VALORANT - Yoru Agent VFX using Adobe After Effects

1. Introduction: Hi Jay. I like to recreate popular effects from movies and viral videos. I think it's the best way to learn new software. We will use Adobe After Effects. These effects, which you can see on your screen, can be made by using any version of After Effects and without any paid external plugins. By the way, you can follow me here on Skillshare to watch the glasses on these effects. And this last little read, this effect. This effect is inspired by the gait belt around intro of euro agent. To be specific, sometimes I forget which techniques I've used to be able to make these kinds of effects. And many times I'm coming back to my own videos to remind myself how I've achieved a certain look. This is why my goal is to keep my videos compact, well organized and straight to the point of valuable information. I'm really proud of this class because while we will be creating these five visual effects shots, we will use a variety of different techniques. Most effects, which altitude they can be used in your other projects. See on walking through a portal is basically the same technique as walking through walls for objects. Most importantly, you can ask questions in the comments section or even in the videos to themselves. I'm always trying to answer them as soon as possible. In this way, my classes are constantly improved and are even more beginner friendly. So let's create this effect right now. All needed for each to be able to complete this effect is provided in the resource step to this class. I'll be having this year in my class and also your results after volleyball, this Fs. So let's get started. 2. Creating Look of 1st Shot: So as you can see, we have a bunch of VFX shots, some of them repeated on themselves or leg. As you can see, this flesh is basically the same flesh has right here. So we don't have to learn how to make this flesh in order to make this flesh right here, because it's basically same kind of techniques. So let's start with this first shot. This footage is provided in resource step to this class. So I'm using Adobe After Effects 2020, and I'm also using standard layout. And if you don't see any of these panels, you can go to Window and enable them from here, you can enable any of them. So to create new composition, we can click here, or you can just drag and drop our clip here or here to be new composition. So let's work on this for shot. You can basically a film yourself like this and don't worry about your face because in the shot is you remember, we don't see actually the face. We can see only the ice. So I don't want just to give you instruction how to do this effect. And instead, I also want to share the thought process while making these kinds of effects. So first of all, I have the reference footage from the game. Unfortunately, I cannot show you because of copyright reasons. I'll use my own footage. So let's imagine this is at the actual game. So what we can see first is that we need to have this kind of minimalistic look where we have only three colors. Basically this black color, blue color in here, dark blue. So let's try to recreate this effect using After Effects. It's good idea to go to effects and presets here basically you have all the effects, wish After Effects is providing you. You can also access from here, go through all of these effects to see what our professors can do. In my case, I want to use effect called threshold. As you can see, it goes under Stylize threshold. Or here Effect Stylize threshold. Now we can see that this effect gives you this simplistic look. We can just scroll this one slider to get different kinds of results. So this looks pretty good. We got our silhouette which we wanted, and now we need to work on our background. As you can see, we don't have it yet. So let's work on this separately. So to isolate only ourselves, we can use affect cult, color key, just type here color key and drag and drop onto our footage. Basically it let us choose any color which we want to key out just by clicking on this tool here and clicking on color, which we want to key out. And so it did a wonderful job here, and now we need to work on our background. So at the end of this foolish, I have left one frame of the background. So let's cut this foolish. You just can select this foolish. Place your time cursor here and go to Edit, Split layer or Control Shift D on keyboard. We just got it. This dynasties, we can right mouse click on it and go to time freeze frame two, we can spread this layer to the end. So now we have just this frame of the footage. And if we disable these effects, we can see that it's our background. So if we place it below, we can also disable this top layer and work on our background. We need to still apply this threshold effect, but let's lower this value to see some details in the background. I think 18,350 works well, but you can change this value to get the similar result on your foolish if you using your own footage. Now let's colorize it. We can colorize skin tool colors just by using tint effect. So let's type it here, TNS and drop it on our voltage like this color key, we don't need it. So let's select it and press Delete on keyboard to delete it. And now we can pick two colors which we want to use. So for this color, Let's choose some dark blue like this. And for this color we can choose a bit lighter blue and click Okay, now if we enable this top layer, we already getting this kind of look. You can play around with these colors to get the color which you want. I'll maybe a makes up a bit more saturated color, something like this. 3. Smoky Eyes Effect: So now let's create our eyes. My first idea while making this effect was to just disable these effects and just got out my eyes. But in reality it seems not to work really good because they can look too close to each other. So let's enable this and let's just create new layer for our eyes. So let's create a solid and call it ice. And click Okay, this part 2, you don't need to repeat. I'm just going to duplicate this footage. I just going to show you as example why you shouldn't really use your own eyes for this effect. So as you can see, if I got out my own highest, it doesn't really look cool. So this is why you don't want to use your own footage. And as you can see here, it looks much more cooler. So now let's draw our eyes and just select your layer, enable it. We can also press Control Shift Y on keyboard to change the color. Let's set it to white and Gulliver key. And maybe let's disable it. So we would see our face as a reference. We can also press a Tilda key, wish right below Escape button to make it full screen. And now we can draw our eyes. Once you draw one eye, you can just double-click on one of the points and press Control D to duplicate this mask, and then just click on this point and drag it over. You can also double-click it and just switch sides, lay this, may click and hold on this point and rotated a bit. And now we each just to adjust these points so our eyes would look much more cooler. I would recommend to get this point a lower, this point a bit stretched out to the right. And this kind of shape should look pretty equal and same kind of shape we need to make with this eye as well. You can also control click to delete some of the points, or a click anywhere lay here to add another point. And with these handles you can just adjust the shape of the eye. So let's enable it to see it. You can also press Control Shift H on keyboard to see just your eyes. I know that these ice doesn't look really good, but I don't want to waste too much time on this part of the class. So let's just say that you are happy with this result. So degrees, some details. We can use step-8 called fractal noise and just type here Procter noise and drag and drop onto our eyes. So let's increase the contrast. As you can see. As we increase in the contrast, we can start to see some details in our eyes. We can also make it a little brighter and maybe change the evolution to see which kind of result we can get. So here is our main idea to get some bright spots around here where our pupils should be. Something like this should work good. And now let's colorize our eyes. I recommend to use free plug-in IVC, color and vibrance. It's a free plugin from video copilot.net. You can just click here and just download it and install into your After Effects. It's just the best colorized in total wish I could use. So let's use it and just type here VCU and use this color vibrance. Just keep in mind that sometimes a year After Effects can crash. So it's good idea to save your risers from time to time. Let's discover two same kind of blue. We can decrease this preserve illuminance to about 0.5. So we would see a bit more details in our eyes. And now we need to add some small and a bit of glow. So for this, we can just duplicate this ice layer selected and press Control D to duplicate it. And now let's use CC Radial fast blur, drag and drop here. We can set this point about here and the poor head and increase the blur to about 80. So to see this effect better, we can also apply the curves effect and drop it here and go to alpha channel and increase the alpha channel. So now we can see our blower from our eyes. It gives some low and more menacing look. We can adjust this point here from where this kind of glow is coming from. We can also apply roughen edges effect. Just drag and drop onto your polish here. We can tweak our curves to see more of this kind of bleeding light. And finally, we need to use direction blur to blur it out the edges of this effect. By the way, it's a good idea to go to roughen edges effect, which is below of everything, and to try out different kinds of modes. For example, this spiky mode looks much more interesting. We can just change the scale to get different kinds of Luke which you could prefer. And you just can adjust the point of this radial fast blur to see the direction where it goes. So this looks pretty good. And finally, let's use the effect directional blur. Now we can just increase the blur length. I'll set mine to 55. And now we can just play around with the duration of the floor. By the way, if we change the order of these effects, it will give different results. So it's good idea in your project to just play around with the order of these effects. If we are dropping this below, you can see that we get a completely different result. In this case, I think it looks much better. Or you can even go to transform and change the scale property to lower value to get more of this kind of texture in this blur. And to animate this kind of blur, you can just animate this evolution. As you can see if we change this value, Changes Itself. So we can go to first frame, set a keyframe by clicking on the stopwatch key premise, basically a point in time which remembers the value of certain property. So if we press U on the keyboard, you can see this keyframe, as you can see, is remembers this value of this property. And now if we move to the last frame like this and change the value, you can see that throughout this time it's changing value here. So this is how you can animate this light or any other properties can After Effects. So now we can just drag this layer where our eyes is on top. And you can see in the much more interesting result this way, you can also change this mode to screen, to blend better with this. Shine. Again, change to add as well, but I'll leave it as screen. And also you can select this IS below layer, which we're going to press Return on keyboard and rename two eyes glow. And now we can just move around like this if we want to fit it better. Finally, let's add some smoke here on top of the ice. So let's create a new layer, new solid. Let's call it smoke and click. Okay, so first of all, we need to use this pen tool to draw this kind of shape. And basically this should be a shape of the smallest path. Something like this should work good. We can go back to selection tool and double-click on one of the points and move it to our eye. But for now we can just leave it here to see it better. So first effect, which