Transcripts
1. Introduction: Master Transitions in After Effects: Welcome everyone to this class. Today, we're going to
create this be that you are seeing now in
spring from scratch. Basically we just some videos
that I found on my gallery that you will be able to download if you want to
follow this project. And the aim of this
class is how to make seamless
transitions to combine different scripts
so you know how to apply and adapt them to
your future projects. I will treat you as
complete beginners. It doesn't really matter
if you have never before opened or
use After Effects. I will be mentioning and
commenting everything but I do step-by-step and
don't be worried. And as I said, you'll
have the videos available to them if you
want to follow along. But you can also do this
with your own videos. And the things that we're going to learn during this video are to understand the
essentials of After Effects. How to understand
the compositions and the resolution of them. How to transform or modify
properties of the clips, how to stabilize videos, how to do speed ramps
and time remapping. The fundamentals of keyframes, mask transitions, how to use
the pen to create masks, how to use effects,
adjustment layers, zoom in or zoom out transition, how to give their workspace
clean and organized. How to render a high priority
on Adobe Media Encoder and other tips and
tricks that will make your journey much easier. So get ready because here we go.
2. Key Knowledge: Resolutions and Compositions: So whenever we start
a new project, it is very important
to know whether to use a vertical composition
or horizontal, or whether to choose different
resolutions like it, Steve, the four K or whatever. There are lots of them and
these are not all even more. So. Which one should we choose? To explain these? I've just made a simple template in Photoshop. So first of all, we
have to know where, what are our requirements and what do we want to
create with our footage? So if we have all the videos recorded on
vertical, for instance, we should definitely go
for a vertical template or vertical composition as it suits the most our, our videos. And the opposite way, if we have the videos
recorded India, horizontal way with our
phones or with the camera, we can definitely go for an horizontal composition as it will be much
easier to work with. But of course, you
pre-record on horizontal. We could also do a vertical
video or the opposite way. So I don't have a camera. And let's suppose
that I want to make a video from these videos that I found in my gallery of the form human skin you and seeing the resolutions
of each one of them. And don't worry
too much about it. I'm just putting
it here for later because I'm going to explain
it actually on this video, what this means,
I'll just numbers. But here you can just
have a reference from some numbers resolution
that I recorded with. So the important thing to mention here is how
they are recorded. So these two, so you can
see they are horizontal, but these two,
they are vertical. And that's a huge difference when comparing these two videos. Also, this one here should also be vertical because it should be similar
to this one above. So should the light
facing upwards. So it should be rotated 90 degrees in the
clockwise direction. It is also important to mention that this
video, for instance, could work both in
vertical and horizontal. So now you are seeing that this is kind of some
rocks and the sea. And waves are coming this
way from left to right. But you could easily
place it or rotate it the same way as this 190 degrees
in the clockwise direction. You would have
something like this. Water coming from
up and going down. So this is a very easy
situation while you can just move or rotate the video from
horizontal to vertical, and it just works
fine both ways. But in this case, for instance, if we take this example here, or this one, or this
one here as well. Some of these are make no sense at all if
you rotate them. So imagine that we
rotate this video 90 degrees, make it vertical. It would make no sense at all. Because if you see that the horses are meant
to be on the ground, I knew horizontal way. And if you were to rotate the video, it
would make no sense. We can, of course, we
call it vertically, but always keeping the ground on the part of the bottom of the
video. And the same here. And it's not really noticeable, but it's a bird is flying
from left to right. It will make no
sense to rotate it. And the bird would
be flying from, from the upper part
to the bottom part. So it's not from
Byrd's flight at all. So with this, I will just
keep explaining the video, but it's really important that, for instance, this
was just an example from MBA, from recordings. So the phone has a very
distinct ways of recording, which is vertical
and horizontal. So it's very easy to see the difference between
both of these. But of course, cameras and
professional digital cameras or phones also have
different ways of recording, which both of them
may be horizontal, but they are not
the same at all. So as you can see when you
saw the numbers on screen, these two both are horizontal and they
see the exact same, but the numbers were different. So we will see what
that means later. And if the numbers
are different, the size of the video of the
frame will be different. And it's something
to take into account because we have to know what we want to achieve
with the video. And that's something that
drives people crazy and people don't really understand what resolutions and
these numbers mean. And with that being
said, let's just continue with the
explanation and you will see how easy it is when
you understanding for you to understand it better. I just prepared here
an example that will help you to understand it. Let's just suppose
that this green frame here is a video that
we've recorded. In this case, the vertical video that we may have recorded
with our phone or something. The records on vertical. And let's try to place it here
in a vertical composition. Let's just do that. And you can see that if we
place it here on top, it just fits very nicely
inside of this composition. And there's no, there's no
black lines on the side. And that's like this because the video has the same
size of the composition. So you can see the vertical part of the videos the same size as the vertical size of
decomposition in the same. And the same happens with the horizontal component of the, the video and the composition. But now let's just
try placing it in the horizontal composition. So if we move this
green video here, you can see that it
doesn't feel now. You can see the shape of you have basically a
little bit less, but around half of the video is outside
of the composition. And that's not all because
we would be seeing this quite big black
lines here on the side. So to fix this problem
of the wax lines, we would have to
scale the video up. So if it's Kelly, you can see that we will
need something like these two to make it fit so we don't
have any black lines, but see how much of the video is outside of the composition. As you can see, we're losing what's
happening on the video, on all of these path here, which is 75 per cent
of the video slot. So let's just try the same. In this case, supposing that we've recorded the
video in horizontal. So we would have this video
that would be our recording, something that's
happening on here. Now, if we go to the
vertical composition, you can see that we
have the same problem. But in the opposite way, we would be having black
lines on top and the bottom. And we would be losing the, what's happening
here on the video, which is not really
what we would like. To remove the black lines. As you can see, we have the same problem.
We aren't losing. What's happening on
all of this part. We just move it and place it on the horizontal composition. You would see that
it fits nicely on precisely with these.
The best scenario. Usually we're not always. What is very
important is to know when we have different
resolutions like this. I just made this example
with 1920 by 1080, but you could have
different ones. So in our case, we just have to see which ones switch the most our project. So this is a screenshot
that I'm going to use to make the video and
the transitions. So we have to consider if is
it better to scale it here, or is it better to
just place it as it is on the vertical
composition? So let's just try to
see what happens. Replace it. Of course, in the vertical composition, it fits exactly as it is. But if we want to place it on
the horizontal composition, we would be seeing
this part here of the video and we will
be having black lines. But you can just scale it up. We will always try to scale it minimum amount as possible, because when we scale up, we lose quality of the video. And that's how the
video would look. As you can see, basically see anything of
what's happening in the video because
all the information that is here, bob is lost. We could just place
it like this. But we are losing a
ton of inflammation. And I feel like for the
video and we're gonna do it will fit better with
the vertical composition. Because in my case,
the clips that I have recorded it in
horizontal and that will be scaled to fit this composition are not
really that important. And they don't have
so much information. And it doesn't really
matter if it's lost in some parts of the video
because for instance, there's a video with a bird that's on the
center of the video. So it's not really important
what happens on the sides. So if we crop them and we just
see the part of the video, one of the vertices. It's what is most important. So in my case, it will be much
better for me to just make a vertical
composition and we will have the most information of all the video without being too affected by scaling the videos. So that's where
we're going to do. You're going to choose
a vertical resolution or vertical composition for the video that we're
going to create. This way, we will also work with scaling the videos to
make them fit here and just choosing what part of
the video is the one that we're going to want to
fit here in this frame. However, that just an example. So its just to prove that you don't always need the
best setup or the best clips, the best camera, the best year
to record or make a video. Because in this case, we're just going to basically work with the
worst-case in any way, just with different resolutions and fitting in a vertical video, which is not the most
switchable more stamps, you would always
be recommended to use the horizontal one. We're just gonna
do it like this. So you can just learn from
the hardest scenario, let's say in a way like this, you will be able to
just work better in the next projects
that you do. But if you are
watching the video and you want to use your videos. So if you are following along this video and you want
to use your videos. For the videos that you
have on your camera or, or that you found
on the Internet. And they are horizontal. And they fit this one
canvas much better. Just do this one
and it's the same. What changes is just the size of the window that
we are seeing, but the process,
it's all the same. And you also have to very
importantly take into account what size are your videos that
you've recorded it. So in my case, when I was just using this one, example is a video example is
a 1920 by 1080, as he said. But you could have a fork, a video that you've
recorded maybe with your phone lately. Nowadays. Record that for K most
of the phones already. So you would have,
instead of 1920 by 1080, would probably have
this one or similar. So because this is the
16 by nine aspect ratio, what that means is
basically that, for instance, this
resolution is full HD. So if we multiply
this number by 16 and then divide it by nine,
we will get this one. We can try this, so
it's an AB times 16. We got this number. If we divide it by nine, we should get 1920s. So as you can see, so
indeed we get 1920s and that's basically what it
means is 16 by nine ratio. You can try it here as well. So 720 times 16/9, and we get this number here. So what it basically means is that the horizontal component divided by the vertical
component is this number. So 16/9, as you can see, 1.78. Let's say when we divide the horizontal component
by the vertical component, we always get a number. And that number will be the same with this division
here and here, and here and the AK and 16
K. This number is constant, is a constant number that is not by a lot of filmmakers
and companies. Whenever you make a film, maybe this cinema, they
use this proportion. And that is very
important because by just knowing this number, you can feed the video
in different devices without worrying that
it won't look great, or it would look
cropped or it will look like it's zoomed in
or smaller than it is. If we always keep the same. Just above it is this
is a fork, a video. It's bigger. So this
would be 38, 40 here. If we just scale it down while keeping the same
aspect ratio for k video will fit exactly as it is in a full
HD composition. And that's why it's
important to notice. And in the vertical
case it's the same. But as you can see, the
numbers are switched because the first number is used to represent the
horizontal components. So 1080, the horizontal, 1920 is the vertical one. What is important to
mention as well is that this works exactly
the same with photos. Since photo, a photo is just
a still frame from a video. You can understand it this way. And it's exactly the same. So the resolutions, qualities like these are
exactly the same for photos. And it's important
to mention that despite these ones being the 16 by nine ratio as we compute it
with the calculator. There, there are a lot more
that are very commonly used. For instance, the
11 is PEG ratio, so 1/1, which is one n squared. So it would be
something that would be a square resolution,
a one-by-one. So it would be
something like this. That would be a
one by one ratio. And it's basically a square
video or square root photo. And maybe we don't see
that very often in videos, in YouTube or any series. But it's more common that you may think because
in a lot of websites, social media, it's
very common to use square ratios,
especially for photos. There are two photographers or websites that use always
this kind of ratio. So it's important to
know that it exists. There is also the
two by one ratio, or the 800s divided
by nine ratio, which is very
similar to this one. But in this case, maybe
I can make a duplicate. In this case, the
two by one would be something very
similar to this one, but it would be a little bit longer on
this side, for instance, as the division, let's say, of the horizontal component divided by the
vertical component. The result would be two. If you remember, dividing
the horizontal component by the vertical component of
the 16 by nine resolution, the result was 1.7, 7.8, which means that the
horizontal component is 1.7 718 times bigger than this. Vertical one. So in the 2.1 is quite the same. But in this case, the
horizontal components should be twice as the
vertical component. And if you want to calculate it, you just have to multiply by two and divide by one
vertical component. So it would be like this and we should divide
by one. Well it's the same. So you can see that this is the two by one
ratio, which is nowadays. I don't know when
you watch the video, but nowadays is starting
to read very popular as newer forms released with
this resolution already. And not with the, the
typical 16 by nine. And films and Syria that
are starting to produce in this resolution as it gives
more of a cinematic buys us, people like to, to understand. So just a quick compression can see that it's thinner
and a little bit longer. So some people really
like that as it gives him more of a
cinematic or movie film. It's one resolution to really take into account
because it's starting to add popular and you
may want to produce your video like this if you
are aiming for newer devices. So always keep that in mind
that there are a lot of resolutions and you may want
to pick one or another. So it is very important
to know after all, what is the resolution
of your videos, because it's another
quick example. If this video, let's just
suppose that is an HD video. So this 12 80 by 720. This would be the video
because as you can see, the horizontal component is smaller than this one and
it would be like this. So instead of just
scaling the video are to fit the full
HD composition, which is something
that we can do. We could just make
this composition video of the same size as
the green video. So we wouldn't need to
scale the video up or down. And basically if you
record in for k, just make it for k composition. If you understand
this correctly, you already know much more than most people of there because it's something that
most people don't know. And when you record
on your phone, you can usually choose the resolution that
you want to record, but people usually don't have really a clue
of what it means. So basically, you
already know now that it just the
size of the frame. And the higher it is or
the battery quality, the more room or the or the more versatile
the footage will be. If it was recorded it
in for k This video, it would be something like this. In terms of size. And you would see that
it just fits extremely, say, like we have a lot of room. So now imagine that. I will just make the
example with the video. But you suppose that this
one is recruiting for k. So it would be a big
video like this, which is actually how it
is when I recorded it. It is a fork, a video with my phone, and this is a full HD
Canvas or composition. So if we're keeping it
would be like this. As you can see. We can just scale it down
without any issues. Because killing down is
always better than scaling up because we don't
lose any quality. The great thing about using a smaller composition
than the one that we've recorded with using full
HD instead of four K. Red thing is that if we, for instance, didn't want to, to see this rock over here, that we would be able to see it whenever we just make it fit. You can see that's how it would probably most
of the times V. If we don't want
to see that row, we can just scale the
video up a little bit. And you're going to see that
we don't have the answer without losing
quality would be able to basically not see this rock, but it could be something else. Maybe a person would be walking or in other video or account. And if we didn't want it to appear on the
screen, we can just, by scaling down and without
losing quality when we can just still have a
composition that looks red. And we have this extra room
that is always used for filmmakers because
it's better to have more and then remove
what you don't want. So just remove the parts of
the video that we don't want. Done the opposite
than not having enough video and
just struggling to, to hide some bar or to make it look great
in the composition. Because there are
a lot of effects, especially in After
Effects that you need to scale up or scale down. And it's always better to have a bigger video rather
than a smaller one. Or if you want to stabilize
the video to make it more stable and
smoother, you always, we will see that the video
gets cropped and it gets smaller because we
just have to cut, we'll be DI just
to have some room to stabilize the video.
And you will see that. And it gets smaller.
It's better to have already bigger
video and not lose so much of the already small video that you may have whenever you grab it. So a better example or more
simple example for you to, to understand this is basically imagine that
you have to give a, make a gift to someone for their birthday or
something like that. You'll want to wrap the present that you
bought to that person. Well done you've made and
you need some wrapping paper to cover the gift. So if you have to buy
the wrapping paper, the best idea that you can probably do is
basically to add extra, an extra size of the, than the actual one
that you need for the wrapping paper because
it's always better to have an extra room for
if you make any mistakes or that you need some extra
size for the, any details. Or maybe if you are cooking
for friends or family, It's always nice to maybe
add more extra fluid than, than not having enough food. So that's kinda the same here. Try to always get
our EOB if you can, extra size when
recording a video. And then if you don't
actually need that, extra situs, don't use it. But if you are asked to work in a full HD composition like this, and you can record these
fluffy with your phone. But you can also record
that for k with your phone. It's much more recommended
to recording for K and just scale it down if you need or just use the
footage as minute. Basically, that's what I wanted
you to know when it comes to resolutions and
composition size. So it is important to
always have that in mind whenever you start a
project, even before recording, before starting your, your adventure or whatever,
you will need to do, it's always important,
clear to have in mind what is your aim with this project and how
you want to deliver it. Now you can choose
the optimal size for your videos and resolution. And in future videos
we'll learn how to do other similar
stuff to this, to work with after effects
are similar editing software. So I'll see you there.
