Compositing 3D In After Effects | Alien Invasion Part 2

If you haven't checked out part one of this series you're going to want to do that first.

Ready to make those aliens invade? We are! In this second part of our Alien Invasion series we're going to get to the meat and potatoes of this lesson and composite our alien ship into Joey's peaceful Florida neighborhood. You'll learn how to track a 3D object into shot footage and then get into a TON of compositing tricks to make it look like a real alien invasion is happening.

We want to give a quick shout out to the amazing folks at PremiumBeat. If you ever need affordable stock music or sound effects, we can’t recommend them enough. Check out the Resources tab for more info on Premium Beat.

If you have any questions, click over to the Q&A tab to post them. Other students can answer you, and we'll put our team on the case to try and get you a solution ASAP.

Download Project Files

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    00:00:00,717- [Man] Yeah, there's the new minivan.
    00:00:02,321It's pretty sweet!
    00:00:05,022What, what is that?
    00:00:06,859(intense soft music)
    00:00:08,361Oh my god!
    00:00:09,741Oh my god, oh my god!
    00:00:12,239(exciting dramatic music)
    00:00:25,149(exciting lighthearted music)
    00:00:34,292- What's up, guys?
    00:00:35,409Joey here, and welcome to part two of
    00:00:36,929the series for,
    00:00:39,592in which we create a giant city sized UFO
    00:00:42,330and make it hover over your town, terrorizing the public.
    00:00:45,835So, in part two we're gonna hop into after effects
    00:00:47,934and we're also gonna use Mocha to do tracking,
    00:00:50,273and then we're gonna color correct,
    00:00:52,033we're gonna add a light rap,
    00:00:53,098we're gonna add camera glitches,
    00:00:54,096we're gonna do a whole bunch of stuff.
    00:00:55,094A ton of info jam packed into this tutorial.
    00:00:57,498I also wanna point out that the music and side effects
    00:00:59,855used in the trailer came straight from,
    00:01:02,774there were no outside sources.
    00:01:04,374So, they have an amazing music library,
    00:01:06,217an amazing sound effects library, please check them out
    00:01:08,456and I hope you guys learn a lot today.
    00:01:10,896So now we get tot he fun stuff.
    00:01:13,471Let's actually put this alien spaceship in,
    00:01:16,753well, this is Sarasota, Florida,
    00:01:18,576but you could put it wherever your hometown is.
    00:01:21,572All right, so, before we get too far into
    00:01:24,694the after effects stuff, I wanna talk about
    00:01:26,616a couple things that are very important.
    00:01:28,894When you're shooting something like this,
    00:01:31,033you know you're going to be tracking a spaceship
    00:01:33,854into the sky and therefore, you need to make sure
    00:01:37,270that you have some clouds or something in the frame
    00:01:40,774that you can track.
    00:01:42,393If this was a perfectly blue sky, right?
    00:01:45,332Then the way I shot this, I would have nothing to track
    00:01:48,936and it would be a million times harder
    00:01:51,774to actually make this look right.
    00:01:53,353So, that's step one, is make sure that you actually
    00:01:55,373have some clouds or something in the sky to track.
    00:01:58,276Generally clouds are what you find in the sky,
    00:02:01,928but I don't know, maybe where you live there's
    00:02:04,111other weird stuff.
    00:02:05,137So, that's part one.
    00:02:06,136Part two, making sure the exposure's okay.
    00:02:08,713If you're shooting outside and you have bright white clouds,
    00:02:11,515you can see that, you know, part of the clouds
    00:02:14,272are overexposed.
    00:02:16,475But I knew that there was enough detail that I'd
    00:02:21,153be able to track.
    00:02:23,193Here's another thing that's maybe even more important.
    00:02:26,535Let me pull up the original shot.
    00:02:30,174This is, and this is the entire thing,
    00:02:32,653but let me pull up just this part here, okay,
    00:02:35,793because I wanna show you something.
    00:02:37,657If you'll notice, there is motion blur on this shot.
    00:02:41,532When I zoom in and out, there is no blur at all
    00:02:46,034because a shot with a high shutter speed.
    00:02:48,613Even though on this part here, when I do my little whip pan,
    00:02:53,174there is no motion blur on anything.
    00:02:55,438Now, you may have noticed that on the end,
    00:02:58,234on the end result, there is motion blur.
    00:03:00,115I added that motion blur in in post and here's why,
    00:03:02,996I knew I was gonna have a shaky camera and
    00:03:06,258I was gonna be zooming in and out,
    00:03:07,878and I really was gonna try and make my tracking
    00:03:10,217as easy as possible, so I set my shutter speed
    00:03:14,037on my camera pretty fast so I would not have any
    00:03:17,067motion blur which makes it a lot harder to track.
    00:03:19,415So, when you're planning out a shot like this,
    00:03:21,513it's pretty important to think ahead
    00:03:23,313and get those details right.
    00:03:24,929Now here's another thing that maybe some of you
    00:03:27,353are noticing, right.
    00:03:29,414Let me actually just sort of loop this section