we want to use to create our smoke is fractal noise. You can do a lot with this effect. So let's change the Fractal Type 2 swirly. As you can see, we already getting some interesting kind of texture. We can increase the contrast to seal better brightness lists degrees it. I'll set mine to minus 40 and let's decrease the complexity. So it would look more like a smoke. I'll set mine to 1.5. We don't want to have too much details because our main look is also low detailed kind of look at. So now what we want to do is to animate the smoke and just click here to create a keyframe. Now you know what is key-frame and animate it a bit like this. To see how it looks, you can press on numpad to preview. It looks a bit fast. Let's press U on keyboard to see our keyframes and go to this last keyframe and maybe decreases amount of rotations. This is basically all rotations here. So I'll set to 300, 10 degrees. Let's preview once again by pressing 0 numbered. It looks pretty good. And now we need to animate it. So it would go upwards like a smaller. So let's go to transform. And here at the first spring, we can click on offset turbulence. And here at the last frame, and we can just change the second value. First value is changing the offset on the x axis. As you can see, it moves from left to right. And second value is moving from up to down like this. So let's move it up. And now let's press U on the keyboard. Select this layer and press U to see both keyframes, emperor 0 to see our preview. So now as you can see, it looks like a small, but it's going too fast. So let's in-degrees emit this value may be a 350, and now it looks pretty good. So second effect, which we will use, its roughen edges. Basically it deals with the edges of this layer. So if I click here to hide the mask and increase the value, you can see that it's eating through these edges. So let's do spikier because it's, gives much more interesting look. Analysts increase it to about 15. And if we solo this layer, you can see better the actual effect. And let's also animate this evolution. It works exactly as the fractal noise evolution. So if we set the first frame here using this time coarser. Create a keyframe. And here at the end, we can change this value a bit. And if we're going to press M on keyboard, we would see in the mass property. Here we can just change the mass expansion to include more of the mask which we draw. And maybe a, Let's degrees a bit this border. So it would not affect too much. And we will see a bit more of our smoke which we draw. And to give a bit more life to the smoke, we can also apply the effect called turbulence, displace. Nonetheless, drop it on our smoke layer. So we don't want to change the amount. We want to change the size. Again, see, if we lower this value, we can see a lot more details in the shape. And so I have think about 27 as good. And now we want just to animate our evolution. So it would give this kind of animation to our smoke. So here at the beginning, and let's set a keyframe. Here. At the last frame, we can just rotate it a bit to give a bit more animation to our smoke, less premium. As you can see, we have a lot more of the animation, our smoke. Let's un-solo this layer by clicking here. Finally, let's Scarpia from this ice layer, this Scholar. You can just select it and press Control C on keyboard to copy and go to smoke, select it and press Control V to paste. Now we can just move it here to RI. With this pen behind tool, we can click on it and move this anchor point. Anchor point is basically if we press R on keyboard for rotation, you can see and now from this anchor point, it will rotate. Our layer has also, if we press S on keyboard, we would see our scale. And now as you can see, we change in our scale from this point to which we just sent. And maybe let's change this mode, overlay mode to screen and set it here. And finally, it's looking too crisp in comparison to this kind of blow. So we can add Gaussian Blur. Let's drop it on smoke layer and agrees value 255 and change it to vertical. So now it's blurring all end in this direction. You can increase or decrease this value to your liking. Let's see how it works. And now we just scan, duplicate this small player right mouse click on it and go to transform. Flip horizontal. It will flip. This layer. We can, once again, breasts are on keyboard to rotate it a bit and a mesh with this I here. To get a bit deeper and look, you can go to fractal on this second smoke and go to evolution options and change this random seed. So now as you can see, we have different pattern on this phi as well. 4. Open Eyes Animation and Tracking: Also what we can do is to animate our opening the eyes. You can just select this layer when we can see all the r i's. And then with this pen tool, draw this kind of triangle. Press them on keyboard to see this third strangle and set it to subtract. Basically, if we select the selection tool, double-click on one of the edges. You can see it's up traced in these two masks. Which gives illusion like our eyes are closing. So we can just animate this mask. Please just say here, we already opened our eyes. So set a keyframe to mask path. And here at the beginning, we just can move this mask down like this. It will create a keyframe. So now as you can see, we've animated opening of our eyes. And it's a good idea to use exposure effect to animate the globe and the small. So let's work on one of these moves. I'm going to disable other and apply exposure. So about here we want to see our smoke. So let's create a keyframe on exposure. And here at the beginning and where our eyes are closed, we can just change this value to really low value, so smoke is invisible. Now we can just copy this exposure selected and press Control C and select this other smoke. Makes sure that your time cursor at the beginning frame and press control V. And if you press U on keyboard, you would see that exposure effect is Skype into this layer as well with our animation. Same thing we want to do with this ice glow blur selected. Make sure that your time coarser at the beginning and press control V. So now as you can see, it looks much more exciting. You can make this animation a bit slower just by pressing U on keyboard. Click here to deselect any of the layers and press U on the keyboard. So now we can just select all of these keyframes and move it a bit further. So in this way, this animation will be a bit slower. And finally, if we have a bit of movement in your head, if he or we'll pay attention to my head, you can see that we have a bit of movement in it. So what we want to do is to select our Polish. Let's disable these effects. Double-click ahead and go to animation, track motion. And now we can just track our nose and track it by clicking here. If you cannot see it, you can just move it here and check it forward. Then let's strike it backwards. Then we need to go to Layer New Null Object. And click here on Edit Target shows this null object. And click Okey and click Apply and click OK. Now we successfully tracked our head and save this data to this null object. Let's close this panel and we can just click here will this is terrifying. Beginning. Just solo these layers and enable these effects. So now we can just select all of these layers which represents our effect besides the foolish and null object. And with this figure, we can parent to this null, basically a now all of these layers will move exactly as our null. And null is moving exactly as our head. So now we will get the perfect match moved to our head. Let's press 0 to see our result. So this is how I've accomplished my first shot of the video. 5. Creating Opening of Dimension 2nd Shot: Now let's work with the second vertex shot. Just click and drag to this icon here to create new composition, I decided to add this magnifying glass at the bottom of the screen so it would be easier to see where I'm clicking. Once again, if you feel me in your own foolish, you don't have to worry about your face here because we are going to show only a part of it, as you can see in the final result. We are going to show you all the in this part of it. And we will not repeat this IFX because we already covered in the first via paste shot. So as you remember from this first VFS shot, we need to get this kind of look. So to repeat this look, we need to select our foolish press Control D on keyboard to duplicate it. So now we need to get the same look as in this first shot. So what we can do is to copy from this layer where we have our self's, these two effects. You can press Control and keyboard. Select first one and deselect second one while holding Control on keyboard. Then press control C to copy both effects and go to a second shot and press Control V to paste it. Then we can copy this background from this first shot. And let's just press control C to copy. Go to a second shot. Press Control V to paste it listed below and just expanded like this. Now we can also select this second shot and change this threshold. So we would cover more of ourselves. Something like this should work fine. Now we need to select these both layers and pre-compose them. Just go to layer, pre-compose what precomposed means. It's almost like render because these two video files will be represented as one. And so let's call it blow, look and click here. Move all attributes is basically a, we'll bake all these effects into this composition and click Okey. When we got this look, we want to cut it in half, like right here and show this original foolish, like we are trying to get through this blue dimension. So the easiest way is to create a mask like this. Don't repeat this step. I just going to show you so you could see it better is to create something like this and just made it this point. But as you remember in the original example, you can see that we have here this stretching part, and it looks more organic and more natural and basically a lot more interesting to watch. So let's try to repeat this part here. We don't need mask, so I'll delete my mask. And now we need to create this transition point which we just saw in the preview. So let's create a new layer, layer, new solid. I'll call it left side. And we can just basically let solo it so we will see it better. And let's apply an effect called Gaussian blur, because we need to blur this edge for the next effect to work, let's increase it to about 100. Now let's stretch it out like this. So we would cover these edges. Now we can duplicate this layer and just press Control D to duplicate. And let's move this to right side. We can also select this layer, press return on keyboard to rename it, and let's call it right side. So I've got to move it to this part here. And we need to move this anchor point due to this point here. Just select this pan behind tool and select this anchor point and move it to this point here. So we need to do this because we want to animate irritation. Just lay this layer and press R to see our rotation. We want to animate this opening part. Let's move it really close to this point here and maybe less rotate this left side too. And also move this anchor point by using this pen behind tool to displace. So at the beginning of this animation, we want to set to minus1, set a keyframe. And at the end, Let's set it to minus three. So it will open a bit and saying we will do with this right side, the bn, and let's set it to a three. And at the end, Let's set it to ten. So in this way, we will have this opening kind of animation. Let's also solo this bottom layer to see what we are going to see as a result. Now we can select these both size and by pressing the arrow keys on my keyboard, you can move it to the right. And if you hold Shift on keyboard, it will move a lot faster as you can see. So now you can move it to the place where you want to show your face. 6. Tearing Simulation and Animation: And now what I want to do is to un-solo this layer and create another solid. Let's go to layer new solid. Let's call this stretch. I don't know how it's felt. Okay, and now with this mask, we can create these parts of the image which you could see. Maybe even