAG and you can choose the level of compression from here, you know, all these things like Photoshop, you know, so in this case, I don't want to lose any quality, so I do PNG and so simply copy my settings. If you need to preserve Alpha, you can do it here. In this case, we don't can resize it, all the classic things. Just like this, save. And let's say photo one like this, and then confirm. That's it. So now we have the file in that folder, ready to go. Alright. Sometimes you may have a PNG sequence to import, right? Another way to export video is a PNG sequence, so you need to break down the video into the single frames, right? So that option is available by doing this. Go into the render Qu as if you're going to export a video, right? But actually, you need to change something here. In the format, you change to PNG sequence here. So when you instead of exporting the video now is going to export every single frame as a separate file. And you can do that in a JPEG or PNG format separately into that folder. So then you just save, and see what happens, now the files are going to have the name you give them plus the number, the index, you know? So let me just show you very quickly. So if I export this. So if I save now, Okay, I'm going to stop it because it doesn't matter in this case. Okay, I'm just going to interrupt it here. If you going in the export folder, you will see that there is a new folder here now. And in fact, we have every single frame separated, you know, as a single file, you know? So we have literally the entire video broken down into every single frame. And as you can see, they have a progressive number. And then you can just batch rename those. So just selecting all those like this from the first, last right click on the first one. There are different methods, you know, to do this rename, for example, just a simpler name, maybe just a test. Right? And it will automatically rename everything with a progressive index. Then let's suppose that we want to reimport this back into Afrofax. So someone gave us a PNG sequence, right? So to do that, we need to go back to Afrofax. Double click. Double click here as if you're going to import a file. Okay, and we go to the folder where the PNG sequence is. And after the files have been renamed with this method, I showed you, with a progressive number, very simple. Double click on the first file, but before you do it, double check the PNG sequence is checked on. And now it will work. So if I do this, double click on the first file of this series, it will automatically place those one after the other. And the cool thing is, it will interpret this as a video already. So if I drag this into the composition, let me show you of, it's already a video fundamentally, you know. So I can then time remap it. For example, you know, I can stretch it like this, and it will work. Let me show you if I put this in solo, it's really video. Okay, let's go here. You know. So right now it's literally playing obviously every image after the other, as if it was a video, which in the end, videos are just a sequence of images. 68. Real Motion Blur (Secret Trick): So normally, when we shake something like this, so right now, there's a simple wickle on the position, right on this image. We can enable the default motion blurr, which looks decent. Alright. And that's super efficient for the CPU, that's good. But the disadvantage of the default motion blurr is that it makes you lose some brightness from your materials, you know, so it makes it slightly become a little darker. And this happens the more we shake the footage. So if we do very high movement, this may become very apparent. You know, we start to lose definitely some brightness on the footage, right? So there's a little trick to preserve that information to preserve the true brightness. And this is especially important in hyper globe based effects. For example, if you use saber, the plug in, if you do light saber effects, if you do those things, this is very good for you. Okay? So let me show you how to do this. So with the save, actually let's take a screenshot of this. Okay. And we disable for now the motion blur, okay? And then we simply go we just apply a adjustment layer, right for simplicity here. And on this adjustment layer, we apply a couple of things. First of all, effect called exposure, right? So, and you copy my settings, simply copy my settings this way, okay? Then apply a second exposure, right, and just copy my settings again. So, fundamentally, the first one has gamma 0.1, and the second 110, okay? And in between these two exposures, we put this effect force motionbur with these specific settings, okay? And then, oh, you can ignore this. All right? Alright. Okay, so let's act enable this adjustment layer, right? And finally, let's go to the project view. You see that there is a number here, A, BPC. This is the bit depth of the colors. Normally, keep this always to a bit, okay? But for this specific trick, we need to increase this to 32. And if you want to know, technically, the reason why we do this is that this way, by going through 32, we enable infinite numbers fundamentally