Transcripts
1. Introduction: What I think is so cool about visual effects is being able to take real live footage and just make it out of
the small world. Being able to catch your
audience off guard, you can make really
cool content this way. My name is Emonee LaRussa. I am a motion graphics
artist and director. I've done music visuals for artists like Megan
Thee Stallion, Linz X, Kanye West, and I've also worked with
brands like Rolling Stones, Hulu, Saturday Night Live, just to name a few. I just use digital art
animation to make, really cool, trippy stuff. Today, you will learn
exactly how it works from beginning to end when
I make visual effects. First we'll hop into pre
production, conceptualizing, getting inspired,
making sure that you know what you're going to be
shooting before you shoot. Then we'll go into production. We're going to prepare to
shoot on the green screen, the do's and don'ts of that, and then leading into
post production. Learning how to key and composite and really
sell your scene. You'll need a green
screen, which you could find for $20 online. You'll need a computer to
work on after effects, and you'll need a DSLR camera or you could use your
camera on your phone. You should take this class if you are learning visual effects, motion graphics, or animations, or if you're really just trying to make your
content better. By the end of this
class, you'll have about a 5-10 second
looping animation that will make your
followers feel, why how did you make that? I'm so excited that
you've taken the time to join this class,
so let's get started.
2. Get Inspired: A big reason why I'm making this class is
because I wanted to show how easily accessible it is to create visual effects. Visual effects is
like a combination of real footage along with
computer graphics like CGI, motion capture, visual
effects needs to be for like just TV and film,
blockbuster films. And now it's for
everyday people, content creators who just have a green screen DSLR
and After Effects, I think it's really taking content creating
to the next level. What I love most about visual effects is
when my audiences watching they think
that they're just getting what they first
see and then boom, it catches them off guard. This is just simple, keen and compositing
and at obviously has the amazing loop that's great for Social Media Content. These are gonna be the
same exact elements that we're gonna
be learning today. So how I got here today, where I'm teaching you how to do visual effects is because I've been doing visual effects
for quite a few years now, but more recently in
the past few months, I've been really pushing
out visual effects. And once I started creating
these visual effects, it just started spiraling. I started getting
tons of followers. I got a lot of big partnerships. If you check out my
Instagram at E money, which is my old myspace name, you'll get to see
all the brand work that I get to do annually to see all their portfolio
stuff that are just creative, Fun, passion projects. The goal in creating these
is to show these brands. Look, this is what I have, this is what I can make
with no parameters. All these brand deals that
I've been able to get is through social
media because I've built this portfolio and these are skills
and tools that I'll be able to implement in future projects and future
brand deals as well. This class is going to
be really cool just because I've never done
a full course like this. I've done a lot of visual
effects, animation breakdowns, but they've been very short to fit like Social
Media parameters. But this is gonna be a
very in-depth look at my workflow when creating
visual effects and animations. And in the end you'll have a beautiful five to ten
second looping animation that will just be so awesome on your social media accounts. The big thing here today in which is why I'm
so proud of you, is that you're
taking the time to learn and getting better. Because I always say 1 h a
day just learning and taking the time to get better is going to make your
portfolio better, which to a brand or to your
potential future client. Looks amazing, like
people want to see what you're
currently working on. So just being able
to put out new work, new ideas is just gonna
be amazing for you. So Grab everything
you need and join me in the next lesson so that
we could get started.
3. Develop Your Concept: So now that we know
a visual effects is and how fricking cool it is, we can hop into our own project. One of the big reasons why I think that conceptualizing
and taking the time to learn pre-production is
so important because you could really start figuring
out what can go wrong. You really want to troubleshoot every possible problem
that you can run into so that you could avoid
it and save you time in post where I get
my inspiration, like where I come up with my ideas is a lot
of times I just think of a word and I put
those words down in my notes. So I just have a whole bunch of list of things that I
think would be cool. Like, I have Puppet
master on here. Like, I don't know,
that'll be a cool idea. Alice in Wonderland,
the movie title, I think that really has some cool potential ideas
that could come from it. So whatever you're doing, whether you're just walking down the street or you
see something on TV, get Inspired by it, then I take those words
and I create a word tree. So one of the ideas was
Alice in Wonderland. When I think of
Alice in Wonderland, one thing that really sticks
out to me is like the scale. I've always loved how
when she drank the drink, she either becomes really small or she becomes really big. On a technical side, How would I look giant
next to something like, you know, how they show how small something is
by putting it by a coin. Like what if we could
show how big we are by putting us by something big. So maybe we're like next to a building or we're sitting
on top of a building. And I think it also goes really great along with this blue Idea, which goes along with
the color scheme, where we could use blue
as the blue skies. And then when I think of sky, I think of clouds. I think if checkerboard,
I don't know. I think when I think of
Alice in Wonderland, I just immediately think of like all these different patterns. Think of trippy, psychedelic, especially with the
caterpillar T, rabbit. So there's no words
that are off-limits. You really don't know where
Your Idea can stem from, from just these words. So already we have
a whole bunch of words and I take those words and I put
them in search engines. So I particularly love Pinterest and
Instagram and dribbble with three Bs because those are just kind of like
Art oriented sites. I fully believe that we are in a shared culture of Art and being able to take in
different perspectives. Being able to get Inspired
just makes our Art better. Already once I've searched
in Alice in Wonderland, we see some really cool concepts that are playing with scale. I think we should play along with doing
something outside. I already wrote some words down, playing with blues
and skies and clouds. So let's move to the exterior instead of the interior. This
is really great. So you can tell that
this person is so huge and the perspective
of them is amazing. I mean, honestly, I think this is exactly what I
want to create. But in visual effects
like this is photography. And let's make this into a really cool visual
effects animation where we have that
bit of movement. Like I hadn't even thought
of this perspective before. Seeing this, I can
already think of some really great compositing
that we could do with this to make it just absolutely amazing how I would want
to interpret this in my own eyes is I
would love to see my full body like
I would love to see my hands on the edges. I'd love to kinda see my face because that's a
part of my branding. So you've got to see how I
start my pre-production and I really want you
to take some time to just come up with some ideas, work on your word tree, find some amazing
inspiration and join me in the next lesson where we
will start to plan our shoot
4. Plan Your Shoot: For this lesson, we're
going to learn what we need and what we don't
need for this piece. So if R0, when I
am coming up with these ideas on a technical side, I need to make sure that I
have everything listed down. A shot list is a
great way to make sure that you don't forget
what you're shooting. But making sure that you
storyboard ideas also helps with compositing and just understanding framing
of everything. So let's sketch this out. So immediately I think
about seeing my shoes. So maybe a little underneath and then being able
to see like right up top, I'm not a sketch artist, I'm a visual effects
motion graphics artist, so don't judge me. Then maybe holding on to the building would
be really nice. Next is understanding
your elements that will really
sell your scene. So maybe adding some people
or some clouds, some birds, some cars, things that
will really make it seem like you're just
shooting this on your camera. And this is real life footage. Now that I have the framing
and composition of this, I want to think about
how I'm gonna loop every time that I'm
