Transcripts
1. Introduction: Hey guys, Welcome to another super exciting
Skillshare class where today you're going to
learn how to make this super cool hologram effect. We're going to cover
things like prepping your footage with
tracking and roto, applying effect to make
it look like a hologram. And adding some other
post-processing effects and filters to really
finish off the look. I'm super excited for you guys to learn how
to do this effect. And I really can't wait to see what kind of results
you'll get with it. So let's jump right in.
2. Tracking + Rotoscope: I'm so excited that you
guys are gonna learn this. In this part, we're gonna cover roto tracking and
prepping your footage. Let's jump into After Effects. If you're starting off
here with a brand new, fresh project and
we have two assets. I'm gonna take these
and drop them in. You can find these
in the description. I have these clips ready for
you so you can try them out. The two clips that
we have here is this stock footage that I
downloaded from Pexels. People looking on their phones. It's got this Black Mirror
vibe, pretty cinematic. And the idea here is
that we're going to add the hologram to this phone. And we're gonna make sure
that it's behind the phone, kind of floating in the air
with some cool filters. We're not even going to
use the whole 42 seconds. You're just going to
use the first ten. Then we have some stock
footage right here, also from Pexels of just
somebody on a green screen. Let's take our
main footage here, drop it into a new composition. Perfect. And I'm going to rename
this combo, combo, this comp, by clicking on it, hitting Enter, and just
typing in master comp. Perfect. I'm going to start
organizing this because it could
get a little messy. I'm gonna make a new folder
called master comps. Are we gonna take this master
competent, bring it in. And to prep for our hologram, I'm gonna make a new
folder called precomps. We're going to have
a couple of these. I'm going to make
a new composition. And it's going to be vertical because it's pretending
to be a phone. So it's gonna be 1080 by 1920. So vertical. Ten seconds, Let's hit. Okay, perfect. Let's name this comp phone
screen with effects. And you'll see why. Once we apply the effects on, we're going to make another
folder called assets. We're going to take or to videos and just drop them
in there so you can stay nice and organized. In the phone screen
with Effects. I'm going to right-click
where you can go up to Layer New Solid. We're just gonna make
a red solid for now, just so we can get
the general idea of where our phone
is going to be. Let's go to master comp
and take a look at the length in the preview
video as you saw. Only use it to the point where the hair goes past the phone. Like this should be pretty good. We're going to take
this, drag it over. Right-click on the
composition here and do trim comp to work area. And it's basically just limits the amount of preview we
have in the timeline. Next step is we're
gonna need to track the phone so we can
put the UI in it. So all you need to do,
select your footage. Go to animation, track
with Boris Effects mocha. This is going to pull up mocha. Make sure your resolution
is set to full so that you get the full
resolution when you're bringing it in to moca. And all you have to do is
click this Moka button. This is going to pull
up this footage, the footage and the UI. You can just hit Start,
asks any questions. You can just hit Skip
a million times. So the idea is, I only want to
track the position. I don't care about rotation, scale, size, perspective,
any of that. So all I need are just
these two cameras here. I'm going to go here into the
pen tool or the spine tool. And I'm just going to
surround this little area. The reason I want to do mocha instead of
the normal tracker, if you want to learn
how to track footage, we have a whole
other video for it covers every type of tracking. But the reason I want
to do it is because sometimes when the
hair is overlapping, when it's moving, I just want to get a little bit more frames. And you'll see why. Once I pick this out, all you have to do
is just hit Next and it's going to
track it for you. So as you can see, we
only got this far, which is fine because
I'll be just need is the position and the
rest VR gonna imagine. All you need to do
now is just save. If you're on a Mac, you can just do Command S. If you're on PC, you could do control us and you can just
close the moca window. Next you're gonna right-click
into our into our copier, go to New Null Object. And you can rename this
by pressing Enter. And I'm going to
call this track. Once you click on your
footage in effects in mocha, you're going to drop
down this tracking data. You're gonna hit
Create Track data. And it's just gonna be called
layer one since there's only one mask thing
that we were tracking. And you can see just
chooses that area. And instead of
Corner Pin option, we're gonna do transform. And we're going to
choose the track. Basically Corner Pin. It would add like a planar
track where the transform, it's only position and rotation and scale
and things like that. Here we are selecting the track that you want to apply to. You can hit apply Export. If you click on your track, you see that there's going to be key frames here that
are showing up. And I'm just going to
hit U on the keyboard, which pulls up all
of your keyframes. You can also just drop down
this little triangle window. And I'm going to uncheck scale, and I'm going to
uncheck rotation. And a great visual
way to see what your keyframes are doing is
if you click on the position, there's this little chart here which is going to
show you the graph. You can see here
what's happening to the exposition because
it's moving across. And then you can
see the Y position if you want a little
bit of control over it, because once the hair
