Transcripts
1. Introduction: Hi, I'm Jake. And in this class, we
are going to create this popular social
media affect. 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. If you don't want to
record your own videos, then you can download already recorded to raw footage from the resource tab to this class so you can start
practicing right now. I'll teach you all needed
skills to complete this effect. You can just download
the free trial version of Adobe After Effects. If you don't have
the software yet, we will start right away. I'm excited to see your projects after completing this class. I'll be happy to see
it in my class as also your result after
following all the steps. So let's get started.
2. How to Film Your Footage: Okay, so I'm using Adobe
After Effects 2021, but you can pretty much
use any version of Adobe After Effects to
create this effect. I'm also using a
standard layout. So if you are going
to click here, you will see pretty much the same panels which you
can see on my screen. If for some reason
you cannot see some of the panels which
you can see on my screen. You can just simply refer to
them by their name. So e.g. this character panel,
you can go to Window and enable it from here,
character, character. So first of all, we want
to import our footage. We're going to go to
file, import file. Or here in the Project panel, you can just let
most double-click on empty space to be able
to import your footage. This voltage will be available in resources tab to this class. So let's import our footage. So exit, embrace inputs. Then we want to
create a composition using exactly the same
dimensions as also the duration. The easiest way is not just to click on this
new composition, because it will
allow us to create entire new composition with
any dimension which you want. But it's a lot easier to grab your porridge and just
drop it on timeline. In this case, we will
create a new composition. It will take exact dimension of our origin and this
exact duration. So this polish will be
best to shoot from tripod. So basically this means that your camera is should not move. This effect will be a
lot easier to make. Also, it's better even not to rotate your head
later 90 degrees. In my case, we've shot this video with the full
rotation to 90 degrees, but you can even shoot from
this angle to this angle. In this case, we
will see both eyes. And there's our final result, which we are going to guess. Also here at the end. I've asked the girl to look
to the right, right here. So we would make this
effect even more obvious. Like she's having two eyeballs. So this pretty much
everything you want to know. Some next video, I'm
going to show you how you can clean your
eyes like this, which looks pretty disturbing, but also it gives this
really interesting effect. See in the next video.
3. Tracking: Let's start with this.
Clean up our eyes. I'm going to show you this
effect only on one eye because the same technique
you can use on other eye. We will choose this I read here because it more
visible than this. I, basically it's
the same technique you will apply to this. I just don't want
to waste your time going on the both eyes
at the same time. And also at the end, I'm going to show
you how to make this part of the video because this technique here is a bit different than
this technique here. Okay, so let's
learn how to create this kind of cleanup of the eye. We already have this
foolish right here. And as you can guess, we
just need to track our I. So first of all, we want
to duplicate this foolish. We can press Enter to rename it. Let's call it BG, and then select it and press
Control D to duplicate it. And this one we can
rename it to AI. You can even add right eye. So you would know on a
wish or you're working on. And then just simply
we want to pick this working area where
we want to track our AI. In our case, it's somewhere before the turning of the head. So out here, and it ends here where we fully turned
our head here. So basically we want to change this work area and press
zero numpad to preview. Okay, so we'll
duplicate this layer. We can disable the sound
and let's move it here. And I like to create this mask at the final pose like here. So select this layer. So they, they spend tool and
using scroll on the mouse, you can zoom in into our image. And by holding spacebar
on your keyboard, you can just switch
to this hand tool. And with the left mouse, click on the mouse, you can move around
your image like this. Let's zoom in a bit more. In our case, we want
to create this kind of shy by using as little
points as possible. So it will be easier to
manually track our eye. So let's create one point here, then create another
point at corner of our eye, like this. The leftmost leaf here at
the bottom and drag it. So we have this
Bezier curve in here. We can just go to the corner, but about here, create
a Bezier curve. We can even move around by
clicking on it and close it. Here, this mask. Once you close your mask, you can just simply go to selection tool and move
these points as you like. So you will get only
inside part of our eye. Then you need to press M on keyboard to CMS and mask path. We want to create a keyframe just left mouse click
on the Stopwatch. It will create this keyframe. So what is key-frame? Key-frame is basically
point in time, which remember, is the
values of certain property. In our case, this
keyframe remembers the shape of this
property mask path. So basically if I'm going to skip your frames
before like this, we can move around like here. It will save it as a new shape. Has also, if I'm going
to let mostly inside of our eye now able to change
only one point at a time. So now we can just make sure
that it follows our eye. It does a pretty good job. At any point, you can
just add a new keyframe. Just be skipping a few frames. Sensation the position c. Now we can just
move it one by one. These points are just leftmost. Double-click on
one of the points. It will allow us to grab all mask and change the
position to right here. Then once again, leftmost, double-click and
click. Once again. It will allow us change one point in time
as we did before. The landscape you friends. Here hold spacebar and move our image left mouse
clicking and dragging. Or just simply use this hand
tool and then switch to the selection tool
and make sure that this still gives
the right shape. Because we want as precise
tracking as we can get. It is important to get this
striking really clean because this part of the
effect is crucial to clean up our eye
as best as we can. So make sure that this mask stays exact on our
inside of our eye. And as you can see, this
is why we are outlined our work area so we would know where to finish
our tracking. And finally, we can
just go through and see if it's still
stays on our eye. As you can see, we did a pretty
good job here at the end. Let's also make sure that
it stays inside of RI. Okay, so now when we have this politically and tracking on
our eye, we can zoom out. And now we can just start
in applying our effects.