creating an animation, I always make sure that it
loops from beginning to end. To me. I feel like when I'm
on social media, a lot of times when there's
just like a hard cut, it tells my brain, oh, Watch the next video. But I think when there
is like this nice loop, it makes me want to watch
it again because it makes me want to see
where did they cut, like where was that loop adds. So I think for
this There's a lot of different elements that
we can play on with looping. I immediately am drawn to using the motion blur of
the camera as a loop. Maybe we start from the bottom, look at the building, and right one we're
going to cut, we go straight back to the bottom or straight
up to the top. And then having that
motion blur will look consistent when it rolls all the way through
from beginning to end. So just kinda thinking of the camera movements
when you're in pre-production is
gonna be really big because when you
start to shoot this, you want to make
sure that you're doing everything that you can to make sure that you're not doing extra work in post. So for this been one shot, I think our sketches kinda
perfect for storyboarding. But if you're shooting things
that have multiple shots, storyboarding multiple frames is going to make the best
sense because you can understand how the continuity is gonna look throughout
the entire piece. To create this,
let's break it down. We're going to need
our Background Plate. So this is gonna
be the buildings, the sky, the clouds
from our sketch. And this inspiration,
I kinda wanna shoot the building facing
right towards it, but making sure that we're a
little underneath because I loved the idea of shooting
underneath the shoes. I think that just adds
the extra element to it. We're also going to
need our subject, which is us shot
on a green screen. When we're shooting
our green screen, we want to take into
consideration what are Background Plate is going to
be so that we can match it. So one element that
we need to take into consideration is
the building shape. If we are shooting a building
that is at an angle, then we would want to shoot our green screen
self on an angle. You want to make
sure that you're matching what you're shooting on your green screen to
your actual background. And then the foreground
elements will be things that are just really
going to sell the scene, add some dimension to it. So we had talked
about using a car or even like adding some
birds and some clouds. So in short, this piece is just two shots with some
foreground elements. It's really simple. And this is why it's so important to do your
pre-production. Because after we broke
this abstract idea down, we realize it's only two shots. My plan is to shoot downtown
just couple of buildings. See what's really cool. And then the plan is to
shoot myself here at home on the green
screen outside. I wanna make sure that I'm
shooting outside so that I match the exterior
of the building. Then once I got my footage, I'm going to import that in
After Effects composited together and add those
foreground elements to really sell my scene. So really take the time to break down how you could do this
on the technical level and meet me in the next lesson
where we're going to break down the equipment that
we need to get this done
5. Know Your Equipment: So now that you know
the technical shots that you need for your shoot, let's go over your equipment
and it's not much. So to start off, let's go over the green screen
and what you need. I just use this $20 cheap cloth
that I got online and you just want to make sure
that there are very little to no creases
so you can iron it. And the reason why you
don't want creases is because creases create shadows. And you just want to get a
really strong green color from this so that you can
key it out and you don't run into any
future issues. But if your subject that
is on the green screen is wearing green or has a
lot of like light colors, you might want to
use a blue screen. We are going to use
the green screen to key out our subject,
which is ourselves. So in order to put ourselves
on top of the building, we are just going to composite
ourselves on top of it. And in order to do
that, we're basically just going to need to
cut ourselves out. And the perfect way to
do that is through key, through a green screen. So when you have something
like green behind you, it's going to be a lot
easier to cut yourself out. The reason why we use
green or blue screen is because these are
the colors that you're never going to
find in our pigment. But if you use
something like red, we have a lot of like red and orange pigments in our skin. So being able to key that out, it's going to be a lot
more difficult than using something like a high contrast
color, like blue or green. And then next we are
moving into the camera. So I am a huge cannon fan, I use the cannon 90 D, it's great, shoots in four K, And that's exactly what you need for shooting
visual effects. You want to have the highest
resolution possible. What's also great about
that is that you have bigger flexibility
for your parameters in which you could push in. So say I'm shooting a
shot and I shoot in in four K. But I need to push
in just a little more I can, because I'm ultimately exporting
it out in 1920 by 1080, or 1080 by 1920, when you're looking at a DSLR. The advantages that it has over just shooting on
your camera phone is that you can mess around with your aperture and
your shutter speed. And being able to play
around with those gives you a lot more space to play around with shooting
higher quality stuff. An aperture is going to let
in a certain amount of light, and in that aperture size, it's going to tell you what
depth of field that is. You don't want to have
a very shallow depth of field when you're
shooting on a green screen, because my subject, which
is myself is blurry. Then those colors are
going to blend together. And we want to make it
to where this green is very high contrast against our subject so that
it will key out. Moving into our shutter speed, you have to remember
it as kind of like, the higher the shutter speed, the more that it can capture
the frames per second. So if I have 24
frames per second, if I have a very
high shutter speed, that that means that my frames
per second be very crisp. So when we think about the
crispiness of the shot, you just want to remember how that's attached to
like motion blur. So when I have a very
low shutter speed, my motion blur is going to
be really, really high. And when I have a
higher shutter speed, I'm going to have a lot more
crispiness in that frame. If you're shooting
on a phone and you don't have access to a DSLR, try to keep your
movement a lot simple, a lot slower, just
so you don't have crazy motion blur when
you're shooting on that. Why that's important
is because when you're shooting on
a green screen, you don't want to have
a lot of motion blur. When you have a lot
of motion blur, the colors start
merging together. So if I have this movement on a green screen
and it's all blurry, then the color of
my hand is going to blur in with the
green in the background. But if I have a
higher shutter speed, which means I'm going to
have more crispiness, that means that those colors
aren't going to blend. And I'm going to get a better
key from my green screen. So making sure that your
shutter speed is high and making sure that you
have a good depth of field is going to
be really important. So next is moving into lighting. Lighting is so important, great lighting equals
great quality. Bad lighting equals
terrible quality. If you don't have good lighting, it's going to ruin
your entire piece. And most importantly, it's
going to ruin your key. So making sure that you have good lighting equipment
is important, but if you don't
have access to that, using outside works as well. So if you're shooting outside and you don't have
access to lighting, getting a 51 is so important. So photographers use this. Cinematographers use this
on set for production. So basically what this is
is it's just a reflective, it's a really shiny surface that you use to shine the sun. And you use that as a
replacement of a light. So if you don't have
access to a light, these are really, really handy. But if you are shooting inside and you have
access to lighting, I really recommend
this Amarin 60 X. This is just an LED light
that you could just plug in. You could also buy
batteries for it. It has a soft box that comes with it. I just
really like that. It is small and it
costs about 170 bucks, but they really are super powerful for the
size that it is. So in reality, this isn't a lot of gear like
you can start doing visual effects with
very minimal assets and be able to create some
really awesome stuff. All the most recent visual effects stuff I've made is with everything right here and these things roll over
to your next project. So it's not a one
time investment. Every visual effects
project that I've used, I've used the green
or the blue screen, and I've used either
the light or the 5.1. So it is really worth it. So now let's grab everything and move
into our test shots, into our next lesson.