goes over the frame here, you see nothing,
nothing happens. So I'm going to press this which separates
the dimensions. It's going to
separate the x and y. And if you're
working in 3D space will also separate the z. And this gives you
a bit more control. So now you can see it separates the X and the Y separately. You can really see what's
happening with y and with x. I'm all I'm gonna
do is I'm gonna zoom in until where the hair
starts intersecting. So right about here. And I'm just going to take all these extra keyframes and
I'm going to delete them. Now if you zoom out, you can kinda see that it's
pretty much almost like a straight line all
the way throughout. So I'm just going
to go to the end. I'm going to start
dragging the number down and you see it's giving
you an extra line here. And you can just take these little handles and
just stretch it out. So now you can kind of see
it continues to motion. If the video kept going, this is probably what
would happen if you're looking at the track and
you see the phone here, you're going to after
our keyframes are done, It's still kind of
following that same motion. That's perfect. That's
exactly what we need. We're gonna do the
same thing for the y. Actually, we don't
even need to touch the white because it's it's pretty stable motion,
nothing too crazy. But depending on your
foot is that you're working with and
something is crossing it. You can do something
like that, similar sort. That's perfect. We have that. We have
our track completed. And the next step is we're going to use little cheat sheet. And we're gonna do a similar
thing with the phone. So all I'm gonna do is
I'm gonna make a new solid and I'm just gonna
make it red Comp Size. I'm going to hit T on the
keyboard to pull up opacity. Or once again, if you just drop it down, you could see it. And I'll set the opacity to 50. Now we're gonna use this
little whip tool or you can just press it down and
we're going to select track. And what that's going
to happen is going to track or whole gigantic red square
to the footage. Now I'm gonna take my pen
tool, select the solid. I'm going to enable auto bezier. It makes curves automatic. And I'm just going
to go over here and just outline the
phone silhouette. I really loved using the
roadshow Bezier tool because I never have
to make curves, makes it so easy. Perfect. Now you can see we have our phone outline animals and they make it a
little bit more perfect. Great. That looks pretty
good. In the masks. I'm going to hit Mask Path. Great. I'm going to maybe set
the feather little bit higher just
because you can see that it's not perfect. There we go, three pixels works. I'm gonna also
key-frame the feather. And all we're gonna
do is you're gonna go through the video. You can see here I just
moved like three seconds in. I'm just going to adjust
the mask so I can just select these, drag it up. We'll probably make a full
rotoscoping course for you. At some point. You guys would be able to really learn how to rotoscoping
things really well. That's going to be
a fun one here. I'm just doing pretty
general rough idea. We're gonna keep
going farther and just adjust some of these. And I'm just going
to fast-forward to this section so you can kind of get the idea of what's
happening with the row. The row is pretty,
pretty much done. And all I want to do is just animate the feathers
since the video does go out of focus because it's changing the focus
to somebody else. Here. I'm just going to leave a keyframe and I'm going to go through to
where it gets blurred. You see it to focuses
on this person. And I'm just going to crank
this number up until I think it matches with
about ten by ten. Looks good. Perfect, Great. So now we have the
row of the phone and all we need to do now is just bring the
opacity to 100. I'm going to duplicate
the original. I'm going to bring
it right under the solid and let's start renaming
things to stay organized. We're going to rename the
solid to Alpha Matte. Let's put phone in front of it. Phone alpha matte or
background is going to be BG. This is going to be
phone, wrote them. All we have to do is
you're gonna have to go to Track Matte and
select Alpha Matte. It might not look like anything. And then also if you
can't find this, you see how it says layer name, mode, Track, Matte,
parent and link. If you just right-click on it, you can actually see
which columns you see. You can just open it up. Or you can also hit
toggle switches and modes because sometimes
it's hidden under there. But the idea is, if I now take a new layer or even better, go to our pre-comps, take our phone
screen with effect and put it right
under the phone row. Let's scale this down to about the size of
a phone screen. Something like this could
be pretty, pretty good. You can see it's now sticking
behind the phone screen. Look at that. Isn't
that beautiful? If you take the same
phone screen with effects and just once again
connected to the track, you will see that is being
tracked to the phone. Not too crazy, and it's already getting us
to the right place. So don't forget to
save your project. Always good to save. And we pretty much
got this part down. The next step is
you could pretty much continue and do
the same thing by rotating this person in
front with the same idea. You can either track the
face and just move the mask, or you can use the
otoscope tool. I just don't want to waste
time on this tutorial. You can find our own tutorials
for tracking and roto. Because here you're going
to focus on the hologram. In the next section
of this course, you're gonna find how VR
gonna be working with this video to key it and start giving it
this hologram look. Great. You've got the basics
prepped for the next steps. In the next steps,
you're going to learn how to apply the effects, some stuff and really
finish off the look.
