Transcripts
1. Introduction: Hi, I'm Jake. And in this
class we are going to create this popular social media effect inspired by just Chris
VFX artists from Tiktok. By the way, this class was requested by one of
my students and she also agreed to provide a video of herself for
us to practice on. So keep in mind that you can
always request any after effects classes in the
discussion section under any of my classes. The best part of this class is that you don't need to have any experience in VFX or filming or even using
any editing apps. I'll provide you all needed knowledge on how to
film your own video. Or you can download raw
footage from the resource up to this class so you could
start practicing right now. I'll teach you all needed
skills to complete this effect. You can download the
pre trial version of Adobe After Effects if you
don't have the software yet, and we will start right away. I think it's the
best way to learn the software while creating
interesting effects for fun. And to complete this class, our goal is to create this
school visual effects shot. I'll be happy to see
you in my class as also your result after
following all the steps. So let's get started.
2. How to Film Your Video: I'm working in Adobe
After Effects 2021, but you can pretty much use any version of Adobe After
Effects for this effect. It will work fine. I'm going to click here on
Standard Layout. My panels should be
similar to yours. If for some reason you
cannot see some of the panels which you
can see on my screen, you can find them
here in window panel. Go to window for example. Character character. Basically, you can enable
any panel from here. First of all, we need
to import our footage. You can go to file, Import file or just left most double click
here in project panel. This video will be available in resource step to this class, so you can just
download it and use it. I'm going to select
it and click Import. First of all, let me guide you through how
you need to shoot your video if you want to film
yourself for this effect. Basically we need
just one frame or even more where you have
only your background. Because here in parts where we are going to
cut off our head, we need to see the
background itself. It would be much easier to have just one frame
of your background. Then you appear on the screen. You just walk into
the frame and make your performance what
you need to keep in mind that your clothes
should cover your neck. As you can see here, she's having this color
which is covering her neck because in parts where we are going to
cut off our head, it would be better to
have this color a neck. Make sure to wear something
which will cover your neck. Second thing which
you need to remember, that for this effect is great
if you have a long hair. Because as you can see, she's pretending like she
is holding her head. Basically you just need to pull out your hair or
maybe you want to use scarf or anything
to pretend like you pick up your head in
the air just like this. This video is great
example how you need to shoot your own video
to make this effect. You basically need to perform your action and make
sure that your head and arm is holding still because it would be
much easier to track it. And just to reposition
the head above your neck, once again, you need to have a background, clean background. You need to wear something
with taller color. It's better if you
have long hair because you can just pull out. And then we are going to cut out our head and just
move it a bit above. This is why she's pulling
her hair a lot further. Here will be a place
where we can pull out our hair even higher
for the first time. I recommend you to try this effect on this
provided footage. You would know how
this effect is made. After this, it would be
much easier to understand these key features of filming your footage which will help
you to get the best result. Okay, in the next video, we are going to tasca
our head and move it a bit up and remove
a bit of background. See you in the next video.
3. Rotoscoping: Now we can just left most click hold and drop it on
new composition. Or here on time line or even
on this little icon here. I'm going to drop
it on time line. It will create a new
composition with exact same dimensions
and frame rate. Now we need to find the moment where we need
to cut out our head, in our case is just before here. Because from this moment we are going to pull out our head in the air about here on 4
seconds and six frames. I just want to
duplicate this footage. Just select it and press
control to duplicate it. Let's cut it to this moment by clicking on this edge Hold, and drag it to this moment. If you hold shift, it will
snap our time courser. If you know how to
rotoscope your head, you can just simply do it by yourself and skip
to the next video. If you want to know
how I've done it, then you just need to let
double click on this layer, zoom in and make sure that your resolution here in
composition panel is full. It's better for rotoscoping. Then just let double
click on this layer, select this rata brush tool. I'd like to start from here, somewhere in the middle when
I can see my performance and started raters
wheel on the mouse, you can zoom, zoom out into our frame and then we can just left slick and hold to draw this mask and to
show to the software. What we want to keep in
our case is just a face. If you want to
remove some parts, as you can see we
have this poster which we need to remove. You need to hold old
key on keyboard. As you can see, I'm holding
old then left slick, and it will draw with red brush. With this brush, we can remove some parts which we don't want. Basically, we need to maintain the shaped head just like this and without
this pointy tail. By holding old, you can add some parts of the image
with this green courser. By holding old, you can remove some parts
which you don't want. Then you can just press control and write mostly
to skip to the next frame. Or you can just click here to jump to the next