let's solo this layer to see better parts of phase we are going to see as a result. So let's draw with this pen tool. Let's draw the shapes. Once you'll draw the first shape, you're going to see your, your final result. So lists and draw something like this here, basically something which resembles this. So I'm going to draw this shape here. And also I'm going to draw another shape here below. And let's also apply a Gaussian blur. You can copy from this layer, just control C to copy, and here control V to paste. So let's also precompose these layers. So we would have as a one layer in this composition. So go to layer pre-compose. Also move all attributes. Let's call it opening and click OK. And now let me show you how this effect would work. So the next step to get this kind of look, we need to add Layer, new Adjustment Layer. And here we need to add a curves effect would discourage effect. We can go to Alpha mode. We can boost the alpha. And as you can see, edges become less transparent. And by changing to this kind of curve, we can get this effect. Wish you could see in my final result why you want to do this in this kind of method? It's only because when you are going to move one of the sides like this, as you can see, it's dynamically changing. It really worse like organic, some kind of simulation, which is really cool. So what we also want to do is to add roughen edges effect. So let's set it to spike. Yeah, I personally like the spiky mode. I'll set my value to three and scale, I'm going to set to 150 because we don't want to get to dance of them. You can also duplicate this layer and decrease the amount of blur like 20, 30, it will allow you to draw more thinner lines. Because if we let this at 100 and we would try to make smaller shape like this, you can get this kind of effect which we don't need. So if we lowering this to 30 or even lower, we can draw this little shapes like this, which you could also see here. We have these little ones and the bigger ones. And as you remember from the original sample PIE, want to have this kind of resistance. As you can see, it's shaking. It's trying to resist my iterate through this dimension. So let's add this kind of a wiggle. So to do this, we want to use this right side and press P on keyboard to animate the position. We are going to animate it using the expression to apply expression to the, any of the value like position right here, slide this layer, press P to see the position. You need to press Alt on keyboard and hold it and then left mouse click on this stopwatch. It will allow you to write expressions. I'm just going to paste mine right now and I'm going to explain how it works. So what we have here is really not that complicated. So we have this value x, which equals to wiggle and these numbers here. So basically, we are telling the software that we have some value x and we apply it to this value x. This kind of expression, wiggle is the name of the expression. It makes like this random kind of motion. So first value of this wiggle, it says the frequency of this wiggle. So if we set to 12, It's really shaky like this. And a CPU we will set to one, it will be a lady, really steady and slow. And second value, seven is selling how much carry it will cover. So seven, it's pretty low and it will morph or something like this. And if I will set to one hundred, ten hundred, it will move all over the screen. And finally here you can see these two values. So x, It's, our wiggle is 0. It's basically, it tells that it will work on this value here, on the x value. If you move this x value, you can see that it would work only on the horizontal space, which exactly what we want. It will wiggle like this. And here with the word value, we are saying that this y value doesn't have to change. It stays at devalue, which it is. So it will not move in the y-axis. So 0 is 4 x axis and one is for the Y. So let's see how it works. Praise your numpad to see it. As you can see, we have some kind of wiggle in this right part. Press U on keyboard twice as fast to see our expression. We can change it. So now as you know, if we increase this value to 20, it will wiggle a lot more frequent. And if we change this value to 15, we will get a bit more of the area where it will wiggle. So let's see it embracing 0 to see the premium. Now, as you can see with this expression, you can change how violently it can wiggle. I think it looks good and you can draw much more shapes if you want. You can just double-click on one of the mass, press Control D and move it over to have another of this kind of shape. So let's go back to a second shot. And now we have this kind of effect. 7. Adding Complexity to Edges of Dimension: And now what do we want to do is to use this blue look. What we can see an alpha matte to this opening transition. So if we set it to alpha matte here, if you don't see it, just click on this toggle switch. You will see this and said it below Bullock and opening at the top. And now let's set to Alpha Matte. You can see it's almost like painted over this opening transition. So now as we preview, we can see this kind of effect. And now if we un-solo this, we can see this layer below and we already getting somewhere. Now, if we look at the final result, we can see that these edges kind of glow and have some kind of interesting texture. So let's work on this part right here. So for this, I decided to duplicate this opening transition, select it and press Control D to duplicate it, we made a copy. And basically if we solo this layer, we would see that it's only this transition which we've created. We want to duplicate it one more time. Just press Control D on keyboard to duplicate it. So to create this inner part, I want to use this same technique with the Alpha Matte. So to better illustrate this point, I'm going to use fractal noise effect. You should use it too, because it's a part of this effect which we are creating. I'm going to set my swirly and let's disable this for now to see the effect of itself. Because now we are creating this kind of interesting texture to this edge. Let's add it maybe to 180 and lower the brightness. I'll set mine to minus 20 here you can change the pattern as you like. And let's once again use IVC color vibrance because it's really good plugin for coloring the effects. I'm going to use this kind of bluish cyan color. Maybe a degree is this value here, so it would be a lot darker. And finally, we want to add roughen edges effect, so it would be not so smooth. So let's apply roughen edges effect. Let's set it to 23. And as always, I'm going to use spiky and scale I'm going to set so maybe 280. So now it's not that smooth as it was. You can barely see it. But if you disable it, this fractal noise, you can see that it gives a lot more rough and ages kind of effect. So now once we've created this inner part of the globe, we can set to Alpha Inverted Matte. So basically this alpha inverted matte uses this information where we have a black color as the part where it shouldn't be visible. So now if we select this bottom layer and press S on keyboard to change the scale, and click here to be able to change all the this value here, x value, which is horizontal and lower it. You can see that we are shrinking our effect so it would be visible and our shot. So let's disable here. And also here to see only this part which we are working on and set this value to 77. So now we are seeing this inner part, but it's not evenly distributed. What we can do is to just select this layer and press arrow keys to the left to move it over like this and just evenly distribute between left and right side like this. So now if we un-solo this layer, we can see that we've created this inner part. Now we can just select these both effects and go to layer pre-compose. So we would have as a one and it would be more organized. Let's call it inner part. May sure that we move all attributes and click here and click Okay, so now we have this inner part on the separate layer. We can set the mode to add. So it would blend better with the bright spot of our image. And what is cool when you have this as one layer is that, that you can apply some glow effect to it. So let's apply glow and let's play with these values. First of all, I want to set to 100, this threshold. It will allow to preserve the original color radius. I'm going to set to 210. As you can see, it's already a bit covering our face. And now what we can do is to press Control D to duplicate this effect. And now to see it better, we can set low in density to 1.7 and lower this value to 150. And we are basically trying to tighten this effect so we will see the glow on the edge and we tightened with their low radius same. Finally, we can duplicate it one more time to get even more globe press Control D to duplicate it. And here on the globe 3, we can expand this radius like this, maybe it to 500 and intensity, Let's set it to three maybe. So now we have this really bright glow here, but I think this kind of low doesn't really look much stylized. So let's duplicate this blow. Select this inner part and press Control D. Let's disable this. You can just select one of them. Press Control a to select all of them and press Delete. To create more stylized kind of glow. We can use fractal noise. So let's go to effects and type it fractal and drop it here. As you can see, we have already some fractals here. Let's make it more contrast here like this, may be 180 was maybe boost the brightness to 50. And now we can apply guys the onblur unless Laura, It's really, really high. Lake 1, 0, 0, 0, 0, 0 to 100. Basically, we are not even able to see it. But what we can do is to blur only on a horizontal level. So now we already see this kind of stripe here. To boost the brightness of this globe, we can apply the effect called curves, just go to Alpha channel. Let's boost the alpha to the maximum like this tonotopy. See we are getting this much more stylized low. And finally, we can apply our color vibrance effect legis open this inner part and copy from here and just select it and press Control C, go to second shot and Control V to paste it. So now you can see we get in this kind of much more stylized glow. And with these curves effect, we can adjust the intensity of the globe. Let's leave it here. Let's also enable this lower inner part to see it missed, maybe disable some of these laws who see which one really works here. And maybe let's paste tower color vibrance effects on top of it. And you can also expand the radius, some of them to spread our glow like this. So now as you can see, we're getting pretty close to our example. You can play around here with the contrast to get more thinner stripes like you see in my preview. And you can play with the evolution. So you could get these kind of effects. You can just animate the offset of the purse value on here to the first frame, set a keyframe, and move it over. And is the last one we can see that we have too much glow. Maybe just animate this course effect. So let's see, whereas get into bright like here, create a keyframe. And here we can just draw this kind of shaping the curves so it would not overwhelm with the glow. Let's press on numpad to see the final result. 