to represent colors, and this is what we need for this trick to work, right? So let's do that. Okay, and it's okay, let me now just play to show what is happening. Woof. You see that? Now, all the brightness is just preserved during the motion blur. You know, we preserve all that amazing juicy brightness information. And this is assuming, extremely important when you use hyper glow effects, especially saber effects, right? You see that. Now we see we have so much more detail during the motion blur. Alright? Let's compare this to the previous version. You see that? In comparison, the default approach with motion blur makes you lose so much of that information. But with this, all the luminescence of the footage is preserved until the end. Alright? The only disadvantage of this is it's very heavy, makes everything four times heavier to render. So as you can see here, we have 9,100 milliseconds per frame in full quality. So as long as we downgrade everything, so we disable this, we disable the 32 back to eight. Like this and also we reenable normal mushroom blur. We are lily almost ten times faster, right? So that's the only disadvantage. But sometimes for specific scenes, you may need to use 32, especially if highlights preservation is very important in combination with mushroom blur. In case, good news, you can isolate specific compositions, right? You can precompose just thin to have only 32 bits for that sin. Alright? You can do that and use eight bit for the rest of the project. 69. Project Size Optimize: Okay, so let's suppose that you finished a project and you're ready to send it to someone or you need your archive right, it's very likely that the signs of your project can be reduced significantly, right? And that happens because in the end, when we start a project and we end it, we may not have used some of the materials that we imported originally. That's the point. So there is a way to automatically remove all the things that we didn't use in the end, alright? Without ruining the result of the project. So, okay, in this case, for example, let me show you we have let me show you the size of this project. Right now we 7 megabytes big, right? Okay. And in the end, I only use this composition only, right? So it's very likely that I can reduce the size of this because here, there are so many compositions. I just simulated this for you, you know, purpose. Okay, but this is something that happens in real projects. Alright, so the trick is this, you select the main composition. So the one that contains everything, r. So select it like this. So here, and then go to file. Dependencies, reduce project. That's what we need. So when you click this, it will automatically remove all the things that have now been used. Alright? A CNC removed almost 300 things. And let's check out the new signs of the project. Alright, cross fingers. Woof. Hundred 54 kilobytes. Alright, so it's like hundreds of times smaller. You know, that's the point. Be only careful to one thing. When you do this? Suppose I make here, a new comp, test. Okay? Inside this comp, I have a special null object like this. And then I make a long distance cable, for example, here to the null object. The rotation of this null object to the rotation of this, you right? So now the main one here is referring to this here. And the issue is that now test is not inside the user comp, right? So Afrofat thinks that I'm not using test, which means that if I reduce the project now, I go here, user, reduce. Let me show you. It will also delete your test, which is actually not what we want. And thus, now it will break obviously, it will break the expression. You see what happened here? So when your project has this case, you have two solutions. Just go back here. You have two solutions. You either simply make sure that the order comps are actually inside the main comp like this, and that will already fix this issue or simply select also those long distance compositions as well before you reduce. So you simply select both test and user in this case, and then that way when I reduce it will not delete those. You know, that's it. And finally, especially after you have reduced the project, you may need to have a way to automatically archive everything in one single folder because sometimes real projects have many files from different places. So it's very hard to manually track all the files down and make a safe standalone copy of the project, right? So to do that, automatically simply go to file dependencies, collect, and then choose simply the folder where everything will be saved on. So for example, here, let's call this archive ready one. It goes save. Boom. And inside that folder, you will see simply one project file, and then the footage, all the footage that has been used automatically goes into this folder. That's it, you know? And down way, you can simply pack this as a zip file and send to your collaborators or simply archived on your drive. And down way, you don't worry about some missing files. This completely eliminates the issue of missing files. You know, After fractures, able to open versions of project of Afrofax that