6. Film Your Background Plate: Now that we've done our
test shot and we figured out how we need to shoot
our Background Plate. Let's go through the
footage and what I shot, I really wanted to get some
really cool buildings. So I went downtown. I live in Sacramento, so there's some really cool
buildings out there. And I just wanted to find something that
matched my aesthetic, been that I started on my feet, which is kinda closeup in
perspective of the building. I need to make sure
that I wasn't on autofocus because I
didn't want to have to deal with it trying to refocus when I shot
up on the building. So before I recorded, I made sure that the
building was in focus. That's why you'll see initially that my feet are out-of-focus. Then you'll see the
building looking very nice and in-focus. So one thing that I
had noticed that I can see as an issue is
this telephone line. That telephone line
is in the foreground, which means it would need
to be in front of me. That means that I would have to either cut it out
completely and then add it back in or try to
rotoscoping and put it on top. So either way it adds a
little bit of difficulty. So this was like one
of the cool shots. I like the building, but taking into consideration, maybe not use this shot. For this shot, I really
loved the capital. I thought I had a great sky, but the issue was that the
building had that, that angle. And I kinda want to avoid this. I want to make it as easy as possible for me and
post-production and having to deal with that and shoot
myself on a green screen at that angle just makes
things more complicated. So moving into our final shot, which I think will
be the winner, is one of the other
buildings already. I'm super loving this. I love the Blue. Exactly what we were talking about when we're coming up with our idea of
Alice in Wonderland theme. I loved the tile and I
just think that the, the car moving right
in front of it and the foreground
just adds to it, just sells it a little
more that this is like actual live footage and not just like completely composited. I also noticed that there
is a telephone wire, but I think that
we can avoid that. I think that we can put
ourselves directly below it and we won't have to run into the complications of that. But I really loved
the camera movement going down to Up and
then moving back up. I think that would be a
very nice loop at the end, I think when you are
shooting your plate, you should keep in mind of like, what really fits your style and what's going to
fit your overall look. I would even say if you have
outfits that are going to fit very well against
these buildings, do that, like keep all
those things and mine, props and wardrobe is also very important when you're
doing pre-production. So doing your test shots, having these thoughts in mind is just going
to be really big. In our next lesson,
we're going to be going over green screening. So let's hop into it.
7. Film On Green Screen: Let's move to our luxurious
Hollywood studio, also known as my backyard. So we already shot our
buildings and we were able to pick out a
really cool building and now we're moving into
the actual final shot. So when you're shooting
your visual effects, you want to keep in mind
your plate that you've shot. So for my plate, I shot a
little underneath the building. So for this, I'm
going to shoot a little underneath
my feet because the ideas that I want to
make sure that I'm matching the perspective of the building to my subject, which is myself. I also want to keep in mind
the building that I was shooting on had a
very flat surface. So I want to make sure that
when I'm shooting my subject, which is me, I'm also
on a flat surface. So if I'm shooting on a
building that has an angle, I want to make sure that when
I'm shooting my subject, I'm shooting at
an angle as well. So the plan is I am going
to put my green screen on my fence and then I'm
going to sit on top of it. I have my green screen. I've already went
ahead and ironed it. I got some clamps here that
came with my green screen. If you don't have a fence, then shooting on a table or
shooting on something sturdy that's high enough to
where you could see underneath your feet
would be great. I have this tiny tripod that I'm going to
put on the ground. But honestly, I've used just the ground and use
a shoe as a tripod. So use anything that
is accessible to you. What's great is that we have a very beautiful sky and we
are shooting with the sun. And in the building
that we shot, we have a beautiful sky and we have a bright sun
so we can actually match the sky that we shot in our building and match it with
our green screen footage. And because we are
using the sun and we aren't using our beautiful
lights that we have inside. We're just going to use
a reflective board. And we have the C
stands so that we can attach our reflective
board onto it. So I shot the building on my 14 millimeter
lens and I want to make sure that when
I shoot my subject, I'm using the same lens as well. Keep in mind that you
want to make sure that your camera settings are
relatively the same. So if you have a very low
shutter speed on the building, but then you have a
very high shutter speed on your subject. It's really not going to match if there's a lot of movement. So the idea is that you
really want to make it seem like it is one
cohesive scene. You want to make it
seem like your subject is actually on top
of that building. So if your camera
settings are off, then it's not really
going to make it seem like it's
blended in together. Well, let's start setting up. I'm just going to
overlay this on top and try to get this
as flat as possible. Okay, Beautiful. So one thing to keep in mind as well as when you're
shooting your plate, you want to make sure you
remember where the sun is at. So if I'm shooting my plate
and my son is coming in on the left side and then I shoot my subject and my son is
coming down All right side. It's really not going to match
together and be cohesive. One thing to keep in mind is when you're shooting
on a green screen, you want to be as far from
the green screen as possible. The idea is that when
you're farther away, you don't have this casted
shadow on your green screen. And why you don't want to cast
the shadows because you're essentially taking
this green color and you're keen and out. And now you're telling
your computer, I want you to key out this color green and this color
green as well. One thing for this though, is that we're going to
need to be really close to our green screen
because we're gonna be sitting on our green screen. So we need to keep in mind to try to avoid all those shadows. And a great way to do that
with this reflective board. So we are going to cancel out the shadow by
shining this light. So here I have my shadow, and if I shine a little
bit of light on it, you can see it start
canceling out the shadows. Let me just alright, so I'm seeing lots of dark shadows right here
if I'm sitting right here. So I'm going to try to put my reflective board
in this area. So now let's set up our cameras so we want our angle to be directly under our
feet because that's the same way that
we shot our Plate. So we need to shoot this
vertical the same way that we shot our building. So it is really bright outside. So I can bump up my
shutter speed pretty high, which is going to be great because I need to
make sure that I have a high shutter speed
for our green screen. And also when I
shot my building, I used a high shutter speed because it was bright
that day as well. So I'm just going to bump
this all the way up. I'm also going to bump
up my aperture because I don't want a lot
of depth of field. So I have autofocus on
instead of manual focus because I just want to make sure that if I'm moving around, that it grabs focus. And because we have
a higher aperture, that means that we have more flexibility when it
comes to the depth of field. Let's start rolling. And because we're playing around with animation and video, we want to add some
movement to this because we're not just
working with photos, were working with
real-life footage. So playing around with like
possibly like your hands, your feet, adding
that little bit of movement can
really sell that. Like wow, this is like
real life footage. Remember you just
want to make sure that you're still in frame, that you're not going outside of frame so that none of your
limbs are being cut off. So I encourage you to get
as many poses as possible. The more the better, so that you can avoid as many problems and
post-production as possible. If you're running
into some issues with the shadows, you know, you don't have to stick to
exactly what you had in mind. Sometimes things change
when you're on production. So let's move forward and put our footage in the
After Effects.