frame and make sure that your
mask is staying on your face. It looks good. I'm going to just keep
these fall frames and just make sure that it stays on your head
as you can see, without extra movement in her face and she's
not moving her head, it makes a lot easier
to write Ascap. You can keep this in mind while
filming your own footage. After finishing going
to this direction, you can just go
back to this frame, because here we've
started and go back to previous frames. Also make sure that it still
has this mask on our head. As you can see here
towards the beginning, we need to cut out some parts which we don't want to have, just like this sack a bit. Once we are happy with this
result, we can check it. As you can see here we are
lasting our ear a bit. Let's make sure to add it in like this and go back
to previous frames. And then to save this progress, we need to click here
on this freeze button. Because only by clicking this freeze button it will
save all the progress. Even if you are going
to go to pile safe, it will not save the progress
until you'll freeze. Your rotoscoping, freezing
progress is complete. Now we can just save our
project wherever we want. Just go to file Save S and
Save on your computer. Now we can go back to our composition and click
on this selection tool. And let's see our progress
on our toscaping's better to click here on this
solo mode to see the result. As you can see, we have
here a part of our neck. This is what we can
tweak with a bunch of settings here in a brush
refine edge effect. We can also click here on this toggle transparency if we want to see our hair as well. Let quick some settings
to refine our edges. The first one which I'd like to change is this shift edge. It will cut in a
bit in our head, which can remove
some Unwat parts. If you have some not clear
rotoscoping on the edges. With this shift
edge, you can just add or remove some parts
which we don't want. Also, we can add
a bit of feather. For example, if I'm
going to say to 15, it will feather the
edge even more. For our case, I think something like seven will work fine. I'm going to go out
from this mode because I just want to see this
little issue right here. Also, if you are decapping something which moves
a lot in your shot, it's better to use
this, use motion blur. In our case, we've tried
to keep our head still, this is not that
useful in our case. Make sure to experiment if
this chair box helps you, but for now I'm not
going to use it. Instead, we can add met choker effect here,
effects and presets. If you can see this panel, you can go to Window and enable it from here.
Effects and presets. Type here, met choker. We can just let slick
and add to our footage. This gives us a
bit more settings to refine edges even more. For example, we can add a bit of softness and as you can see, it cuts in even more
into our footage. But also we are getting rid of these imperfections on your face if you need to cut in even more. For example here
I can set to 22, but in this choke on E value, I can reduce it to 30. Basically, we are canceling
out this first effect. But with this effect,
as you can see, we are cutting out these
unwary parts and our met. It is a lot softer on
the edges, for example. It's better to see here where we have a bit of our neck
with this effect. By adding more of
geometric softness, we can just remove these parts. I'm going to leave as 22, but you can remove
it even more like 230 with this cancel
out this effect. Basically even with the
-15.30 it looks even better. Then you can check this
result by scrolling through. This looks good this moment. We can just slow this layer and see what
we have at this point. As you can guess, we
just need to move our head into this place, which is exactly what
we are going to do. Let's press this layer and press P to see our
position about here. Let's create a key frame on
4 seconds and 12 frames. Because from this moment we will start this motion
like we are pulling our head up about here
at 4 seconds and 30. We can just move our
head way up like this. Even exaggerate a bit, Maybe using arrow
keys on keyboard, you can move left or right
up and down as you like. It's not have to be
perfect line up, you can just move it
wherever you want. It's better to overshoot a bit if you want to have
your head about here. As a final result, you just need to go even
higher like this. Then a few seconds later, a fift second and
maybe a 16 frame, we can move it exactly in the place where we want to
have our head, for example. Like this. Basically
you want to have this motion where it
goes up and a bit down. This gives a bit
better illusion. It has some weight to
it as you can see, because if I'm going to remove this key frame and we will
look at only this motion, it doesn't really feel like our head has
some weight to it, it just feels like some picture
which we just moved up. So I'm going to press control Z to get back the key frame, and finally we can
just select all of these keyframes
and press F nine. Basically makes our
animation go slower at the beginning then here a bit faster and slower to the
end if you are confused. What key frames? Basically
keyframes are points in time which remembers the
value of certain property. For example, this keyframe
remembers this value of this property position by clicking on the stoppage
next to the property. We are creating our
first key frame, it remembers this value. Then we moved here, created another keyframe,
and changed the value. Basically, between these values, these values changes
because it remembers this position and then
goes to this position. If you're beginning, it's a
bit confusing with the time. It will get more comfortable. Next thing we can do, we can go to Graph Editor. Here we can manipulate
the speed of this transition between
displacement and displacement. Basically, if I'm
going to click on this handle and **** to
the left a bit like this. That this movement