come from older versions of the software. So if you have After effect 28, you can open a project from 25 for example 26, 23, whatever, right? But you cannot do the opposite, which means that if your collaborator uses a older version of your project, you need to send your project coming from a new version of Arafax to them, then for them to be able to open it, you need to first downgrade your project, right? So to do that, simply go to your project, obviously, and go to File, Save as. And as you can see, we'll show you a couple of options to downgrade your project in this case, Afrofx 22, the 18 or wherever, right? So if you use Afrofax 28, you can go to 26, 25, xc. So that's the way. That way, they will be able to open it and then send it back to you, and that's it. 70. Dynamic Link With Premiere: Alright, so let's suppose that you have also edit videos in premiere. So you have here, for example, a edit right with these nice images here moving. And let's suppose that I want to go in Aphafax with this. Alright. So there are three main ways. Let's go in Alphafax. The first way is to simply double click here as if we're going to import the material. So double click. And double click on the project file, simply this guy, edit project here. Boom. So really double click on the project file of premiere. And it will tell you, Okay, which timeline do you want to import? In this case, there's only one choice. And that's it. So now it will treat the entire premiere timeline as if it was a pre rendered video like this. But this is also dynamic. It means that if I do any change in premiere, for example, I disable the video right now or maybe I cut this way, so I disable it like this now, obviously we detect that. And obviously here disappears, right? There's completely nothing, right? And then the rest of the video is still fine. So it's completely connected in real time. So and okay, that's the first way. And obviously, remember that if you do any change here in Aftereffx, it will not show up in premiere, right? So because the connection right now is from premiere to Afterefx. So the first result actually is here right now. Okay. And, okay, so that's the first way to do this. The second way is in case you want to preserve the actual costs that you did in premiere, right? So to do that, we need to instead, simply right click here again, Import, Import Premiere Pro project. That's the option, right? And then, same thing. Double click on the project file of premiere. And as you can see, it shows you a different window this time, confirm. And this time, it creates the actual after effats composition because poof, it preserves the full cuts that we did in premiere, right? But be careful because when you do this, you start to lose the dynamic link. So here, at this point, it's kind of independent composition altogether. So this method is meant if you then you should stay in Afterfax for the rest of the time, you know, and complete the entire project here. Alright? So, because let me show you right now, even though the second clip is disabled, it will still show up here, you know? So now at this point, it is disconnected, completely now independent in Afrofax, all right? And finally, third case, let's suppose that you want to actually stick for longer, actually spend most of your time in premiere. So you keep the timeline here, you do your ds here, and you need to use Afrofax only for specific clips, right? In that case, you simply select the target clip, for example, this guy here, okay? And we rightly conduct clip. And then go to replace with Afrofax here. Okay? And that way, we'll create a Aftereffex project for this. And then in Afrofax, we have a mini composition exactly for that clip, which is still connected to premiere. So it means that now we can do our via fax, the crazy stuff here. For example, let's apply a nice displacement map. Let's destroy this image a little bit like this. Okay, so now if we go back to premiere, we should see the result happening. So let's see here. Wow. Alright? So, because now this clip specifically is connected with After effects in real time. So you do your effects there, and then you go back here and you can continue you edit normally in premiere, you know? So, so these are the three main cases to use dynamic 71. Projects Inside Projects (Templates Godsend): Okay. Alright, so now let me show you a sleazy but amazing trick, especially for templates, alright, to simplify your life. So there are some times where you have nested comps inside each other. For example, let me show you what is happening here. We have one comp called word one, right, that contains these four words. So, into each one, there is one word, text, right? And there is a second comp that contains this next word and yada yada until word three, word four, right? Okay. So the point is that, yeah, we can customize the text. That's it, okay? But let's suppose that we want to do a second sentence, right? So in theory, you can use a trick I showed you at the very beginning talking about precomps simply by duplicating the word one, precomp, right? So if I do duplicate only word one, now we can