8. Testing Your Idea: Let's get us to testing Your Idea and why
that's important. So if you're creating
visual effects, you should always
test your idea. The ultimate goal is try to troubleshoot and make
sure that if you run into any problems
that you could try to avoid it when
you're on production. So I'm gonna show you my final product and
then I'm going to show you my test shot
on how it was made. This is the final piece. There was a lot of
things in play. There's a lot of
timing, coordination, trying to figure out how to drop the cherry exactly
where the cup is. And we figured that
all out in our test. So let's check out our test. We had shot this in my
living room here at home because all my tests are done at home before I go on Production. And instead of a cherry, I'm using a pillow, pick it up, and then camera movement to the loop and it
loops perfectly bag. So obviously you can see the
intention with this test, but this actually isn't
even my first test. I did multiple tests to try
to figure out how to get that camera movement down before I actually
went on production. So initially when
I had this idea, I thought that I could
just do this by myself. And as I was doing my tests, I realize I definitely needed
some extra hands for this. I hired a cinematographer and
a gaffer for this project. What I was able to
figure out was how I can get that perfect loop
from beginning to end. And the big thing was being
able to pass by the cameras so that I can transition
from shot to shot too. I don't think I would
have been able to loop it the way that I did
on production where we had 2 h to shoot if I
hadn't done the test before. And I really encourage
you to do tests before you go on
final production day. I'm going to show you how I
did my test for this class. So I started off with shooting my green screen
footage of myself, which is the Subject. So few issues that I ran into
with my test shots was I noticed that my foot was a
little cut off in the frame, which was a little hard when
I was trying to bring in my backplane because
I couldn't scale out. Another issue is a lot of this dark shadow
underneath my leg. The fact that I don't have
any light here made it a little more difficult
for me to key that out. And then here is my
building that I shot. What's great is that I have this really natural
camera movement on here, which makes it seem like
it's handheld because it is. But one thing that I can
add that I think would make this better is the
ability to loop. So I think a way
to add that into our final shot is if we have some really cool camera
movement where we can hide the fact that we're moving from the first frame
to the last frame. So I think when we
shoot our Plate, I want to shoot the building moving up so that we get
that natural motion blur. And then when we're
looping back, we go back down. So that way we would
be able to loop our first frame to
our last frame and we use the natural motion blur of the camera in order to
hide that transition. But I hadn't shot
this test shot. I would have gone on production shot my play and
then realized that I just wasted a whole
bunch of time shoot in buildings that I
can no longer use. So this is my final shot. I really liked that. It seems like I'm on
top of the house. I did a lot of work for this, a lot of compositing
green screening. And that's what we're
going to get into in future lessons. So right now, don't get
too wrapped up on doing a test because
you're going to need to learn how to do this. This is exciting and
promising and really telling of what our final
product is going to look like. So now that we're happy with our tests in the next lesson, let's shoot our Background Plate
9. Set Up Your Project: So now that we filmed, Let's
jump into After Effects. Let's import our
footage and then go over some
composition settings. I'm just going to
import my footage by double-clicking over here
in the Project panel. And I actually know which
clip I'm going to pick. So instead of creating a new composition in
the composition panel, I'm just going to drop this
on the composition button. And it's going to create
the composition for me using the settings of
the camera footage. So it already imported
in the correct FPS. It already imported
the correct dimensions because we shot
this in vertical. You'll see that the
footage comes in sideways and we want it to be upright
like it is on a phone. So I'm gonna go into my composition settings and look at the settings over here. What this initially
gives us is the preset, which I really encourage you
to create your own presets, especially if you are creating content for Instagram
and TikTok. I have a TikTok
preset right here. And what this does is when
I shoot and fork a footage, it comes in as 38, 40 by 21, 60, which is standard
for K. What this TikTok preset is,
is the opposite. So it's 21, 60 by 38, 40. So if I go and click on TikTok, you'll see that
these now switched. You'll also see
in my composition that it is now set for vertical. My frame rate, my
FBS is 29 by 97, which is correct
to what we shot. And then the duration is the duration of our
clip that we shot, which is great because I don't
need a guess how long it is because it already put in all the information
from the video clip. To set a preset, all you need to do is change your width and height and you'll
be able to click this button which
will create a preset. And then you can label
that preset and it will show up in your presets on here. So in my composition settings, I do edit and for K, depending on how well your
computer can handle editing. And for K, you may want to
switch over to ten at by 1920. But I prefer just working in these parameters because I know that my computer
can handle it. So now that I have this in, I want to rotate this. So I need to rotate it left. So I'm going to hit negative
90 on the rotation. And to bring up your rotation, you could just hit
R on your keyboard. I really suggest that
you take the time to go over just basic hotkeys, learning what each letter does
on the keyboard and how it can help your workflow faster if you want to
learn more about hotkeys, Adobe has an amazing PDF on all the different
hotkeys that are available. So now let's bring in our
green screen footage. So after checking everything, I think this shot is the best. It has the least amount
of shadows that I think I can work with the
trees in the background, but I'm not super
concerned about that. I know that we can
get that cut out. And really, I just
love this pose. I'm really glad that we had some multiple options when
we're doing poses outside. Because when I did my test shot, I think I was just holding off and my legs were just dangling. So let's move forward and put this shot into
our After Effects. So I'm going to bring
this in and I am going to label all
of my composition. So I brought this file in and I created a new
composition with it. But since we already have
an existing composition, I'm just going to drag
it into my timeline. I am going to rotate this. So instead of moving, let I need to turn right, so I am going to
move 90 degrees. Then I am going to change
my composition name. I will just name this main, and then I will change
the file name to me. Then the background to building. Then I'll set up my
project as well. So I will create a
folder for video. I will create a
folder for pre-comps, and then I will create
a folder for finals. And then I will
create a folder for just any additional assets
that I important to this. So I will move my
main to my finals and I'll move my footage
into my Video folder. So when I'm creating these