3. The First Transition: Basic Mask Transition: Okay people, so let us
start with our video. The first thing
that we want to do is actually as we
learned before, is create a composition. And if you already know the size of the composition,
It's very easy. You just go here to
New composition. And please the values
that you, you've chosen. You can just go here
and click a video that you want to make
a composition of. So whenever you choose
a video, clicking here, it will create the composition
the size of the video. So that's kinda
useful sometimes. Well, we're gonna go here. And in my case, if you remember, I'm just going to go
for this one full HD on the vertical way. So I'll go here and I'll
just put the values. So the width, which is the horizontal part,
width, so 1080. And the height is 1920. That's the most important part. We can rename it. I'll just name it
transition video. And make sure to give it a recognizable name or something that you
will recognize later. Because whenever we will
have to export this video, we will need to find the
name of the composition, so make sure that you
have a clear name for it. And as you can see, there's the aspect ratio that we
were talking about before. In this case, in this case
for vertical it's nine to 16, which is again these
ones where 16/9, this is the inverse. We can lock it,
but in this case, it doesn't really
matter as we've just put the right amount. So what that does is that
if we want to increase it, so you can see the
height increase is also proportional to this ratio. But we're going to
leave it like this. Or ten AD also square pixels. We can leave it like this. Nothing to change
the frame rate. It really depends on
what are the frames are, how we record it, our video. So that's something
that you can not change after recording a video. It's, you choose it when
you start the recording. Now hidden frame rate, we
will put the number that we used when we were
recording the videos. So whenever you record a video, you just record the frame rate, which means the
frames per second. In this case, you cannot really change that
after recording a video. Whenever you start recording, you have a set frame rate
and you record that that sixth frame rates and
higher it is, the, usually the better it is for
slow motion and for doing some sort of more advanced
videos techniques. But usually the one that by default comes with every
camera when recording is 30. So we're going to select it. And if you want to know that, you can just go to your
videos and choose, for instance, the
video on this one. Right-click it, go to Properties
and go here to details. And you will see
here on Frame Rate, it's in Spanish, but
here it says 29, 69 frames per second. So it's not 30 exactly. Maybe this one
will be different. You can see that this
one is closer to 30 and it keeps changing. You can see this one
is also different, but we're just going to go for a third year as it's almost
exactly 13, all of them. But you could choose maybe 60, which is the other, which is fairly common as well. But only of your videos
were recorded at that frame rate
than if they were. You could also use
a lower frame rate. Wouldn't be a problem at all. Just don't go below
to these ones because it will very laggy way. So we just stick with 30
and Karen resolution. We can leave it here on Fool, but it doesn't really matter because we can change it later. And this will just be the
resolution of the display. When we're editing, we
will see the video here. So you want to see
at full quality, you can just leave
it here on Fool. But again, we will just be
changing during the editing. So don't really
worry about this. Here. It's the time when it starts and the duration of
the composition. So in this case now it is set to 3 min 55 s. That's quite a lot. The video will just laugh. Maybe ten sideburns on 15. So I'm just going to
remove the 30 here. Now it just 55 s. I will just delete these
two and just place 20 s. So the background color again, it doesn't really matter. I'll just leave it on black. You can choose anything
you want really. The background at any point, unless we just decrease the opacity of the videos and then we will
see the background. So leaving it in brackets, also, quite clever as we, just by decreasing the opacity, we will get a fading,
fading out effect. That's probably something
that we're going to use. So I'm just going to
leave it on black, but it's also
something that you can change everything
of these urine, just change it at any point, so don't worry about it if you mess something up here on bands, we don't have to
change anything. I'll just have it like this. You probably will
never change that. And the same here,
nothing to change. And we're just
going to click OK. Now, as you can see now, I'm not sure if you have
the same setup as means. So if you wanted
to have the same, you just go up here
to Window Workspace. And you can choose any of these. For instance, you
may want effects, which are some default. Templates, are
workspaces that After Effects offers and they
are useful whenever you are working with different
parts of the program. So whenever you are
adding effects, this one is producible
or graphics, which are text or
color, different stuff. So for the moment we're just going to leave
it on default. So we'll have the same,
I'm going to press here. And that's the default layout. The thing is that
now you remember we created this composition
that we can see it here. The name condition video. Here you have some of the information if you
double-click here on project. If you for any reason
don't see project, you can just go up here to Window and go down
here to project. These are all the panels
that appear here on screen. We can just double-click here and you will see you
all the information. As you can see here, that
the resolution that we've chosen and we can change that
reason you want to change, you just go here composition. Well firstly, just close this or we can just select
the composition here, go to composition settings. And you will see that we have the same parent class before. But let's just
double-click this. And here we are back
where we were before. If you pick that works with
any other panels here, to Effects Controls or
to the composition here, if you double-click
it, you will see that it gets bigger full-screen. So that's sometimes useful. We're going to
double-click to go back. Here we have the render queue. We can remove it and use it, but I'm just going to
right-click and close panel. I'm sure that you have those two panels,
but if you're done, make sure to apply this one, which is the composition
and the timeline. So therefore, you
can see the video, the size of it, but we've
created and the timeline, which is that part here, which will be the,
so you can see it lasts 20 s. And this way we will be able to see
our video and we'll place the different videos
on layers here. You've already seen
the final result, but let just seeing what we will do with these
videos that we have. What I thought about
doing first is making a transition from this
video, this video here. So it makes a
little bit of sense because we are a
cow here and here the horses were making a transition from one
animal to another animal. And I'm going to use, if we look at the video first, then we're going to
just imported here. So I'm just going to drag
it and place it here. And as you can see, if we
double-click on the video, it will open the video. If we look at the video with
pressing the space bar, That's a recording that
I did with my phone. You can see there is a cow. Sometimes it's a
little bit lagging. My case. It works fine. As you can see. I just move the camera in this object that was in
front of the camera, it starts to cover the camera. And it makes a
better rate effect because we can use
that as a transition. But that wasn't intended at all. And then it drops down again. So I think that I'm going to
use this part of the video. And as you can see here,
we have these two buttons. So if you press this one, which is the output,
you can see we just selected this
part of the video. First 9 s approximately. So now if we press
the space bar, we will see that
when it reaches 9 s, it starts again the video. But also I don't
want the video to start doing one 9
s of this video. What I'm going to do is place an endpoint which will be here. The video is not stable at all. So whenever it gets table
and here the color or not. Well yet, so now here it
seems like degrade point. I'm going to press
here and I have this 3 s more glass or
the video selected. You can see. I'm not going to
use all of them. I'm just going to sit
here, make a transition, but I'm going to just like
this 4 s of the video. So now if we click
here to composition and drag the video down here, we can see that it places the
video that we've selected, only the part that we've chosen with the in
and out points. And as you can
see, it's around 3 s. And you can just
grow the wheel and see that the video not the same because here we
could see everything, the sides here and the trees. And here we can, because we
have a smaller composition, we are seeing only something around this part of the video. And that as we've
learned before, it is due to the composition
and the size of the video. So in this case, we are lucky enough
because this video, the important part of the
radius here centered only on one part, which is the cow. The sides are not
that important for the context of this video. So we have lucky enough. In this case, here
we have the cow and you can see that if you
scroll a little bit away, you can see that the shape of the video And what
we're gonna do is decrease the scale a little bit because
scaling it up or down. So you can see means making
it bigger or smaller. As you can see here,
there's a little bit of extra room in this part here that we can decrease and we will see the
video a little bit better. So if you go down here to
the video, you select it. You can press the letter P. You can see that you open
the Position settings, or you can just click this
arrow and go to transform. And you can see that
there's the position, the position basically
these numbers. This one is the
vertical component, and this one is the horizontal component
of this point here, it's very important
as you can see, that a point here, this point is called
the anchor point. And it's basically now in
the center of the video, of this whole video. And these are the coordinates or the pixels of these points. So in this case,
if you remember, if you remember the width
of this composition, you can fit here. Composition settings. The width is ten AD, and the width is the
video from here to here. So this part is ten AD. And here the horizontal
component is 54,500.40, which is 1080/2. And that will place the
point here on the middle. And the vertical component of
this point is also 1920/2. And this will place this point in the exact center
of the composition. Therefore, when we
move this point, we will actually move the video. And these, basically
these numbers, let's say pixels are the coordinates where
this point is located. So you move this point by pressing or changing
these values here it will move
the entire video. For instance, if you
put the mouse here on top and drag with
the left-click, you will see that it
moves the videos. So you can see I'm moving it
towards one side or another, the one that is most
important for you. Now, if we imagine that the
cow was here on the side, we could just move
it like this and or video be like this and the video will be moved and we would
have the problem-solved. Also. I'm just going
to decrease this, which is the quality that we've selected here before
and the composition. And I'm going to
put it on quarter. And that will
decrease the quality of my video and it's playing here because it's otherwise
since it's four K footage, you might get a little bit like, especially since I'm recording and my computer is
not that great. So now I'm just going to adjust
this a little bit better. So I have the cow. What it needs to be
around the middle. And I'm going to scale it
down. And as you can see, the scale is just below. Or you can use. So like
the median breathalyzer S. I'm just going to scale it so it so we don't have
these margins here. So if I hold down spacebar, this hand appears, and
if I press left-click, I can drag and move. That's quite useful. So I'm just going
to zoom in here and make sure to
decrease the scale. So it fits here. But as you can see,
it's a little bit hard. When you can do, you can do is hold down control. It moves much slower. So that's kind of useful. So I'm just going to
leave it like this. It doesn't have to
exactly the same, but just make sure that
it's not like these because otherwise you
will have a little bit of Black lines. So I'm just going to make
sure that it's a little bit extra here so we don't
have these black lines. And you can see that we've
decreased the scale from 100, which is the default scale. Whenever we import the
video, it will be at 100, from 100 to around 90, which is we decrease the
scale for around ten. And this way we will be able to see a little
bit more of the count. So now I will just make sure
that the position is right. I'm going to press P here. So like in the video,
it looks fine to me. Especially here. That's when we will do the transition
and we're just going to move it by holding Control. Something like this. And that seems quite nice to me. And as you can see
here, which is the, let's say the the point where the video is most cupboard each one we're going
to transition. So I'm just going to
find the right frame. And so if you find it hard
to find the right frame, you can scale or zooming
in the timeline. And this will make
it much easier to find and move from
one plane to another, especially in small segments. What you can do is go here
and drag this point to. So meaning the timeline
is, and as you can see, these 3 s, you can see
go something like this. These are steel 3 s. But
now it's much more wide. And as you can see now, if we drag the play head, you can see each time
that we drag it, it makes like a jam, which is a frame. So we can see that this way is much more easy to
find, the right one. So I'm going to look for the
one that covers the most. And it's probably here.
We're gonna take this one. And I don't want
the rest of this. So I can just go to the end
of the video and drag it. So you can just go
here till here. Now, when the video
reaches that frame, it will just disappear. And now we can just
place another video. Also, there is another
trick to do this, so you repress control
that we can go backward. And if you press Control Shift and the
letter D at the same time, or Command Shift
and the letter D. You will see that
it cuts this part, this video into, and we can just select the
part that we don't want, which is all of the
rest and press Delete. And you can see that we
don't have this video NMR. Now, if we scale down, again, you can see that we've reduced this composition from
3 s to around two. So now what we will do is save the project just in
case you had any issues or if may crash sometimes or you always need to save very
rapidly and after effects. So to do this, you
can just go to File, Save or Save As in the
location that you want, or just press Control S.
So as you can see now, if you drag the play head at the beginning and
press the space bar, it will set it reproduces the part of the
video that we made. And we can just use
the word carrier here, which is basically the
same as the in and out points with the letter B, letter N to just reproduce the part of
the video specific. So you can see now, if we press Space-bar, the video will keep going
until it reaches 20 s, which is the duration
of the composition. But if we go here at the end
around the breast letter N, You can see that it moves this part or we
can just drag it. Now, if we just
press the space bar, when it reaches that point, it will go back to
the first point. So if we plot the letter B here, for instance, we will just
reproduce this part in a loop. And that's very useful,
especially when we are working with
bigger videos. Because sometimes
we will just want, what we want is just
to focus on apart. And that's very useful. So just make sure to
remember these two letters because we are going to
use them quite a lot, maybe during these tutorials. So the right or b for the endpoint and the
letter N for the outpoint. Now you can also go
here and breastfeed so it fits the size
of the composition to this panel here. So if you make it like this, you can see that it
gets bigger and that's, you can see it better now. And what, you're
probably thinking, well, what are we
going to do with this? Because now it just really doesn't look
like a transition. It can makes like a
natural transition. Like this wasn't intended to be a transition video I just discovered I
wanted to record it. And it just turns out that this comes quite
handy for the transition. And that's it. So what
you're probably wondering is How are you going to
make this transition and how does all of these work? Well, first, let's just find the next video and
then we will be able to just start creating
the transition here. And this transition is usually called as a
masked condition. And what it basically does is it uses some objects
that are in the seed, specialty objects that feed
and take up all the video. So for instance, if we place
our hand or something, we can just use that
as a transition. As you are seeing on
screen, basically takes advantage of that object or person or animal
or anything that blocks the view of the
camera for a while. It takes advantage of
that to switch into another video and that looks very seamless and very smooth. So in this case,
it just that part or that wall that was in
front that covered my view. And that's great because we're
going to just use that to, to transition to
the other video. And then from the other video, we will make another
similar transition to transition to the
other next video. So first I'm going to just
look for the next video, which in this case it's
gonna be this one. So I'm just gonna do the
same as we did before. I'm just going to drag it here. I'm going to double-click
it. So I open it. And in this case I'm just
going to find the part of the video each makes
the most sense to me. Makes sure to use this in
points and out points. So as you can see
here, I was recording also unintended way I just came across this tree
which covered the Sydney in the same way as before. So for instance,
so I'm just going to take this and
make a mask here. So you would see that here. There's this video
of the forces. But on this side, it will be
another video of the bird. So it seems like this
tree just came in front and makes a switch
from one video to another. And when these three
moves out the way, we will have only
the next video. So it just going from
this to another video. But you may have noticed that it's reversed
because I want first the horse has to appear on the screen
and then the tree. So what I'm gonna do is simply reverse the speed of the video. So it will start here, which is on the
end of the video. And I'm just going to make it go backwards till it
finds the tree, which will be the transition for the next video that
will be run here. And that's just a clever way because if you see
this video here, like this, you are
seeing now on screen, it's noticeable
that it's reversed. If I would have known at that moment that I
was going to make a video about this and make
the transition with the tree. I would have probably
recorded in a better way, but I'm just now trying
to find solutions to the problems and
same as before. We're going to select the video that contains
the horses here, which is the one
that we've selected. We're going to go back to the composition tab, and
we're going to drag it. In this case down
below the first video. Here we're still
seeing the cow video. But if we move around here, we're just seeing the horses. And basically in this part, decomposition will always show the video that's on the top. So in this case, this
one here is other cows. The first video and
this one that we've placed beneath the forces. But if for any reason we are just going to place it above, you can see now we see it. That's very important. These are basically layers. So the layer that's on the
top is the one that we are seeing and the one that's on the bottom, we cannot see it. So in this case I'm just
going to place it below. And I'm just going to move
the video around here. And now if we press Space Bar, you can see that it transitions
from one to another. But of course the
video is not as it should be because we
have to reverse it. So that's what I'm gonna do now. So let's just go here
on the timeline. Let's just make it zoom out. That the second video
about the first is basically to reverse
the speed of the video. So reproduce it
in the other way. Let's say we just select
it and press right-click. And now we can
just go up here to time, enable time remapping. And nothing happens. You can see if you look
it still the same. But now, if you remember, when we go down here, we have the properties. So you can go here to transform and change the scale position. But now we have another one
that it wasn't here before, as you can see in this
video from before, it's not there because we haven't enabled time
remapping here. But if you go here, this one
video that we've activated, time remapping and remapping
even see this on now. We have a new option here. Which is the temporary man. And that basically
works for slowing down the video or
increasing the speed, or it just making it slow
motion and fast motion. In this case, we want
to reverse the speed. So to do this, what I'm
gonna do is very simple, is go to the first
frame of the video. This one. You can see,
we're going to place them. So there's no overlapping. You can see from this video
it will switch to another. So from this video it will
switch to the next one. Now, selecting. Now with this video selected, we're going to go to the time remap and click
here on the keyframe. So we're going to
add a keyframe here. As you can see if
resuming the timeline, we can see that if you move to the place and you can see that
we've created a keyframe. Now what we're going
to do is go to the last frame of this video. So I'm going to just
zoom out a little bit. Move to the last frame. Around here. You can see it's the last frame. Yeah. I'm going to have
to keep them again. So clicking here. And
I've used them out, still nothing has changed. And by adding keyframes
and that's very important. You are telling After
Effects to remember that exact same value
of the property. So for instance, you are
pressing a keyframe here, which is the last frame. We're telling After Effects
to remember that flame. Okay, So, so this point here, this small square contains the
information of this flame. Okay? Now if we go back
here to the beginning, this dot contains the
information of this frame, which are two different frames. What we want to do is tell
After Effects that we want. The last frame, which is
the end of the video, to be the first frame. The first frame to
be the last frame. Therefore, it will
just reproduce the video in the opposite way. It will go from plus
one to the first one. So what we just need to do is move the last
part of the video, the last image to the beginning, and the first one to the
n. So I'm just going to do it like this. And this one is the last frame. That wasn't the video. I'm going to place
it in the beginning. This one, which
is the first one. I'm just going to place
it here on the end where the previous one was. As you can see now,
we press Spacebar. You can see that the video is
now reproducing backwards, even though it doesn't
really look like it. But it's doing. You can understand it as maybe
working from a position, from one position to another. Basically, you can
understand that as working. Imagine that there's a person walking from point a to point B. Before, before enable
time remapping, the person was walking from
here point a to point B. But then we switch those. So we've moved the point B, which was here to the beginning, The point a to the m. Therefore, now that it's already switched, here we have point B, and
here we have point a. So basically the video
now he's going backwards or the person who's going
backwards in a way, it's covering the
same distance or the same line but in
the other direction. And that's what we've done
here with the keyframes. We just told that the first one has to be on the N and the last
one on the beginning. So we originally just, let's say we just
rotated the video. We just turn the video upside down in a way we'd just
stamped from the antenna. So in the beginning,
keyframes are the most powerful tool
here now in After Effects. And you will see that
we will use them a lot during these
tutorials, a lot. And they work for every, for every pair of properties
you can see to add a gift them you just have
to click one of these dots. But if you go to transform, you first have to toggle
this clock or the stopwatch. And as you can see, now, you have the ability
to add keyframes, but you can do that
for scale, rotation, opacity, the anchor
point in everything. So you can just make it, I'm just going to
press Control Z now, but it does work for every, every property of the video. As you can see now, everything working as expected. The three columns on
the end of this video, which is what we wanted. And we're going to use it to
make the other transition. But we haven't
done this one yet. And that's what we're gonna do. First, I just sent
her the word carrier here on this part of the video. So I'm going to place be some flames before the transition, which will be here where
there's the cut between the two videos and the output with the
letter n. Around here. We are focusing on this part. Now. It actually looks very smooth and we haven't
even done anything. But I will just make sure
that you're not just a it doesn't go from this
frame to the next one. You can just move frames
by pressing control and the right or left arrow.