drag it into the main composition here, right? So let me show you. Let's make this smaller. Word one, make it smaller. Let's keep it there, right? Okay, let's keep it there. So now in theory, thanks to the fact that I duplicated word one, which contains everything else. In theory, I can just customize now the first word. Let's see, and have an independent set of words. Let's see. No, that's not true. Only the first word now is still independent, right? Because now if I change the second word inside word five, let me show you. Like this, make it a little smaller. Let me show you if we go back to the surface. You see what happens? Now this also changed because it's still connected. So, this means that in theory, we will need to go inside word one and duplicate each of the comps to truly make it independent and then override it with the old trick. As you can guess, this will take some time, right? So in these cases, when you have nested comps, the trick with override becomes inefficient. So you need to do something a little more advanced. Simply go to the surface composition. Let's delete it. Word five. And instead, we just double click on an empty spot, and we simply report the entire project file. We go here. This project is called Project inception, so we double click on the project file itself, like this. And then that way, we have a truly independent set of compositions already, ready to go. So at that point, we can just drag actually finally word one, just rename it. With something different so we know what is what? Let's good. Let's call this new. Now, if we drag this here, now this is truly independent. Let me show you if I change this like this and then we're here like this, Yara, yaa here, like this, like this. And finally, here. Alright. Let's go. Okay, let's go to the surface. Let's go all the way back here. Wow. You see what is happening? Now these four words are ready to go, fully independent, fully detached. Alright? So in these cases, you need to use the trick to just have a better time and save time. 72. Mogrt Import / Export: Mbars are fundamentally After facts templates that you can use for premiere, right? So to create one, simply go in After effects, design your animation, or wherever. So in this case, for example, let me show you how a wiggling shape. The scales in and then goes out. So we can use it to then make a placeholder where we can just drag in our image in premiere and we'll apply this animation to whatever element we want, right? So after you prepare your animation with key frames, expressions, first of all, it should trim the composition to the desired length. So in this case, this animation ends pretty much here at 4 seconds. So let's go there with the work area and we trim the work area, right, trim here. This way, this is the length that will appear in our facts when we drag this into the timeline, right? Otherwise, it will be unnecessarily long, right? So after you do that, save, okay? And then let me show you. First of all, we need to design the interface for how it will look like in premier. So to do that, we go to Window and then essential graphics here. And here we can drag in the things that want you see in premiere. So first of all, let's select the composition. It's called main, okay? And let's also make a thumbnail so we know what it is. We set poster time, and then we give it a name. So let's call this scale in scale scale in one. Okay? And then we simply drag in the parameters that we want to regulate from premiere. So for example, we have a simple multiplicator for all the wiggles at once. So this is very simple. So double click on the property that you want to use in premiere, double click, and we'll show it down here and then simply drag it from here to the interface here. Okay? And then here we can just rename it. So, for example, wiggle, let's simplify it even more as a name. Wiggle, simple, like this. All right. And so this number by default is going to be one, but we can also constrain the maximum range of this slider, as you can see, for example, it's going to be 1-10 max, okay? We need to precompose. We need to precompose this shape layer, right? So we control shift seam to precompose it here. And we call this container, again, like this, leave all and confirm. Okay. Everything's still working, still fine. And simply at that point, drag the composition into the interface like this. Alright? So that way in premier, we would just drag in our stuff here. Let's also disable the default shape at this point, height. And yeah, and that should be pretty much ready to go. These two things are enough. Let's keep this at the top. So you kind of design some kind of mini template, yeah, you know, second tea is pretty fun. And finally, we're ready. So we just export it from here, export. And at this point, you have two choices. If you need to send this to people, you need to export it as in the local drive. So you will just place the actual file into that position in the folder and send that file to people, the mogart, right? If you need to synchronize straight to your premiere, simply choose the first option, local templates, alright? And