folders for organization, I just wanna make sure that everything is listed correctly. So if I need to go back, change them footage,
I can go do that. Being able to just easily find that video footage amongst all the different layers that
are in your project panel. It just makes your life easier. I've also set aside
the pre-comps folder. So typically, you want
to use a precomp as like a mini folder inside
of your composition. So say, I wanted to group these two layers that are
in my composition together. I would select both
of my layers and then right-click and hit
precompose. Overhear. It lets me know How would you
like it to be pre-compose? So say I just add a turbulent
displacement and I want to keep this effect active
while in this composition, but I want to change
the footage itself when I go to pre-compose it
and leave all attributes, you'll notice that the effect
stays in this composition. And it's also grouped the
footage on the opposite end. Say I wanted to group the
video footage and the effect. Then I would add
turbulent displacement. Right-click, pre-compose,
and then I would move all attributes
to a new composition. And now you'll notice
that the effect is no longer in this composition, but instead it is
grouped together with the video footage
in a new composition. If you're still a little
confused about pre composing, we're going to add some
effects on later in the lesson and you'll get a better understanding
of how it works. So now that I have my
footage in my composition, Let's trim it to make sure
that it fits in our timeline. I'm gonna go over to
the building footage. I'm just going to
trim this footage. This seems grades. And then it goes back Up. And then we can cut right here. I will just hit Command Shift D, which is a hockey or shortcut. Then I will check out the
footage of myself and see what would fit in
that amount of time. What's great is now that we
have our two shots saved, we want to change it later. We totally can if we
precompose this folder. So I'm just going
to pre-compose it, move all attributes
to new composition. I'll label this knee. And now whenever I composite migraine screen self on top of the footage,
See you later. I changed my mind and I
want to switch the pose. I can just by changing
the order of the layer. The next I'm just going to trim my composition just so that it fits the duration
of my timeline. So I'm just going
to drag this over, right-click and then
trim comp to work area. And now my composition
will play back from beginning to end of the
duration of the video. So now that we have
our Video trend, let's move into the next lesson where we will key and composite
10. Key Your Subject: This is where the fun begins. We are going to start
keying our background and putting our subject
in our environment. So I'm going to
show you how to do this effect in after
effects natively. But I'm also going to use some plug ins that I think that you should get if you're
really starting to invest in visual effects. So one, if you're just working in after
effects in general, you need FX console. It's a free plug in
by video co pilot. It's absolutely amazing and it has changed my workflow
significantly. So instead of going over here
to the effects and presets, having to type in
my plug in and then dragging and dropping it
on top of my timeline. I can instead just hit control
space bar on my keyboard. And all of a sudden,
wherever my mouse is, it will pop up and I could
just type in the effect that I need and it instantly
goes onto my asset. So it's really amazing and it
just changes your workflow. Half of working in
after effects is just getting all the plug
ins and all the tools. So using things that make
your workflow easier, it just helps you cut
down on time and just helps the exhaustion of
animating in after effects. Another plug in that I use is a subscription based plug in. So if you are getting into
visual effects a lot, I highly suggest you look into
Red Giants V effect suite. It has such amazing tools that I'll be using in
some of the lessons. But like I said, I will be using native after effects
plug ins as well. So if you don't have that, you could still do this lesson. So first I'm going to show you Keylight Advanced spill
suppressor and key cleaner. Our goal is to be able
to put our subject in our environment
and really make it seem like our subject is
supposed to be there. So I am going to go to the pre comp and I'm going to go to my FX console
and type in keylight. When you type in keylight, there's a preset that is already native to after
effects together. Keylight, key cleaner, and advanced spill suppressor
all come together. If you click on that,
you'll see all the effects come in all at one
time with Keylight. What you want is to grab this eye dropper
tool and be able to grab a green that is consistent throughout
the entire green screen. I'm just going to go ahead and grab this green right here. The green that you want
to grab is the green that takes the most
of the green screen, so it can grab most of the key. The idea with key is that we are telling the
computer to take out this color and to make
it transparent with this. When I go and hit this
transparency button, you could see what is transparent and what's
not transparent. So I'm going to go in and start to toggle
this a little more. A great way to be able to see what is transparent
and what is not transparent is by going
to the screen Matt setting. Everything that is white
is completely opaque and everything that is black
is completely transparent. And all of this gray area, I want to turn black. And all of these
light gray areas, I want to turn very white. So I'm going to go over to the screen mat and I'm
going to clip the black. So this is just going to make
the blacks even more black. So I'm just going to turn
this up, and as you can see, it starts to affect a little bit my white
tones over here. I'm going to alter
it by clipping the white as well to increase the
white that is in the scene. I'm just going to try
to get this as close as possible without completely
destroying these edges. I'm going to bump my
resolution from quarter to full so I can get a rough idea of what that's
going to look like. Then I'm going to change
back to intermediate result. Now we can see what is
transparent and what is not. There's a little bit of
falloff right here, obviously. We have this very white tone here and we have a little bit of falloff here when you're shooting on green screen
and you're using key light, especially when you don't
have like a studio set up. These are very common issues that you're going to run
into and I'm going to show you ways to try to make
this look a little better. Key cleaner is already on and it's trying
to make sure that the spill that is left over from the green isn't as intense. But I'm also going to turn on this advanced spill
suppressor as well if you notice that
this is turned off. And the reason for that is because you don't want
that on when you have your eye dropper because
it's going to start already turning the
green to a normal tone. When you have this advanced
spill suppressor on. Before you start
grabbing your green, it's not going to be
an accurate color. Now that I have my key, I'm just going to turn
this on and you can start to see that color change. This was like more of
like a lime green hue and now you could see it turns
to a more neutral color. I'm going to go to
screen Matt and see where these lines are. See if I could try to bump
that down a little bit. Now that I've got the
majority of my key created, I'm just going to throw
back a little bit of that detail by rotoscoping