8. Stylizing Finger Animation: And now let me show you how to create this kind of fingers which tears through this. So to create those fingers, we need to duplicate our original footage selected and press Control D to duplicate it, Let's place it on top. And basically what I've done, I just tracked my fingers. You can use tool ways to do this. You can track with the mask or you can track with the Roto Brush Tool. So for this part of the class, I'm going to show you how you can track with the Ellipse Tool or basically any tool which creates commands. And in the fourth VFS shot, I'm going to show you how to use this roto Brush tool. So let's use this ellipse mask tool or maybe Pen tool. And let's create a mask here on the finger. We can press M on keyboard to see our mask, and let's set it to none to see all our footage, I'm going to show you on the example of the one of the fingers. So we would not waste any time in this class. And you basically need to repeat to all of these fingers, which you have in your shot. So what you can do is to right mouse, click on it and click track. Now let's see if it will track. Well, click here to start tracking. It worked really good. I'm surprised how well it works because I've used rotoscoping my original example as you can see it, this is how it easier to track your fingers. But keep in mind that you need to work on this hand separately and one this amp separately. So on this one foolish, you need to track all your fingers on one footage and track all of these fingers on separate. Foolish. Because as you can see, we have this kind of glow which goes to this horizontal way and this diagonal way. And we need to have this on separate layers because we are going to set the direction of the blur of the separate layers. So let's work on the left-hand side. So let's say we are already traced all our fingers. Let's work on it. So first what we can see that we have this kind of repetition of the finger. How we can achieve that is store, go to layer, pre-compose, set to move all attributes. Let's set left-hand is technically right hand, but doesn't matter. Ok, and now we can use echo effect. Let's change this mode to a composite in France. If we increased amount of echoes, you can see these kind of echoes of our fingers decay. We can set to 0 and 69. So we would have this kind of decay may be a set to only six. And here I've set my value. So boring 200, 53. Basically you can adjust these values. But what you are going to see that if we change this value, we can get completely different results. You can play around with this value and experiment and see what works best for you today. Think a flu, you don't really move your hands to pass. This value would work for you as well. Let's maybe apply some curves effect. I just want to color graded a bit. I'm going to go to red channel and lower it. So it would have a bit more of this blue kind of tone which we have in our Foolish analysts duplicate this left-hand. Let's delete these effects and let's use the same technique which you used to create this stylized kind of effect. So select this layer, make sure this is right one, this one which have this stylized look, select one of the effects, press Control a on keyboard to select all of them. Press control C to copy them and go to this top layer and press Control V to paste it. First thing which we want to do is to set to add. So we would see our finger itself. As I've said, we would use directional blur because this doesn't really work for this finger. I want to have this kind of diagonal pattern. So let's delete this Gaussian Blur. Let's remove this animation by clicking here. It was animation of the brightness and said this brightness lower. To see better how we change in this brightness, we need to use this directional blur, which I've mentioned a bunch of Dimes here is our directional blur. Let's set it here. And just above our curves placement is, does matter. So set it here and here we can just expand this value, blur length to 335. You can play around and see what works best for your footage. And let's change the direction as you can see. And now we can manipulate this direction as we like. Maybe let's set it something like this. And now with these curves, you can see how we affect in this brightness has also a weekend you change blur length to adjust this law can change this evolution to get specific kind of look of our blurry. So for example, if you like something like this, you can disable this animation which we applied earlier, are left with this kind of try. Just scroll through and see what you like best. You can also go to transform and change scale to get different kinds of results like this. And basically, once you've tracked to your old fingers, it will apply automatically to all of the fingers. And thus they think you would need to do with this right hand on the separate layer. Great job. You've done your second VFS shot, and now let's move to the third one. 9. Rotoscoping Face for Flame Shot: Okay, Let's now work on third shot right here. So let me close to the steppes and drag and drop this third shot, which is available in the resource tab to this glass here on this icon to create new composition. So if you want to, you can record yourself in this manner. You don't really have to have your hand in the shot. I just thought it would look more interesting. So our goal is to get the shot right here. As you can see, we are not applying effects to this family. We need just to wrap up our face. Stylizing the background, stylized, the background here in different manner. And also, as you can see, we will apply some wispy fire like waves. And I think we will not make this edge to not waste any time because we already know how to make this H from previous shots here, basically in this same technique to create this edge. So let's get started with our rotoscoping Soto around. It's got our face. We are going to select our Polish double-click and entities against C We opened in the layer mode here you can select this, run a brush tool, just let Muslim in it. You can also breast on button just below Escape button. I believe it's still the button. I don't know really sure. Just press the button below the escape button. It will open and pull stream. And now as you can see, you have this green dot with which you can select what we want to run. A stop if you will, hold control key on keyboard and leftmost click and drag to the left or to the right. You can change the size of this brush. So I'll have it just like this and I'll start drying. As you can see, just like this, we don't have to be super precise because generally it does a good job, as you can see here, is fine. We can stroll in the mouse to zoom closer. And if we don't want to get this piece of hair here, we can hold alt key on a keyboard is against the cursor turns to red. Now leftmost lake due to unselect this part of the image and a few release Alt key, your cursor automatically change to green. And you can add details if you want. And I think it looks good. Now let's press the button below Escape button so we would see our full interface. And just by clicking here, brainwave brain, you can check if your mask didn't change and it follows with your face. You're going to expand by clicking here and let's shake frame-by-frame. The dismissed will follow along our face. As you can see, it does a pretty good job. We can click here and click backwards. It will try and backwards. And now we can click here to a composition mole density. And the result is, you can see we have a really good final result. Now what we can do is to go to effects controls here and tweak some settings here. Let me enable magnifying glass so you would see better what I'm clicking here. And maybe let's turn off the Alpha mode to see better hour edges. So my tip for you is to combine all of these four robberies, because one by one doesn't change much as against the feather is just make the edges more rounded. Unconscious can blur the edges and shooting the edge, as you can guess, it shifts the edge and reduce Chatter doesn't really help much. But for this effect, I think with the standards values, it'll is good. Maybe we can just shift the edge to be tighter to ourselves. So now we can render this footage. So our computer with not have to render this out every time while we will apply more effects to it. So let me show the settings for the Render. You just go to composition, add to render queue here and the Render Queue click on lossless and output module. You can use AB formats or QuickTime. Either one is good. I'm going to use quick time. What do you need to do is to change the channels RGB plus Alpha. It will remember that this part is transparent and you can just turn off the audio into the cookie. And here output so you can select where you want to save it and then click Render. So now we have this render. We can close this tab and double P here to import our result. Just BEG wherever you are saved yours and click import and drop it here on our timeline. So if we solo this layer, you can see it also has alpha channel as we wanted mat now we can select this original video, go to effects and controls, and delete this effect because we don't want it anymore. And it will not take our memory of our computer son Isaac and see we have these both videos. 10. Creating Flames on Face: So let's dialyze this video below. So it would manage to our previous design. Let's just try to copy these effects from this shot here. So let's double-click to open. By the way, if you double-click and it opens in layer mode, it means that you need to change your tool, the selection tool here, and then double-click to open. So here our effects for our stylized look and our blue look composition, Let's just select them both and press control C to copy, go to this third shot and select this layer below and press Control V to paste it. Threshold doesn't really work for this shot. So let's maybe change it a bit, something like this. You want to have some details in the background, maybe a list, make it a bit darker and a bit saturated. Okay, it looks good. Now let's work on our face. So let's select our face and let's make it a lot brighter. We want to make it a lot brighter because in second shot you, as you can see, we have this slide which illuminates our face. So we want it to feel like these shots is from the same environment. So let's type it curves and drag it on this layer. Let's make it a lot brighter, something like this. Let's also add some bluish color grading. You can select this curve and press Control D to duplicate it. Let's reset it and go to blue channel. And let's add some blue, like this may be a reduced sum of green and reduce the red. So now as you can see, it measures our background a lot better and it feels like it is in the same environment. Let's maybe add some glows, stylized low, and drop it in on this layer. Here we can take these two values to get a bit more of this glow. You don't have to really worry how this face looks because I want to duplicate this phase once again. So let's duplicate it, select it, and press Control D to duplicate. And here on this top one, we can just delete this blows as you can see, we have this flow behind and we can work a bit more on this look of our face. So let's duplicate this curves effect and reset it. And let's try to add a bit more of contrast by dragging this curve here, let's maybe add a bit more of blue in here. You can play around to get the exact look. Wish you want for this class, I think it looks good. Now let's add those wispy lines from our face. So first thing which we need to do is to create new solid and go to Layer New Solid. Let's call it phase lines and click. Okay, Let's maybe disable it so we could see our face analysts drag it to the end so we could see the full spectrum where we can draw our lines. So once we've selected our layer, we can go and select Pen tool. And now we can just draw something like this. If you left mouse click, hold and drag, you can make these rounded edges, which would help you with creating these kind of lines. Let's read one port of our head, ladies may be less screed. Another one for our eyes. Just start a bit further than our nose. I'll explain why in a bit later. So let's create another, and I recommend to avoid this kind of shapes. We don't want to have so much with spinous because we will add a bit later with the turbulence displays. So a bit of waviness is good. Just don't overdo it. And once again, we want to be a bit farther than our nose. So now when we have these lines, we can start apply some effects. So let's apply a fractal noise. I'll set mine to early. You can play around with these to choose, wish you like more than we can increase a bit of contrast like to 140 and reduce the brightness to minus 35. So we can see the effect a bit better. And let's reduce the complexity because now it's too much details in it to point to look good for me. We can also animate this effect. So here, set your time cursor to the beginning here to create a keyframe. Here at the end, Let's