That's quite useful. I just want to remove
this part here, this frame, or just remove it, but make it smoother or make it transition better because
that's a very drastic change. So what I will do actually is make the transition
as if this black, let's say water or bar dropped. And it made the video change. So basically, what I'm
gonna do is starting here, for instance, I
will just make it, the video go downwards. You could see that by
pressing the letter P, I will make the video
go downwards like this. And the video, this one
will appear on top. So basically, I'm
going to press Control that it would go
something like this. Entropy. As you can see, the video
would do something like this. And the videos with
the horse would appear okay. To do this. That's actually not a
master addition anymore, but just moving the position. And that's a very easy
transition actually. So we're going to select
the video on top. And I'm just going to
use the keyframe again. In this case, not for time
remapping, but for position. So I will click here
on the stopwatch, on the place where I want
the transition to start, on the place where
I want the cow or the video to start dropping. So it's here for instance. But it could be, you could
choose this frame here or one liter or you want. And after some frames, you can see when you drive. I will make run. Here maybe four or five frames, 123.4 I will create, will increase actually position. So we drops until it goes
screen. Something like this. Now, if you go back, even see Whenever it hits that
keyframe equal to start to draw till this keyframe where we've told him the
video to be here below, the video hasn't disappeared. It just here below, you can see just dropping. It goes from the
information that this key frame contains, which tells the position
to be these numbers here. To this keyframe, which tells the position to
be these numbers here. So it's basically a change that will occur
during this time. Progressively. As you can see, the numbers
are changing at each frame. See how Here they are. Changing. Whenever we move
a frame forward. And that's basically it.
We now press space-bar. You can see that it
kinda looks great. But what happens is that domain, it looks still kinda fast, very fast and aggressive,
and too slow it down. We could just make the distance between both keyframes bigger. It would take more time to go from this state
where you can see all the video to the state where you
cannot see the video. And you can do that by
just moving this one around here and this
one around here. But you can see that
it wouldn't make sense because skill stomach
dropping and we're not even seeing anything. Then here it starts
to appear the bar, then it's even rigor. And then we have this sort of very square shape or
very straight shape, which makes no sense. But you will see
that it's lower. You can see it takes a
little bit more time. But what I'm going to do
is something different, which is a more clever approach. So I like this frame, I like
the size that this bar, this black part
of the class that we're going to use
to transition. And what I'm gonna
do to please, okay, I will make the video here, this video of the
cows to make a pause. So we will have always this
same exact size of the bank, which is what we want. We don't want it to change
during the transition. So doing this is quite simple. We're going to enable time remapping again
like we did before. So right-click time,
enable time remapping. And you can see we
have this one here, and I'm going to place
a keyframe here, which will remember the
state of the video. And I want it to be the same. For a certain period of time. So what I'm gonna do is
I'm going to click it. I'm going to press
Control C to copy. And I will place it. Actually want to
remove this one, this position keyframe
so it doesn't drop. Now, just so you
can see it better. So now the videos, like before, it's not even dropping. With this keyframe
selected and copied. The keyframe of time remapping. I'm just going to go forward some frames and press
Control V to paste it. Therefore, we've
remembered, so each place the inflammation of
this keyframe that was here to this point here. Therefore After Effects, we
mentioned this as walking. Again. It's walking
from point a, which would be the
beginning to point B, which is where we
told him to stop. And then point B is also here. So the person will remain
importantly during this time because we've copied point B here
and then here. So there are two point B is. Therefore, if we play the
video now you can see that nothing's changing because
there is a frame that stopped. After you reach point B, it will start moving again
to finish the video, but we don't want
it to move anymore. So I'm just going to
remove this part. And if we play and if
we press space bar now, you can see that it freezes. It is still a very
short amount of time. So I'm gonna make this
longer and that's very easy. I'm just going to move
this keyframe that stopped the video basically
for some flames, more something like this. And I'm going to move this
part to show the video. Let's see the duration. Yeah, like it now, that's
basically not the transition, but that's the time that
the transition will take. So it's quantifying. When the video stops, it will start dropping. And then here we will
rebuild the next video. Now we can actually drop
it by pressing the letter P. We have the keyframe
which was set from before. And on the end. We're going to drop the video. Now we cannot see, but we're going to go
just one frame before. I'm going to drop it,
something like this. Folds out of greens. And I'm just going to
move the given here. So interrupts whenever
it reaches the end. And as you can see now,
we've created this. It doesn't really
low grade steel because this part here is Barry. It's a very drastic
change this line. So we would like to make some
sort of blur here below. And that's very easy to do. So let's just add
an effect to it. So to do this,
we're just going to add an effect that will make this upper part of the viewer looks motor
and not so sharp. So we're going to add
both here to Effects and Presets and look for an effect
that's called crop edges. So right, you can
screw up edges. And I'm going to drag it over the video that I want
to add the effector. So this one on top, which is the video of the cows, like this, you will see that
all of these appears here. You don't have this panel,
you can just go to Window and just activate this effect controls here under completion. And you will see
this panel here, which contains all the effects that we have on this video. And you can add a lot of them. This one, this
effect looks quite weird and there's
a lot of colors, numbers, which
makes it very hard, but we just, we just want to
crop this part on the top. So I'm just going to delete cropped left or right or bottom. And you will see that we
just need one of them, which is the crop top. In this case now, we want to just play a little
bit with these values. But you can see that
they are in red. To change this, we're
going to hold down Alt, then click the stopwatch. So Alt, click here. And you can see that turns blue, which means that we can change them and then do the same here. Okay? Now you please, the value here in the transition completion. You will see that it starts
to grow up the video, but now it's actually
in the wrong way. That's because it has
the wrong white angle. So we want it to start from
the other direction because now it just goes from
bottom to the top. In this case, we actually have left just the crop bottom
instead of the crop top. And it would work,
but it just the same. We can just change
the wipe angles here to 180, so
it's the opposite. And it starts from
top to bottom. So as you can see, we
go to the first frame. You can see that as we increase the the transition
here, completion, the percentage, it starts
to club the video. And whenever it reaches 100, it corrupts the entire video. But we just want to crop it
a little bit from the top. Now, this way we
can actually adjust the size of the background so we don't want it to be that big and just crop it a little bit. And now the good part is
that we can add further. That is like adding Brewer. And it makes everything
look smoother. So you can increase it. And check that the
more you increase it. Looks. I'm just going to add
something like this. Now as you can see now,
if I press Space-bar, it looks very red, but what
I don't like is that tag. You can see how the
cap stops moving, which looks very unnatural. And it actually feel like it can be a little bit faster,
just a tiny bit. So it's very easy to
increase the speed of this. Just select the
video and remember to move the keyframes of position and the keyframes
of time remapping. So in this case, you
can just press P M of the keyframe of
position and then press the time remapping to move the time
remapping or even just move both of them by selecting both of them and moving
them accordingly. Or you can also, which I really liked a lot,
press the letter U. And it will just show you the keyframes that there
are applied on this, on this project, on
4. Second Transition: Advanced Mask Transition: Welcome again people. In this class we're
going to make the masturbation as we
were saying before. As I've been noticing now, when I'm looking at this
clip of forces here, let me just make this
panel will be bigger, so press fit here. An increase in size
or decrease it by placing our mouse in-between
these two panels, the timeline and
the composition. And we can drag down. And you can see that
no immediate speaker. So as you can see, most of these as well,
the word carrier. You can see this
clip here is kind of shaky because when
I was recording it, I wasn't really
stable with my hands. So it doesn't look really
pleasant book, especially here. If I move the carrier on here. You can see this part
now is very shaky. We can try to fix this by using an effect here
in After Effects. If you remember previously, we used the club
edges effect to make a smoother line here on the upper clip of the cows
when it was going down. And that was just an
example of an effect. But now we can use another one, which is called Work sterilizer. And as you might
guess from the name, it tries to stabilize the video by analyzing
it and trying to make adjustments in the skill
or the rotation of the video so it doesn't look
like it's moving that much. So we're going to try to apply this effect
here on this clip. But it's not always
granted that it will work. So we can try. It doesn't work. We'll just leave
it as it is now, but let's just try and
use the Warp Stabilizer. So you are right
Warp Stabilizer. You can see that
here on this torque, There's this effect
and we will drag it on top of the video
that we want to stabilize. And now you can see that
there's this message here. There is an error
message which tells that these effect doesn't work
with time remapping. You remember who use
time remapping here to increase the speed of the
video here in the beginning. So I'm just going to
delete the effect now. You might be thinking, then we should remove the time remapping
maybe because it's either warp stabilizer
or time remapping. But that actually has
a very easy solution. What we can do it basically, what we can do is pretty simple, which basically consists on creating a new
video out of this. Which in here that
After Effects is called creating a new composition
or pre composing the video. And that basically
what it does is just brings all the keyframes within this video that are
applied on this video, such as time remapping or scale or transformations or any effect that we've applied
to this video. It will just bring inside this new composition
or new video. And then we will work
with this new video. Which one have any keyframes
or any modifications to it? And it's like a
completely new workspace. So to do this, it's very simple. We can select this video, click it, then
right-click on it. And you can see
here pre-compose, you can click this menu
and this menu will appear. So what you can do is
basically change the name. And my kids. I will just write versus
quick time remapping. And then it is very important
to select this option here and this one,
Because otherwise, if you press leave
all attributes in one more to any of the keyframes inside the new composition. So you won't be able to apply
the Warp Stabilizer either. So you want to bring all of these keyframes inside
of the new composition. And you will have
a video without any keyframes on it
or any modifications. The video will look the same as the one that we're seeing now. And the time remapping
will be still applied. But we will have the video
without any keyframes. So with these two
options selected here, just press, Okay. You can see now that the name
of the video has changed. You will press the space bar. You will see that it's the
same. Nothing has changed. But now if you're over here on the arrow and you try to
find the time remapping, you will see that
it's not there. But the radius is still
with the time remapping, as you can see here
on the beginning, it is quicker and
then it's slower, which is what we've met
with time remapping. However, you can still change the time remapping as
we've done before. And that is just done by going inside this
composition which has the video you need to do is you can just go
here and double-click. And you will see that
here inside we have the video that we
were working with. The name. The original name is here. And hubris, the lateral view. You can see the time
remapping. Keyframes are here. And this is the video that
we were working with. And you can change these
keyframes if you need. But we can go back to the
original composition. Here we don't have
any of the keyframes. And that will let us apply
the warp stabilizer. So let's just try
it and click here, drag the effect on top. And you can see that now it's
just analyzing the video, which is what this effect does. It analyzes the video, so it takes a little bit of
time and then smooth it out. So I'll just fast
forward this 0. It will just be a
second for you. So it looks like
it has finished. But as I said before, when we did this effect, We're not sure if it will
work or if it won't work. Make sure to have
these options here, because this will make the video feed the
entire screen on. Otherwise you may have
black bars or the video will move or stay in
the same position. So make sure to have these options check
whenever you want to. Make them more stabilized it. So we can just press space bar. And I'm going to fit the video. We're going to make it
a little bit bigger. So as you can see, it does a little bit of a weird effect. It can make lucky zoom in. But I actually
really liked this. Looks a little bit better
and as you can see, it's much more
smooth, more fluent. And you may not like this effect and it doesn't
work with every video. In some cases, it
works pretty well. But in some cases it
doesn't work at all. Especially because you can
tell that it doesn't work because it looks
kinda wiggly and the reader looks less natural. I mean, you will never get an error of it
when you place it. But it's in your opinion whether you apply
this effect or not. In my case, I really like
this how it looks now. Because it makes the effect, we'll go a little bit better
the transition or better. So I'm just going
to work with this. Now, we are ready
to apply the mask. So let Jews stop the video here. And we'd have to find the moment of the video or
when we want to play the mask. So I'm just going to
go around here and just hold Control or Command and right arrow to
move forward in time. As you can see,
we're moving slowly. Here we are. Here we have the three on-screen.
Wanna keep moving. And I will try to find
here the first frame where the tree doesn't cover anymore on the right
part of the screen. Because here we will
have the next video. We don't want to see
the background that we had before on the
other side as well, we will have, we want to have the other video
here of the birds. And basically what
do we have to do is cut this part of the video. You can see this part here, this area here,
we don't want it, you want to have
another video here. So basically, the principle
of it is very simple, which is basically cutting away a part of the actual video, which is the one
with the tree and the horse is reaching
that one too, cut it and place
another video on it. So basically, when you
have the first frame, we're going to use a tool that
we have never used before, which is this one, the pen tool into lethargy.
You can select it. And I'm going to
click it. And you will see that the
cursor has changed. Now, what do you want
to do is basically make a selection of this part that
you don't want in the clip. So I'm going to zoom in
and remember to hold down spacebar so you can
more easily here on screen. So I'm going to hold down
spacebar and winter left-click, I can drag and more easily. So coming here,
I'm just going to double-click here on
top decomposition. So we will have full screen. And what I'm gonna
do is try to follow that shape here, this curve. It doesn't have to be
extremely precise, but I'm going to try to make
it as clean as possible. So to do this, I'm
just going to pick here side of the
screen a little bit. And you will see that a new
point that appears here. And now, let's just
click and hold. So we can make a curve. So just click
around here, maybe. And you can see that now
we can drag and make a shape that fits our situation. So in my case, something like this seems to make the best shape we
can move these points later. So I'm just going to keep going down and we can adjust all
of these handles later. So don't worry if you
mess something up now. We're just going to continue. So I'm going to place another
one around here maybe. And try to Florida
little bit the shape. As you can see,
there's a gap here, but I'll just move this point. And as you can see, when
you place your mouse on top of a point,
it turns black. So it means that you can
select the point and dry. So I'm just going to left-click
and drag it a little bit. And it really doesn't
matter if a little bit of the trees outside. Because what we
really want is not seeing anything of this video. So it's better to
cattle you a bit of the tree rather than
seeing a little bit of this video because
we want to keep all the tree or the
shape here on screen, but it's just better
to be a little bit safer and cut a little
bit of the tree. And you don't have
to add a lot of points because then
it will take lot of time to continue
with the transition. So I'm just going to move
this one a little bit. And let's continue image. Make sure that you have
the pen tool selected. I'm going to press here. And I'm not sure if you can
really see this color is a little bit close to the
one that's on the tree, so I hope that you can see it. We can change that
color actually. So I'm just going to
do these very quickly. Just going to go here,
double-click on composition, and I'm just going to
go to the video that, that's the new composition. And going here to mask, here we have the mask one, which is the one
that we're creating, this one that we
just started with. And we're just going to click here on the color
and then we're going to make it red. Maybe it will be better. Yeah. So you can see now it's
much more visible. So I'm just going to continue. And I'll just click around here. And then I'll just go
outside like this. And I will just real connected
with this point here. So for any reason, you select another tool. You will see that
whenever you hit the Mask now it just disappears,
but it's still there. You just have to
select the mask here. So when you click
here, you will see that now the mask appears again. But all of the mask is selected. As you can see, we have all
the points like we selected. So whenever you try
to click again, it will create another mask
and that's not what we want. So I'm just going
to press Control Z. And I'm going to
make sure to just have this point selected. If I click it, you
can see that it still remains all
the mask selected. So I'm just going to
select the Selection Tool. Click away. Now none
of this is selected. You can see that they are
not selected anymore. And I'm just going to
now click this one. It's the only one selected
because it's the only which is full read these ones, you can see that they are empty. And now I'm going to select
the Pen tool again with Delta G. And I'm just going to connect
it, something like this. And as you can see now,
the real deal turns black. And that's nothing wrong. We
can just change that very quickly by going into the
mask and clicking None. So for the moment,
this mask is doing nothing at all because
nothing is applied to it. So now that we've
set it to none, we will be able to work with it a little
bit better because we won't have any parts that are subtracted or just added,
basically black parts. So basically what we'll
need to subtract that part. So we will have to press here, subtract this part
should become black. And maybe in your
case it is black, but now here it
doesn't appear as black because we've
applied warp stabilizer. And if you see here, stabilizer scales
also the video. And with scale, you may
see that the shape that the mask is supposed to cutaway is different than the
one that it should be. So basically, I can show
you an example here. And theoretically if I just
make another mask here, and maybe I'll just
play subtract, see how it makes a
different shape. A mask is only
supposed to work on the area that's inside the mask. And in this case you can
see that it is different. And that's because the video is scaled, rotated, and corrupt. So you can see we
scale this mask app, we would get this path here. But that's another easy solved. Because basically
what we don't want is this video that we're
applying the mass going to have effects
or modifications. So basically, I'm just
going to delete this mask. I'm just created. Basically we have to repeat the same
process as before. And in this case, I just
create a new precompose here. And that will just
basically cleanse of the effects that are applied to need all of the modifications, we will have a neat
composition to work. And in this case, we can
just press pre-compose, do the same as before. And I'm just going to rename it. This one has the
stabilizer, so write it. And it's important to keep it organized because
as you can see, when we double-click here, as you can see, horses
with stabilizer. When we double-click inside, we have the forces
with time remapping. And inside we have
the original video. So basically here
we have all the modifications that
we've applied to it. So first we applied time
remapping and then. The stabilizer. So basically, now this
video here doesn't have any modifications
and you're all here, you will see that the mask has disappeared because it inside. We were applying the
mask here to this video. And you can see that
the mask is still here. But it's not doing anything. So basically, what I want
to do is bring it here. Because this video is
not scaled anymore. And we will do the
assembly we were doing, but starting here. So we could do that mask again, but it's just very easy. We can copy it. So
here's the mass, and we weren't on that frame, so I'll just click it here. Press Control C, and
I'm going to go to the main composition adherent to the video that we've just precomposed and press control V. And you can see that the mask is here and now it does
what it has to do, which is basically cutaway
this part of the video. So now that we've
just copied the mask, I'm just going to delete it
from the previous video. And we have it only on
the main composition. And as you can see, it's
basically like it has made a hole to this video and it's showing black because
there's nothing beneath. If you remember, we
wrote two composition. So you go to project. Its composition,
Composition Settings, it is showing black because that's the color
of the background. So if we place the red, you can see that it
just changes the color. You got it. There was a hole in this video and what's behind this
video is the background. In this case, we have
the background as black. But for instance, if we were to add the
other videos here, so let's just do this. We're
going to find the video. So here's the video. I'm just going to
drag it inside. Anybody. Place it here
just to show you. You can see that now the video, this one that we've just imported appears
on the background. Basically, it's
inside of that mask. You can see we select the mask, their
videos inside of it. Then we can move this mask. You can see the shape that we've created has the
video that's below. So this one, in this case, that's doing what it is doing, what we just wanted to achieve, which is basically
having the video here. But if you press Spacebar, of course, if you move, that mask stays here on the same place and
we don't wonder. Now here we would
want to have all of this part showing
the video that's below. So instead of placing
these video below, I'm just going to
do something else, which is creating a solid, which will basically
simulate the video. So I'm just going
to, for instance, just choose a random color. We'll just drag it below. And that will just
serve me to sit about that below the mask
and not just black. And later we will
just delete it. And I'm not just placing the
video about the word jet because first we would have to find the right
part of this video. And maybe if we want
to stabilize it, it will just make no
sense to place it here because it will just make it work a little bit slowly. The problem, because we'll be rendering two videos at the same time and our reaches more. So for the moment
we're just going to place the solid and we will
continue with the mass. So we just created
the first frame. We go a frame forward. This one actually,
here we have two. Create this mask
which is bigger. In this case, we'll just have to expand this mask.