4. Clean Up Eye: First effect which
we want to apply is to go to effects and
presets panel here. Waited for this to
load up and type Gaussian blur or
fast blur if you have older version of
Adobe After Effects. So I'm going to
type Gaussian blur, leftmost click and drag it
on top of this thigh right? And increase this blurriness. As you can see, we've
blurred inside of our eye. Let me zoom in so you
would see it a lot better. But here we have
this first problem. In my case, I want to blow
it really high, like 75. But as you can see,
it blurred out so much that it's not even visible. And to fix this issue, we need to press E on the
keyboard to see this effect. As you can see, I'm
pressing E and it allows us to see this
Gaussian blur on this layer. Then open here. And basically we need to
click on this plus sign, which basically
means that it will work only inside
of this mask one. Now, as you can see, by changing this amount from zero
to really high-value, it really blurs inside the mask, which is exactly what we want. So let's set it to
really high value at 75. Also, we can select
this layer and press F on the keyboard
to see the mask feather. Because at this point, if we will deselect our mask, you can see that we have
this really sharp edge. And by changing this
value to like eight, you can see that it blends
with our footage a lot better. You can play around
with this value. In my case, it works
6-8, pretty good. So maybe I'm going
to set it to seven. It blends a lot better. Now as you can see
it a bit too dark. And it doesn't really look
like inside of our eye. Because as you can see, it's
should be a lot brighter. Also to compensate this feather because we can see
inside of firewall, we can click here and
another time click here to open all Mass Properties and change this mask expansion. So let's set it maybe 23. So it will cover are I Beta. And as you can see, it
really covers nicely. And by changing these two
values of mask feather to six to four we can
cover are pretty good. Just play around with
these two values to get the perfect
Look we should like. So now as you can
guess, we want to make this inside of our
eyes a bit brighter. For this, we want to use curves effect here and
effects in presets. You can type curves and select
it and drop it on this, I just simply click on this RGB curve and
make it brighter. In our case is you can see
it works on entire image. And once again, we
want to press E on keyboard while
selecting this layer. To see our FX is you
can see I'm pressing E. Then open this cursor
effect and once again, click on this plus sign, which will work only in
the sight of our mask. And now we can just
simply play around with the brightness and make sure that it looks
pretty much believable, like it's inside of our eye. At this point, you
can see that we have too much color
inside of our eye. And to get rid of this color, we can use tint effect. Once again, NFS Presets type
tint and apply to our eye. Here, That's tint. We want to open it, click on the plus sign. So it would work only
inside of our eye and change this amount
tends to maybe a lake 15. Now basically, by
changing this value, you can desaturate our eye
and make it a bit brighter. So this is how you can
get more whitish kind of look by adding more
of this tend to get black and white image like this and add a bit
more of brightness. It's a good idea to use this
second I as a reference. As you can see now it looks
too desaturated because it should still have this kind of colors
which we have here. So let's set it to 20 per cent. Now it looks much
more like this. And basically by changing this brightness
using curves effect, by changing the saturation. You want to match this
color with this color here. We can close this bi-layer. And the next video, I'm going
to show you how you can add a bit of shadow from our eyelid. See in the next video.