will start fast. As you can see by this spike, this is basically the speed. It will start fast and then
slower to this moment, which is exactly what we
want because as you can see, it's exact timing of her
hand moving up here. We just want to have the
exact same movement where it goes down faster and slower
till the end like this. If I'm going to click
here on this work area and drag it to the right
and press zero amped, We can preview what we got. If you don't want
to hear the sound, you can just disable it here just by clicking
on these icons. Let's press zero numpad. This moment it start looks good, but here at the end, it a bit looks weird. To fix this, you can just go
out from this graph editor. And if I'm going to zoom in, you can see that this path
has some weird movement. To get rid of this
weird movement, you can just press
on keyboard to see these key frames
of the position. Select all of them just
like this and left most click on one of them and go
to keyframe interpolation. Here we need to
change this out of Zia of the path to linear, which allows us to control
more our animation. Make sure to set here to linear. And click a key in this way it will do
exactly what we want. It will go up and down
without any extra movement. Let's press zero upped
to see how it looks. Now as you can see, it
looks a lot more natural, which is exactly what we want. It goes up and down. It has some weight to it. This is how you can add a
bit more natural movement. You can also scroll here
and move it to some side to left a bit or down to
add extra movement. It will not be so stable. This also will add some
life to your motion. Let's press on app
to see how it looks. You can see it
looks a bit better. Next video, I'm going to
show you how you can remove this part so we would
not see original face. We will see the wall behind just like in
our original example. See in the next video.
4. Animation of the Head: Okay, we have
already this motion. And now let's remove
this part of the image. For this, we want to
rename our footage. This one we will call it Head. To rename it, you
just select it and press Enter on keyboard
and just call it Head. Then we want to duplicate this layer below which
is our original footage. Let's press control
D to duplicate it. As you remember,
first frame was where we have this clean background
to have it as entire video. We just need to set this
time course of the beginning then right on it and go
to time freeze frame. Now as you can see, we have this frame froze
for the entire of our video is perfect
for us because we are going to add this part of the video to see
the wall behind. Let's call it wall. Also, select it and press Enter on keyboard
and call it Wall. While you've selected
this wall layer, you can select this pen tool and make sure that you've
selected this wall layer. Because with this pen tool, once we are going
to create the mask, it will create on the layer
which you've selected. It's important that you've selected the wall layer
and not the others. Select this wall layer,
select pen tool. Let's create a mask to remove
some parts of our video. The mask should go
something like this. We can remove a bit
of color as well, like this and maybe a bit
here of the wall as well. We can always tweak
this mask later. For our example, this
should work fine. Now we can just basically
enable this wall layer. As you can see, we've
added our wall. Next thing which we want to
do is to add some feathering. Because if I'm going to
disilicate all of the layers, you can see that here, we can clearly see this mask. We need to add
some tweaks to it. First of all, we have
this really cool tool. If you're going to let slick here and drag it a bit down
to this mask feather tool, you can basically click on
this mask and add some points. For example, here I don't
want to add any feather, but here on this mask you
just need to left most click, hold and drag to the left. Here as you can see we already
adding some feathering. We can also do the same
here. Control it better. And maybe here from the bottom, select one of them and
just click Delete. If you don't want to have
some of the points and just control where you
want to feather your edge. Then you can also
click here and create another point and drag it to
original mask in this case. You can see here we
have feathering here, we don't have it at all. Basically, with this tool, you can control
where you want to add a bit of feather just
like this for example. Here we want to have a lot
here. Just a tiny bit. If I'm going to deselect it, you can see that our mask
already looks a lot better. Zoom in and make sure
with this election tool, the chair mask covering all parts of the image which
you don't want to see. Something like this
should work fine. And we can scroll through
and see how it looks. As you can guess, we
want to cut this layer to this moment where we
are pulling our head out. Make sure to be on the exact
beginning of this layer. It's pretty easy to
do just hold shift and left most click and
drag this playhead. It will snap to
beginning of this layer, then do the same with this, just hold this edge, hold shift and it will
snap here also. Now as you can see,
it will appear here where we are going
to pull our head out. Next thing we should
want to do is to add some opacity changes. Select this wall press about here on four
second and 70 frames, just here where we are
pulling our head out. We can leave this opacity at 100% and create a key frame
here at the beginning. We can set it to zero. Basically, it will
fade in like this. We can also select this last
keyframe and press nine. It will fade in slower
and more gently. This already looks pretty
good as you can imagine. We want to have here color
back as well as we don't want to have this transition where we can see
some light here. Let's focus on this light, which we don't want to have on the wall because it
doesn't look natural. As you can see,
this light appears and it doesn't fit
good into our seam. Basically, it happens