If you remember. The way to make a property of the after-effects change
over time is with keyframes. So we will just select this mask here to the
mask that we've created. And we're going to click on the stopwatch for the mask path. And whenever you
click it, you can see that in this frame, it will remember the shape of this mask in this
moment of time. So basically, in
this moment of time, which is the second floor, in 19 frames, you can see that at this frame
it has this shape. But now if we move
to the next frame and we change something, imagined that I
place the mask here. You can see how it changes when we switch
from one frame to another. So now you probably know
what we're going to do. Two, in each frame. We're going to try to cover all I'm just doing this really big
number, something like this. And then on the other frame, something like this, very quick. And you can see now. But the mask is changing shape when we go
forward in time. And that will make
possible to cut this shape of the tree, this hole in every frame. So basically I'm
just going to delete these two shapes that
I've made quickly. This one, basically, we're going to try to find the frame that
before we started the mask. Because you will see that the mask is always there
and we don't want it to appear until the first part of this video on the right
appears to see it better. We're just going to press none. And we're going to try
to find the frame where we want the max to start, which is this one. And we're going to
go one frame before. So controlling the left arrow. And we're going to just
double-click a point of the mask. So it just selects the whole
mask and we're just going to drag it away,
something like this. And as you can see now, if
I move this frame here, now we have the mask which is
away during all the video. Whenever it reaches this frame, we will just move to
the right position. So you can see from here we will continue to
make the mass bigger. So I'm just going
to double-click here and make sure that you
have the stopwatch selected. Otherwise it will just replace the shape that you're doing. It you will lose the
previous shapes. I'm just going to double-click
here on the composition. And basically select the pen. Make sure that we
select the mask first. And let's try to
make this shape. However, you probably may need more points because what you need to this basically
more of the points. So one of them, you won't see that you can
move them individually. So I'm just going to try to make the shape as accurate as I can. You can change the handles. That may help a little
bit, something like this. And make sure that this part doesn't fit inside
the muscular wise. It would make this whole only here and this area would be
still the video from before. So you can see that I show
you quickly. You subtract. You can see that these
videos are still the one that we
don't want to see. So make sure that he thought it is always
outside of the screen. And now you just continue. Just going to press
non. See that here. On the top, we don't have
enough points to make this sort of shape that's
like this to ban bumps here. So it's very easy. We can add points to the mask. So you click the
pen and you place it on top of a line
that's already created. Click, you will see that it
appeared that this plus sign, then you can just
use this point. So I'm just going to play it
on here, another one here. Sometimes you'll just see
that you double-click it. Double-click it like this. You can just press
the Escape button and just select 1.1 here. You can see that making
this sort of shape, I'll use the pen tool. Maybe one more. Not just add one more here. So I can do this shirt. Looks great. As I said, make sure to always
have this part here. It doesn't matter
what happens outside of the frame of the video. So you can have this like this,
it doesn't really matter. So if you want to see if
you're doing it properly, you can just go from
one frame to another. And as you can see here, maybe I'll just have to
move this a little bit. You can just press Add. Now, you will see that part of the video that
you are seeing here. It doesn't really matter if you see something of the tree. But on the other way
around, you subtract. Here, you don't want to
see the background, Okay? Because the theory is what's
making the transition. You don't want to see the part
of the graph that's below. Otherwise, when the
tree passes by, you would see the tree and some part of the grass which will make it
really look great. So in this case, you
can see up here, there's a little bit of grass
probably or the background, but we're gonna just solve
it later. Everything's fine. So we're going to just continue, make sure that you always
have the mask selected. Because otherwise, if I
press the pen tool now, we'll just create a shape layer
here which we don't want. So I'm just going to go
again to the mask path. Go Warfarin forward. Just going to set this to none. So I kinda mass
you can go here to composition double-click,
and let's continue. Make sure to add numerous
points if you need. We're going to select
individual ones. Remember that you can always add or delete points
and you create it. So even if later in the video, after we are done, everything you want to change something,
you couldn't do it. So you don't really need to worry that much because it's something that
you can always change. But it's better if we wait
right on the first try. Something like this.
And here I will need to add more, more points. So here it really has to be that precise. Made sure to play
with these handles. Because now that's the part of the tree that we want to shape. You could do this and
at another point here, and then just make the shape. But also moving the point
here, I'm moving the handle. You can see that you can actually make that shape
without anymore points. That now let's points that you have to move
in that explain. So you're going to just press Control and the arrow and
move to the next frame. I'm going actually now that you have created
the shape of the tree, this left part of the mask resembles quite
well the shape of the tree. You're going to see. We can basically the whole mask. So double-click one point. You can just move it like this to the
side, the whole mask. Place it somewhere
that it fits great. Now we press Escape. We can just move these points are a little bit away again. And we don't have to move
them so much. Which one? So it will be less
worried. By the way. If you zoom in, you will see that it
is quite pixelated. And that's because the render
quality set to quarter. But you can put the
resolution to full, and it was here now
it's much clearer. So you can set it to
full to do the mask. No better way. But again, it doesn't
have to be really precise because it will happen very, very quick and we will
add some further into it. If you remember, it's sort
of this sort of blur. So almost no one will be able to tell the
actual shape of the mask. Going out. Your point
here are actually true. Even another one. So I can make this curve. This mask is not an easy math
that we're creating because usually the mascara
just maybe a line or a flat square,
maybe flatline maybe. Instead of a three, there's a post lamp or something
that's just a straight line. It's much more easy to create
the shape of the mask. In this case, it's a
little bit more complex, but it's better to learn it this way because then if you have to
create another mask, you will see that
it's much easier. We can go to the next frame.
And I'll do the same. I'll just select the whole mask. Tried to place it
as best as I can. So I save some work,
something like this, but we will always have
to change it a little bit because the angle of
the camera is moving. And you can see it doesn't
fit perfectly, but almost. So I'm just going to make sure this part stays
out of the frame. So it's just going
to select the way. So now I can select just
want something like this. And we can keep going.
Mask transitions are basically one of the
best transitions out here. I really liked them. The effect, you use them properly, it looks pretty great. And they are not really hard. Basically, they
take time though. It's what makes them a
little bit less frequent because it takes time to go
frame-by-frame and shaping. All of these, there are some
tools that are automated, which make the mask
automatically for you, but of course they
don't work well, always doing it by Visa. I feel for me that's more reliable and
you'll have much more freedom. So we're just gonna
keep going like this. Great x-ray. Make sure to press Control S. Save because you don't
want to lose this progress. I'm going to do the
same thing like this. Quite well. I'm going
to rotate it as well. To talk a little
bit better here on the bottom. Very nice. I'm just going to say next frame and
we're almost done. These cases were
being quite lucky because the previous mask, because the mask of the previous flame really match as well. So we don't really have
to change that matches to just some little gaps. As I said, you don't
really have to worry if you feel like something
is not that great, that's moot because when
we end this transition, we will see it. And if we notice that we have to change
something in particular, one of these points doesn't look great and something
looks a little bit off who just casually
without any issue. Next frame. And that's
basically the last frame. You can see here on the middle, we already covering all of
the screen with the mask. So with the other video. Just going to finish with this. Make sure of course that
the part that here, that there is no trivial
ready, It's away. Very nice. Here,
it's almost gone. And that's it. Now, in the next frame, we will just need to
sit, there's no tree. So what do we have to
do is basically cover the entire screen with
the mask, entire frame. The video doesn't have
to be very precise. Make sure that you
leave some room down very close to the edge. Because if we apply some
effects to the mask, which we will like master
expansion of feather. If you imagine what
means mask expansion. If we were to place a dot
here and we expand the mask, it will make it go
a little bit up. So if we have some room, if we expand the mass, we just won't just
affect the video. So that's a nice who's going
to alter the previous name? Because I forgot to
move this on here. Something like this. And we didn't actually, let's just go here and we've created these keyframes which are all different
shapes of the mass, is going to go to quarter
again and press Fill. You can see now, we select mask. No frame-by-frame.
It looks very nice. And I'm just going to
subtract now and we should see the video appear. So substract, nothing
happens here. When we reach the first frame, which is the next one,
it starts to appear. The video that's been
below, it's appearing. Very nice, very nice, very nice. We aren't seeing the tree. Nothing of the, of
the video that was on this part. Very nice. And that's it. You can just press space
bar now and sea life. Check it out. So get out
some grid the look that you want to try it with the
meaning of the word. Displace it here. Make sure of course, to place the video on the first frame that
wear the mask stars. So I'm just going to
press the letter a you see here on the mask. Sorry if you're too early.
Just going to move this. In the first frame where we
can see the video from below. We're going to place our video. And you can see that
now we see that if the bird and I'm just
going to delete the solid, maybe I just don't need it. You can see that it. Now don't worry too
much because we have uneven selected the part, the specific part of
this video at we need I think that we will need to
stabilize these videos well, and maybe time remap it and zooming because
the width is too far. But for the moment,
that's this video. And make sure, of course, very important to save. But I really seeing that
this looks very great, religious make
another change that will make a difference. Because if you've created the master a little bit quicker, I just took quite a lot
of time to make it. You will not have
these smooth lines. And that's why we can
use the mask feather. And if you increase it,
you will see what it does. If the stopwatch is not
activated, is not blue. If you increase the feather, it will just stay the same throughout all
of these flames. But if you want to make the feather a
change in every frame, you can take it and just go frame-by-frame
and adjusting it. But I don't really
think that's necessary. So I'm just going to
increase it a little bit. And you can see that
you click away. You don't click the mask. You
will see that what it does, it just makes it a
little bit blurry, which doesn't look right
now because it's too high. The higher it is, the
smaller or the more blurred. So it looks a little bit
better because there's not just an extremely
sharp line. So I'm just going to
increase it like this. 1410 maybe. But you can see that
when you increase it, you lose this part
of the mask and you started seeing the
background, which we don't want. And that's where the mask
expansion comes very handy. So if we were to place it
very high, 140 for instance, whenever you expand the mask, you will see that we
get the same effect. We're recovering the whole part which is the point of the mask. But I'm just going to decrease the feather dollars
or maybe ten. As I said, you don't really have to place these exam
exact same values. This really depends.
In your videos. Maybe you just use another video or maybe you
your standard resolution. So you just have to
move these numbers. I chose these numbers so they
suit your project the best. So I'm just going to
increase a little bit. The expansion, maybe three
pixels, maybe seems great. And you can see this part, it looks a little
bit black here, so I'll just increase it. Maybe to foreign thing, it looks a little
bit better now. And that's it. That's a little bit of a change which is always
really important to do. Whenever you add a mask, it's adding feather to it. This is a key feature
because otherwise, as I said, it looked
like a very sharp line. It doesn't look
natural. And that's it. Basically that was this
part of the video. In the next one will be
just going to as I said, at just the video and try
to find the best part of the video to fit here and
make sure to save of course, Control S. Also later
on the editing process, we will see if we need to add or change
something else here. Maybe I'm thinking about
adding a shadow here. Maybe the tree, as it is on top, it will make sense to
have a shadow here. In this case the darker
green. But we will see. So just keep going and I'll
see you in the next one.
5. Refining the videos: From Simple to Professional Look: Greetings again,
people as you know, we already have this transition, which looks very, very great. However, we have to
continue now with our next transition
and the next video. So if you remember, here, we have this clip over here
which has a Bertani time. I'm going to show you how it is. So this clip lasts quite a lot. But I'm just going to use
the first a part from the first ten or 15 s. So it will just press
the endpoint here. I will try to find
the best moment. While E1 is a part
where the birth, which is only visible
here on the lobby. You can see I want to
have a part of the video where I can only see a
bird flying on the screen. So I will just try to find the
best moment in this video. So as you can see now, in this part of the clip, we have a bird flying
on the screen. I feel like this
is a great part of the video to use because here we have just the birth and the video is not
really that stable, but it's not horrible. So I will just take
this part before I made this sort of
camera move here, as you can see, this part, just get rid of it. Something like this. Bit less became. So yeah, I feel like
this works pretty well. Even I will just use a little bit less because
here the bird is flying away and it's not
that visible anymore. So around here, I will
just get rid of that part. And don't worry if the
word is not in the middle. And if it looks quite small, because we will zoom in and we will place it on
the middle of the screen. So we will only see the
birth and this guy. So let's just drag
that clip here on TV. Timeline. I can remove this solid that we've used
before, and I will place it. So it starts here on the
first frame of the mask. That far when the mask starts to show the
video that's below, we won't have any black
screen functional. We would just start
it here because this frame is the mask
outside of the screen. But just make sure
that you don't see a black font
or the background. So make sure to have it there. And if you remember from before, we could try to
stabilize this video. And that's what I'm
going to try to do. And let's see if it works.
You press space bar. Now. You're going to get
the tradition works fine. But also it's very important
to see that the movement of the camera and the
transition course in this direction here. So you can see the tree is moving to the left and
then the vertice moving. I'll also to the left
and I feel like it will look better if it was
going towards the other side, but we will fix that later. And in this case, let's just try to
stimulate the video first. So I will just look
for the effect here. You remember Warp Stabilizer? I will just add it here
and see how it works. As you can see, it
works because there was no effects or keyframes
added to this video. And if we want to
induce time remapping, we can just do it later. In the other case, when this clip from
above with it before, because it was more
convenient for us maybe, but it doesn't really
matter the order. Okay. So it actually worked, as you can see now, it
looks pretty, pretty small. Almost like it was recorded with a professional commoner
or do we just stabilizer? And that's very, very nice. And the thing that
I'm going to do now is, as I said before, I want to try to place the birth always on the
center of the screen. So it's not going to decide in the end and the beginning
is more to the right. So I will just try to always
put it here on the center. And to do this,
that's quite easy. It just always using. Same thing with our keyframes. And in this case we
will have to use the keyframes off position. And also I think that it looks
a little bit small steel, so I will use a
little bit of scale. So I will just scale the video up without any queue for them because we need the verb to be the same size at all times. We don't want the
size to be changing. So selecting this video, I will just try to
find size of the bird, which is where it'll be
bigger but not too much. Because otherwise
we would lose a lot of quality from the video. So we'll just increase it. Maybe something like this. And remember that I
have here the quality, the resolution set to quarter. So it actually looks four times with less quality
than it actually should. So when we export it, we will export it
at full quality. But to work and added, we just use a quarter parts of it since it's easier like that. And if you remember, I also wanted to change
the direction of the bird. You won't need to be flying
towards the other side. And that's also very easy. We just have to
rotate the video. So it's facing the other way. But it's not just
rotating it because you see that when we
rotate the video, it would look upside
down. In this case. Now the bird is flying
towards the right, but it's upside down and
that's not what we want. So that's an easy fix which is basically flipping the
video or mirroring it. And do this, we
just have to invert the x coordinate of the scale and basically it
has to be the same as the y. But in this case we want to
place a negative sign to it. So it will make an
horizontal flip. When you place a negative sign, you see that it also
typed it on the scale. So in this case, we just have to click this
icon here of the chain. And now both are independent. So I will just remove this
sign here. So we just copied. So we just call the
negative sign on the x. And you can see now that
we just switch this video. And now the verdict is
going towards that side. If you press the spacebar,
works pretty well. Now let us save just in case. Because I forgot to
mention that when I was stabilizing
it, it crashed. So I had to do this part
again of the video. But well, actually
it wasn't that much but it's crashed for
me. I don't know why. Maybe because I was recording and I have some
other programs open. So I just closed them
and now it works better. So you're going to read about this dunder and we have all
this room to work with. So I'm just going
to press the letter P. So I have the
position set here, or we could basically
just go here and press the arrow and
strike the position. Now, what do we
want to do is find the first frame that we
are interested to change. We'll just start here, maybe the first frame. And I'm just going
to hide this layer so we can see the
delay that's beneath. Clearly. I will just hide
it by pressing this I here. When you click it, it just appears or disappears, but it's still there. So I'm just going to
hide it for a while. And let's just keep going. So here I'm going to press the letter P. So I
just only have the position. That's the only thing
that we need to change. Now, we are lucky enough to have these point
that serves as a, as a reference to where the
middle of the composition is. But if you are habit or if you then prefer to use
another guidance, you can just click here and turn on the
proportional grid. As you can see, that will
show the a grid on screen. And we know that this
point here is the middle. But if you want to place
it somewhere else, it is usually squid. And I think that
this can help you, or you can just disable it
by clicking on here again. So in my case, I will just use
this as a reference because when we
increase the position, you can see that
the anchor point on this point here it is moving so it doesn't serve us anymore. And in this case, I would want to place the burden
here on the middle. But see that there's this
gap here and it looks black. But we can actually solve
this as well and do this. We can apply another
effect to this video. Or we could just basically increase the scale
a little bit more. You would see them. We just
have to increase the scale. In this case, both of them. So we could use hydrogen
50 for instance. Remember to scale
both of them at the same number
because otherwise it just kills one of them
since we removed that. But you can turn that on again. And it doesn't affect Neymar. So you can see if we
increase the scale, we now have more room. We could just increase
the position. And now we have the birds in the middle and no black
bar scale on the bottom. But in this case, the scale is set
quite high now, 176. So I will just go back and just show you the other way that
I was going to use. In this way, we don't have to
scale the video that match. And we will get rid
of this black parts, which are, which is something that we don't
want to see in the video. So I'm just going to use
another effect which is called Motion Tile. I have some extra ones, but just focus on these ones. Stylize the motion tile. But what I'm gonna do first is place the birth in
the right position, and then I will
apply these effects. So let just keep pressing W on the right place so the
verdict is in the center. But of course remember that it's not necessarily
in this case to actually place the
birth on every frame. Because otherwise we
would have too much work. You just need to do it. Maybe ones here and maybe
skipped five frames, or just keep two apart. When you see the bird
that's a little bit too away from the center,
and then keep going. So even see that 1 234-567-8910, I will skip timeframes
and I will place the birth center again.