5. Eye Color Matching: So at this point we have pretty good colors of
inside of our eye. But we also want
to have a bit of shadow from our eyelids. But before, let's
save our project because After Effects can
crash from time to time. So go to File, Save As, and save it wherever you
want, and click Save. Okay, so to apply some
inner shadow effect, it's a good idea to pre-compose all effects which
we already created. Because now we are
going to select this layer and right
mouse click on it and go to layer styles and use
this inner shadow effect, which we are going to use. You can see that this effect pretty much didn't work at all. So this is why I want
to press Control Z. To undo this step, we want to pre-compose
this layer. Pre-compose it. You can just select
this layer and go to layer pre-compose
or Control shift C. We can call it I met because we will also use this
layer as a matte. And at this point, it's
really important to click here, move all attributes, which basically means that
all effects which we apply will kinda baked n inside
of this composition, which is exactly what we want. We want After Effects to see the striking as a
separate video. So make sure to click here
to move all attributes and also keep this
checkbox right here. And click Okay. As you can see, all the effects are inside of this composition. And basically, if we will leftmost double-click
on this met, we can open it and
you can see that we still have all of our
effects inside here. We can change it at any moment. Let's rename this I met. To rename this composition, we can just right mouse click in this green area and go
to composition settings. Let's call it inner
shadow effect. Because this effect
we will apply on this inner
shadow composition. We want to select this layer, press M on keyboard, and select this mask. Then press control C on
keyboard to copy this mask. Then set this time cursor. This first keyframe. Then go back to this, I wrap forage composition and select this inner
shadow composition, which we just rename it. Basically this composition,
press control V. So basically we have
applied another time this mask on this composition. Now, if we will, right mouse click on this
composition and go to this layer styles and use
this inner shadow effect, which didn't work before. If we will click on this
inner shadow effect, as you can see, it
works properly. We already have some kind of
shadow inside of our eye. Basically, if you don't
understand the step, just make sure to follow these steps of this video are properly to get the same result. If you'll have additional
question on this part, you can live in comments
section to this video. But once again, inside
of this composition, we are using mask to
apply only these effects. But we didn't cut out this
eye from this composition. And this main composition. We use a mask to only
cut out the eye. So as you can see, it
cutouts only our eye, but doesn't have any effects. Now we want to change
this layer styles effect. We can just click
here to open it. And open here layer
styles, the inner shadow. Now let's maybe
change the angle. We can also change the distance. If we will set to zero. Basically, we will get this
kind of shadow everywhere, which is basically what we want. We want to just do
change the size to make this inner shadow
effect visible. As I'm changing this size, you can see how we apply this
shadow inside of our eye. Something like
protein looks good. Distance, we still
can change and see for ourselves what
works best for us. Maybe let's set its two pi. So we would have more shadow at the top and less
at the bottom. But you can play around with this value to see
what works best on your footage is also we can
change the angle if you want. In my case, if I am
going to rotate it, basically you can just click here to get rid of this outline. So we will see this
kind of effect better. You can change this shadow until you get more of
a 3D look on your eye. Something like this
should work fine. In my case, it's 180 degrees. Also, we don't want to have a really dark color
of the shadow. We want to get some colors
from our image itself. So basically we can take
this eyedropper and click here to get more like natural
shadow from our image. So something like discolored
should work better. So if I'm going to press Control Z and then
Control Shift Z, you can see that it blends
with our foliage a lot better. We can increase the
opacity if you want to increase this kind of effect. So if I'm going to click on this eyeball next to
inner shadow effect. You can see before and after it really blends with our
foolish, a lot better. At this point, you
can see that it looks a lot more believable. And today this effect
to another level, we can apply another
curves effect. Let's set it here. And basically we want to create a key-frames for
our curves effect. Because at this moment in time, it really looks believable. So let's set a keyframe
at this moment in time. We can even add a bit
more brightness to it. If you'll need to add
a bit more brightness. Also, let's enable
this mask outline. But we can also press Control Shift H and
it will remove pole. So now we can see
all the our effect. So now we can just
select this forage, press U on the keyboard to see this keyframe which we
created to our curves. And let's apply some changes. So for my taste, I
feel like we need to add a bit more warmer tones. So to add more warmer tones, we want to go to blue
and set it a bit lower. And also, I want to go to
the green and sell it a bit lower because now I feel like it has too
much green in it. And as you can see,
it now matches our overall image a lot better. So before and after, you can see that we get in
these little tweaks and it looks and it blends even better. We can skip a few
frames like here. And also we can just
add more coolness to it or reduce the colors. At anytime of our video, we can just apply a bit more changes and still preserve the call
log of this effect. As you can see, I've added a bit more warmer
tones and to my taste, it blends with the
Polish a lot better. Next thing which we want to
add is a little bit nice. If you'll have really
noisy footage, you can just apply some
noise on this effect. I'm going to set it
to high-value let-7. Let's not use color noise. And also I want to
add Gaussian Blur. And I'm going to set
this blur to maybe 3.2. I'm adding a bit of details, so it would not be so perfect
with this kind of details. Maybe let's set it to four. We are adding more
believable look to our eye. And these little tweaks really makes this effect
a lot more believable. Let's press zero numpad to
see how it looks in motion. As you can see, we really have
this nice kind of look at. So now as you can guess, it's really important to
get really nice tracking or because as you can
see here at the end, I have a little wiggle. So it's really important to get really nice mask which
sticks to our eye. And in this way you'll get
more professional look. Okay, so on the next
video we are going to add the eyeballs itself. So we will get this
kind of transition, which looks really, really nice. See you in the next video.