because our girl is casting shadow here. At the beginning, we
didn't have any shadows, but this is pretty easy to fix. You can just select
our head layer, just hide these effects. Just close it here. Let's just basically add some
drop shadow effects. Just drag this drop shadow
effect onto our head layer. First of all, we need to
change this distance. As you can see, we already
drop in the shadow. And by change in this direction, we can just select where we
want to drop our shadow. I'm going to set this
distance to maybe 84. As in my original example, softness we can increase to 250. But basically you can play around with the
softness value to see how much you want
to blow your shadow. If you want to
introduce some shadow into your shot and just make sure that this angle looks
right on your footage. In my case, something like 224 works great because I want to drop some shadow to the left. We would have some general
shadow from our head. I want to lower this
capacity to maybe 27. It would look a lot more natural as you can
see before and after. It basically should match this shadow here. It
looks pretty good. And now we can just duplicate
this drop shadow effect, change this direction
to other places to cover this light, which
we don't want to have. Something like 129
should work fine. We can increase this distance, maybe to leak 173 because I just want
to cover this light, which we don't want
to have basically. You can just play around with this value to cover this light. This looks a lot
better, basically. Now we just need to animate
our opacity values. Just before we are going
to pull our head up here, we want to remove our shadow, because at this point have a lot of shadow which we
don't want to introduce. As you can see, it appears
we don't want to see it here about at 4 seconds
and 30 frames here. We want to have it. Let's create a frames for our opacity here. At the beginning, we
just want to fade out. Let's say this opacity to zero and this opacity
to zero as well. As you can see now, it blends better with our
original footage. Then it will just starting
to appear ambling in with our background before and after we are covering the slight which we
don't want to see. We can always go
to wall mask and make sure that we don't have
too much of this light. Just tweak this mask to also cover this in light which
we don't want to see. With the combination of
these two techniques, you can just make sure
that it looks good. Let's press zero on Apple
to see how it looks. As you can see, it
looks a lot better. And now we can even have
this dynamic shadow, which represents our head and looks a lot more believable. The next video, I'm going
to show you how you can add back this color is also this feel like we don't have any E in it, see
in the next video.
5. Adding Collar: We successfully
removed our head. Now we need to add
back our color. For this, we are going to use
our raw footage once again. You can just select it and press control D to duplicate
it. Drag it on top. Let's see the moment
where we can see clearly our color
without any problem. In this moment in
time, we clearly can see our color which
is perfect for us. And we can just write more slick in it and go to
time free spraying. Let's call it maybe
neck. Just select it. Press Enter on the
keyboard and call it neck. Make sure to select
this layer and select this spent tool
left most lick and hold. To be able to choose this
pen tool, then zoom in. Simply we need to cut out
our color just like this. Just by creating new
points left most lick and hold to create these
curved points, we can simply create this
mask to cut out our color. You can zoom in
even more to make sure that we cut out
our color properly. Then go to the selection tool. At this point, it's
really important to press P and save this position. Because later you can
see that our body can move a bit and we will need to match move with our body a bit. It will be a manual process. Let's cut this neck to this
moment where we cut it out. From my experience, it was a lot easier
to match move with my body just by scaling
up this color a bit. Basically, I want to
select this layer, I'll shift and press it allows us to see scale as well
and create a key frame. Few frames later, we can
change the scale a bit. Let's set it to 105. As you can see,
it's already a lot easier to cover our neck by selecting this neck layer and pressing left or right
on our keyboard. Our job is to cover
our original neck, because as you can see,
we have some parts of it. Just make sure to cover
it as much as you can. You can also click
here to remove the mask to see
what is going on. It's much easier
now to track it. Then you can hold control and click on right
arrow on your keyboard. Skip to the next frame and make sure that your color
stays in place. Or you can just click here
to jump to the next frame. And also make sure that
your color stays in place. It's better to skip
you frames because in this way this movement
will be a lot better than if you
are going to track it each frame it will
remove this jiggle. As you can see,
it jiggles a lot. If you are adding key
frames each frame, it's better to ski in this way. As you can see, it moves
a lot smoother than here. I can zoom in with
this tool here. Remove these inner frames
to remove any jiggle, and now we can get this really
smooth position animation. Also, in these
moments where we can see a bit of our footage, it's better to press on keyboard and add a bit
of feather to our mask. In my case, I'm going
to set to five. It will blurt it out
and blend better with our original footage if we need. We can also change this expansion if you
want to cut in a bit in our footage or just
play around with this feather to see what
looks right on your footage. Once again, you can
press P to position, hold shift and see our scale as you can see it
morphs into our footage, which is exactly what we want
and moves pretty good here. And just keep you
frames and manually track your footage.