back in my leg. The thing to keep in mind is if you want to
start rotoscoping, you have to make sure that
your key and any mask are off. I'm just going to toggle these off before I start rotoscoping, just so that it doesn't
capture that information. Because I don't want it
to capture the fact that, you know, the shoe is gone. Like I want it to be able
to retain that information. So moving into rotoscoping, we are going to use the Native after
effects rotoscope tool. I'm going to double
click my footage. And it's going to
bring up a side panel. And then this panel
I can go ahead and select areas that I
want to rotoscope. And for every frame it will start to grasp on
the next frame. The overall goal of this
is to make sure that your subject is
completely cut out and to try to avoid any spills that is left
over from the green screen. If I'm trying to
keep the detail in, I'm just going to color over it. But if I'm trying to cut it out, I'm going to hit Alt
on our keyboard. And then this green
button will now turn red. And if I cut that out, it will start to cut
that out as well. When you're using
the rotoscope brush, you don't really
need to be super specific and draw
the exact outline. It's pretty smart and knows what the edges are based on the
contrast of the video footage. If you have very high contrast, it's going to be able to grab
your subject a lot better. That's why it's super important to make sure
that you're not wearing distracting patterns that is on your clothes because having this high contrast just makes it easier for the
computer to understand, oh, this is the subject
that needs to get cut out. Shooting it on a green screen makes it significantly easier. I don't need to grab all the detail that is in this frame, I just need to grab the stuff
that is lost in the key. I'm just going to grab
a little bit of this, maybe a little bit of the sock. And to be honest, I don't even need to worry about
any of this stuff up here because I'm not
concerned about that in the key. I'm just going to
grab this part of the leg and I'm just
going to hit space on my playback and it will start moving forward
and mask it for me. You could see that it's starting to rotoscope out those frames. Now that we have our rotoscope, we are going to go back
to our main footage. You can see here that
our leg looks perfect. Now that we're
satisfied with our leg, let's freeze our rotoscope to make sure that it
doesn't move anymore. The rotoscope tool basically propagates each frame to try to figure out what's happening in the next frame so it
knows what to cut out. If you go without freezing it, it will continue to propagate
as you start playing back. So don't worry about if the
rotoscope grabs a bit of the green that is in the scene because we're keying
that out anyways. Just make sure that it
grabs the majority of the details because that's
what we want in the scene. Let's bring that footage
back in and see what that looks like with the
detail of the key light. I'm going to
duplicate my footage. So now I have my
rotoscope that is on top. I'm just going to delete this. Then I'm going to
turn back on my key. Now you'll see that I have my original footage,
which is my key. And then I have
the rotoscope leg underneath and you
could see the detail being pushed back into the leg
that was lost in that key. So I'm going to
turn my resolution back down so that we can
actually get a good playback. And now you can see
the full transparency that is behind the leg. So now that we
understand how to do this natively and after effects, let's go into prima
key or six by red giant V effect suite and see how we can get this
effect using that. So the reason why I want
to show you the primat key or six is because that's
something that I use. And I want you to understand my workflow and what
is kind of used within the V effects
artists that are creating stuff
in after effects. I'm going to duplicate this main and I'm going
to change this to primat and then I am going to take off
the effects that we have. So we're not changing anything in our
original composition. We duplicated the composition, and now we're adding some
different effects onto that. I'm going to open up
the prima ear six. I'm going to go ahead and
grab some of this color. So it's just going to grab the pixels that
are in the green. So instead of just grabbing one pixel like we
did in key light, we'll be grabbing
multiple pixels and it kind of updates as we go. But the great thing about
the prima key er six, is that we can
bring back some of that detail using
this foreground tool. We'll just go in and bring that and it just
pops right back in. There is a little
bit of a spill, but there's a lot
of spill correction that is already in the plug in. I'm going to put on the spill
killer and enable that. And you'll see that a lot of
that green just disappeared. I went ahead and refined
both the Ket and the key six so that you
could see a side by side comparison of what
the results ended up. This is keylite with the
advanced spill suppressor. This did a pretty good job considering this is
all native plug ins. I think the biggest
downfall for this is obviously some of the edges on the matt are a little harsh. We lost a little bit
of detail but it does the job and if you don't want
to buy the V effect suite, this is a great outlet. I think if you wanted to
spend more time kind of refining some of these
details, you totally can. And the rotoscope brush is a great way of bringing
back some of those details. And then in this prime at, we see very crisp,
nice, beautiful edges. So there are
significant differences when it comes to the two. I prefer the pat
key just because this key just looks really nice in comparison
to what is native. But obviously, this is
subscription base and this is for people who are trying to get into visual effects more. So I'm going to go ahead
and refine this using some of the tools that are already
native in these plug ins. And then in the next lesson, we are going to bring
our environment to life. So adding some assets, tracking our footage
into our environment, and making sure that it looks
as perfect as possible.
11. Composite Your Scene: Now we're going to
move into compositing our subject into our background. Compositing is essentially
putting multiple layers on top of each other to try
to make one cohesive scene. Now we need to throw our
footage on top of our building. Already, it looks cool. We haven't even tracked anything on or did any sky replacement, but you could get the gist of where we're going
to be going with this. I in one frame want to match
where I'm going to be. I know you see this
shift in the sky. We're going to change out the sky once we
put ourselves in. Right now, I just want
to make sure that I am aligned properly to
the building's edge. I will just rotate, hit R on the keyboard, make sure my hand is on the
side along with my foot. If we hit our playback, we're going to notice that I'm not attached to the
building at all, and that's because we have
that camera movement. We need to attach
ourselves to this footage. I am going to go ahead and add a 3D camera tracker so that I can put myself
on this footage. I'm going to precompose
this video so that I can move all the attributes
to a new composition. Going back to the
whole precompose, I want to make sure
that the settings of this video is in accordance
with this composition. If I use the attributes
of the video. What would happen when I
use my 3D camera tracker, it would align with
the actual footage. Remember that we had
rotated the footage. Well, now it's going to
add the footage accordance to the footage size.