6. Adding Eye Animation: So now we have this
really clean I here. Now let's add some eyeball. So we would have this kind of transition to original footage. Okay, so now we get to the most fun part is to
add in this eye back. So to add our eye back, basically we can just cut this layer to these moments
where we're working on. We can even press T on keyboard, so it will not be
visible at the start. Let's set it to zero
here at the start. And a bit later, like here, 100. So it will pay the
M here at the end. As you can guess, we
want it to fade out. So we will have clean
transition to our Polish. So now what we want to do is to select this original video. We can even call it BG and
press Control D to duplicate, to rename our hooray,
she just simply press Enter on keyboard
and rename it. Let's rename it to eyeball. What do we want to do is to
set this time cursor just before a transition to
our original polish. So here we have this
fate, our animation. Let's take this
moment in time and right mouse click on it and
go to time freeze frame. So basically your time cursor
should be at this moment. So we propose this
moment, as you can see. Now, it allows us to
select the Pen tool. Basically it's domain
into our footage and carried out this eyeball. So let's do exactly this. Let's cut our eyeball on k. Close this mask. We can adjust it. So something like this
should work fine. We can also press F
on the keyboard to add a bit of feather like three. So we would have not
too sharp mask. So e.g. if I'm going to set to
zero and move around, you'll see that we have this
really sharp edge here. So by changing 23
will pay our edges, which is exactly what we want. We can even set a marker here. So we would know that we took our eye from this
moment in time. The next thing we should want to do is to select this eyeball, which we just cut it out
and press P on keyboard. And we want to save
this position by clicking on this stopwatch
to create a keyframe. Then we want to say
the selection tool and skip you frames here. And basically animated. Let's maybe skip to this moment right here
and move it a bit up. So this eyeball will fall
inside of our eye here. Now basically we want to have
a mat for this, I want to, this eyeball to be visible
only inside of our eye, which is pretty easy to do. Just take this inner
shadow effect, press Control D to duplicate it, place it above, and
press T on keyboard. We don't want to have
this opacity animation. Let's click here to
remove all the keyframes. And it makes sure that
it stays at 100%. We will call it this
layer as a matte. So press Enter and call it met. And basically, we want to place
this above of our cutout. I am basically if I'm going to click on this toggle
switches and modes, we can see this track matte. So click it until
you will see it. And then change this track
matte to alpha matte, which basically means that
this eyeball will be visible only if this eyeball will
be inside of our mat. Here later in the video, you can see that it is
exactly where we want. So now, if I'm going to
de-select all the layers, you can see this
kind of animation. And my case, I can see that
this pie is too far up. So let's select our eye and
just move it a bit lower. You can just select it with
the mouse or just simply press down arrows
on the keyboard. And basically what we want
to do is to keep our eye inside here so it
will blend better. And finally, we can just
simply cut this layer. It will disappear. We can just select this
inner shadow effect, press T on keyboard, and move this keyframe a bit to the left and
this a bit to the right. So this transition will
happen a bit slower. Let's expand these
layers so they will be a bit longer on our screen. Now, you can see this transition
happens a lot cleaner. So let's change
this work area and press zero numpad to
see at full speed, you will see that this
transition happens a lot faster, a lot better. So basically, the
more time you'll spend on the position animation, the more believable
effect you'll get. Finally, in the next video, I'm going to show
you how you can add here another eyeball. It's much easier technique
than creating this kind of cleanup animation
and then join this. So basically here we can
apply the same technique, met, technique which
we applied here, where we are going to
take this eye and then malate using this mat and just move to the left as we did with this eyeball when it
moves from the right. So basically this is
all the same technique. In the next video, I'm going
to show you how to make this final part of this effect. I see in the next video.