Just like this. Up till the end of the video, you can spend a bit more time to make sure that you're
tracking looking good. I'm going to press zero
app to see how it looks. Now you know how you
can track your piece of clothing on top
of our footage. You can see it moves here and we don't want to
have this movement. You can always tweak it a bit and make sure it looks fine. Okay, this looks pretty good. Now as you can guess, we want to add this inner
part of our color. Luckily, it's pretty easy to do. You can just select this neck and press
control D to duplicate it. At this time we
just want to press and hold shift and press
two position and scale. And just remove these keyframes by clicking on
these stopwatches. Basically, we can
link this layer to this first layer which we got by clicking on this
parent pick tool. This layer which we
just duplicated to our original neck
layer, just like this. Basically it means
that it will follow this position and scale
of this original footage. It's good for us
because we want to change the position of this
neck, for example. Like this. You can see that it still maintains the same animation which we got on
this original neck. Why exactly we did
this is because we want to have this
inner part of our neck. It's pretty easy to do. You can just move
it up like this. Then we can choose
this puppet tool and create some
points to our neck, just four points here. We'll do the trick. You can also add two points here
and move it inside. Just like this, we want
to drag it a bit on top. And also let's set the neck layer below
this original layer. As you can see, we are creating this inner
part of our neck. Make sure to select
this select tool, go to puppet tool and just
zoom and make this line, which represents our
inner part of our neck. As you can guess, we don't
want to see these tips. Select our neck and rename
it to inner part neck. By clicking on this tuggle mask, we can see our mask shape. We want to select these points of the mask and press the let. Then make sure to choose
this puppet tool effect and make sure to cover the
inner parts of our color. With the combination
of this puppet tool effect and mask points, we can create a pretty
believable inner part of our inner color. Next step which we
want to take is to add here and effects
in precess, tap curse, drop it on inner
part, neck layer and we can just simply drag it
down here in RGB course, make it a lot darker. Let's also add a tint effect. This effect we will remove some colors which we don't want. We can set it to maybe 56. As you can see, we remove some colors
which we don't want. With these colors of RGB curve, we can add a bit of
green because we see our background has
more greenish tones in it. Also, let's add a
bit of blue also. We see this edge here. We can remove it as well by
pressing M to see our mask. And here in mask expansion
cut in a bit and maybe reduce this feather
to get a cleaner edge. By changing these two values
of feather and expansion, you can see how we clean
up a bit our edge. Finally, it's a good idea
to add layer styles. You can write mostly
on this layer and go to layer styles,
bevel and ambers. Here we can open it size, we can increase to 97. As you can see, we already
have this highlight, but in our case we want
to add shadow instead. This is why we will decrease
highlight opacity to 11. Let's increase shadow
opacity to 100% Also, we can change this angle to introduce a bit of
shadow here on the edge. You can play around
with this size and this angle to get the
look which you prefer. Okay, let's close this layer and press zero dumped to
see how it looks. We already have this effect, but now we have
this little issue which we can fix by changing
the order of these layers. As you can guess, this order
matters which layers here on top they will be also on top on our screen, for example, if we want to have our
head on top of our color, we just need to set
this head layer above all of these layers. As you can see, it's
already above our color. We can also set this
neck layer above. We did not see any shadows
which we've applied earlier. With this order of neck head, inner part of neck and wall, we get this really
clean transition. As you can see, it
happens so fast. If I'm going to press zero pad, it's almost impossible to see the transition point.