And I will keep going. Here. It remains quite
well in the center. So I just kept around
ten frames again. Just for a bit better. Really accurate on the middle. Here it goes away, so I
will just put it back here. As you can see, this line here is the path that the video, the point at the center of
the video is going to follow. So it follows quite
a weird path, but you will be
able to see that. That's a noticeable. So around here I will just move it with the ones that sign something like this. I'm not sure if we are going
to use the whole video. But for the moment and we'll
just keep going until the n. And since we have the video as for
k and the composition, full HD, you can see that
we have all of these Room, which lets us move the video freely without
showing the black bars. And that's quite nice.
And also we scaled it up. We want to have more room. It doesn't have to be
extremely precise. So I'm just going to adjust here the last frame, tiny bit. And I'm going to press
play and see how it looks. So check it out. Now. The video and the birth seems like it's
always in the center, like we've been following
the birth with the camera. Very precise motion, but
actually we just fake. But it looks very nice. That's very interesting. Trick with After Effects. You can just tell someone
that you were recording the bird in a very stable camera and always keeping the
burden the center. In reality, we just use the
phone and I'm very shaky. Shaky video, but it ended
up looking very, very nice. But you might be wondering, there's still these black bars. And also I will do is
select these keyframes. All of them, by just selecting them are just
clicking here on position. Position. It selects
all the keyframes. And what I'm gonna do is
press F9 on the keyboard. Or if you don't have F9 on
your board or something, you can just do it another way. So just go here to position
with all of them selected. Right-click. Go to keyframe
assistant and press here. You can see if nine is
the shortcut, is it is. And you can see
that the shape of these keyframes
is different now, need basically that it made the movement a
little bit smaller. So you can see this from
a learner's perspective. If you go to the Graph Editor, you can see now that
we've placed on them, it makes this shapes
of the curve. So you can see now it's smaller. But if I press Control Z, you can see that these
words just lines. But when we press F9, it
turns these lines into some other curves and it makes
the movement more smooth. And basically if
you're pressed space, you may not be able to
see the difference, but the difference is. Subtle now because it's
not a very rustic effect. But in later transition, you will see that the
effect is very important because we don't always want
a very linear movement. So it's something very
important to know. And let's remove this
black bar from the bottom. And basically what
I'm going to do is add the motion tile effect. You drag it on top of it. You will see that in this
case, it appeared below. The Warp Stabilizer. Effects can be placed one on
top of each other. Depends. But we want always to have motion tower below and
what motion told us. If we look here, you can
see it very clearly. If we take this option, we are edges and increase
the output high. You can see that it creates a copy of the
video here below. So basically, if I
turn off the edges, you can see that it
repeats the part from the top of the video. It repeated here. We mineral edges basically mirror the edge that
it's closer to it. So in this case, on this
edge in mirrors and what? It has a bar on the upper edge. And we've done it with the
height of the video because we want to increase the height
of the video, not the width. Because if we
increase the width, wouldn't make the video
bigger towards that side. And we want to make it
bigger towards that side. But it's not really
making it bigger. So we're not changing
the scale at any moment. It just copying that
part. If you can see. It will look a little bit
weird when we increase, because you can see
when we have time, this doesn't really
look natural. So in this case, we'll have to work a little bit
again with the scale. So I'll just select
here the chain. So it goes both axes
on the same time. So we'll try to make it work. I really don't want to
see that shape here, so I will increase it
a little bit more. Maybe something like that. Seems quite nice. So
let's press Space-bar. What I'm gonna do is apply
a time remapping here. So we don't really see that
frame for very long time. And also I'm going to
apply another effect, which is called
Optics Compensation. So we will able to hide
these a little bit more and it will always
be unnoticeable. That's a very great
idea because if we turn the effect of by
pressing the fx button, you will see that there
was almost no way to hide this unless you change
the scale on the video. So that's a very
great way to not lose any of the modifications
that you've done. And you can just kind of covered this part of the video without worrying
too much about it. So as I said, is going to
now do a time remapping. And as you remember,
time remapping wasn't compatible with
with sterilization. So basically made
sure to precompose. Now we will be able to
apply time remapping here. So time remapping was right-click time,
enable time remapping. And I'm going to make the first part a little bit quicker. So I'll just put
a keyframe here, will move all of
these a little bit. We'll just, first of
all, delete this part. Since it is here, you can see we keep moving. It's frozen. So that's the last frame. So I will just go to the last frame and
press Control Shift. And I will cut this part. We'll move these two
keyframes closer to the left. And now this part here, this period, these interval of time here will be quicker than it was before. Something like that. You can see that maybe that's a
little bit too much. So I will just
delete this frame. Now, the videos
as it was before. Now we'll make the shorter time of fast motion or fast cameras. So maybe a little bit
more. Something like this. Yeah, It's a very
subtle difference. But if you can see
now the beginning, I'm going to press N and V here. So you're going
to see it better. You can see at the beginning it flies a little bit quicker. And now if we turn on the layer, we will see the first
step of the transition. It looks very nice to me. What I'm gonna do as I said, it's Applied Optics Compensation to finish up with this clip. So if we go here
in the beginning, if that's basically not
noticeable anymore, since the tree is actually
covering a lot of it. So it wouldn't be necessary. But if we reverse
the lens distortion, you can see it when you
increase the point of view. It makes the the edges
of the video go away. Camera. You can
see if we turn it, the effect of can see that the birth doesn't
change at all. It doesn't change. But the edges of the
video do change. So in this case that's shops. And now here press Spacebar. No one notices
that we've applied this motion tile on this effect. No one notices that
the I just kept below are mirrored. So
that's very nice. And we are just keeping
on at all times the Burton dissenter from
very unstable video. And if you are looking at
the video right now and you don't really like something. Don't worry about it.
Because in the end we will Go back from the beginning of the
video and try to change small details and
make everything all better. But now it's another
important thing is to make the
video, the layout. Plays all the videos
correctly into the ideas, the transitions, on the
hand with the banana, just make everything perfect. So that was a very long video, but on the next one, we're just going to
continue with it and you'll see that we have still some rate effects to
apply and things to learn. So make sure to stay here because things are about to
come and I'll see you there.
6. Third Transition: Adding Effects + Mask: Hello again people. What's going on? Let's continue with
this video and z, remember that we have now this transition and this
beer here flying on screen. But I've been thinking about, you should think about how can we make another condition from this video to the next one? So if you look at it, this video here, There's
nothing at all from the video. Before we used the
tree which was very red to make it a condition. And the one before, we use these black wall to transition to the next
scene of the forces. But now, if you
look at the video, there is nothing but this birth. And that's a problem that you
have to think about and how to make or try to find a way to transition
to the next clip. My K is now it came
up with an idea, which is basically
during this clip. I will remove this guy while keeping the word
still here on screen. And I will place another video. So the bird will be on top. There will be a
video here below. And we will use this video from below to transition
to the other clip. So we will take advantage of an effect while keeping the
world still on the scene. So it's not like completely
gone with, without any sense. We will just keep it on screen. But we will remove
the background. And then we'll make
the bird disappear and transition to another
clip with unmasked probably. So to do this, I'm just going
to first find the clip Use, which will be this one, which is kinda related to, to describe It's not
something completely no cure. There's the sky a little bit. Well, it's the
reflection of the sky, but you can see, I think it will come in handy. And I think that there are
some birds here on this clip, so that will work even
better. Let me play it. I think I got the part
that I want to use. So let's just place it
here on screen and I will show you how it looks here. Because when we previewed
the footage here, we sit on full screen and in this case these
videos in horizontal. So it will show it here. Since it's in Vertigo. As you can see, we will
have to adapt the video. I think I know how to do this. Basically what I'm gonna do is show you this
part of the clip, which is very short, very brief. And so you can see there's a bird flying
here on the right. And what I'm gonna
do is basically, I will try to use this part
like this second video, when this bird flies
across the screen. And I will use it here. So we will have it below, but this bird will
still be there, the black one and
the white one that we were seeing
here in this clip, we will make it cross. So this would be
like an intersection of two clips with
Bertin in each of them. And then what I'm gonna do is basically n to transition
to the other scene. Basically I click. I'm just going to
use another part of this video because this one about the bird is
to show the beaver that we're going to use
this clip order that we're going to
switch flips and to actually switch from one
to another because it is one of the bird will just appear for like a second mother. I've set this one. As you can see when
I was recording. If I show you, you will see
that I was moving the camera like unintentionally
because that wasn't planned at all to V, Hey, transitional or something. You will see that my camera is moving and I will take
advantage of a wall that's, that appears on the below. So if I press Play, you can see I will use this. Well, in this case, this part here to do what we did before with the, with the tree. So basically I will take this. If I go frame-by-frame,
you will see that here. We will start the mask here, and we will be masking
this part of the screen. And then more. And a little bit more here. So basically, that's why
I think I'm gonna do. And basically we will still have the this bird flying on
screen plot earlier. So we will try to find
a way to get rid of it. But as I said, we're just start first with the other bird going
across the screen. So I will just try to
financing around here. Now I cannot see it because it was flying here in
the right part. So I will just have
to move the position. So basically pressing
the letter P, actually I'm just going to press Control Shift
D are on here. So I have this
clip divided into, so this part is one
that we select and now will be the one where
we will apply the mask. We have this woman here
is one where the bird is. So basically all of the, pardon me for a minute. I'm just going to
delete it a little bit by dragging the
edge of the quick. I will move the position and
try to find that moment. Something like this. Let me see. As you can see here. On the end, this frame is
where the bird starts to fly. So basically, I will just
remove all of these. I'm just going to
now try to scale up, make it a little bit longer. Move the word carrier here. You can see that's the part of the clip that we're
going to use. As you can see, the
bird looks quite small. So I will scale the video. Actually. I will
fit on the screen. And this doesn't really
matter because it just appears for a second also. So yeah, I think
that's quite right. Maybe you can even scale
it up a little bit more if that's necessary. Maybe I'll do it just
a tiny bit more. So I can also move the
position a little bit more. And the birth is more
centered in the screen. Well, you can see we also
place it somewhere like this. Yeah, that's better. And that's what I'm going
to place here first. And basically, I think that around here
will place it below. And we will apply an effect here on the video from the top, which is called luma Key. So we go here on defects
and type Luma Key. You will see that this, this, this effect here obsolete. I'm just going to
drag it on top. And you will see that
it does nothing now. But don't worry about
it because we just have to use these options
to see an effect. What I'm going to do
actually is I will try to cut a part of this clip which matches the length of
the clip from below. So basically
something like this. We just split the clip that
we had before in three parts, but it's to look the same now. Nothing has changed.