then don't use anything else, just keep everything disabled, and then just confirm. Okay, wait a couple seconds, then Let's go in premiere. Let's see. So in premiere, you just go to the Essential Graphics window here. If you made in some premiere versions, you may show this as a different name, but fundamentally it's just here. You know, just find it EccentralGraphics. And let me show you now if you go to the list of templates, we should see it. Let's see. Let's scroll down. Scale scale. It's called scale Who here's scale and one. Alright. So and then you use it, simply drag it into your timeline here. And then you access the editing. Just click it here. You can trim it as if it was a video like this, trim it, select, and see what happens? When I click it, it will show the option that we designed in Afrofax, right? So I can choose the wiggle amount, and I can drag in now any image I want. So let me just drag. Maybe one of these videos should be fine. So let's drag one of these videos himself into this container. See what happens? Drag in like this. Boom. Alright. And then you can scale it in case it's stretch, design it, tweak the scaling from here, and seems fine for now. Then let's go back to the timeline. Let's give it time shoot update. Poof. That's it. So it's using my custom element and then doing exactly the animation that I designed in Artfax, right? And obviously, I can choose now, the wiggle amount. So don't be misled by the fact that here you see on the integer numbers. As you can see, it only looks like it is jumping 0-1, but actually you can still use floating numbers. So if you input 0.1, it will still update. Alright? As you can see, it's still even though here is zero, the element is still shaking because it's actually doing 0.1. You see that it's moving? Alright. And yeah, so you can control the amount. You can make a crazier wiggle or more subtle. Let's make crazier, for example, here. And obviously, now it'll be out of control, yeah. So let's go maybe a little lower 2%. And finally, let's suppose you to import Mogart back into Afrofat because you want to reverse and engineer those or study or just edit those in a more advanced way. Well, in that case, you need to be in Afrofat obviously, and go to file and then go to open project. And then simply go to the file where you have the mogart. So in this case, I just export the die here, scale in one Mgart. Double click the file. And it will unpack it. I will tell you, Okay, where do you want to save it? Okay, extract here. And, we have the actual source project ready to go for our customization at this point, as you can see it looks exactly like the one that we created. As you can see everything is there. And I can then do a custom version of Da Mogart in a more advanced way. Alright? 73. Where to find Templates (Motion Array): Alright, so the problem with templates is sometimes, if you don't have a sufficient proficiency with after effats, using templates, all of a sudden may sound very overwhelming, right? Because in theory, it's amazing. You know, someone else made the hard work and you just need to import your custom assets to the template and complex effects will automatically be applied to your assets, right? So the truth is that you need to have a decent understanding of how the projects work in Afro fax to be able to use the templates, right? So let me show you how you orient yourself in an overall way, alright? Most templates are presented in the same way. They have a single project file, alright, and you need to import that file first. So you double click here. Let's go into the folder. We have some templates here. So, in this case, is template of um, fundamentally, overlaid for transitions, right transitions. So the way it looks is that usually have a simple project file like this in double clk to import it, and it will automatically show you the full structure, the full project structure like this, right? And usually it's divided like this. You have the final comp where you see the final results like this. So if I navigate, I can see, in this case, all the variations of the same thing, you know, variations. In this case, it's just transitions, right? Then there is a edit folder where you can edit the colors for every single one of these things, right? And finally, something extra folders that you don't need to touch, usually, right? So these two folders is where you need to spend most of your time on. Well, first of all, let me give you my trick. The way I like to use templates is to just drag it in like I just did. Then I simply continue to work on my main composition here, for example. Okay? Here, I just do my stuff here, and then I just go to the final comp of the template here. I just double click on one of these, to see what is happening, which one I like the most. For example, here, let's see number 48, okay. And when I like one of these, I simply import this one into my main composition. So I simply drag it. I go to the main composition here, and then I drag, in this case, number 48 into my timeline here. Boom. That's the first thing I do, you know? And then I start to customize it. So