add one full rotation. So basically if we solo this layer, you can see that we have this kind of animation. We can also go to transform and animate this offset value. We are going to animate. So it would go from left to right, like this. So it would give this kind of interesting kind of animation. So let's set it to the beginning really key frame. And here at the end, and just add 1, 0, 0, 0, 0, 0 plus 1, 0, 0, 0. We already have the standard fiery little, but it's still has too much texture. So let's increase the scale to maybe 650. And as you can see, we've scaled the unipolar only. But if we click here, uniform scaling weekend just stretch the width to 650 and Hannah bit heights to maybe 220. Should look spine. Let's preview. Now it does look much more like a fire. So let's dialyze a bit more. We can add vector blur and edit. And if we will change the amount to about 14, we don't really need to change much. And you can see that we can tighten some of the edges. So if I will disable this effect, you can see what it's doing is gives this more tight and look, which I really like now we can apply some Find Edges effect. And we need to invert it. So with this find edges fact is you can see we isolate only parts of this texture. We can even duplicate this effect to have it more. So select this, find the edges, and press Control D to duplicate it. And now as you can see, we have even more lines, more pronounced and more subtle ones. Then we can apply a VC color vibrance. And let's set it to bluish color like this. And maybe let's make it a bit darker. Adjust the brightness if you want to see more of the lines, I'll set mine to 40, so you would see better. And also you can just apply some curves effect. And by dragging this curve, you can just make it brighter. Once again, let's leave it at this. And now if we press Zero on numpad to preview, you can see that we have a lot of animation inside of it, but the edges doesn't move at all. So this is why we want to use turbulence displace effect. Now we each just to play around with these two values amount, as you can see, it gives more of these wispy lines. I'll set mine to 33 and size, It's basically the distance between these lines. If we set to really high value like this, distance will be really, really big and we want to set it to smaller value like 70. And now what we want to do is to animate offset value like we did with the practical noise. So it would go from left to right. So here at the beginning and let's set a keyframe. And here at the end, we can just add 1, 0, 0, 0, 0. Also we can animate the evolution. So it would have more variants. So at the beginning, let's set a keyframe. And here at the end, Let's add one full rotation. So now as you can see, we have pool animation inside of effect itself. And also on the edges, we can un-solo this layer to see on top of our face. And we can also click here to toggle switches and see this mode. We can change it to add to 0 phase. So lousy can see we need to attach this layer to our face. More precise way is to disable this layer and select our original footage and go to animation. Track motion here we can just drag our eye. Here is good spot because we have this contrast between dark color and right color. Let's click Track Motion. So now we can just expand this phenol a bit to see this Analyze button. So let's click It's Analyze forward as you can see, it's pretty good track. We need to analyze backwards with this button here. Now let's create a null object to apply this data to our null object. So here, click on Edit Target and select this null three. Click Okay, click, Apply, and click. Okay. So this is how we send our data from tracking to this null object. So as you can see, our null object moves with our AI. At this point. We can just press M on the keyboard to see our masks. We can make the size a bit smaller, so it will stay inside our stream name here, this bottom as well. Just flick, just double-click on one of the points actually here to minimize a bit. And we can select all of these mask by clicking one of them and hold shift and click all of them like this. Once again, double-click on one of the points to be able to move them like this. And here at the end, here at the final frame, we can just, it just disposition and our goal once again. So these edges, left pages would be a bit farther than our notes, something like this. And now when we aligned properly our masks, we can just parent with this pick whip to Arnold. It means that this layer will repeat the movement of our null. And as you remember, our null is tracked to our eye. So now it's basically repeating the movement of our face. It's looking pretty good. Now we need to cut off this part. 12. Steping Out from Portal: Okay, now let's work on this fourth shot. This footage is available in resource step to this class. Let's create new composition. So now we are going to work on this part right here with the leg. It's pretty interesting part because we are going to emulate Lake. Our food is going through the portal, which is really handy effect, especially if you want to walk through walls or any portals of some kind. So let's duplicate this. Foolish just liked it. Empress Control D to duplicate it. Then leftmost, double-click on this layer to open and the layer mode. And now we can work with this Roto Brush Tool just leftmost ligand it. You're going to scroll on the mouse to zoom in and zoom out on your footage. And now as you know from previous my videos in this class, you can with this green tool, select what you want to run a scarp. So in our case, we want to rise up this steep of our boat. Let's pretend that it starts here and frame before by clicking previous frame, we can hold alt key on a keyboard to remove this part. So now we can see that from frame to frame, we are going to cover more of our foot. And this is how we can emulate, like our foot is going through the portal. Must again, you can hold Control and leftmost click and drag to the left to the right to change the size of our brush and keep working. What you want to do is to think of lake here is the wall and how much of the footage we'll go through it. So you don't have to make selections like this will not look believable. What you want to do is to cover lakes step by step like this as well, is covering this food. So let's keep going and let's go to next one and just make sure that we are not selecting anything else. But I'm not going to waste your time how to use this roto Brush tool because you can watch previous video where I show it in details and how to render this out. So I already have my brother brushed video. I'm going to import into my project panel here just by double-clicking here. And I'm going to drop it here. So as you can see, I already arrived, scoped my foot like this, and then we're showing all the foot. So now we can stylize our background somehow if we add cors effect here in the effects and presets and just type it curves and drag and drop on this layer below, which is our background, we can make it a lot darker. And I also want to add bluish tone. So I'm going to select my curves and press Control D to duplicate it, reset it by clicking on this button reset. And I'm going to add some blue. By selecting this blue channel. I'm going to drag this up just like this. I don't want this red too much in my shot and it will add bluish tone, even more of bluestone to my Effects. And let's go to the green channel and reduce a bit of green with this dream that you can make it or more bluish or more cyan. As you can see, I want to go with the bluish tone like this. And this is basically my loop because our portal are going to eliminate in such a way. So it would blend together nicely. Now let's create a portal itself. You can just select this pen tool, make sure that you didn't select any of your footage leftmost click and drag to create this video kind of dots and then click anywhere here to start drawing your portal. You can also click on your previous point to adjust the position. And just by clicking like this, you can draw your portal shapes. So here if you click on feel, you can get these fuel options. Just select this one is solid color. We don't need a gradient. Let's use this solid color and opacity. Let's set it to 100 and normal mode. Let's click Okay, and here on stroke we can just slide this one which is non and click Okay? Now even when we draw our shape, we can still manipulate it and change the shape of our portal. So let's start applying some effects to this shape. We can select it and press return and call it portal inside, because this outside h, we are going to create another instance of the shape layer. We can actually go back to the third shot and copy this stylized look from our background. Just select it, press control C to copy. And based on this portal inside, just press Control V to paste. Now we can also apply affect both find ages and place it on top list inverted. And let's maybe a, a lower threshold to see the details of our background. At this point, we cannot see any details because we want to use this mortal inside like it and adjustment layer by clicking on this icon here we are applying our effects directly to all of these layers which are below from this shape. So let's look at it and you can see already in the result. So with this threshold, we can tweak how much of details that we can see. I'm going to keep mine at 9 thousand. It looks fine. And with this find edges, as you can see, we only concentrate faked on the edges. And I want to add a bit of details in portal itself. So let's type it fractal noise. Now let's place it below this team and we can change this blending mode to screen, which would allow us to see everything behind just like this. So I want to add some contrast to see better, maybe 250. And I'm going to lower the brightness to minus 20 and looks good and Fractal type, I'm going to use dynamic splint looks more interesting. Let's reduce the complexity to maybe a 2.4. So it would have been not so complex. And I want to change the size. We can open this Transform tab and adjust scale to maybe 500. So we have this wispy of thing inside of our portal, and now we can lower the opacity. Let's set it to 45. I want to leave with settle like 45. And you can also animate evolution if you want to add a bit more of life to this portal, basically the same thing. Just create a keyframe at the beginning, then scroll to the end and change the value. In this way, we will get this kind of wispy motion in our load. Now let's drag and drop this foot on top. As you can see, we already have this kind of effect, which already it looks interesting. But I want to have the edge on this photo. I really like the edge which repeated here. So let's copy this portal edge, just only these effects. Just select first one, press Control a, and then control C to copy and go to the port shot. Now we can duplicate this portal inside just by selecting and pressing Control D to duplicate it, then select one of them, one of these effects, press Control a to select all of them and press Delete. And now we can paste all of these effects we should have copied from the third shot. So select it and press Control V to paste. Now we can press return to rename it, Let's call it portal age handy. Easiest way to apply it to the edge is to go to fill and change here to none and click. Okay, and here on stroke, we can change the value. Let's set it. Maybe 225 analysts see how it works. And as you can see now we have the smooth edges which shouldn't be here because we apply it to this roughen edges effect. So how we can fix it, it just by uncheck this adjustment layer option. If you cannot see this, Click on this toggle switches to see it and uncheck it. Now we already have this kind of effect a here. By selecting this portal edge here, you can just adjust the thickness of your age. I think it looks good, maybe a little tricky bit. The scale, I wanted to make it bigger because I don't want too much details on the edge. Something like this looks good. I've set my value to buy a plunger, and we can also change this mode to add. So it would be a lot brighter. 