It looks pretty clean. Okay? This is basically how
you can remove your head from the body and make
it pretty believable. In the next video, I'm
going to show you how you can create this creepy face, as also how you can
remove eyeballs from your eyes if you want it to
look a few steps creepier. See you next video.
6. Removing Eyeballs: Way if you want more in
depth class on how to remove any eyeballs or even add some as you can
see in this class, you can just find this class which I already have on my page. Just calm down and find
this clean up Efecttorial. From this class, you're
going to learn how to remove some eyeballs
and also add some eyeballs into your
chat if you want more in depth class is here also
on my page on skill share. Okay, to remove eyeballs, we just need to duplicate
this head layer. Just press control
D to duplicate it. Let's call it E. Just zoom in and create a mask
around our eyes. In our case, we just need
to create a mask only on this white part of our
I and nothing more. I'm going to show you
an example of one I, but exactly the same you
can do on the other. Basically create another
mask on this as well. Once you've created,
just press M on keyboard and create a
keyframe this as well. Then just key frames
and manually track this as well as
other I skip frames, track it up till the end. Basically, you want to do this on this as well, just like this. Also press M,
create a key frame. Skip your frames and make
sure it stays on our eyes. I'm going to skip this part. You just need to
track your eyes up till the end of this video and to the beginning
of this video. And do not waste any time. I'm going to come back
once I'll track it. Okay. I've tracked my eyes. As you can see on this very last frame
here at the beginning, what we want to do is basically skip one frame
to previous frame. Just remove these masks
from your screen entirely, just like I did here. The next step which you
want to add is to add Gazi blower and drop
it on this ice layer. What we want to do is to select this press on keyboard
to see our effects. Scroll here down and add masks. It will apply this guys blur
only inside of our masks. Click on this plus
sign, once again, click in it and just make sure that you are
using correct masks. In my case is mask
two and mask three. I'm going to press to
see this geez blur. And as you can see, I've
added these both masks, which basically means that this geez blur now works
only inside of these masks. Now I can increase
this gazan blur value. I'm going to set to maybe 190. As you can see, I've
blurred out entirely. Then I can add tint
effect on this ice layer. Also, press open it and click on this plus sign to add
first and second mask. Also I want to add
some curse effect. I'm going to type here curse, make sure to drop
it on ice layer. Also open it and add
these, both masks. Let's change some values here. First of all, maybe we don't want to have so much blur in it. Maybe something like
50 will work fine. On even lower value, we can add a bit
more of our curves. It would be a lot brighter
and reduce this tint effect to maybe like 50 or 55 to
introduce original colors. With this course effect, we can make sure
that we are making our ice white as
our original ice. We can also press on keyboard and change this feather
of the mask to two. We will not get too clear edge to add inner shadow
effects on our eyes. To make it more
three D dimensional, you can just simply
duplicate this ice effect. At this point, we can
just simply delete all of these effects
because I realized that it's much easier to do on separate layer basically on
this original ice footage. You can delete everything which is below drop
shadow effect. We will work on
this ice to effect. Let's also select our masks and delete them to
be left with these. At this point we can
just select this ice to duplicated layer and go
to layer precompose. Let's call it Ball
Move all Attributes because this will create new composition and all of these effects will
be inside of it. Let's click a key. Let's also cut this composition
layer to this moment. It should be the same
length as the original ice, what it allows us to do. As you can see now if I'm
going to dissly this layer, you can see that we have only ice effect and also
some drop shadow effects. We can just double click on our eyeball composition and also remove these
drop shadow effects. Now if we are going to go to
our original Ro composition, we can see that we have
only effects on our eyes. Isolate only ice even more. We can also delete this rata
brush met choker effect. Now we can just simply duplicate this layer
and set alpha met, which basically means that this layer will be cut
out by this layer on top. We would see this
action make sense. We need to delete these effects. Now as you can see, we
isolated only our ice, which is exactly what we want. Now we see this
isolated layer of ice. Nothing changes
besides our eyes. It means that we can use
any of our layer styles. Now it sees these
separate objects on which we can
apply some effects. Let's try in a shadow effect. If we will open this
inner shadow effect, we can change this angle,
something like this. We can also increase the size
and decrease the opacity. Basically, we would
have only this hint, like it has some
three D dimension. You can play around
with these values to get the look which you want. You can also use black color and maybe something more
to skin tone color. As you can see before and after, it blends better
with our effect. By changing this opacity, you can increase this effect or decrease to get this really
believable look of our eyes, let's press zero up
to see how it looks. As you can see, it looks
already pretty good. Don't forget that
you can always apply some course effect on this eyeball and tweak the
brightness if you want. And as you can see now, it looks pretty believable
and disturbing. Next video, I'm
going to show you final effect which
we want to apply. It's this creepy smile, which you can see on
this original example. Also, I'm going to
show you how you can also animate the eyebrows.