to do that, if the template is made correctly, you can already go to the edit folder here and then go to the same corresponding number. So in this case, 48 here, 48, double click on 48, and you see the controllers for that. Okay. So if I click on Control, now I see the color change settings for the transition 48, right? And then asian gas, we need to lock this thing here. Otherwise, we will lose track of this. So we keep this view locked. We go back to our main composition. As you can see, it starts to be very confusing. You have all these tabs open. I can keep main on the very left, so it doesn't troll away. And that way, I can just go mid transition here. And then I can customize the colors of this. You know, let me show you if I do this. In theory, you should react. Oof. Alright, it's working. And that's one which you customize templates fundamentally, you know? Then when your search will become more advanced, more confident, you can simply go inside that transition, that elements of the template, simply double click it and just go inside until you reach the source elements like this. And then you may see that there are some hidden elements. So you can show those us. And then you kind of already know what is doing what, right? So you simply reverse engineer the template, to figure out where you can control the colors, et cetera. But if you want to stay basic, that's the main use. That's the main way to use template. You drag your ferret into your timeline, then you go to the edit folder if there is any and then just just customize the colors from that corresponding number, and that's it, you know. But the truth, again, is that you need to have a decent understanding of the software to be able to move maneuver yourself into templates because every template can change slightly can be very confusing. So just make a lot of practice with the software or ask an expert to help you, alright? One of the best easiest ways you find amazing templates is you simply go to this website here. Let me send you the link. And then you simply go to video templates, after facts. And here, just search what you need. You know, if you need overlays, you type simply overlays here like this. You know, overlays for what? For social. Alright, social or transitions, you know, like this. And we'll find where we want, you know, like this, in download, you can preview, and the way it works is that you will find the project file exactly the way I showed you fundamentally. Most of these works the same exact way. Enable a subscription. I think it's $30 a month. So if you do this as a job, it's worth it because we kind of simplify everything for you, right? So make sure that you have decent fluent Affaxs so you don't lose time figuring out how the templates work and you'll have fun. 74. Make Custom Scripts with Chat GPT Ai: When you start to become very advanced in Alpha factory, you can start to design your own scripts to make crazy stuff, for example. So suppose that we want to be able to create a grid of solids equally spaced and also we can choose their size so that then we can just process those separately as individual layers, right? So let's do that. So do that simply ask it what you want. So for example, let me top. Just give the code absolutely no explanations. Boom. Okay, let's see. And it will give us the actual raw JSX code. This is fundamentally the content of a JSX file of a script file, it looks like this when you open it with a text note. So let's wait that finishes baking the code. Okay, at this point, copy. And now we just save it in a folder as a TXT file, so just a simple note file for now, let's go here and just right click New text document. Let's call this grid one. Text file, TXT, okay, save it, and then change the extension of the file to JSX. So change the extension dot JSX. Like this. All right. Okay, and now is ready for AFX. Okay, so we make it empty composion simply. Remember to enable scripting in case you didn't do it at the beginning of this course, right? So you go to preferences, and then just go to scripting and enable our amazing chat box for the scripts, right? So here, make sure that this is on. And finally, go to file Scripts run. And then let's select our amazing file grade one. S here, Double click. Let's see what happens. Alright, okay, we'll sell okay. Just input the stuff. So let's go solid with. That seems fine. 100 by 100. The color is gonna be that. Okay? That's good. Distance between solids, let's make maybe 50 pixels a little more. Okay, and obviously we choose how many rows of solids and how many columns. Let's make ten by ten. Okay? And then confirm. Fool. See? That's it. And now we can simply connect all these amazing eyes to a noll object, for example, like this. Connect, connect. So we can easily control all of them at once, like those, right? And that's it. That's it. So now the cool thing is that obviously they are independent. So for example, if I apply a nice wiggle on the position one of these, let's choose ten by 100 pixels. Let's see. Okay? And then I paste the same expression to all the other ones. Let's say paste. Now they should become all