13. Adding Glow to Our Foot and Final Touches: So now let's try to create this kind of effect on the edge to our foot. So what do we need to do is to duplicate this foot here on the layer below, we can apply effect called Drop Shadow and just apply to this layer below. And here we can select the direction, as you can see, like this, I said, capacity to 100% and add a bit of more distance. As you can see, we already seen this effect working. And now let's try just to copy all of these effects onto this layer. So select one of them, Control a to select all of them, control C to copy and select this layer below and press Control V to paste. So we already have this kind of effect on our foot, which I think looks even a more interesting than my original example. As you can see, it's too small. If you wanted to kinda smooth kind of effect, you just need to slave disrupt and edges effect and just deselect it. But they think it looks even more interesting then in my original example. So now it looks really, really cool, but we want to delete this kind of edge effect somewhere here. So what we can do is first go to drop shadow effect creates a keeper into distance. And let's read a keyframe to softness and just drag few frames. And we want to retract the distance between our layer and drop shadow effect. So let's set it to 0 and maybe increase the softness. It also makes really interesting effect which I didn't expect, which might be interesting for your other projects, is really interesting, but it's not what we want here. So let's just don't create a keyframe to softness science simply by pressing U on keyboards. We can see these both keyframes which retracting our effect, press T on keyboard to see our capacity and scroll through the timeline and set it to 0 to make this fading animation, which I've used in my original example. And I also want to add a bit of light to the output at the beginning because as you can see on this edge, he eliminates quite heavily. So let's take this foot which is on top and apply curves effect to it now here where it's outside the portal and without this load edge, we can create about here a keyframe to archives to keep this original curve in here at the beginning. Let's make it a lot brighter like this. So it looks like this edge illuminates our foot. Let's press U on keyboard to see our keyframes. We can go to graph editor and adjust to make it a bit smoother animation so it's bright. And then the main colors of the fourth week, and also here at the beginning head a bit more of blue and reduce the red. So now let's work on our footprint. As you can see here, when I'm stepping Reagan, see this footprint, which is super easy to do, we just can create a new layer or agreed a shape layer so that this pen tool, and let's see where my foot is landing about here. And now we can just create this rough shape where our footprint will be less, place it below, maybe below of everything just on top of this background layer. And let's call it footprint. Press Return on the keyboard to rename it. And let's apply roughen edges effect for this footprint. Let's increase the border to high-value, maybe to 508 sharpness. Let's also increase. So it would be much sharper. Let's leave it at 50 scale. I want to make it a lot bigger, as in my original example, may be at 300 DPI. Let's play with this border. Because with this border we can adjust how it would look. As you can see, it's a bit cut off on the edge. What we can do is to apply an effect called motion dial and place it above roughen edges. And it will feel these edges, as you can see here. It's got off enable it and it's normal wedge we also need to do is to change the color. Let's go to fill and change it to black, and click OK. And let's click on Toggle Switches to change this mode to overlay, which will take a bit more of the texture of the original footage on the background and we can move it a bit if you want. Let's time it well, so about here, it should appear. So let's cut it to this moment and about here, Let's create a keyframe to border. And here we can increase this value really big. So we have animation. So now as you can see, when I step, it appears, we can also press U on keyboard to see this keyframe and go to Graph Editor, make it in here and change it like this. So it would be much faster and slower at the Richard look, really cool. Events spread out a bit. We can even set to the ends like this. And as you can see, we have this splash and slower motion in the end. And now let's go to the 5th Shock. 14. Creating Light Streak to Hand: Okay, now let's work on fifth VFS shot. So let's drag and drop on this icon to create new composition. And in this part of the class, we are going to create this flash, which you can use here as well. Here is more simplest version, but we are going to create more complex. And if you want, you'll be able to shut up these layers of delight and left with just sparks and this kinda black stylized look. And to finish this off, we are going to create this kind of streak as also this energy bill. And these are basically all the effects which you need to know to create all of this, which you can see on screen. And in preview of this class, as you can see here, on the fist, is exactly the same technique we used here. So these techniques are just repeated and sell a bunch of times we should results in this really cool look and let me know in the comments if you want to know how to create these kind of interface. And if you're interested in that, I'm going to add another video on that to this class. I should also mention that this kind of effect, as you can see here, exactly the same how here we used just rotoscoping our foot. But in this example here, we need to wrote a scope ourselves and just draw with the shape layer on the outline of the portal and squish it may this so it would close. And as you can see, we have some sky here. We shall, we cannot see here in our foolish, I just added manually just by dragging and scaling up by pressing S on keyboard to scale, I scaled up in the sky and just basically used color key effect, which allows you to cut off only the white parts of this image. And then you can apply the curves effect on the sky like this. By the way, let me enable Magnifying Tool. And let's make it a lot brighter, something like this. So it would make our footage better. And maybe let's play a bit with the color itself. I'm going to lower the red and the bit lower than green and add some blue. And finally, we can add some hue saturation effect, as you can see here, Hue and Saturation drop it on the sky. And with this effect, we can just click colorize. It will colorize in one color. And just by dragging this value, you can slay the color which you want bluish color is around 207 and we can just add colorized situation. Let's set to 75. So this is how I have got this kind of bluish located on the shot itself. We can also add some curves. There's dragons up on the shot itself and make it a lot brighter, maybe only in the shadows. So this is how I add a bit more color into my shot. So it would look more like a video game. So let's add this streak of light here. So for this, I basically just create a new layer, solid, Let's call it a streak or maybe a smoke, street smoke and cookie Alice dry shape where the streak will appear. So we can just scroll here on the timeline to see the movement of our hand. You can press and hold space bar and a left mouse click on the image to move around like this. So it looks like it moves from here to here. So we can just draw a shape where it should move. As you can see, it could be a rough shape like this. We can enable this layer and add roughen edges effect, which really comes handy to a lot of defects. So let's at most two spikier, because if we increase the border, which basically the amount of working of this effect, you can see that spike is more interesting than rough hand. So let's set to spiky and let's set to really high value like 150. Let's increase the sharpness of the edges. Let's set it to four. Maybe analysts increase the scale because we have too much details and maybe at 298 should looks much better like this. Now we can animate evolution if we want to add a bit of animation to the edges. So let's see where it starts. It starts slow right here. So we can cut this layer to this moment and ends about here. So let's cut it to this moment as well. And let's animate from this point set to evolution the keyframe and here, and drag it a bit. So we would have a bit of animation. Maybe it's too much. So let's press U on keyboard and reduce to one full rotation. They should looks better. You can just play around, preview this part to see if evolution works good, Maybe a bit faster. So it would have more life to it yet looks good. Once again, if it's cutting the edge, you can apply Motion Tile effect. As you can see here, we have this rough cuts. And if we said here, it will expand the effect. And now let's add some texture to this effect. Let's use fractal noise. As you can see, it's pretty popular effect, which we are using a lot. And let's use Dynamic Twist because it's more, much more interesting kind of load. You can play around with these to see what you like best. I'm going to increase the contrast so we would see better the conscious points of this effect. I'll set mine to 325 and brightness, so I'm going to lower to minus 17. We can also animate the evolution. So it would have the animation not only on the edges, but also inside of this effect. So as you can see now, it feels like it all have some energy in which already looks pretty cool. We can increase a bit of scale. So in my original example, I went with the real high-scale. They 322 may be lower value, would look more beautiful. I think we will stay at 162. It looks pretty interesting to me. And finally, let's colorize with the tint effect. Just drag and drop on this layer. Let's make it this the darkest point, lake black, but a bit of the blue color and this one, Let's set it so bluish, but a lot lighter color like this. Here we just can play with the brightness and contrast. A more subtle look. Let's make it a bit more subtle by lowering these values one by one as also you can change the scale if you want. So I'm going to leave it at that. And now I want to animate this swiping motion. So for this I'm going to use another mask. So let's use elif stool. You just need to leftmost click and hold and select this ellipse tool here. So we can draw a circle like this, which basically will cover all the previous mask which we've created like this. Let's set it to intersect, which means that it will show only the part which is inside. So here at the beginning, I am going to set this mask tool. Here. You can just double-click on one of the points and then move around like this and create a keyframe in here where it's wipes, where you swipe your hands, you need at the final motion, cover all the screen readers and maybe let's go to graph editor. So they this keyframe. And by changing this value, as you can see, we can mesh closer movement to our hand. Okay, as you can see now it matches perfectly. And what we need to do is to duplicate this mask. Basically it creates another mask at the same time. And what we can do is to set it to subtract and this mask, we'll subtract everything in wishes inside of this mass. And if we press U to see all of the keyframes of the each mass, we can select this, which is subtracting and make this animation we've created to come later. As you can see, this is third mask. If I change the color, we can see that this is third mask. And by moving these keyframes to the right, we are delaying the second motion. So as you can see, we have this first motion and second motion. So this is how we can create this effect. We can also press F on keyboard to see the feather, which basically allows you to create this kind of trail of the particles which would look much better. And here we need to cut it and this layer, so it will disappear. So this is basically how you create in the animation this effect, unless press 0 numpad to see the animation itself. And now we can control the animation just by pressing U on keyboard, by moving these keyframes and spreading a bit. And I can also just spread this last keyframe, which makes this second mass movement a lot slower. We should look much more greedier. And maybe if we hold control and click on this keyframe, we can make it as a simple keyframe without any slow movement, which works even better. So let's make it a bit faster and cut it to this moment. Okay, it looks pretty cool, but what do we want to do is to have a bright spot here at the beginning. 