I don't want that. I want to make sure
that the tracking is aligned with our
composition, which is vertical. I'm going to move all
my attributes so that I can keep the composition
size of everything. Then I add the tracker on. What it's going to do is it's
going to analyze points in the scenes and
create track points for us to attach
cameras and knolls. A knoll is a layer
that just carries information of the
transform settings. Under here, under each layer, it will have a set of
transform settings. In these settings, the
knoll will basically hold up all that information and you can tell
other layers like, hey, layer, I want you to follow everything that
this knoll is doing. It's actually called
a parent and child. You always want your child
to follow the parent, and the parent is the null. Once I have a 3D
camera and a null, I can then make my
layer a 3D layer, and it will automatically
attach itself to the tracks that it's made
when it analyzed the footage. Over here, you will
find different options. If you know the specific
angle in which you shot, you could just enter that in, but we have a fixed angle. We are just still, we're not moving anywhere. I'm just going to
leave that as is. I also like to add this
detail analysis as well. What that does is it
just works overtime. It's a little harder
on your computer, but not a huge deal, but it makes sure that it gets the most accurate tracking
that you can get. If you would like to
see more or learn more about the 3D
camera tracker, Jake and motion
has a skill share that goes way more in-depth. Now that it has
analyzed our footage, we could see these
colorful little points. I'm just going to
toggle this off so that we can see
it more clearly. Look at that. We
have points that are already tracked
in after effects. Instead of going to the
traditional tracker over here, we now can just resolve
it on this point. If you're having a hard time
seeing the track points, you can increase
the size of them. As we could see, our average
error is 1.22 pixels, which is pretty great. That's
what we're looking for. If your average error
pixels is over 1.6, just try to run it through
again and hopefully, you get the results
that you need. The objective is to try to find a track point that stays in our scene for the majority of our scene so that we
can track our subject, which is myself, onto the scene. It looks like these tracks stay consistent throughout
the whole piece. I'm going to create
a null and camera. I'm going to turn on my subject, and I am just going to
make this a 3D layer. Now, without even
doing anything, it's already in position and it's tracked onto our building. So I'm just going to
go in here and just adjust it so that it
fits along the building. Let just bring this down, rotate this a little. I mean, look at that. That's pretty great. Now that we have our 3D camera
tracker, the next lesson, we'll go over the sky
replacement. Let's hop into that.
12. Blend Your Clips: So now that I have tracked and my subject onto my building, Let's get rid of the sky. So obviously this looks
like a big issue, but it's totally not. We're just going to replace
the sky behind the building. And in order to do that, I need to create a layer that matches the background
of my green screen. So what I'm gonna do is create a layer with a
gradient ramp that matches a similar color to the sky background
as my green screen. So I'm just going to
create a new solid layer. Label this guy. Then I'm going to add a
gradient ramp on this. I just want to match the
color that is behind me. So I want to grab this color. So I'm going to move
this on this side. And then I'm gonna grab the white and I'm going
to put on this side, and then I'm going to try
to match these colors. So I'm just going to grab
this eyedropper tool, grab a little bit that, and then grab this
color over here. And already you could see
that it's super blend it in. We have a little bit of these
harsh edges on this side, but we could just have
mask out the subject. So I'm just gonna go inside of my layer and then create
a mask on top of it. Already have my mask on here. So I'm just going to create a little rough mask around here. Make sure to go around the leg. Tract. Invert. Then I'm
just going to feather this out so that it blends
better with our scene. So I'm going to lock this
so that I can see it in my main composition
and my pre-comp. So this is looking
good, perfect. Now we can go into
our main comp and see that it should be matched
perfectly with our sky. Perfect, Okay, so now
that we have our colors, blended them together,
now we need to create a stencil to put
the sky inside of. So instead of just trying to mask this out frame-by-frame, I'm going to create a shape layer and use
this 3D Camera Tracking information so that I could
just throw it in there without doing all the
track work manually. I'll go and create
a shape layer. And then I'm going to
create a rough outline of this building so
that I can cut it out. Then in that comp, I am just going to expand
this a little more. Just like you'd use the
entirety of this shape layer. Can move this into
place right there. Next, we need to add the
Camera Tracking information onto our Scott because as of now it isn't tracked on and we don't want to
manually go in and track it. So we're just going to
make it a 3D layer. Now. It's already tracks. So we're just going
to move this into position in this over
a little, rotate it. Perfect. I'm just gonna go in
and manually clean up these edges because it did
the majority of the work, but you probably going to
have to go in and just tweak it a little bit because
of the camera movement. So now that I have my 3D
camera tracker on my sky, I'm just going to use this as a stencil for our
solid gradient ramp. So I am going to use
this as a Track Matte. I'm going to say, Hey, can you grab the
stencil of this guy, matt, and put it on my skies. So now we can see
that the ramp is moving aligned to our 3D Camera. So we'll just throw
that back in. And now the sky is aligned with the building
and with myself. So it blends in really well to where you can't even see it. What's great is that that power line that we're worried about, we're not even see it anymore. And look at that now we have our self-adjust
blended in with the sky and our sky is
tracked on to our background
13. Add Details: Now next we're going to
move into compositing everything into place to
really sell our scene. I think that adding some shadows would
really be nice to this. So let's add that first. I'm gonna go inside of
this precomp of myself. So the reason why I want to
go inside of the pre-comp is because that footage is
still an on a tripod. And if we ended up doing
it in our main comp, then we would have
to track the mask around that and we
don't want to do that. That's extra work. So I'm going to go over here, lock this so that I can
see what I'm working with. Then I'm just going to add a little shadow
underneath the shoes so that I'm going to put this underneath my
layers, turn this black. That's already looking good. Okay, I'm gonna try
to actually grab these dark tones from
the scene already. And then I'm going
to add a fast blur. The reason why I'm
adding a blur is because I don't want the
shadow to be as sharp. I want it to have a little
bit of softness to it, like a shadow does. That's a great little
shadow right there. And then I'm going
to add a shadow underneath this
hand and this leg. So let's see, duplicate this. Always label. I'm going to put a fill on this. I'm going to grab a dark color. I'll move the position
of this over. So obviously you could see that the shadow is going
to come right here. But because we're
working in this area, I'm just going to mask that out. So out of Fast Blur. Then take this. This is going to create
a mask around that hand. I'm going to do the
same for the body. So for this shadow,
instead of adding a fill, I'm going to add a
gradient ramp onto it. So I'm gonna do black
towards the closest part of the building and then white towards the farthest
part of the building. It's gonna look less harsh when it's farther away
from the building, which would be
closest to reality. So I'm going to add on molt
on this and invert that. So what this does is it
just basically takes all the white and cuts that out. I'm going to add a Fast Blur
onto this and increase that. They can even might look