3. Making the Hologram Look: Now that you've got some of
those basics out of the way, let's jump into the fun stuff where you really get the effect. In this part, we're
gonna learn how to key and start adding
the filters together. All we need to do
is take or video. Open up our phone
screen with effects. And right here we
just have the red. You can turn that off for
now and drag the video in. I'm going to want to scale it
down just a bit because she does move her hands and the
hands to be in the frame. So I'm going to bring
this down a bit. And this part is pretty simple. You're going to want to go
to effects and presets. Takes a second to
load and you're going to type in key light. There you go, drag it in, click on the screen color, and choose the green. Now, might look good already, but you don't really know
until you go to Screen Matte. So instead of final result,
click Screen Matte. Here it gives you e
black and white version of the footage. So black is obviously not
visible and weight is visible. And as you can see, there's a little
vignette just because the green screens are
never perfectly lit. And all you have
to do is go into the Screen Matte section
and do Clip Black. Perfect. And then you see
there's some gray. I don't know if
you'll be able to see from the video compression, but you can take the clip
white and bring it down, and now it's fully solid. Let's go to final result. Perfect. This is looking really good. Next, we're gonna make sure
that nothing is selected. And I'm just going to go
to my rectangle tool. And I'm just going
to double-click it, which is going to
fill the screen. But all I want is the stroke. So I'm going to click on the
filtText and choose none. Great. Then under stroke, Let's go
ahead and make the stroke 25. And under the rectangle path, bringing us start
bringing it down. Somewhere here is pretty good. I'm just gonna uncheck it. And just so I can control
the height separately. Then in the contents, I'm also going to add rounded corners because
I want to start making it look like
those new phone screens because they have
rounded corners. I'm just going to
bring it up a bit. That looks good. This is gonna give
us that phone look. Now the next idea is I
want to bring this even smaller because I want her hand to start
sticking outside of it. I'm going to take this shape,
bring it to the bottom. I'm going to take this
video, drop it down. That looks good. Now we have the girl at
the bottom of the screen. She's keyed. Everything is looking perfect. Now let's add some
little elements. I mean, this is all up to you. You can make it
anything you want. I'm going to make this
personal assists assist tent. Hopefully I spelled
that correctly. I'm just going to select it all. Make it a bit smaller. Bring this text
closer and align it. This is looking pretty good. It might scale down this
whole thing a little bit. Great. Assistant. Yeah, I'm pretty sure I
spelled that correctly. Then I'm just going to
duplicate it by hitting Control D or Command
D, bringing it down. Changing the paragraph
because I want this text. Which paragraph? Paragraph
b on the left side. I'm just going to start
typing a bunch of numbers. Literally just
spamming the keyboard. Let's do four rows. Four rows could
look pretty good. I'm going to start scaling
it down, just smaller. I'm going to try to align
it a little bit better. And let's also make the gap
in the text a bit less. This one has got
too many numbers. Let's just get rid of some. Let's add a couple of here. And perfect. What I want to do
with this text is animated. Make it look cool. So all I have to do
is down. Choose text. Animate. Just kidding.