But in this case, I'm just going to actually
take off the Luma Key from these two clips that don't have the video that we
just imported below. So basically, so
basically I only need the neuroma key here on
the one from the middle. Now, see that here we have an option which is
key out darker. If we select here, we can
select the key out brighter, which as you can see now, it removes all the bright areas from the screen for
you to understand. If we go to key out darker
and go all the way to zero. That means that basically
when we increase the threshold a little bit, you will see how it starts
to remove the darker, the darker areas from the
screen from the video. As you can see, we
increase it a little bit. It removes the burden
because it's black compared to the other part of the video, the parties the darkest area, so it removes it. But in this case we
want the opposite. We want to remove the
sky and keep the birds. So that's basically
the opposite. So we want to remove the brighter areas from
this key from the screen, which are the sky. And actually it starts
from the other way around. So basically we go, we start from 255, which is the maximum, and we decrease it until we just
have the bird care on screen. And here, it's very easy. Video to use because there is only the bird here
that we want to keep. But usually it doesn't work. That's fine because
we will happen maybe other objects here
that if they are dark, they will be also
kept on the screen. And maybe that's not what
we want and we would have to use masks or something
else to remove them. But in this case,
it's very easy. We can just decrease it slowly. I still consider it
a point here around 125 for this particular color, that it starts to remove it. And basically you can see it ignores the bird
and it keeps you moving. This guy. I will try to find the frame where the birth looks. Still intact, but with the less amount of
blue, It's possible. I will try to remove
this Buber edges. You can see we are
in quarter quality, so it doesn't look that great, but we can still see quite well. If you go pretty high, you will see that
it starts to remove some pixels of the bird. So something like this
seems to be quite well. And then we have these
other options here. Tolerance doesn't really
make a difference. You can see, in this case
it's not really useful, but we can use the
feather or the Edge team. So maybe increasing
the failure of you remember before
from the mass, it makes it look smoother so
we can try to increase it. You can see maybe that
helps the edge thin. As you can see,
what makes it makes the mask or the
contour of it bigger, the silhouette, or smaller. So maybe we can try to find
the number that works well. But in my case I
think that is zero. It looks decent. And maybe if I press Spacebar
and check what we've done. So basically if a quick recap, basically what we've
done is we had this clip that you are seeing
on screen with the sky. We've heard it all
the way till there. And basically we chose
a part of the clip. I just showed this
part randomly. So this part of the clip, I wanted to make the background, this guy disappeared
to basically place this clip
that we have below. So in this case, just wanted to place
that clip below. And we used the Luma key
on this part of the video. So only in this area. Then basically it shows
the clip that it has below while keeping the dark areas
from that clip of this guy, which is the bird,
the darkest area. As you can see,
we have two clips reproducing at the same time. And basically after the clip, the one that's below
here with the birth, and I just switch back to this other clip
that has no Luma Key on it, which is the same,
basically has to be one. And it keeps showing the video as before
without any modifications. So basically, we've just applied the Luma Key on
this part of the video. And I could have
basically applying the Luma Key here
with keyframes. It's also an option
to not put this clip. And we would have ulama
key here switching 255-55 and we would
wake the same effect. Maybe I can show you these
pretty quickly if you want. So I'm just going
to hide this group, but you don't have to do it
if you've done it already. But let's just suppose we
have this clip as before. You can see nothing
is happening. We can just place the rumor key. Switching here. Let just please a
keyframe here on three score, 255-50, 5.3. So then here I'm just going to place
another keyframe. So I'm going to press right
there you on this clip, put a keyframe on three salts, so it will remain on 55
during this video here below. And on the next frame, I will just place
it back to 255. As you can see, we
get the same effect. These videos are hidden. So I surely, we should have
done this one frame before. And as you can see,
it's the same effect. Without having to trim this
video that we've done before. We can see which nothing. We get exactly the same effect. But basically I will
just control Z. And we'd like this
because I feel like. Maybe it's easier to see
when we are editing. So I'm going to show this clip. And that's basically
the same, exact same. But maybe you can
rename this, this clip. If you go here and
press Enter and rename, you can maybe change the
name if that helps you. So that's what I'm gonna do
and I will just write it. Bert Blumer key. So we know what's
happening here. And as you can see, I press
Spacebar. That's what we get. Usually. I made these appear on a random
moment of this video. But maybe the best thing to
do is try to sing this video. Maybe try to match the music so it appears on a
beat or something, so it looks a little bit better. But in this case, to
show this effect, we just place it here. And I think that it
looks real great, but that's not all. Maybe we can remove a little
bit more of the blue. So in this case, the
great part of not using the keyframes is that there
are no keyframes basically. So we can just switch this
value here as we want. And we don't have to switch these values in both keyframes. Otherwise, if we just change
the value here we are, and that our keyframes, it will just place another keyframe and
that's not what we want. We want the value to
be the same during all these, all these clips. So basically, I
will increase it, maybe decrease, it's
already a little bit more. Maybe I'll decrease the
feathering as well. That's great. And if you are very strict, we could also use other
effects to remove a specific color or basically plays this black
and white or something, because since it's just black, we don't really care about
anyone the other color. So if we make this
clip black and white or decrease the exposure, we would make all
of it very black and we would lose
the blue color, which that's what we want and we will keep the black part. So that would be a great idea, but it doesn't
always work with us. If you want to keep another
color different than black, it would affect the look of it. So in this case, we will keep it like this
for the moment. And in the end, of course, when we have all the
transitions done, we will just do some tweaking and maybe change other things
that we don't like. As you can see, this clip here, on the last keyframe
of time remapping. You can see I've stopped, so I will just take it off. It's very hard to look here. So assuming these exact three. And what I'm gonna do now is use the other part of the trip that we've talked about before. So I have it here. I will also need
to scale it down. In this case, it
doesn't have to be the same scale as the
one that we used before, even though they aren't the
same place, the same video. It doesn't really matter because different parts of the video are being seen and no one
will notice different scales. So in this case, what I'm
gonna do is basically make, sorry, I'll just make
another cut here. So control shift D, and I will place
below my key again. And basically, since
it's the same video, I can just copy the
effect from this clip, so I'll select my key Control
C. I will do this clip. We'll place it
again. You can see, if we turn it off, you can see that
here it's too high. The risk is too low because
it's almost the bird. That depends, of course, on
the lightening of the clip. So probably this clip of
the Berlin towards the n, it's lighter so it
removes more of the bird. So we can just
increase the Driscoll. And it's important to
mention that it's also a great thing about not using keyframes because in this case, we can copy keyframes so easily from one
place to another, because we would have
to press the letter U since and copy the keyframes, in this case, not these ones, but the keyframes from Luma
Key and place them here. But since they would be
indifferent time positions, that would have to move them. So in these cases, do not use keyframes. And I will try to adjust
this a little bit. So that's kinda
how it looks now. But of course, here, there is a steel blue and I can. Solve it by just adjusting
these parameters because if I go very
low on three skull, I remove the blue, but I
lose this part of the wing. And that's not what I want. I need to find a point
where the trees fall is not very low or very high. So something like this. But since we cannot
remove the blue here, what I'm gonna do is
basically why I said before, which is using exposure
to remove the blue. So I'll just type here exposure. As you can see, there's
this color correction here. We can drag it on
top of this clip. Nothing changes but we have to decrease the exposure and
that will make a clip darker. You can see that if
we turn it high, it makes it very bright. We can do the opposite. And try to make it
look really big black since the British turn black. You can switch some of
these parameters as well. And you can see now
it looks much darker, which is what we wanted. As you can see, I think that
now it looks much better. But of course, it
doesn't look great. And the bird goes here on top of this wall,
would make no sense. So we'll just try to make it disappear it just
before it hits the wall. And that's very easily, we can just decrease the
opacity of that layer. So basically what I'm gonna do is to find a moment
where it hits the wall. So I will just press control
and the right arrow. So fueled the frame
what feeds the wall. And I'm gonna use the opacity. So I'll just press the
letter T. Click this arrow, transform and
keyframe the opacity. So I'll just click
the stopwatch. In this frame when
it hits the wall, it's the frame that we don't
want to see it anymore. So I will just decrease
the opacity all the way down to zero here, but we don't see it anymore. And I will go back
to flames or three. Maybe two, and I will just bring the opacity back to 100%. So if you go now,
one frame forward, you will see that
the bird starts to disappear. Here it disappears. Maybe that will
happen too quickly. So we can just most of these keyframe of
opacity 100% here. So maybe you can see it will disappear slowly, but maybe not. Let's see how it
looks like this. You can see as soon as it
hits the wall and disappears. But what I'm gonna
do is actually move it very obese and it
happens too fast here. And two keyframes. Yeah. Now it looks a
little bit smoother, but still I don't really
like the effects. So what I'm gonna do
is use the scale. So I will just click here
on the different Moscow. And since we are only
seeing the bird, we can scale down the video. And that won't affect
anything at all. If we were seeing the sky, when we scale down, we
would see the black box. But here's the video
is just this birth. We can scale it down
without any problem. So just going to drag
it down a little bit. I think that this will
look a little bit better. Yeah, these are great. We'll make we'll start scaling it down
since the beginning. And maybe we'll just make
it disappear quickly. Yeah, I think that in this
case it looks better now. So I'm just going to change a little bit the opacity again. As you can see, we're
making the bird disappear, but easily, smoothly. And now we will just quickly
make this transition. Again, the n, If you feel like you need
to change something, we will do that on the
end, some extra tweaking. I will start here on this flame, and I will start removing
the screen so very easily. Here is the first frame, or we have to start
cutting down. I will just use as a transition the upper phase of this wall. So not D, the world itself, the vertical part, just
the horizontal upper part. So if you remember that easily, we look for the first frame. We select the Pen
tool with lethargy. Or clicking up here, making sure that the
clip is selected. We can move with the
space, whatever. Well, and I'm going
to simply click tried to make a shape
inside of this area. You can see, we can not really
see what's happening now. So we have two sweetly mask
to make no effects analysis. So inside of this layer, we're gonna go to Mask
and we're going to switch this one mask to none. Now you can see
what we're doing. And also I'm seeing that this clip that
we've used before, this one is sure Mary below. So I like to keep it organized and what I'm
going to do is place it here where it belongs
below this clip. That's it. Maybe there's one. We
can place it here below. Well, so as you can see what making like a staircase
that goes downward. That's usually what happens
with After Effects that as we cannot have two different
clips in the same layer, you can see nothing has changed. But this way we can keep
everything really more organized and just drag both of
these by selecting one. And then shift. I
think the other one, you can select multiple ones. And as you can see
now it looks a little bit more organized. Basically. Let's keep going. And as I was saying, the first keyframe, actually, we haven't still turn the
mask path keyframes on. So basically we have to try
to find the first keyframe, which was this one. And I'm going to place it now. The stopwatch. So we enabled the keyframes
in the frame before. We don't want the mask
to be there on screen. So I will just remove it. Moving it like this, double-click on the point of a mask so you can
select all of it. And as you can see, when
we move one frame forward, this mask appears on screen. And during the friends before
there is nothing happening. That's right. You can
see now it appears. What I'm gonna do
is go one frame forward and try to
select the shape. And in this case
it will be very, very easy because
it's a straight line. So basically, you
can double-click here and you can add
more points if you feel. But I've seen that by
just scaling up the mask. I'm just going to press, use these edges here,
something like this. I'm going to press Shift so it remains the same proportion. Something like this. We'll try to place it. And now I'm just going to
move the points manually. So when you have it like
this, you press Escape to get rid of this box select
and you click away, and then you select
one point so you can just act on a certain point
and not all the mask. One frame forward. Just going to do the same. I'm going to place it, I'm
going to scale it here. Tried to adjust
now a little bit. How the edge is,
something like this. In this case, maybe we
will have a little bit of a problem because here, what should we do here? Actually, because you can
see that the frame before, we had a very easy way to, to trace the mask. But now in this case, we have this part here that we don't really
know how to mask. Because should we
go to this place, but it would make no sense. So let just tried to find
a quick solution to this, which is basically
scaling up this clip. So in these later frames,
for instance, here, we have this wall reaching here to the upper
edge of the screen. So I'm just going to turn
on the scale a little bit more and move the position here. That's almost gray. Maybe a little bit more. Yeah. Scale is just tiny bit more and that's it. See you at, I'm playing with
the scalar and the position. We follow very much a better way of making the
transition, the mask. And as you can
see, the mask path that we've created is
also acting with scale. So we are not, we haven't lost the
progress in this frame. Just going to keep doing the same thing here on the
composition to see better. And basically we're just moving one point or two
in this mask and not, not like before that we were using like ten points or more. Making sure that you leave
room here in case we need to use some feather or
some mask expansion. And as you can see that
these small edge here, I don't see that we
will see a difference. So I'm not going to
add it at first, but just in case maybe later. Do we see that it
doesn't look great? I will just fix it here again. Maybe that one would read. So I will just try to you
can order it for the moment. And here, basically
we've ended the clip. So I'm going to just actually make the mask fit on the
screen here on the last frame. Of course it's not the
last frame though. You can just increase
the length of it by just dragging this and keep going with
the mask in this case, nothing to worry about. So let's just try to, you're here to mask and
add, subtract to it. You can see you will press Play. We go some frames
before breastfeed. I'm going to press Control
S just in case to say. You can see now the muscle
starts to fit here on screen. And if you want to
see how it looks, just not with just black, just add the solid, solid color. You're going to see that
when you press Play, it rebuilds the
solid pretty well. Maybe what I don't
like is here on the first frames, those darkens. I don't want this
are very easily. Select the mask,
select the point, and the rabbit will lead this
frame a little bit as well. Point of view themselves.
Here as well. Just adjustability of it. We're definitely going to
use mask feather here, since it's a rough wall. And it really doesn't
make sense to have a very sharp
edge. And that's it. You remember there's
this small gap here that we can solve very easily by increasing
the position, actually more precision. There's nothing below
here on the clip anymore. We could just bring
up the position. Maybe that's what I'm gonna do. So when the mask
starts around here, maybe rid of it. Here. I will just
place the Kiefer, give them current position. And when this frame reaches, I'm just going to make
very small adjustment. No need to make it very extreme in because otherwise you wouldn't notice that the
wall started going up. Now it's completely
unnoticeable. And maybe if someone was very cautious and looking
at that small town, no, he or she wants it. So basically small
adjustments here. I think that I
like it how it is. Now let's just increase the mask feather.
Here. Two masks. Increase the feather and usually increasing the
feather and always comes included by increasing the mask expansion
because of her mixed the, these edges go a little
bit towards the inside. So you can see the feather. You can see that we lose
a little bit of the mask. So to fix this, it's very easy. Just increase the expansion. And we get the
feather and we still had the default
size of the mask. I feel like something
like this works. Maybe marriage TO lobbied more expansion or decrease
a little bit better. To me, this looks red.
Made sure to save. And basically in the next
video what we're gonna do is it's place or replaced, basically this solid
that we've added. And we're going to use a video that matches nice transition. So something with a
wall or something, stone with stone material, maybe that will look great. And basically that it's very. Simple to do, as you can see. When we add a video here, it will look great to maybe
add a shadow here below. So that's probably
something that we're going to do in the end of the video when
we're tweaking and adding some other effects are
just changing some values. We will have just some short transitions
to n. With the video, I'm thinking of switching to
the water theme, I'd say. Because let's just preview
a little bit the video. I see that this
fits very nicely. So if you have
everything open here, you can just, without
any clip selected, press the letter U
here on the timeline. So once, twice, and you'll see that everything is now much more clear without
any of the keyframes. But if you press U,
you will see that all the keyframes from
other groups are shown. Just for you to know. You
can see we start with a cow, then we keep going with horses. Then we switch to a bird. And as you can see here, let's say that this part of
the video is three flips. The beginning, these 5 s, the theme of it is animals, are the animals that appear. And then we switch
with this birth, let's say, which
is also an animal. And you can see there's
water here below. We will use use that to
switch to this wall, to another water seen
that I have that also has stone material
very similar to this. And then I will make
another transition to another water clip off the sea and another water clip that I have where water appears. So it makes a lot of sense
because here we have animals, a short transition to water. So here we have animals and
then we will have water. And to switch from
animals to water, we use these very clip which comes very useful,
which has water. You can see here
and animals on top. So you can see animals, which in this case
the animals or birds, which match the last clip
of animals and birds. Water. Which stone,
which matches the clip, the following clip with which
will have stone and water. So we remain with water that is seeing on this clip stone. And we will use another clip, which I shot that clip
like a year after. And as you can see,
I will use switch to this clip from
this one to this one, which you will see
that there's water. This we're on the same day. And I will make
another transition, a new one to switch
from this one to one. Then there is also a transition, but we will do from
this one to this one, which is also a water clip, and then we will probably
end it with this one. So as I mentioned much earlier, there's no real
reason to really need to always have the best
flavor or go one day outside, especially to short clips
to make a video which some people may find it hard
to find the time or the, maybe the environment
is not looking great. So see that we are just
creating a clip from this one, which is the in this clip
you can see from 2019. And we will end it with
this clip from 2021, which is two years difference
from these two clips. And we're just making
a cool video about it. And I'm sure that maybe
you and your gallery, or if you go from now on, if you go to the street
and record the video, you can just see that it's very easy to try
to find this clip. So basically, it's
just a matter of creativity to
combine all of them. In this case, it's looking
really nice. So let's do it. Make sure to press Control S, and I'll see you
in the next video.
7. Fourth Transition: Zoom-Out Transition + Mask: Hey, hey again people. Let's continue in this case, I mentioned before, but you assign the next clip
that we're going to use. And also see how this motion
here that you're seeing now, from this wall to the next
transition to the next clip, you can see this mask
transition in this case, see how fast it is. And we kind of have to match this motion whenever we switch to the other clip because
otherwise it will make it will look like
such a hard stop. And we don't want this, we just need to keep
the flow in a way. So I will just try to import the next
clip. So here it is. I'm just going to import
it to the project. I'm gonna go here to
the project panel, or you can just drag it
down here to the timeline. But I prefer to draw it here and just select the part
that I'm going to use. I'm just going to double-click
it so that the video. So that's the part of the clip, but I'm going to
use, as you can see, I'm very lucky to
have already a motion switching from Stonewall to the water from one
side to another. In this case, we will
have to flip the video because you'll see that the wall is moving
towards that side. And this, in this case, it should be the
other way around. So we will just flip
this video again. And also I think that the movement here is quite slow so we can make and speed runs, basically temporary mapping
to make it move a little bit quicker to match up the
video from the composition. So I'm just selecting now
almost the whole clip. And maybe I will just make
it shorter if it's needed. So I will just place it from here and we'll
deal with this solid. I will place it just
on the mask starts to show or reveal the video from
before, from below, sorry. Basically will try to find, will press the letter
U and see the ureters. The first must keyframe. This case, this one is the
first one that starts to reveal the the video below. So in this case, I will just
drag this one around here. It doesn't have to
be exactly here. You can just place it from them just the
moment that you see. You think it goes
something like this, maybe I will just
mute that clip. And as you can see what
I was saying before, you can see at the
moment they are going in opposite directions. And see that when I flip it, you remember how to
flip the video and just press S to show
the scale to go here. Transform. Uncheck this option here. And if we want to
flip it horizontally, we can just press, put a negative sign into it. So we're reversed the, the x-component of the video and how will just enable this? Just think there's we need
to scale it up or down. And as you can see
now if we preview it. And as you can see now, both
movements of this clip, much, you can see it
looks much better. And check that this
clip, if I click it, it was recorded on vertical
and you can see that digital hopefully been it's much bigger than d sequence
that we've created. So I can scale it down and make sure that
you have this on. Otherwise, you're just affect
one coordinate, one axis. And we don't want this, we want to scale it proportionally. So just going to take this on, I will just scale it down.