crazier, let's see, enable motion blur. Okay, let's make a little more contained. Just move it to the center of the screen. Let's see what is happening. And also, we're applying nice Glo can never miss any project. Sorry, I can't resist. Let's go here. Default. Glow. Alright. Woof, let's. Alright. And that's it, right? So, so With scripts, you can do combining so you don't need to be a code expert. You know, you just need to have some basic code knowledge. If you know the expressions in after facts, the one I showed you, it's fine. And then you can just do more crazy custom behavior things. Just by using Chi GPT, you know, so you can explain it what you want in case there are some bugs. You can simply go back to the code, explain the issue has been. You can give it a screenshot of the errors. So go back and forth until it's fully debugged. In this case, we're pretty lucky work the first attempt because it's a relatively simple task in the end, but it's a redundant task, right? This allows us to simply create now custom grids for projects, you know, very easily, alright? 75. Protect Your Templates From Theft: All right, so the process to protect your animations is divided in two steps. First, we're going to delocate the source and then we're going to scramble the code, right? So first of all, this is your animation, for example, that contains everything, okay? And we're going to first of all, delocate it in a completely different place. So we click on the project panel, file scripts, run, and then run the doctor script here, delocator. Okay, this will ask you how many layers you want to do. Let me give you a presa. It's pretty performance friendly and still does the job. So let's go with 256 compensations total with 128 keys. And let's make one null and one solid as a filler to create more confusion. And finally, let's make every single name 64 characters long minimum. Okay, this process will take a couple seconds, and we'll create a custom project tree for this purpose. Alright, here is. So at this point, first of all, we need to hide our animation source. So there is a specific comp with a underscore on its name, so we need to search it like this underscore and double click on that special comp like this. So first of all, we need to shift all the animation elements inside that special comp. So we shift all the animation there, right? You can either interior, you can shift your compositions also here, but I recommend placing just the bare layers if you can. You know, just make your comp just as a list of layers. That's the best way to make this work, alright? So now let's let this thing here. So we can clean it. Alright. So that's our source of animation. This special comp like this inadeSqare. And you can continue to make your work here. That works, you know, fully perfect. When you're done, we need to then give the user the ability to customize some parameters without ever accessing this camp, alright? To do that, we can go to a special composition called user. Okay. And here, there's already one connection, one example connection done for you, you know? So right now this layer has the position animated. By the wiggle into this layer on the source. You know, the source has just a wiggle, as you can guess here, right? So there's kind of a long distance connection, you know, and this works also with keyframes, right? So keyframes expressions here are being read automatically here. But you choose this method for the reference. Don't use a direct cable. Otherwise, it will just reveal the name of this comp. You know, instead, use this method. You just copy this entire thing like this and then scroll all the way down and simply change this, this part. Just the layer number, you know, the layer number and the source composition and the specific effect, property that you want to connect or animate, right? That's it. You know? So here, you can just set up your sliders, right? And then just with this specific type of reference method, you just change the layer number and the specific property that you need to connect. For example, let's suppose I want to get the scale value of the second layer here. So simply go to the user and scroll all the way down. Actually, we copy this code, right? Copy this entire code. We paste it into the scale property here. Let's past it on a new layer here, yeah. Okay? So let's paste it on the scale property, this new layer here. Okay? And scroll all the way down, obviously. So if you remember, what's layer number two? So layer two and transform scale instead, right? Scale. Like this. All right. Boom. And now it's copying exactly this layer scale. Let's see. Nine, nine. Alright, so it's fully connected. Let me show you 48, 48. H. Alright? That's it. So here, just set up your sliders for the user to use, but they will never directly reference to the source. That's the point of all this, right? Okay. So then let's suppose that the guy is very bad. You know, he wants you to steal your code. Alright. Okay, so let's make her laugh even harder. So in that case, we need to obfuscate the code even more by adding some garbage, so they will not be able to find that