good if we position this shadow to move closer to the leg as it gets
closer to the building. So when it gets closer
to the building, you'll look over here. The shadow will move in more
because the shadow will be hidden more as we get closer to the building and as
it goes farther away, we can make the
shadow look a little farther just as sell it
just a little bit more. So when it's down, I'll have it super
close up like this. And when it's farther away, I will do that. Okay. Let's copy this keyframe. You told us all the way up. Then I'll just add an
easy ease on that. Then we're just
going to mask out the shadows so that it
doesn't overlay on top of it. Then we'll put this
below our hand. Perfect. So now we have our shadow. I want to add some more light
wraps around my subject. That's where we add
extra highlight where we think the light
sources coming from. So I immediately see that there's some light
source on this leg. I want to enhance that just
to sell it a little bit more. So just to add a light rap, I just use a simple layer style. I'm going to go back into my comp of myself and
I'm going to take my body and I just want to make a little bit of a light
source around here. So I will solo that
out, duplicate Then I'm going to add
a bevel and emboss. So immediately ads like
this dark shadow on here, we're actually going
to take that part off. So I'm going to increase
the size of this. And you can see the light
source hitting along this leg. Need to make sure
that my direction is right on top of my life. You could see that
this is kinda lit up. And then I'm going to turn down the opacity completely
on that black, so we no longer see that black. So it's not really
creating the bevel and emboss like it was intended for. But instead we could
use it as this cool little light
wrap around this. So when you go back
into our main comp, we can see that the
light is reflecting a little on top of that layer. You can see that this edge
is being lit up as well. We're just going to cut
this part of the leg off. I'm just going to
move all attributes into a new composition. And now I can affect this layer without the light wrap
changing around it. So I'll just create
a smaller mask here. You can see our sky
went back to normal. We still have a little
bit of this wrap. Next, I would move into
color correcting this scene. So what's a little
hard about this is that we have this blue
halo around myself. So if we color correct myself, we're also going to be
color correcting the sky, which is totally fine
because we could change the parameters on the
Gradient Ramp later. Mike, main concern is
making sure that this blends in really well with that. So I'm just going to add a small color correction on here and then also
changed the sky. So now I'm just going to
really sell my environment and add some additional
assets like clouds. And I'm gonna do
all of that with the 3D Camera
Tracking information. So I have this image of clouds. I'm just going to import this
in and put on molt on it. So unmoored basically just takes all the black
from the scene. Because the camera
movement goes up. I'm actually going to expand this composition so that the
sky doesn't get cut off. Make this 3D. Alright, this
looking really good. Okay, next we're going to
move into the motion blur. So we had shot this on a
very high shutter speed. And the reason for that is because there was
a lot of light. And we also wanted
to make sure that our green screen didn't
have a lot of motion blur. But the thing is
when it's too sharp, then it looks like
it could be off. So what we're gonna do is
we're going to add it in post. So I'm going to precompose this. And pixel motion blur is
basically going to force a motion blur on top of any
movement that is inner scene. I'm just going to
label this mean. And then save pixel motion blur is going to be a little
hard on your computer. So that's why I always
recommend to do it last. Let's and that on. And you could
already see that it is creating the blur on my foot. So I'm just going to add more
shutter samples in between. And you can see this
start to blur itself out. So the less samples
that you have, the more you're gonna see
kind of like that stuttering. But the more shutter
samples you have, the more blurry it's gonna be. Now with the pixel motion blur, it looks really smooth and
really nice and blended it. So play around, add some assets, really sell your environment. And then the next
lesson we'll learn more about how to loop this
14. Loop and Export Your Piece: So moving into looping, which is one of my
favorite parts and I think is absolutely crucial for creating animations
for Social media like Instagram and TikTok, I just think looping is more
captivating and it makes the audience not want to switch to the next
video as fast, I love looping and I'm
gonna show you how I'm gonna make a loop with
this camera movement. So the idea with this loop
that we're gonna do is find a point where there's
a lot of movement at the beginning and at the end. And then we're just
going to change the opacity to fade
into the next shot, which it will be the
beginning of the shot. So I think this area has a
lot of movement right here. So I'm just going
to cut this off and put it at the end of our clip, is going to trim
the work area and then probably about four frames, I'm going to change
the opacity N, so I will set that to 100. And then let's do 1234 about
their choose that to zero. Now, it should fade
in to the beginning. And because it has the same
movement of it moving up, it kinda has this
more fluid transition back to the beginning frame. Think it would probably do
three frames even smaller. There it goes. A lot of this is
just back-and-forth. Vanessi, I'm trying to
figure out what works. Even add a little bit
more of a motion blur. So I'm actually just going
to change the scale and position and have it to this. And I'm going to add my own
motion blur in the end. So this last frame we're really not going to
see because it gets cut off. So it doesn't matter at the
top is a little messed up. We're just going to
take this and use on I'm just going to parent
the first frame into the last one so that we can
also get that blur as well. So as you can see, the
edges are cut off, so we're just going to
add those back in with the motion tile
being that there's not a lot that you could
see because it's so blurry. It's not a huge effect, but we're just going to
add the edges back in. Now, it fills up the entire frame and we
can't really tell that it scales up Liggett that that's a smooth transition back
into the beginning. So next we're going to move
into exporting this out. So to export this out, I typically export
it out and ten at by 1920 for TikTok and Instagram, the typical format
is 1080 by 1920s. So even if you export
this out and for K, it will reformat and compress
it to a 1080 by 1920s. So it's the same exact
dimensions, it's just smaller. So in After Effects, I render it out as a
apple progress for two to then I use Media Encoder
to turn it to an H.264. So I just go to QuickTime and it automatically goes to
Apple ProRes four to two. So I'll link the final
version of this Animation. These animations
typically take me about two to three
days to create. So I'm giving you a very
condensed version of this. It's not something that you can finish within an hour or two. I know these do take time, but once you've invested
that time into yourself, these pieces will
come out super solid
15. Final Thoughts: I was so excited. We're finally here. We've finished all
of our lessons. These are my tips and
tricks that I use on a day-to-day basis when I'm creating visual
effects animations. And I'm just glad that you want to also be a part
of this as well. I love watching
your guises pieces. So definitely upload
your final piece to the project gallery. My piece will be there so I can't wait to see yours
right next to it. So if you have any
questions at all, Make sure to check out
the discussion board. I'm gonna be going in
there and trying to answer as many
questions as possible. And I want to hear
your feedback. What did you learn,
whatever things that stuck out to you, and what are things that
you want to hear next. And you can add all
those thoughts in the reviews to you
who's watching this. I appreciate you
taking the time. I think it's so awesome that you're investing into yourself. Thank you so much for watching
Emonee LaRussa, Motion Graphics Artist