Something like this. You want to be precise, it just 50 per cent. But for the moment I will
leave it like this and see how it looks like it this way. Maybe I will actually start the clip a
little bit earlier. And now I will add the time
remapping, as I said before, because this wall is moving quick and this is
a very slow movement. So I will try to, maybe I will start even earlier to have more room to
speed up the video. Now, do you remember right-click time,
enable time remapping. I will place a keyframe here. And around here, maybe I will place another one and then we will
make all of these. Part of the video in-between these two keyframes
to be fast forward. So we have to place them
closer to each other. And by selecting
this one as well, do not affect this
part of the video. I'm going to drag them
closer and see how it looks. Now. You can see now maybe
a little bit worse here. And as you can see now, even though we cannot see that well, because most of the
transition or more, or most of these high speed is happening while
the video is covered. But as you can see,
it looks better. Because their speed, the cameras moves
quite matching better. And what I'm gonna do is also, since the movement, the action is everything is
happening to Greek. I will just quickly move
this part of the video. So I focus on this part quickly. So you can see now it
takes a lot for me to move the camera focusing on
this water too much time. Then I move the camera
towards this part. But I want this to be shorter. So what I'll do is add a
keyframe here, so Around here. So this part of the video here between these two keyframes
is happening at normal speed. And then from here on I will
just increase the speed. So I will just select the last keyframe here
on the video and I will see the wrong here. You will see that this
is the last frame. And check what we've done. I'm going to move some, maybe. Actually what I don't like. This part where you
can see that the water starts moving very quick
because we increase the speed. This part here will press. And be sure you see that now the water starts
moving very quick. But I don't want this to be
seen during that much time, so I will just increase the speed when we
start moving the camera away. Somewhere around here when
we start moving the camera. And I will remove this keyframe. We'll move this a little
bit closer together. As you can see now. Yeah, I
think it looks better now. During this part of the
video and we are still moving and zooming
to that place. Around this area. Here, I will just show
you the work area. During this time around here, we will just make the
other transition, which is a new transition
that we haven't done before, which is a zoom in or
zoom out transition. In this case, we will
make it zoom out transition because we are actually zoom in and out because the next video we
will be a video. What I'm seeing
this from the top. So we have to zoom
out from the area. Maybe. Let me see if it looked
better about skilling up. And thinking may look
better if I scale it up and lower the position. Nothing. I will just add
a keyframe on scale. And I will make
the video go from a bigger scale to
all our scale here. So we can see more of this pan. If we decrease the scale, you can see that it starts
revealing black bars. But since we have a
lot of room here, we can just move the position of the video towards the top and we won't see
these black bars anymore. So if I press Enter, you will
just go to the framework. We started scaling down regulatory T at a
position keyframe. We press U. You can see that all of these
standards Time to the n, I'm just going to add
another position. And as you can see,
now it looks better since when we switch from
this one to this video, we are just seeing
Stone and stone. Otherwise, we before
we had it like this. Let me before we had
something like this. And we could see just show
you how it was the grass. And I prefer to just
see stone as it. Matches better this
part of the video. And we could also
maybe in the end, decrease the opacity or the, not the opacity but the
exposure or the contrast of this clip so it matches better
these color of the wall. So it will look a
little bit better. But for the moment, I'll
just keep going around here. I'm just going to look for
the next group that I want. So I'll have it here,
which is this one. I'm going to select it
then imported here. And if you remember this
one that we are seeing now is clip with
the waterfall is just like a transition clip from the animals seem to
the water scene, let's say. So I will just try to find
from this clip the best part. In this case, we are lucky enough to have another bar here, which was a metal
bar that was here. And that will serve
as perfectly to via another mass transition. So if we tried to
find the best part of the video thing
that's wrong here. We may have to reverse
the speed of the video. Yeah. Yeah. Around here. And what I'm gonna do
maybe is let me see here. Yeah, Yeah. We know
what I'm gonna do. So basically, what I'll do
is zoom out from this video. I will zoom out and I
will show this part. I will make the
video go like this. We will see a little bit this
grid view of the waterfall. And then I will just towards something like
this a little bit some seconds and then I
will go back in time. So I will make the
video go backwards. And during the way down, when we crossed this
metal bar again, we will make a nice transition. So this bottom part
will be another video. Okay? So let's just drag this video. And that's how I read. Something new that
we haven't done, which is starting a video. The right speed. So as it
was recorded like this. But then we will
have to make it go backwards at the
middle of the video. So after it crosses
this bar around here, we will make it go
backwards and we will go something like this. So as you can see the
videos, skilled up a lot. So I can just go down
something like this. Just type 50 for the
moment, which is the limit. If we go lower, you can see that we will see blacks, black bars. So basically if 50, since it was recorded
at for k and the composition is at full HD, you can reduce the size
of it 50 per cent. We can reduce the size of 40, flip to the half of it, and it will be 50
per cent and it will still fit perfectly to
a flinch decomposition. And you don't need to
have, you don't need to know the right numbers are. So use scale down the clipping till you see that it fits. We mentioned
a little bit there. But of course there are the
right proportions if you want to be very specific
and very precise. So what I'm gonna
do first, actually, because we have the transition
to somehow transition. And then we have the
time remapping to do. And then we have
the mask to them. So adjusting what we can do. Because remember we have the time remapping to go
to this clip because we have to go from normal
speed to backwards. So that's something. Then we also need to do the Zoom Out transition to this clip and to
this one as well. Both clips or will be used
to make the zoom-out. In addition, we also need to add the mask
transition to this clip. So this one will be
very, let's say, a more complex clip to add
more complexity to it. And in this case, we just need to think what we can do first. Well, it's basically true, is that the last thing that we're gonna
do it to the mask, because the mask will
happen at the end. It will reveal the last
video or the next video. And as you remember from
the previous video, the one we've done with the, with the tree or with
the wall before. The mask always
comes at the end. So we will leave the mass
transition for the end. And then we need to
choose whether we do the zoom out first or the
time remapping first. In this case. I don't think we need to
sterilization for this video or any other strong, Let's say you're crazy effects. We can just work
with both of them at the same time without creating
any other precomposition. So what I'm gonna
do basically is now is start creating the
mouth transition. So to zoom out. Zoom out is the same as
decreasing the scale. But in this case,
if you remember, if you click the letter U I, decreasing the
scale quite a lot. Towards the end of the video, that doesn't come very handy
because if now we want to use or make the transition, when we scroll
down, you will see that with just a very tiny
adjustment of the scale, we already see the borders, the black bars, so that's
not something that we want. And what I'm gonna do
basically go towards there. And I'm not really
going to change the scale a little bit, but I'm just going to move these keyframes a little
bit towards that side, because around here is
what we're going to use the the zoom-out transition. So I will just like to use as little as
possible the scale, so I will just have
to increase it. So when we go around here, we will have more room or more percentage of the
scale to decrease. And that will be better
for this transition. We will also add
motion tile if needed. For the moment, maybe
something around here. Great. Let me see if not, that's not too much. More. Let me hide this clip now. We press the letter n. Yeah, still looks right to me. And as you can see now, this looks quite a
bit zoomed in steel. But when we go to this
part of the video, we will be making the zoom out
so we will see more of it. And I will also
try to move it up. So when we scale down, we want to see the
black bars here on top. You're going to
see rescale down. We will see first the ones here. And so since there
is not centered, so going back here to position, I will just push it a
little bit more centered. It doesn't have to
be precise at all, but just a little bit. I'm going to start the
transition around here. Maybe we'll just place
these two keyframes here. We'll just make
this part here of the video remained
the same without any changes of
scale and position. Here. This frame, it will be the starting position
of the transition. You can see just, we just have a short amount of frames.
Let's think that's enough. And if we don't have enough, we just move every single
AOB backwards to this side. We will have enough time. And I just moved
it a little bit, but there's nothing
to worry about. And in this case, I will start
by scaling the video down. And it has to
happen quite quick. Otherwise it will look
just do two slow. And granted, we are
just coming from a very high pace of video
and very high-speed. Everything was speed ramping
and the movement was quick. So it has to happen
week as well. So I'm going to just
scale it down to 50 per cent of you remember,
equals the maximum. And I'm just going to place the position a
little bit better. In this case, we can
be precise if we write the height of the
composition divided by two. So you remember, we are here to transition via which
is a composition. We go to the
settings, we can see that the height is 1920. So to play the video
in the middle, we have to divide this
by two, which is 542, which is right here if I 40, and this number here divided
by two is basically 960. So we place it here on 960, 540 and we have the video
exactly placed on the middle. And let's see how that looks. As you can see, it
happens very fast, but that's the main purpose of these zoom out or
zoom in transitions. They really need to
happen very fast. Otherwise it looks but it's low and it doesn't
look great at all. That's not the whole
transition either. We have to also work
with this clip. So in this case we are zooming
out here. We will try to. Now if I show this clip, we will try to scale.
Tried to scale. In this clip, we will
start from a bigger scale. And maybe then at the end, rated 50 per cent of scale. Or do the opposite. Maybe let's see how it
looks in both cases. But what do we have to
do is very important is to transition from this
clip to the other. What I'm gonna do now is
basically the other part. So in this case, for the moment, I will move this
clip and I will try to move the scale down
a little bit later. So you basically ends scaling down when the video ends.
Something like this. Now what I'm gonna
do is so here on 50, I'll actually scaled it down. So type 60 maybe on
some frames after 50. It's not that much but
feel like it can make. You're ready fact. You're going to make these
keyframes smoother. So I'm going to press F9 for right-click keyframe assistant. Easy, ease here, and same
here with these ones. So select them. Press F9. And as you can see, what we're getting, a little bit of a transition looks great. But to me, there's still too
much of a drastic change. If you see this frame, check how much it changed
in just the foramen. That's quite extreme. So what I'm gonna do is first, I'm going to use something
that we haven't used before, which is a, another layer. So if you see here we have videos and this precomposition. And if you remember,
we used before solids just to preview a little
bit the mass transitions. But in this case we're
going to create a new one. So just click, right-click here. And we're going to
add adjustment layer. If you click it, you will see that it will appear on top of the clique
that you have selected. So now it will appear here on top of the
clip number seven. New layer. As you can see, on the
number seven places the adjustment
layer and clip that we had selected these below it. But we don't want the
adjustment layer here. We want the adjustment layer here on top of the transition. So I'm going to place it here. You might be asking what
Adjustment Layer doing here, because as you can see here, it's on top, but we
are seeing nothing. Basically the video remains
the same as before. But the purpose of these adjustment layers
is basically to serve as a layer which
will have effects on it. And this way we
don't have to place the effects on our videos. So if you need to
change something, it will basically affect this
layer and not the video. So that's much more
comfortable to work with. Because as you will see, the effects that are applied on the adjustment layers affect all the videos
that are below it. So in this case, if
we place an effect here on the adjustment
layer that is below it, we will have this
effect and this one that is also below
the adjustment layer, we will also have this effect. And that's very great because we don't have to play it twice. And we can control the keyframes here on
the adjustment layer. And it will affect on
both videos below. So what I'm gonna do first, I will reduce the land to the adjustment layer
because by default, it just cover the
entire composition. So I will just go over some
flames before the transition. So something like this. Like five frames. And
then here, I don't know, something like this doesn't
really matter because we can just stretch it as we want. And this is infinite. We can just do
anything that we want. I'll just show you
what it does with the optics compensation effect that we're going to use as well. So Optics Compensation,
I'm going to drag it here. Here we have the Optics Compensation on the
adjustment layer. As you can see, if I apply reversal and distortion and I will increase
the field of view. You will see that it
modifies the video. I'm just doing it a lot here. So you can see the effect. You can see that it's modifying these video that we are seeing, this period, one that
we're seeing now. But the video from before is also modified
from the adjustment layer. If I hide the adjustment layer, nothing happens to this video, and nothing happens to
these both videos either. So that's very great. Quick here. We can see that the effect
happens in both videos. And that's very great because
during, for instance, as zoom in or zoom
out transition, we want to make it as
smooth as possible. And to do this, It's very great to just happen
adjustment layer that will make the
transition happen or the effect happened in both
videos at the same time. And as you can see, we will
press the letter B here. You can see now we're getting
an effect which is not bad. But what I'm gonna do is if
you see check this frame. In this frame, it
changes too much. And that's because this video here on this frame, we are now. It has no effect on it. You can see that
there was no effects. And when we go one
frame forward, It's still have no effect, but it has the
layer on top of it. So it has this effect. Basically. It's like
if we apply it Optics Compensation to this video
in this particular frame. So basically, it's a
very extreme change. And what I'm gonna
do is basically add a keyframe to the
adjustment layer. I'm going to do is click
the Adjustment Layer plays a key frame here on field of
view. So I will just click. If I press the letter,
you want to go down here, go to Effects optic compensation
and the field of view. I'm just going to see that
here it is at 84 per cent. And what I'm gonna
do is basically drag a little bit the
adjustment layer to place the number of zeros here, so it will start from zero. You can see uses the filter
view and place it on zero. And as you can see as
we go forward in time, the field of view is increasing. 17, 33, and it keeps increasing
until it reaches 84. And it's not drastic
change much Mother, I will just make
an easy ease here. So I can these keyframes F9, and basically do the
same around here. I will just place keyframe here. So it will remain at 84 during the transition
from one clip to another. And then I will just make it disappear some frames
forward, typing zero. It doesn't make that change so fast from one frame to another. And so you can see now, I just care that it's a much smoother motion,
which is very nice. Let's see how it looks. You can see actually why
this happens here. I'm not sure if you noticed, but I will see that here. Happens a little bit too quick. But it's like the video
stills down twice. You can see it's zoomed
in. It goes down. It remains the scale. And then it starts
to scale down again, which is basically
an up-skilling done. But this is the effect
goes here by the scale. If you remember, we were
reducing the scale here. And here we are
basically applying V, the Optics Compensation,
reducing it. So it looked like you
just killing down twice and it really
doesn't look that great. I mean, you can like this, but I will just, I will go to this video
and basically make the scale go down much lower. They will make this
also lower pressure that will place it here. And this one, I will
bring it closer as well. Let's see how it looks
now. Check it out. Now it really looks right. But if you want to
make it better, this frame here,
it is still there. So you can see there
can be similar, but it's still a little
bit too much of a change. So it goes from one
clip to another, various alanine, just a frame. And you're seeing this mean
It's almost unnoticeable, but I would prefer if it
was a little bit smoother. What I'm gonna do is
basically take advantage of this clip that has some
extra length here. So we can just make it
go here towards the end. And what I'm gonna do is apply either one of
these two effects. Luma Key, if you
remember from before, it was a great effect to
make the video disappear. So it's like reducing
the opacity in a way or gradient wipe. So we're going to try first little murky
and see what we get. This will make it
smoother transition. So if I place a Luma
Key here in this video, make sure that it
has a video below, something below because
it will reveal all, let's say it will remove
a part of this video. And if there is
nothing here below, you will see that it looks
black, something like this. Let's see. It will increase now
this fiscal year it will start removing first this part, then this brown, and the green, and then the white because it starts from the darkest
part of the video. So you can see starts
producing this. And we are seeing the
video that's below. But if we don't have
anything below, it just shoved the background. So I'm just going to
place it wrong here. And as you can see, it
makes a great effect. I think that I will actually
leave it like this, but maybe on the opposite way, we can try it brighter and see what's the
effect that we get. I don't know which one
looks better actually. Should we remove firstly, the water or the
grass, we can try. So basically I will place a
different theorems feasible. And at the end, I will just bring it all
the way down to zero. And as you can see. Here are the videos.
Fine, everything. And then press the letter, you just going to remove
this lateral view. You will see that here the
three so data's to reduce. In this case, reducing regards. I have selected Qian writer, otherwise you have to
increase from zero. And you can see it
makes these effect. If we increase the feather
here will be very great. Thing that now it looks better. If I press Play. Now, you're
going to see that it kind of reveals it in a
much smoother way than just a complete switch
from one clip to another. And also, what I said before is basically
trying and other effects. So I will just remove
this for a moment. And this one is
called European wipe. So if you type dragon, you can see that here on
transition There's gradient y. And basically it's a
very similar effect. But sometimes it works
a little bit better. And I feel like this is one of the best transitions do
for starters and for beginners because it makes a
smooth transition and it's just basically increasing a different year from
transition completion. So at the point where you
want it to start your place, you take this stopwatch. And what do you want it to end? You increase it
to 100, 100 here. You will see that it makes basically a very similar
thing that Llama tea. But sometimes we'll do
a little bit better. I feel. And as you can see now,
if I maybe make it slowly, make it slower. Let's read the softness and you can see that
they've been inverted. Remember that can look better. I think that that
looks much better now, the last thing that
I'm going to do is add another effect, which is a blur effect. So I will just type here blur. I have quite a lot of
them but you have to, you will see this
one's probably. So basically I'm going to
choose radial blur here. As you can see. You can already previewed
the fact that it does. I'm just placing it on top
of the adjustment layer. So we'd have export both clips. And that's very important
to also make a keyframe. So it starts from
the amount of zero. Well, I will just place
zero around here. When the transition is
basically completed, I will type maybe six, I guess, and then I will just
make it go down to zero. So you can see we've just
created these three keyframes. Now if I press Space-bar, you will see that it
adds this blurry effect which makes sense in
a fast transition. Yeah, I think it looks
right now for the moment. We're just going to
leave it like this. And as you remember, I'm
going to press letter. You hear some out of the timeline and you can see now we almost have
everything done. But if you remember, what we were gonna do is make
this clip go backwards now. So it will go
something like this. It will start like this. This bar, metal bar
will cross the screen. At this point. The video, we'll go backwards like this. So this metal bar will go again on screen and we'll rebuild
another clip from below. I see that this will
look very great since the flip will
be very similar. So what I'm gonna do is
important the next clip, which is this one down there. If you remember, this clip
looks like it's already done so but it is not
horizontal actually, when I recorded when the phone maybe when you start
recording and horizontal, when you click the
record button, it basically remembers the
video as an horizontal line, but I just, I just switched the video
and record it in vertical. So that's not really
what matters. We can just rotate these videos. I will just import it here
on the project panel. And I will try to find also a great moment from the video. So here it is. I will just double-click it. I'm going to import this
part and see how it looks. I'll show you what I got. So basically, let me
rotate the clip first. So I'm just going to
press the letter r or click down here,
transform rotation. And you're going to see
that is the rotation. And you can see there
are two numbers here, the first one and
the second one. And that's basically the degrees that you are rotating it. So you're all know the complete rotation
will be 360 degrees. And here the numbering indicates the number of rotations or the
number of complete. Rotations that you've done. So after you reached 360, it will count one. And then after you reach
another one, time, 360 with it will come
to basically so you can see when you reach 368 cans, 0-1, basically count the number of terms this video has made. I'm just going to
press Control Z. It will just have to rotate
it 90 degrees in this case. So very easily donate
rotated on the other side, you can just do it. You can just rotate in -90 degrees or 180 or
whatever you need. And in this case, two videos
are still very big now, so I will just scale it down
50 per cent we could do. So we'll just type 15 disguised. As you can see, I chose
this part of the video. Let me show you now that it's
rotated and scaled down. Basically, I chose this part because there's a wave
here originating. I feel like there's
movement of water is great because you remember on the issue that we have a lot of movement
here on the water. So it's great to match with the movement of the water because
I'm previous frames. Maybe here you can see the
water is much more account. So I feel like in
this case it is great to series part and that's a
very easy transition to do. As we remember from before. We have to first start
cutting the mask away. But first we have of course, to reverse the speed
of the video and that's something that we haven't done, but
it's very simple. So to do this, I'm just
going to press the letter U. This case, we just have the keyframe of scale
apply to this video. So That's even better. And we're going to press simply time enable time remapping. Here we have, we
are not going to touch anything until here maybe. So it means that
from the beginning of the video to this keyframe
that we've added now, nothing will be changed
or modified in terms of the time of the video,
the speed of the video. Let's see if it's enough. Yeah, Actually, what I'm gonna do is increasingly orbited the speed of the video
at the beginning. So I'm going to add
a keyframe here on the beginning of the video. I'm going to move some frames forward, somewhere around here. And I'm going to move
these two closer. Actually, this tree, make sure that you're
not the one from below. Now we'll move these
trees in this way. Nothing from here
will be affected. If I were to move these two, these two keyframes further
apart now than they are now. So basically, it will modify how the time or the speed of the
video is reproduced here. So I just have to
move all of them. And I will see that now in the beginning it
looks a little bit quicker. Yeah, I like it this way. And in this case, what
I'm gonna do now is, sorry, just double-click
this layer. What I'm gonna do
now is very simple. We've done it before
when we had to reverse the speed of the
wave with the horses. And that's basically telling
After Effects that we want the clip or the video to go from this frame that
it is showing now, frame that it was
showing before. So basically we're just still are copied
basically this keyframe, or in this case, the one that's further away since the bar is not even
showing here on screen. And I'm going to place
it. Let's try to place it around a distance that is the same from these two keyframes. So something here. So I will just select this
clip control copy and paste the trim that we just select it. And you will see
the letter N here. And check how great it looks. Really like the
effect that it makes. As you can see on the end, it starts going
backwards again because this keyframe is
not supposed to be there in the real video. So whenever we pass
this keyframe, it tries to go backwards
again to discrete time. And then it goes again
to the end of the video. Okay, so it's a little
bit weird to understand, but from here, it basically
goes to the end of the video. So it has to, in a way, go back to this keyframe and then go back to the
end of the video. Because in time or in the video, in the actual real video, this keyframe is after this one. Maybe you understand because This one is the
same as this one. And basically it's like we've placed the second
one of the video, here, the second
five of the video. And here the second one again. If the video is 10 s inland, then it goes from the
second one, the second ten. But of course, from to go 1-10, you have to cross
the five first. So if I increase
this for you to see, you will see how it
makes a weird movement. Like a one of these videos
that goes back and forth. But we don't want this effect. So I will just end the
video around here. So Control Shift
V will remove it. Let me hide this
one for the moment. And we will use this part
to make the transition. They seemed that it happens
a little bit too slow. So I will just bring
this one closer. Making sure not to
move the video. Let's see how it looks. It takes a while to to load. Yeah, think that
this is much better. And you will see that we all just embrace it.