Just getting again. Yes, that is correct. And we're gonna do character offset. You can see there's a
character offset option here. And I'm just going to
click the stopwatch. Go to the end of our
ten seconds and I'm just going to drag it
to something like, I don't know, 170. If you play it back, you
see that all the texts is just randomly changing and
animate it one more time. I'm going to go into
our effects and presets and type in typewriter. All I have to do is take
the typewriter, drag it on, hit U on the keyboard to see our keyframes and stretch
it out a little bit. And when you play it, you can see it's going to start typing the numbers and there'll be
moving and she'll be moving. Everything will be moving. And I'm just going to add one more moving element to make it a really
snazzy and cool. And it's a little moving border. And this one's
really easy because we already have a border ready. I'm just going to duplicate it. I'm going to call this moving
dots. Let's open it up. Go to contents rectangle,
rectangle path. And I'm going to
scale it down a bit. And I want to uncheck
this just so I can have a little bit more
control over the size. And under stroke. I don't want it to be as thick. So maybe let's do
1515. Looks good. And then under the add button, we're going to choose just
getting under the stroke. You have an option here. Dashes. You're just going to hit Plus. And you can see it adds dashes. I'm gonna change it to 15
just so they're a bit bigger. Maybe even 2020
looks pretty cool. And we're going to
click the keyframe next to offset, go to the end. And we're just
going to move it in whatever direction to be
like that, once you play it. You can see the dashes are
running across the screen. You can see here that there's this weird section where
the dashes start and end. You're going to notice it
in a second. There you go. That's not gonna matter
from this faraway. I mean, if you're
a perfectionist, you can try to fix it up
and do whatever you want. But for me, I think
that looks fine, especially once you see all
the things on the screen and all these random elements
look pretty cool. One thing is the
Texas touching it. Now, I'm just going to go ahead and fix that
in the character. We can just do a
little bit smaller and move it over
just a little bit. We can even be perfect here and just align
it to the center. This looks great.
Now a good step would be to start
adding the filters. This is why it's called
phone screen with effects. We're going to go hit Control
a to select everything. You can also do
command a if you're on a Mac, right-click pre-compose. And I can call this phone
pre comp, no effect. And hit. Okay. This
is the fun part. This is where we're
gonna stylize it to look like a digital holograms. In the Effects and Presets, we're going to type in tint. This is going to tint the
whole video we've seen. Because for some reason
everything's blue. We're keeping it wide here. We're going to choose our color. Make it this bright blue. Once he actually
added into the comp, it's going to be much cooler
looking and you'll see that. Next we're going to type
in a CC ball action. This is a very, very
underused effect. People really don't
use it and I think you can really stylize
some things with it, especially like digital
screens and things like that. Right now it's
looking pretty weird. And that's because our
grid spacing is five. So I'm going to set it to two. I think two looks
pretty good and you see it literally
looks like pixels. Especially if you zoom in,
it really looks like pixels. That's very cool. You can make it one. But I think since it in this main comp here
with our footage, it doesn't really look too
pixelated from this faraway. I'm going to change it to two. You can go back to
the master comp and you can see this looks a bit more pixelated,
little more cooler. You can also make it three. That gives it even more of that weird digital
hologram you look. So I can keep it at, I'll keep it at three for this. You can also decrease the gap
by changing the ball size. So if you set something like 70. You can see now that there's a bit more gaps
between the text, so that makes it look cool. But that's the idea for this. And then let's go into this precomp and let's add
some glitching effects. Let's save once again just
in case you're going to right-click go New
Adjustment Layer. And let's call this
glitch perfect. And under effects and presets, you're gonna choose TRB, you lint displace, and
you're gonna apply it. This is this is not
what we're looking for. But after your name did glitch, we're gonna go into the
effects and presets and type in displace. And we're gonna find that
displacement map and apply it. Right now it might
look really weird. And that's because it's
automatically shifting the pixels 55 from nothing. We're gonna change
red to luminance. And same thing for
vertical and horizontal. And we're gonna set
these to 0 for now. We don't want to
mess with it yet. We're gonna right-click,
make a new solid. And we're going to call
this noise for glitch. And this is what's going
to control our glitch. So under effects and presets, you can type a noise. And let's just go ahead
and get fractal noise. Basically, in the glitch, you see IV haven't
set to luminance. The white and the black
on this noise for glitch. The fractal noise is going to affect where our pixels Shift. Because I wanted to
look pretty blocky. I'm going to go and I'm
gonna choose threads. Because you see
here it gives you pretty violent and
looking effect. And I'm going to
drag it and just play around with these
settings to where it looks really contrasted
looking because we want the areas to be affected
very wild wildly. Next in the evolution, I'm going to hold Option or Alt while
clicking on the stopwatch. And this is going to let
me write an expression because I don't want to
put a keyframe on here. I just want to make it
simple and type in time. Which is a frame. For one frame it would be like 11 motion, so like one degree. So I'm just gonna do time times. Let's do 116. For every frame. It's going to move 116. Whatever, I guess it's
not 100% accurate, but if you play it, you see