7. Two Eyeballs: So let's make this final
part of this effect using this technique to make sure that you understood
it correctly. And it's much easier
than here because we don't need to make
this cleanup work. Let's take our work area and
see where we need to work. So our effect, we'll start just before our eye goes to
the right about here, and ends here where it
goes back into the place. So this time we don't need to clean up our eye
like we did before. But we want to use this
technique to create a mat. We don't really need to
use the same foolish. We can just go to Layer New
Solid and create new solid, which we also can call it met. And click Okay, we can
disable this solid, but make sure that
you've selected because we want to create a mask
on top of this mat. So select this met, like this pen tool. Let's zoom in and once again, create a mask, which
we did before. This time, we don't do need to make too much tracking
because as you can see, we have just a few
frames of this video. So once we've created this mask, press M on the keyboard, on this mask path as
keep your frames here. Switch to this selection tool. Make sure that your mask
still inside of our eye. Here. The landscape you frames. Make sure this is still
inside of our eye. Let's do the same at
the end of this video. And let's see if it's
stuck to our eye. It looks pretty good. And you can spend a bit
more time to make sure that it stays inside of our eye. So now when we have
this tracking, we want to take our
eye as we did before. We want to select
this VEGF Polish, press Control D to duplicate it. Then right mouse, click on it, and just choose a moment in our video where you
see your eye the most. So in my case here, I can see this
eyeball pretty well. So I'm going to right mouse click and go to
time freeze frame. And once again,
using this pen tool, I want to zoom in and
cut out this eyeball. We can also press F on
keyboard and set it to three. So we would not have
the rough edge. Then press P to
see the position. We can basically
move this eyeball, the coordinator of our eye, because from here
it will appear. So let's start about here. Press P to save the
position of this eyeball. Let's also cut this
layer to this moment. And basically we can just use this Alpha Matte with this
met which we created earlier. So let's click on it. And if we will, move a few frames where
girl is looking to right, we can just place this
eyeball to the right as well. So we will introduce our
second eyeball here. Wherever you're feeling
like it looks good. You can place this oval here. And also, let's select
this matte layer because if I'm going to
press Control Shift H, you can see that we have to rough edge and it's
really noticeable. So let's select this
matte layer, press F, and also set this feather
two or three, or maybe two. It looks like two
is pretty good. Let's see how our
position works. As you can see it
introduce too fast. So let's move disposition
of our eyeball. Let's call it eyeball. And make sure that this position moves with this
position of the I. Skip one frame or two
frames and move it. This eyeball a bit should look like it tracked
on our face. And just by simply
skipping few frames, make sure that it's
still tract to our eye. When this Bible Most
back to the place. You want to move this
eyeball out of the way. If you will spend
a bit more time, you'll get this
pretty good tracking and get this final effect. If you see some kind
of jiggle here, it means that you're
tracking is too jiggly. So for this, you can just
select this matte layer, press U on keyboard, and maybe remove some
of these key frames. So it will have a
lot less jiggle. But once again, press
Control Shift H to see our mask and still make sure that this mask stays
inside of our eye. So the cleaner this
tracking you'll get, the less of jiggle. You will have n final result. Makes sure to spend a bit
more time on this tracking. And the same effect you want
to apply on this second, i feel free to follow
me here on Skillshare. I post classes every week. I have a lot of classes on VFX using Adobe After Effects
is also an ingredient, is on motion design,
text animation, basics of animation
from time-to-time, I'm posting more complex
classes of creating sparks and 3D animation
and also logo animation. I recommend you to watch
this 12 min class. If you want to try some
VFS stuff like this one, don't hesitate to create projects after
washing my classes, I always check your work and give you some comments
if you need help. Also feel free to ask questions
below any of my classes. And you can also suggest
what you want to learn next. So once again, feel free to
follow me here on Skillshare, and I'll be happy to see
you in my next class. Thank you for watching.
M Jake, Lets Create VFX & Cool Stuff Together