Two or three frames. Let me zoom in or red? Red has very nice.
Basically, what we're going to do
now is the mass transition as we did before. So let's try to find the
frame where it should start. In this case, is the framework. It starts to reveal
something from below. So not here, not here, not here, just in this frame. So in this case is a different
kind of mask transition because we're going from
the bottom to the top. So basically, what I'm gonna do is go to this video
and as you know, select the Pen tool and try to place a shape
here that matches this this part of the video that we don't
want to see anymore. So something like this. Let's go to the mask. Here. Like non. We're going to move this
point a little bit. And that's it. Make sure to open
the mask settings. Enabled this mask path
in the frame below. We don't want the
mask to be here, so I'll just move it
out of the screen. Whatever you want,
doesn't matter. I'll just place it here
below. Next flame. He's the one that
we have just done. Next one, we still
have to do this. So basically, it's very simple to just move
these two points up. So basically, I'm going
to select the mask bar, click this one, shift,
and click this one. And I'm going to move them. Words, something like this. It's not super precise, but I see that even this part is a little bit faded
out in the video. It's not in focus. So we go down here. You can see that we would see
a little bit of the video, but we don't want to see, so I'll just take a little
bit of extra room here. Very easy. The same here. With these two points selected. I'm just going to drag
them up one more time. And that's the
easiest transition. But we are doing we will need to add an
increase the feather, definitely because it matches the failure of the shape
that's crossing the screen. Almost. The last frame. Yeah, that's it. Here. The transition ends. As you can see, if we
put substract here. So it subtracts, it deletes the part of the video
that's inside the mask. You can see it starts
removing the mask, which looks very great. And in this case, I'll just add further because you
can see that that was already straight shape
here that we don't want basically mask
further increase it. And if you'll remember why, we previously said
that mask feather usually means that we will
need to expand the mask. So you can see here that's a little bit of the water and we
don't want to see it, so we just expand the mask. Something like this,
foreign to me. And if we basically show
the video from below, the crest you to hide
all the keyframes. Let's just find pressing
you to this clip. The first keyframe that
reveals something from below. So this one here. Let's go down and place
this clip off the water. Make sure that it's not hidden. And you will see now that
if we press Spacebar, check, check it out. So I read your books. I'm really liking this
one. Very easy one. But in this case, I think
that actually I'm going to increase the feather
a little bit more. But see how great
8. Polishing: Adding Shadows + Extra Details: Let's go check it out. Super smooth, super
clean, very professional. You know, the only
thing that I think that I'm going to change
this, this clip now. This one. I think it's happened
to all be too slow concerning how quick this
part of the video is, and maybe this one as
well, just these two. Maybe that's what, uh,
what I'm gonna do. But at the end of all, because after making
sure that I like, that we like everything
of the video. What I'm going to
do is basically a select all of them like this. Right-click and create a
precomposition with all of them. So we will see this exact same video
where we will be able to add time remapping or a general effect to all of
the clips at the same time. So that's what I'm gonna do. But at the end of all, because I'm very happy
with the result that the only major things that
I would like to change. What I'd like to do now is a quick detail
here on this clip. So the one where
the blackbird with this guy burst the second time. So here is the first time. No, we make it without the background.
Here on into periods. Again. Here I will add
an effect that I like. It will make it look
a little bit more entertaining and different
from the previous one. And that's not necessarily, but if you want, you can add it. So defect is called a cone. You can see here on time,
we'll place it here. You will see that it's a very weird effect in the beginning. But what I'm gonna do most
of the work area here. Now, what this effect does is basically it places the
same video on top of it, but with a little
bit of an offset. So basically, if you
increase the echo time, which basically you
can't understand it at the Eco that you
can hear the voice. In this case, it's the
same with, with video. So if we just move these, these echo time
here, in this case, for instance, I
just turn it down. Check that we are seeing
the beginning of the video. So we're seeing this
clip of the bird, this clip off the
bird 4 s earlier. So we are placing basically the same clip 4
s earlier on top of it. As you can see, if
we press Space. So now it's not moving because
it's a pre-composition. And 4 s earlier, there's no birth year and see, well, there is actually the
bird but it's not moving. If we were to just
look at this clip, for instance, let me hide this. You will see that the
word is not moving. And that's 4 s earlier. So basically that's why It's
not showing any moment. But in any case, 4 s, it's too high and I will
actually move it maybe -0.4. But you can see that
it looks too bright. So what I'm gonna
do is change this. And instead of adding the
colors on top of each other, I will just type minimum. So it will just show the bird, as you can see it
kind of duplicate it. And what I'm gonna
do as well is try to adjust some of
the parameters. If you increase the
number of echoes, you will see that in this case, we would see two birds more
instead of just one more. So just try. So what is that doing? You can try changing the decay, which will make it look a
bit smoother in this case. So I will just select the
decay. Basic keyframe. Here, decay. And on the end, I will bring it to zero. So it's basically
decreasing the opacity. Yeah, much better now, you can see that just a
cool effect to other known, maybe you don't like it but feel like it adds a cool effect, different unexpected
effect of the video. So that's the first one. And what I'm gonna
do as well is, as we said before, if you remember, is
add some shadow here. Because it would look right to me that this part
was a little bit darker, the one that's
closer to the tree. Maybe that's also something that maybe you don't find necessary, but that's what I'm going to do. So just try to find the part where we
have to start the shadow. In this case, there are
two ways of doing this. The way that I like
the most is basically duplicating this layer to
duplicate. Just press. Control D. And basically I will press Control Shift
P and remove all of this part. We don't need it. I'm going to move this
upper one and then we'll change the name to, let's say same name. But I will write shadow here. To know that it is a shadow. You wouldn't see nothing
has changed now. But what I'm gonna do
is press the letter P. I'm going to
move the position a little bit. Something like this. You can see that we've
duplicated here the video. And to add the shadow,
what I like to do is basically add a black solid. So I'm just going to
select this clip is going to right-click New Solid. And in this case, we want
to select a black solid. Which black is a great
color for the shadow. Something like this.
And you will see a new solid appears. I will just delete
all that before, and I will just have it here until the tree
disappears a little bit. Some flames, one or
two after as well. But in this case
you can see that the black side
discovering all of this can we would
only like to have it here just very
close to the tree. And if you think about it, we can just really
just do a mask, just a very quick mask. We don't really have to cut this part of the
tree as we did before. We just, we would just need like two or three points
to make this curve and it will be very quick, not even in every firm broadly. But the important thing
is that we need it to be below the tree. Because otherwise
if it's on top, it would make the shadow
on top of the tree and we just want it this
whole three under the tree. But let's just do
something clever, which is opening this
mask that we've created, the tree, which
is this one here. I'm just going to make
this a little bit bigger. I'm just going to make it. So when I copy all the
keyframes from the mask, well-being, the first one, I'm just going to
press Control V, making sure that that is
the solid here already. I'm going to press control V. And you will see that
we've just copied the mask and check that now something's happening. But in this case,
it's still to add. So I'm just going to press
Subtract and you will see that we just have a
very tiny bit of shadow. But that's not
actually what we want. So basically what I'm gonna do is now that we have the same mask from
the trees, make it bigger. And in this case, by
decreasing the mask expansion. If you remember that dread
mask that we've created, which is this one
here, you select it. Now I'm not seeing
it because I have to turn on this option
to see the mask. Basically, this is
the shape of the mask that we've created.
Here on the clip below. The mask is exactly the
same, it just identical. And basically what we've
just done is copy this red mask that was taking off
this part of the clip. We've just placed it the
exact same on a black solid. So if we had this clip and
we hide this one as well, that's a black solid. I'm just going to change the
color for you to see better. So I will just select it
and press Control Shift Y. And we can change
the color of it. Now you will see it better
on what's happening. So basically, if this is a red solid with this mask that
we've created before. If we reduce the
expansion to zero, we are removing this
part the same way that we were removing this part
from the clip off the trees. But in this case, when we
reduce the mask expansion, you will see that we will add this area is part of the video. Go inside the mask. Unlike when we increase it, we make the mass bigger. So basically when we reduce it, we have this clip from below. Above. We have just like
two masks acting. And when we turn on this clip, you will see that we just created like a
copy of this mask. And it's basically
like a shadow. But in this case it
looks red because the color of it, of
this solid is rather, I'm going to change
it Control Shift Y, and I want to make it black, but of course this looks
nothing like a shadow at all. So what I'm gonna do is increase
the feather quite a lot. So increasing the feather. This a little bit
more like a shadow. And I'm going to simply decrease the opacity
of all of it. And as you can see now, when we hide or unhide district, you can see that it
creates a better effect or a shadow on V. And you can
actually switch these mode. And you're going
to treat this mode by selecting the
solid here to mode. And if you don't see them all, you have to click
this button here. You may see this or this. So just make sure that
you click this switch and go to mode and you can try to find the
one that looks better. In this case, usually for shadows multiply works the best. But in this case we won't really see much of a difference. But I will just
leave it like this. And if we press Spacebar, a clean shadow, and I'm
going to do the exact same. Here. You can see we're just gonna do
the same but easily. The mask is on this clip. I'm going to click on here, go to Layer and
click New, Solid. Solid. Make it the length of the mask.
And a little bit more. I'm going to copy
the mass keyframes. Press Control B here
with this one selected. And it looks
different now because scaling that clip, right? Yeah, I will just copy the
same scale then, which is 203. So just going to go to the
scale of these and copy it. Then you will see,
now it looks better, but still the physician
has to be the same two because the mask
is applied to this video. Considering that
previously, we had scaled the video up and
moved it with the position. So the one that we copy it has to be
in the same condition. So I'm going to copy
the same position or to speak here. Copy it. You will see that now
it looks identical. And if you remember what
we've done, go into the mask. Make sure that we subtract
the mask expansion. Increase the feather.
Something like this. Maybe a little bit capacity, reducing its policy to
the mode to multiply. And as you can see now, while we move forward,
we're creating this shadow. Check it out. That
wasn't here before. And if we increase it to check that there's
a great difference, it looks much better. Control S. And that's the two main details that I
wanted to add to this video. As I said before. Let's just try to pre-compose all of this. So make sure to save,
select all of it. Pre-compose. Let's
type final video. Make sure that these
two options are okay. Okay, and that's the
video that we have. It's everything the same. Of course nothing
has changed whenever you read a pre-composition, nothing changes. Here we go. As I said, I wanted
to make this part a little bit quicker.
And the grid thing. So maybe starting here, I will just open time, enable time remapping,
but this is up to you. So I will put a keyframe here. I will make this part of
the video go quicker. So maybe something like this. So you can see it
happens quicker, but let me just press
Control Z and Y. I want the thing is that I like
a little bit slow movement, so I will just leave it for
a little bit more time. And now during this
part that we don't see anything and the
transition is happening. Now I will increase the speed. So something like this. Yeah, much better. And also, let's see. This is important
not to change it, the speed of it, because if
we increase the speed here, we will be able to
notice it very easily because the bird will start to move its wings much preferred and that's very
easy to see on camera. So it's not always possible to increase the
speed of the clips. It looks fine to me now. Yeah. Now, remember that the
video ends here on the end. So basically I will just crop this part, Control Shift D. And that's our video. One more time for all of you. Let me zoom in a little bit. Remember that it's
one-quarter here. You are seeing the quality
four times reduced. Remember that that's
without any music, without any sound effect. So imagine how red
steal it can look. Adding these sorts of details
like sound effects and music makes a huge difference. But it's very important to
know how to export the video. So I'm going to
press Control S and make sure that you know
where you've saved the video is very important to know this minus initial
patient, I know what it is. And remember that you need
to know which title of the video of the
document, sorry. And you need to know
the name of the file. And also very important the name of decomposition
that you want to export. And in this case, we want to
export the transition video, which is all that's inside here. But in this case also exporting this composition final
video would be the same. But if we were inside here and we imagine that we didn't do the precomposition of
all of these clips. In this case, we would really need to export the
transition video, which was its previous name. Because when we go to export, we will see that all of
those videos will be there. We wouldn't know
which one to choose. So the one that we
need to choose is the one that contains
all of these, which is the now,
which is the name that here always on
top. So that's it. I'm going to just close After Effects and open very quickly. The Adobe Media Encoder, which is the program that Adobe uses to export
and render the videos. So right now it's just very
quickly in the next video, I'm gonna show you
how to use the adopt new Media Encoder to export
it and render the video. So make sure to stay.
9. Rendering: Exporting procedure and settings: Hey again, but a quick tutorial on how to export your project. Here we have Adobe
Media Encoder open. And what do we want to
do basically as dragged our After Effects file here. So this is all in Spanish, but it's the same here where it says cubed,
just drop the file. In my case, here's the
file of After Effects and I've been using
for the tutorial. So I will just dry it
and place it here. You will see that it
takes a while sometimes. Now we have this screen. And if you remember, here, we can see all the
compositions that we have been creating
during the video. And if you SEO, which was the name of the general composition
that we've created, it was this one. So I'm just going to select it, click and just press the SEP. And you will see
that we have our video here. In this case, we
could just press this green arrow to
start the rendering. But let's just change
a few settings here. This one is the type of file
that we're going to export. I really like H, which
is the typical MP4 file. This works really well and the quality is also
very nicely preserved. But I'm not really
sure if the iOS or the Mac are really able to
display this video format. I'm not sure if they are not. I think that there's
quick time over there, which is the one that they use. I feel. And if you click
here on top though, you will see that it opens
a new tab and see them. Now, here's the video
that we've created. Make sure that this area covers the entire part of the
video that we've created. In this case, I
would be the lasted only 14 s. Which makes sense because if you remember at the beginning of
the entire class, we just created a composition that lasted 20 s,
but in the end, it ended up just last thing, 14 s. So it automatically selects the last
part of the video. So you just in case, make sure that you
have it right selected because maybe sometimes it just exports the point
where you've had your work area or
the full video. Just in this case, it's nice. You can see if we go
back here in the end. The last clip that we've
used then after this, we'll just go black. And there's not much
that you need to change apart from
this setting here. So use the highest quality. Going here on video. Go down and just select
this option here. I will write the name in
English here on screen. So if you have it in English, you will see, so basically
these two options. Here. You can choose the, the path where it will be saved. Here you can just export the audio if you
have already on it. In this case, the video,
the time exporting. Now he doesn't have any audio, so it doesn't really
matter if I click this. I don't want to
just leave it on, but it really doesn't matter. But because usually we will
export the videos with audio. So just for you to know. But if you want to
take the audio off, you can just take this off. Of course we want to export
the video and important, we can just go here to video. Here, the frame rate, the speed. We can just increase
it a little bit, because now it's on ten and check that the file
size is quite small. And it's quite small
because the video is actually being compressed a
lot with these two options. So the higher it is the
battery it will load, the less compressed it will be. And you have to try
to find a balance. So in this case, it
would look like it was compressed like
four times or so. So I'm just going
to press lighter T, but you will see how the
size increases though. That it went from 17, 51, 51 is a pretty acceptable size, but higher videos, it
can increase light from 200 members to 2 gb and maybe that's something
that you don't want. So I'm just going to press here. And now we are ready to export. Make sure you like the path of the video where it's
going to be exported. And when you're ready,
just click here. In this case, it goes
quite quickly because it's a video with
not many effects, but if we add some effects like color grading or adding
noise to the video or blur, these effects are very hard to render and they
take a lot of time. I've rendered videos that
took me like an hour or so. So in this case, we
are lucky enough to get a very quick export. You shouldn't get any mistakes. If you select the
right composition. You will see the video. That's completely
great. At the end. You can see the previous here. And when the video is done,
you will see that here. It will show this as completed. And you will see it in the past. What you've chosen the
RIA to be exported. You will see all the videos
that and you will be able to watch it and
share it as you want. And also this part
here, India, Kyoto. Make sure that you
choose this first byte. We put a GPU because it
usually much faster random. So make sure that
you have it done. I already have it selected. And now we can just keep going.
Auripher ∞, Creator