that it's moving a lot. Now if the hide the noise for glitch
and you go to glitch, they actually use our noise for glitch as the displacement. And we want to make sure
it's not just source, but it's using the effects
and masks as well. And you start dragging the
horizontal displacement. You can really see
that it starts glitching your footage here. Looks very cool. All I'm gonna do is
I'm gonna set it to 0. Hold Option, click on max
horizontal displacement. And we're going to use
a wiggle expression because we wanted to
look like the connection is interrupting,
like it's random. I'm gonna type in wiggle. And let's do three
comma five forever. The first number
is the frequency, the next number is the amount. Maybe five isn't even enough. So let's take a look. Yeah, So if you want the
increases, let's do 15. This is looking at bit better. Look at that, especially
at the numbers over here. You can see it's
getting displaced, but let's make it
even more extreme. They're in a bad
connection area. Check this out. There's too many people
on their phones. They're getting really
bad connection. Now you can see here
it's glitching and both directions it's going
while it's going nuts. You play it back. Wow, yeah, The connection
is really glitching. Oh my God, I'm sorry. I'm
going through a tunnel. Let's go to our full-screen
with effects and you see the glitch gets applied with
the CC ball action on it. So very cool. Let's set this back to two just so we can see how
it looks with that. A little extra detail. Yeah, look at that. We getting these cool glitching
effects left and right. We're getting this
weird, weird morphing. It's looking pretty
cool overall. That's looking nice. Let's have it on this cool frame here. And let's go into
our master comp and let's start seeing
what it looks like. Right now. It's just
looking like blue footage. It's not interacting with
our background in any way. In order to do that, we're just going to change
your blending mode to screen. Now it's transparent,
it's looking cool. This is where the
fun part begins. One of the things
we wanna do first is start blending it
with the footage. You see the phone is a
little bit out of focus. So I'm just going to go for our phone alpha matte
that we had here with the Key framed feather. I'm just going to hit you. And you can see I have
the feather mask here. This is where we can
really tell where the blur ends because we
needed to blur our phone row. Here you can see it's
really blurry bought our screen is still very sharp. Under the phone
screen with Effects. I'm going to go to camera. I'm just gonna choose camera
lens blur and apply it on. If I zoom in, I'm just
gonna keep cranking this number up until, yeah, I think this looks great. And I'm gonna hit keyframe. And then I'm gonna go
to where it starts, which I'm pretty sure it's here. Yeah. So it's still kind
of in focus here. And I think I could set it
to something like five. Yeah. That's looking pretty good. You can see without it, with it. You're getting that little blur that matches it with the camera. Perfect. Then just to make the
keyframe smoother, I'm going to select both of
them by hitting you, Right? Selecting both of them, right-clicking on the keyframe, going to keyframe
assistant, easy, ease. And it's just gonna make
the keyframe once again, if you use our little
graph tool to take a look, you can see it makes it smooth. Perfect. Now, time to make it look
really, really dope. All we need to do is duplicate
by hitting Control D or Command D. You can see already
just by duplicating it. It's making it brighter. But we want it to glow. Let's change from screen to add, which is adding the
brightness values together. And under effects and presets, we're going to look up fast blur because we want to
render this fast. We're not waiting for any
of those render times. Let's heat. Let's hit Repeat Edge Pixels. And let's blur this, bringing it up a little bit. Something like six is looking
pretty good right now. And I'm going to hit T with
the function green selected with effects and do
90 and it enter. One other thing that
I'm gonna do is I'm going to parenthood from the track and I'm
going to connect it back to the phone
screen with effects. And the reason is once we make a bunch of
duplicates of this, once you move the phone, it will move all the
glowing pieces with it. If you don't like
where it's placed, you don't have to move each one individually and keep
reduplicating things. You can just have
them all connected to this main phone and you
can place it to the side. Let's say the producer says, I don't like how
it's on top of it. Move it to the left,
move it to the right. You can do it and it's still
hiding behind the phone. Because if you wrote it,
this is pretty cool. You can even have it up to the side here just for the sake of this tutorial to make
it like really dope. Now let's duplicate
it one more time. Now if we hit T and let's reduce the opacity
to, let's say 70. And let's blur it
a little bit more. Now you're seeing
that we're adding this cool glow effect to it, then you can just
stack that again, duplicate that,
reduce the opacity to 50 and blurred even more. Once again, all these
numbers that I'm using, you don't have to
be exactly like me. You can play around. It's all for you to
experiment with it. Look at how cool of this glowing effect
we're already achieving. And now just one more time, let's go and hit Control
D T. And let's do 30. Let's expand it. Now one thing that you might notice is we are getting this
weird edge bleed. That's because it's going
past past our comp. We can just toggle switches and modes and hit this COG wheel, which basically expands
your composition from the inside because we
are limited to the vertical 1080 by 1920. You can do that for all of them. And you could see, wow, this is really changing
the way it looks. Very cool. You see it's glowing
into the atmosphere. Little extra step that we could do to help with the realism. Because this is
looking pretty cool. This is looking pretty cool. And let's go and see how it
looks like when it's blurred. I bet it's going to
look at me and sick. You need more sick.