15. Adding Glowing Part to Hand Light Streak: Okay, it looks pretty cool, but what do we want to do is to have a bright spot here at the beginning. So we need just to duplicate this already made whole animation and we need to pre-compose it. So go to layer, pre-compose, and let's call it as it was, but also add the word glow and make sure to move all attributes and adjust the composition and duration. This means that all effects will be inside of the composition and not on top like here. So now we can just open, as you can see now we don't have any effects here. So we need to open this composition and adjust the second mask, because now we want to isolate only this part of the image just beginning. So we can just spit up the second mask by moving these keyframes. So this would be a much tighter look of this effect, something like this. And let's make sure that the second mask is more expanded. And this way it will cut off all these unwanted parts and cut it to this moment. So it will just disappear about here. So now as you can see, we have this much more tighter look to this effect. And what we can do is to increase the border of the roughen edges because we want to isolate some bits of this effect so they would glow. So now idea is to make it a lot brighter. I'm going to set to minus 20, and let's add color vibrance and VC color vibrance. We can just delete this tint effect. Adds this kind of bluish tone. I'm using color vibrance because it has a lot more difference in the color itself instead of simple. Because if we will look at this part here, it has only one shade of blue and with the color vibrance, we get a lot more of these colors and we can adjust the brightness to get these hotspots in our effect. So let's take a look how it would look in the shot itself was go to Fit shot enabled this scholar. And as you can see, we're getting already this kind of energy kinda look, which I think it looks really nice. And finally, I want to add the glow to this glow effect. So just type here glow and apply it to our layer here we can set to 100. So it would look only on the bright spots radius. We're going to make it a bit bigger. You can see it increases the radius of the glow. I'm going to set mine to 110 and intensity I'm going to set 2.7 to 1.7, so it wouldn't be much brighter. We can duplicate this effect and said this blow maybe a lower 2115. And also we can lower the intensity of this law. And finally, I want to duplicate it by pressing Control D and add a really big radius to this blow South and Lake 480 should work fine and maybe increase the intensity. So let's see how we can adjust the look of this effect. We can go again to the street glow and go to a fractal noise and change the scale. If we feeling like it's too much details, we can lower the details here in the complexity. If we want more like energy look something like this. Also, we can decrease the contrast and do a bunch of things to make it look more like you want. Also, we can animate this evolution to be a lot faster. So we would get more variance and the evolution of the fractal noise, which represents the animation inside. So as you can see, I've changed local rotations like this, this flesh, as you can see, much more interested in looking now and what you can do finally, you can just set it to Screen or even add if you want really bright looks. And as you can see, we have this kind of energy. You kind of look. And if you want to see it more, you can just spread a bit and spread keyframes of this masks like this, it will slower the animation. So if I press is your numpad, we can preview the effect so you can see at full speed, it looks pretty interesting. So this, how you can get this kind of interesting kinda look, which looks really cool. And now let's work on our flesh. 16. Creating Flash Effect: And now let's work on our flesh. So let's just say we want to have flesh here. You'll be surprised, but flesh is pretty complex effect. So first thing we're going to do is to add solid and I'm going to call it buildup it what would happened before the flesh itself. So let's call it build up and let's make it as adjustment layer by clicking here. And to see this kind of icon to create an adjustment layer which applies all the effects to all layers below. So what I want to do is to add some CC Radial blower. So let's use this CCA radial fast blur. It's even better and let's animate the amount of this effect. So I want it to have the final point about here to have really strong impact. So I'm going to set to 85. As you can see, it's a lot of blur. Let's set a keyframe. And here at the beginning where it's only starts, we can cut it to this moment. Press U to see at this keyframe and cut it to this keyframe like this. If you hold Shift, it will stick to your timeline cursor. And here let's set it to 0. So as you can see, this buildup will build up this kind of effect that something happened, which already looks much more interesting. We can even add some camera shake. I'm going to use Transform effect for this. And just here, transform and play here. And what we can do is hold Alt key on keyboard and press on this stopwatch. It will allow us to write expressions. So I'm going to type really easy expression. It is wiggle expression, which allows us to wiggle this position point. So of course value is amount, how much it will wiggle. 12 is pretty big value because I want it to be visible how it wiggles. So first value is how much it would wiggle, and second value is how much area it will take. This effect, you can increase this to like 15 if you want to see it better. So now if we disable this radial fast blur, you can see that we add in this wiggle the camera shape TO cover up this part of the image, we can apply effect motion tile here and increase these two values, embedded and click on this mirror edge and as you can see, it covers these parts. So we have this wiggle less leave it not that settle at value 12 and 15 and add radial fast blur. And finally, we can add some curves effect to this buildup effect. With this curves effect, we want to colorize the slope. As you can see, it builds up to this bluish tones because here at the flesh, we have this really dark colors, but still blue colors. So let's create this build up to this point here at the beginning we are creating the keyframe. So it would be as normal. And here at the young V1 to add a lot of blue or reduce the red analytes, reduce the green. So we would have this kind of bluish tone. So this is our build-up. We can press a 0 numpad to see it. Now let's create a flesh itself. So idea is if you want to have something really bright in your scene, you just simply need to make everything dark. So this is why we are creating new layer solid and let's call it Dark BG for background and click. Okay, Let's make it a few frames just by cutting into this moment and cut in here, because it's basically will be a few frames of darkness, which will trick our eye into thinking that this flesh is really bright, but we don't want to have just black color. This is why we can just copy the effect which we've created here on this swaddle and forth shot. So we can use this portal inside. We can select its first one, press Control a to select all of them, and press control C to copy. Then go to fifth shots and select this Dark BG and press Control V to paste. We can also click here to make it as an adjustment layer. So now as you can see, we've created this darkness, but with some details, which looks pretty cool. Now we need some bright spot. So let's create new Layer, Solid. I'll call it flair and click. Okay, and we will use an effect called Lens Flare. Set it mode here to see these moles by pressing on this toggle switches and modes and set it to add. So we would be able to see where our fist is. And let's place it by dragging this handle or just by moving these two values to set It's where our fist is. So it's about here. Let's cut it to this moment. So let's set its 255 at the beginning, set a keyframe, and here let's set it to really high value, like 125. So it would flash. You can press U on keyboard to see it. And by clicking here, we can just zoom in a bit into this timeline to see it better and we can apply some Gaussian blur. So here we have this clear flesh and about here, and you can just blow it out and cut this layer. We're going to, by the way, if you set your time cursor here, select your layer and press Alt key and hold. You can press closing square bracket. It will cut this layer to this moment. We can just expand it a bit. And about here, Let's press T for opacity, create a keyframe, and here let's set it to 0. So we would have this fading animation, but now as you can see, we have the different color. So what we can do is to apply the tint effect to make it black and white and apply color vibrance effect. Let's set it to blue color. Click Okay, and now it matches a lot better. As you can see here, on edges we have this kind of weird. Effect. To fix it, we need to go to Gaussian Blur and click on this checkbox here and it will cover this part. And now let's try to create this kind of Luke of these star-shaped. We can create it with the shape layers. To create a shape layer, you just need to click anywhere, not on the solid but about here. So it will deselect any of the solids. Ng-click hear you. Let's start with the Star tool here. Just select it and just click here where our fist is leftmost click and hold and drag like this. So now we would have these branches of the star here. If we open this, we can adjust the points. We can increase to six, or maybe let's leave it at five. We can change this inner radius, but we don't want to change this one. We want to change this outer radius. Let's make it a lot bigger like this. Let's call it star one. And we can also duplicate the star. Select this pen behind tool animal, this anchor point to the center and press R on keyboard to rotate it like this. If you want to add a bit of details to the start, we can also open here, here at the contents and poly star and reduce the points to two. Let's make it a lot thinner by changing these values, changes by pressing on keyboards, we can just rotate it. And now as you can see, we've added a bit more like randomized kind of look, let's apply field effect to this star. Now let's set it to a really dark bluish kind of tone. Let's copy this color and paste it here. And finally, let's add some circles. We can just select this tool and just let mostly hold and select this ellipse tool. I'm here from the center of our fist. Let it oscillate, hold and hold control. So it will create a leaps from the center I hold Shift. It will create a perfect circle. So the size looks good. Let's call it circle one, then is duplicated. Then use this pen tool to move it to the center, this anchor point Alice scale it's a bit up like this. Then duplicate it, press S to scale up once again and duplicate it and scale up and the other one. So now let's select first one, hold Shift, and select all of these shape layers and go to layer pre-compose, Let's call it star, set of all attributes and adjust the composition and click Okay, and let's open it and I want to adjust this look a bit more. Add some colors to this. Let's maybe make it a bit lighter like this. Let's copy this color and set it here and maybe make it a bit lighter and change position of them. So I want to add a bit more randomized kind of colors. We can also change where it goes. And this smaller one which we've created, we want to place on top and change to this kind of mode, silhouette alpha, it will cut off the inside. And if we go back to fifth shot, we've created this kind of low analysts play around with the modes. I'm going to set mine to overlay to see how it looks. As you can see, it looks much more like here in my previous video. So basically this whole wave created this kind of look. But you can see some outlines. We can change it by going to start. We can select all of these and reduced to 0, so we would not see those outlines. So you can see it's pretty much the same. But finally what I did, we can just cut it to this moment. If you hold Alt key on a keyboard and scroll on the mouse, you can change the size of this timeline as you can see it. So finally, I want to animate the scale here at the beginning. I'm going to set a keyframe here at the end, maybe even westerly here. I want to set to really high value. But as you can see, it scales up not from the right point. So we want to use spent behind tool and set it here so it will scale up from this point and let's increase it like this. And now we can press T on keyboard to see our capacity. Let's create a keyframe by clicking here and move it here. And here. Let's set it to 0, and let's see how it looks, maybe even faster. And by squishing these keyframes together, we can make it fade a bit faster. And let's press 0 numpad to see how it looks at full speed. So now as you can see, by creating this dark part, it looks much more intense, like it's really bright light. We can also change a bit position of this. Just select the selection tool and adjust the position. So now you can see if we disable this Dark BG, it wouldn't be an outlook so bright, but we enable this. It looks much more intense. 