See you next video.
7. Adding Face Morph VFX: A key, final touch to this
effect will be to add the creepy smile and ability
to manipulate the eyebrows. The easiest part is
to add the smile. We can just simply select
our head and go to effect Distort Liquefy.
Let's click on it. Just simply by selecting this tool here and
zoom into our picture. You can just simply
left mostly on the edge of the lips and rag
it to make a smile. Make sure to use some
brush sizes like mine, 64 and pressure of
50 should work fine. Let's double click
on this head layer. Zoom in, select our
liquefy effect. And this tool right
here and just left most click and drag it to the
left and to the top. If you didn't like
it, how it worked, you can always press control Z. Just make the smile as you like. The same thing you want to do with this corner of the lip. Also make the smile. You can just simply drag
and see how it looks. I like also to bring
up our lip higher, it makes smile a bit better. Just by scrolling through, you can see how it
looks on our effect. This is why it's important to perform with the
head holding still, because these effects
will apply a lot better. And we would not have to track our mask and offset it
using this offset tool. As you can see,
we can offset it. If you rotated your
head or moved a bit, make sure do not move your head. In this case, this effect will
stick to it a lot better. That's something
you should keep in mind while filming
your own footage. Second thing which we
want to do is to make sure that this effect
will apply a bit later. With this distortion percentage, we can set a key frame and leave it at 100% And by the way, you can go even over
100% As you can see, it exaggerates this
effect even more. You can go below as well. Let's press on keyboard and see this keyframe
which we created for our distort percentage right here, here
at the beginning. We can just simply disable this effect by setting
to 0% Basically, it will appear a bit later. This is how you can
easily add this smile. The same technique will
be for our eyebrows. But it's a bit more interesting because we
need two effects for this. So we can just simply
duplicate this Liquify effect. Just select it and press
control to duplicate it. Click here to reset it, because we want to apply
it from the start. Also, click here to
remove this stopwatch. It should be gray
and leave it as 100% Now we can
select this effect, press Enter and
call it left eye. As you can guess by the
name of this effect, We are going to use this
tool as well and just simply from this side of eyebrow left
most slick and drag it up, something like this is enough. Basically, this is how you
can animate your eyebrows. If you didn't like how it looks, you can just simply reset it. Try to drag it by
other part of the eye. For this class, I
think it looks fine. But you can always click
reset or control Z to undo this movement and drag it from that part which
you like, how it looks. Something like this works fine. Then we can just select
this left eye duplicated by pressing control D and call
it right eye also reset it. Now we can select
this tool and drag it by this eyebrow basically. Now we've made this on the
second eyebrow, by the way, it's a good idea to go to
composition and see the result. As you can see, I have this
duplicated composition. I don't need actually
this duplicate. I'm going to delete it. We've applied our effect
on our head here. We can just simply check our result. It
looks pretty good. And by the way, you
can always select your one of the eye which
you want to change it. For example, we want to tweak this left eye, Just selected. Click on this tool for example. If you want to tweak this, if it went a bit far like this, you can just tweak it a bit. If you need, same thing you
can do with this right eye, select, select this tool and
tweak it if it went too far. The final step will be animation of our eyebrows, for example. At this point, we want our eyebrows to be
normal for this. We want to click here on this distortion
percentage of left eye. And also on this distortion
percentage of right eye. Then press on
keyboard and you'll see these keyframes
for this percentage. Basically, we can
set it to zero, which will make it normal. Or you can always set it to 50 to get this a bit
more exaggerated look. Then a few frames later, you can always set to
even higher percentage, 200% But as you can see, it distorts too much. Let's set it to 100% You can
tweak this percentage as you like and just check
result here later. You can just simply set it or 0% or 50% if you want to keep
it a bit more distorted. Tencate these key
frames and press nine. This animation will start slow, then a bit faster and slower. Basically, this is how you
can manipulate the eyebrows. I'm going to press zero
numpad to see the preview. This is how you can
manipulate the eyebrows. You can also animate
by this percentage, one of the eye if you
want to wiggle just with one eye or two eyes