easily, right? So to do that, we need to simply select all the comps involved in expressions. So in this case, user and source. So we can do this in two steps. So we select first the source composition. So let's reveal it here, reveal, select it here, okay, at this level. And then go to the second script I sent you. It's called scrambler. So you go here. And then just double glicon scrambler here. And it will tell you, Okay, or even kind of warning. Okay, do your experiments. Alright. Just read this carefully. Okay, that's set for now, let's go safer. Let's go with 1,000 iterations of noise. And each one needs to be 200 characters long, right? Very big. Okay, let's wait a couple seconds, and now this all the elements that have expressions or layer references will automatically make those become anonymous fundamentally. My take about 30 seconds to 1 minute depending on how many layers are using expressions and are referencing to something else, alright? But when the process is done, this is how it looks like fundamentally every single expressions becomes so heavy that it becomes very discouraging for the bugler to steal your coat, because as soon as they start to open one of these, Okay, right now, we just clicked and it's lagging. It's lagging like crazy. There's an extreme wall of text. You see what is happening, thousands of lines. And right now, I have issues myself to see where the code is. I don't know where the code is. Maybe I carefully scroll, maybe I find it. But you see, it becomes invisible. That's the point. So it kind of adds thousands of lines of garbage in order to, um, simply hide your precious stuff. That's the point. So same thing on every single layer. You know, every single layer now is completely ruined, completely destroyed, you know, let me show you? And we used only 1,000 iterations. If you push it up to 9,000, do a trade off with this, you know? But the point is that, okay, right now, I just clicked. I just already taking forever to open because it's completely blocked. You know, I don't know what the code is. It's crazy, right? So, this layer originally was referencing to this layer. But now there's no way to figure out what it's doing because it's completely destroyed, right? And the point is that all of this is still working. Just remember to close the expressions and the performance will return normal. Wow. You know, that's it. Everything is still working. So the issue starts only as soon as you start to open the express tabs, again, you know, but that's good. You know, we need to make the buglers life harder, alright? But when you work, it's fine. And do this only at the very end on a copy of the project. Remember, right? Okay. When you're done, remember to simply remove the underscore from the source animation composition, right? Otherwise, people will be able to find it easily. So remove it like this. Okay. And then just go back to the user comp, open all the expressions, and fix the change in the name. So you do it here simply removing underscore plus here. Boom, boom. Alright, so it returns to work, and only then you can scramble also the user composition so we can finally hide this. Despite this may look confusing, it's still crackable. So we can hide it by also selecting finally user. Do and we scramble it. We go here, scripts, run, scrambler. And yeah, let's go with 1,000. Let's go with 128 catchers. Else let's see. Alright, that's it. You know. And yeah, so that is the full workflow. So as you can see now it's very slow because it's completely hidden somewhere. You know, here, you know, there's no way to find it that easily. And, okay. 76. Plugin and Scripts Recommendations: Another amazing website that I recommend exploring is ascript.com. So this website allows you to download scripts, which fundamentally are mini plugins that allow you to make complex tasks easier and easier way, you know? So just explore this website. There are so many crazy things. For example, there's one called Type monkey, in case you need danced kinetic topography stuff, type this type monkey. That's one of my favorites. Okay, here, that's another crazy plugin. Just search by category. You know, according to what you need, go to Afrofax here and just explore the categories according to what you need. You know, if you do a lot of animation with characters, go to the rigging tools. If you need glitch art, go to the glitch category, et cetera, you know, there are so many crazy things. If you work with three D objects, or if you work with cameras, anything you can imagine is in Digi's website. Alright, finally, if you want some recommendation for crazy versatile plugins, I definitely recommend the red giant trap code suite, and along with the sapphire suite, let me show you and then also to have a super CPOfficien motion blur, use the RSMBRal smart motion blur. And finally, for frame interpolation, the king is Twixter, right? So with these four things, fundamentally, for 90% of people, with these plugins, you're gonna be fixed Ferrara. You know, you go to have so much versatility at your disposal and your projects that you can do what you want. That's the point.