17. Creating Sparks for Flash: And finally, I've created these sparks. I don't want to waste any time of this tutorial. I am just going to create one of them. And I'm going to show you how you can just make a lot of them. I just use this ellipse tools. Once again, deselect any of the layers, make sure that you didn't select any of them and just create it this kind of shape. Then I just make sure that my center anchor point here below and press S on keyboard to adjust our scale, set a keyframe to scale here at the beginning we want to set it to 0 here, so 100. And the next step is to add a position keyframe. And about here, Let's move it. Here. We can also add another keyframe to our scale is just here. Click here to be able to adjust only one of the axis. And we can squish it by changing this first value like to 0. So now we have this kind of animation go to Fill change to 100% of opacity. Click Okay, Let's press U to see where our animation is. And let's cut it to this moment by holding Alt open square bracket. And then here all and close square bracket to cut to this moment, I just simply dragged by these handles. As you can see, we've created this kind of Spark, then we can just apply a fill effect change to color which you want. I have shows something like this and I've added a bunch of glow. So let's add some glow. I've set it to 100 to see only the one-color radius, I set it to 50. And really bright intensity like to six. Let's maybe change a bit color brighter so we would see itself and let's duplicate this glow. I'm going to set this one threshold to 60, so it will concentrate more on the bright spot or radius is good. Maybe let's set it to a lower as well. And click here to add motion blur. You can see that we have this kind of really quick Spark. So this how you can add Spark, what you want to do is store select it and go to layer pre-compose and call it one spark and click. Okay, and then just duplicate a bunch of times, rotate this, and change the scale by pressing S and make sure that they are sparking in different kinds of directions. As you can see, I just copy a bunch of them and made them spark in all kinds of directions. You can add a bit more of position movement if you want to, them spread a bit more. Just animate the position leg from here, from the start you can press P and here at the end, you can move it a lot further. So as you can see, it moves even further. So this how you can design the sparks itself, your line, this line should be aligned with this spark direction. If you set it like this, it will not look the same. So just make sure that you are aligned properly like this. It will look more natural. 18. Energy Ball Effect: Finally, let's add this energy ball effect IF good here, just rotoscoping my hand on top of this energy effect. But I thought it looks pretty cool and I didn't want to hide it. So let's see how you can create this kind of energy bowl effect. So first thing which you need to do is to create new solid, Let's call it energy bowl and click Okey. We want to create Ellipse tool, just like the ellipse tool, hold Control and Shift to create a perfect circle like this. And let's apply fill effect to add some color to it. I'm gonna go with the bright cyan kinda color, something like this. Let's add some glow and I'm gonna go to 100, set the radius to 36. So we would see a bit of glow itself and increase the brightness to 0.5. Maybe we can just double-click on one of the edges and hold Control Shift to make it smaller if we want and also less duplicate this glow. Let's second one set to 16, so it will be brighter, angle radius, Let's increase to 170. So we would see a lot more of this globe and maybe lists set to 2.5 of intensity, so it would be a bit more visible. We can create another glow just by selecting and pressing Control D. And this third one, we can increase the radius really big, like 310 and intensity. Let's set it to three. And finally, if we don't like this color, we can always use color vibrance effect. Just make sure to save your project because sometimes this effect can crash your After Effects. So let's set it to this color, which we like better. Let's move this work area to here, so other effects will not slow our computer and let's add some slider effect. We want to use slider control here, and we want to link our scale to this slider control. Let's add a slider control to 100 because our scale is 100 and hold Alt key on a keyboard. And we can just pick whip this value to this slider. So now this slider will control our scale as you can see here. Now, if we hold Alt key and click on this stopwatch, we can just apply our wiggle to this only one property. If we would apply this to the scale, it will wiggle this property and this property independently. And we would have the wiggle squashing and stretching kind of wiggle. It would look like this. Wiggle, this not what we want and we want just to have this kind of wiggle uniform. So this is why we are linked to the slider control. So let's apply some wiggled to this. Just hold Alt key on a keyboard and a leftmost click on this stopwatch on this slider to see this panel and type All is you remember first value is frequency on the wiggle. I'm going to set it to 25. And second value is more like amount of the wiggle, I'm going to set to 20. And if I press 0 or not bet, you can see how it wiggles. And now what we can do, we can select this energy ball effect, press Control D to duplicate it. And let's make this scale a bit lower. As you can see, we cannot change it from here, but we can change it from here. So here we can change to a lower value. I'm going to set mine to 55, so it would be at the core. And let's change the color of this fill to white. Let's make sure to delete this color vibrance. And we would have this kind of core affect. Tell us press is your numpad to see how it looks. Maybe I'm going to set this value to 80. So this hotspot would be even bigger. As you can see, we have these kind of splashes from the manageable. If you take a look closely and you can see these kind of splashes, Let's add them also. What we need to do is to create new solid and let's call it energy splashes like Okay, let's add Fractal Noise and change it to our Dynamic Twist, which looks really nice. I am conscious to 180 and brightness lower. So we would see all the bright spots like minus 16 complexity. Let's reduce to 2.5 because we don't really need any complexity to this effect. Now let's adjust the Transform. Click here on uniform scaling and change. Only, as you can see, x and y-axis with, I want to set it to 80 hand height. I want to set to a really high value because I want these splashes to be a stretched out. I'm going to set to 440. And we can add really cool effect which called polar coordinates. Basically, this effect allows you to create a circle from this kind of look at direct to polar and increase to 100 is you can see it's created it in the circle. We can add color vibrance to add some color to this. Let's also set to a bluish tone, lip k. Let's create a mask. Let's disable this polar coordinates. So we would understand how this works. You need to select this rectangle tool and cut the bottom half and said to the subtract. So we've got it this bottom half, we enable this effect. You can see that if we change, this is God's outer edge. And if we press F on the keyboard, we can just blur this edge. Let's set it to maybe 350, so it looks much better. And we can also set it to add this mode to add. So as you can see, we already added really cool effect. So this energy boll looks much more interesting. And finally, you won't want to add the splashes kind of look. So to add these pleasures you can just go to right at the start press S for scale. And here at the beginning, we can just set at the core ready keyframe and few frames later. We can just create a splash like this. And we also want to add some Capacity animation. Just press, Shift and hold and press T on keyboard to see capacity as well. Now let's create a keyframe to opacity here at the beginning and about here, Let's set it to 0. So we would have this kind of splash. We can increase the distance between keyframes. So this how we can add this kind of splash. We can also press here on motion blur. If we want to have a bit more motion blur, and we can just look this animation until the end. So if we let mouse-like here on this sand, on this, you just need to hold Alt key on a keyboard. And let must take on the issue of the stopwatches to be able to write expression, Let's write loopOut. And just like this loopOut and here as well, loop out and you can just select this loopOut expression and click anywhere. As you can see, it just repeats a bunch of times. But if we press 0 numpad to see preview, you can see that it's too intense. And if we want to add some paths between these splashes, we just need to scroll to this kind of point and just copy these last two keyframes. Just select them, press Control C and about here, control V to paste it. So basically this amount, which we've created, this distance in time, we can set even higher. It will take this boss and thus flesh again. So you can see here we have splash. Then it takes this bus, then splashes again, then takes this path, and then splashes again. So as you can see here, it's fleshes again. And if we decrease this distance, it will splash a bit more frequent. And so this is how you can control how often it will splash. And if we change this distance between these frames, weekend slow down this flash animation and game itself. It's pretty quick, so I'm going to leave at this rate. And finally, what you can do is to select Energy Bowl effects and go to layer pre-compose. Let's call it energy bowl and click. Okay, so this is you have just one energy bowl like this sand. If you want to have it correctly, you can set it, add or stream. And this how you've created your own energy bull effect and then just track to your hand. Speeds, give your frames, track it, skip your frames, strike it, and it will stick to your hand like this, by the way, if you want to scale it down a bit faster because it might cut the edges, you can just create a null object, select all these layers, and pick you up to this null object and make it smaller so it will match, cut the edges of the splashes. So this is basically all you need to know to create this effect. Follow me here on Skillshare to learn how to create really fun and cool effects in After Effects. I'll see you next time.