or just one by one, for example, we can just take
it like this in this way. It will start with I,
and then with this I. This how you can
manipulate as you like. Also, you can always exaggerated this motion
even more like this. You can see we already have
this pre equal effect. But for a more interesting look, we can play around with
the camera movement. For example, we can take this rack composition which
we already using and left most click on it and j drop on this composition
to create new composition. This composition, we can write Most Lick here in
this empty space. And go to Composition
Settings and call it Final Effect Shot,
and click a key. With this composition,
we can create this little zoom in
effect about here, where this effect will start. We can just press and hold Shift and press to see
the position and scale, create keyframes for them. Once our head popped out, we can zoom in into our
frame just like this. Then move it over like this. Select both of these keyframes. Go to graph editor, and we can here select it one more time and press F nine here. We can just tweak this motion. So it will start slow
and then fast like this. It will add this camera zoom, which will make this
even more disturbing. And a cool idea is to
add some camera wiggle. So this effect would look
even more interesting. For this, I want to
use slider control. So let's left mouse click and drag onto our raw
composition footage. With this slider control, I want to control when
camera wiggle will start. Hold old key on keyboard. As you can see I'm holding
old mostly on the position. It will allow us to create this little expression,
just type it, wiggle open bracket and
then by this pickup you can connect to this
slider control and then type. Here we want to set the amount of how
much it will wiggle. For example 15 pixels. If I'm going to
change this slider, wiggle for example, to five, you'll see that our
camera already shakes. This is pretty cool
effect which we want to enable just about here. Let's animate it,
create a keyframe here. Press on keyboard to
see this keyframe for our slider control and move it. Maybe later earlier
we'll set to zero. We would not have
any wiggle here. By the way, if it moved a bit, you can just simply select this composition and
press control hold, it will fit into
our composition. This wiggle, to work properly, you need to select both
of these keyframes and change it to
toggle hold keyframe. Which basically means that
it will not work here. It will start work from
this moment in time. As you can see, we have this
wiggle which we don't like. We can always select
this position. Key frames, right? Most clicking it go to a
keyframe interpolation set to linear to eliminate any
movement which we didn't set. You can see now it
works perfectly, which is exactly
what we want with the second key frame
of our slider control. We can set it when this
wiggle will start, because here we've
set this five value. You can increase it to 15, but it will wiggle too much. As you can see it more
looks like earthquake. Let's set to a bit
lesser value five. Make sure that your time courser is on top
of this key frame. It will light up blue here
and set it to any value which you like experiment and see what works best
on your footage. So as you can see, this
little wiggle adds a little something to make
it even more disturbing. If you want to wiggle more, you can just open here in position and set this
value a bit more like 25. It will go a bit more to
the left or to the right. As you can see, you can combine with the lesser value of
this and press zero amps. You can see we can set this really nice
wiggle at the end. This is basically
how you can create this creepy but pretty
interesting effect. Feel free to follow me
here on skill share. I have a bunch of classes on V Effects using
Adobe After Effects. As you can see, it's
most popular ones. You can click here to see more. Also, I have new classes here you can see the latest
classes which I've made also have fundamentals of adopter effects which
covers text animation, template creation, and
even more complex effects. If you want to learn
more complex stop log animation and even
venture resolve classes, leave review to any
classes which you watch. It helps me to improve
my classes and don't be afraid to
leave your projects. As you can see,
many of my students leave their progress
or their work. And I always give tips if
you feel like you want to know my opinion or if
you need my feedback, or some tips to make your
effects look better. So it's a good idea to create
a project, leave reviews, and you can even,
in discussions, suggest any ideas
for future classes. As you can see, this class is cooperation with my
student on skillshare. She requested this class and also filmed this
footage for us to use. Thank you, Nadine, for creating this video and thank
you for watching to all my students and I hope to see you
in my next class.
M Jake, Lets Create VFX & Cool Stuff Together