Yeah, look at that. Wow, very cool hologram. Now to make it
blend in even more, we could do is we could just
solo or background layer. You can make a new
adjustment layer. And let's call this phase glow. We can take this face glow. You can put it right
above our background. And you can go here. Let's go to curves. Let's take a curves,
place it on it. Let's go into the blue channel. What you're going to notice
is when you start bringing it up and stretch, making
everything blue. And you want to mostly
affect the highlights. You can take the top part of the image and start
really bringing it up. You can see that it with it. The next thing is we're going
to connect it to a track. Then we're going to use a mask. And let's mask for face.
Mask or face here. You don't have to
be too accurate. The great thing is we could
do multiple different masks. Let's get this one. Full, full face. And we're gonna go, and
we're just going to blur it, the feather, the edges
by eight pixels. Then we can go in
with a second mask. Bam. We can actually mask
too. There we go. Subtract. Now if you're subtracting it. So only lighting half the
face and we can feather it. Look at that. Our hologram is
on the left side. Face is going to light
up on the left side. Now when you get rid of that. And we take a look, cool, except it's not looking
as blue as we wanted to. So you can go back
into the phase glow. We can start maybe going into the RGB channel and bringing
in some of the brightness. Then we can go back
into the blue channel. Like really extending
the blues out. Or you can even go
ahead and type in tint. Tint it bright blue. This is more of this would be a little bit more
experimental and you can just not go the full amount. You just ended a bit like 50%. Maybe you can even
go with the mask and really, really extended out. Make it like contour
the face a bit. Maybe not affect
the hair as much. There we go. Look at that. We got blue
lighting on the face here. You can experiment with it. You can, for instance, make only the bottom part
of the face glow. We can even go in and bring
an exposure before the tint, expose it up a bit. So it's like a little brighter. Very interesting. I'm probably going to tint it a bit less. We don't want to go overboard
with the effects here. You can see everyone's got normally bright faces
from the phones. And you got a bit of a blue
phase here from the hologram. Good thing that the moved it because now I want to bring
it to the center here. Cool, This is looking great. Then the next step
that you could do after saving, of course, is just applying motion
blur to all of this. When the camera's moving
and everything is moving, you've got motion blur. That is that is that is it. You've pretty much learn
how to do a hologram. You can mix and match it with a million
different effects. You could try lots of things. You can download different
little elements. You can make your own little
UI hologram elements, but this is the way
you can stylize it and make it glow and interact
with your environment. You've got the foreground, you've got the background, you've got the actual hologram. Go ahead and play around, use the videos that I've
provided that I've just downloaded from Pexels
that are in the project. Play around. I'd love
to see what you can do. Congrats. Now you know how
to make holograms, go make the next Star Wars.
4. Conclusion & Assignment: I'm so glad you guys
were able to go through the whole way and really learn
how to prep your footage, how to apply those effects. And now I can't wait to see
what you can do with it. I've gotten some example
files ready for you. The two clips that I've
used in this example. So you can follow along. You can try those, or you can use your own
footage if you'd like. So make sure to
submit something. I would love to see
what you guys can do. And I leave my comments on it. So thank you so much for
watching and I'll see you guys in another what am I
super fun classes.