    00:03:31,614of footage right in there.
    00:03:33,935Look at what the clouds are doing,
    00:03:36,496and it's kind of hard to tell when they're moving full
    00:03:38,532speed, but if I kind of just scrub back and forth,
    00:03:40,595you'll see they sort of look like they're warping
    00:03:42,930and stretching, and doing weird things, right?
    00:03:46,394Well, that little artifact that you're noticing
    00:03:49,116is called a rolling shutter artifact
    00:03:52,633and what essentially is happening is every time my camera,
    00:03:56,153which is a T3I, Cannon T3I, every time it takes one frame,
    00:04:00,558it takes one picture, it starts at the top
    00:04:03,173and starts recording, and works it's way down the frame
    00:04:05,616until it gets to the bottom, then it goes back up
    00:04:07,550and records the next frame.
    00:04:08,936And the problem is while it's recording,
    00:04:10,556I'm still moving the camera.
    00:04:12,953So, this is not an instantaneous shutter the way
    00:04:16,653a film camera works, this is a digital shutter,
    00:04:20,175and so it actually rolls down the image,
    00:04:22,816even though the image is still changing.
    00:04:24,772And so the problem is you can get these stretching
    00:04:26,955artifacts that aren't so apparent when you're
    00:04:30,438just playing the footage and watching it,
    00:04:32,449but when you're tracking,
    00:04:33,875it's gonna throw a lot of problems at you.
    00:04:37,694So, first thing I wanna do is just sort of figure
    00:04:41,038out what part of the footage I wanna use,
    00:04:43,214set an in and out, trim the comp to the work area,
    00:04:46,912and there's a built in effect in After Effects
    00:04:49,951that will fix this problem for you.
    00:04:51,435I can't remember what version of after effects
    00:04:53,675they started including it in,
    00:04:55,353but I'm using CC 2014, and I know it also exists in CC.
    00:04:59,475So, if you're using one of those,
    00:05:00,714you go up to Effect and you've got Distort,
    00:05:04,469Rolling Shutter Repair.
    00:05:07,776All right, and here's what it does,
    00:05:09,292let's go to an especially bad frame.
    00:05:11,717Like when we first zoom in here, let me turn the effect off.
    00:05:16,376I go frame by frame, you see, like, look at that,
    00:05:18,274you can see it, it's stretching it, it's weird.
    00:05:21,211So, I'm gonna turn that on and it just sort of
    00:05:23,930undistorts it for me through magic.
    00:05:27,127I don't understand how it does it,
    00:05:28,745it just does it through magic.
    00:05:30,071And I'm gonna set the method through Pixel Motion,
    00:05:32,910which takes longer to render, but it's even more accurate.
    00:05:36,886And so, now, if I sort of play through this,
    00:05:39,110there's still a little bit of that wiggle,
    00:05:41,429but most of it has taken care of for you.
    00:05:43,585So, this is step one, you need
    00:05:45,524to remove the rolling shutter.
    00:05:47,710Once that's done, I actually pre-rendered out footage
    00:05:50,752that had the rolling shutter fixed,
    00:05:53,764that's this file right here, RS Fixed.
    00:05:56,142Let's make a new comp with that.
    00:05:57,561So, this shot here is that shot with the rolling
    00:06:00,961shutter artifact removed all ready, okay, fantastic.
    00:06:04,996Next thing I need to do is a get a good track
    00:06:07,016on the footage, and if you've seen any of the other
    00:06:10,340tutorials I do on school motion that talk about this,
    00:06:12,540I like to use Mocha, which comes with After Effects,
    00:06:16,516and it's an amazing, amazing planner tracker.
    00:06:19,457All right, so, let's just select this layer,
    00:06:21,513let's go up to Animation and say Track in Mocha AE.
    00:06:26,232And this is gonna open up Mocha.
    00:06:28,600If anyone from Mocha's watching, I'm sorry but I never
    00:06:31,958actually registered, this pops up every single time.
    00:06:36,016All right, and so when you import a new clip into Mocha,
    00:06:39,757it's gonna say Import That Clip.
    00:06:41,616Where do you wanna save it?
    00:06:42,635By default it saves it in a folder right next to the file.
    00:06:45,434One thing you wanna make sure is on is in the Advance tab,
    00:06:48,436you want Cache Clip turned on.
    00:06:51,135And actually, let me set a new project name here
    00:06:55,556so I don't overwrite my old one.
    00:06:57,454And when you have that cache clip option turned on,
    00:06:59,735the first thing that happens is Mocha is gonna
    00:07:01,976read your entire movie and it takes a few seconds,
    00:07:04,437but it will cache it and that's gonna let you play through
    00:07:06,655and track much, much, much faster.
    00:07:09,435So, it's always worth the minute or two minutes it takes
    00:07:12,274to cache you clip.
    00:07:14,172So, let's talk about why we're gonna use a plainer tracker
    00:07:17,574to track, this is opposed to just trying to do
    00:07:19,733it in After Effects or using the camera tracker
    00:07:23,414in After Effects.
    00:07:25,614So, if you've used the Camera Tracker in After Effects
    00:07:28,116and you can actually make it work,
    00:07:29,753which is not that easy.
    00:07:32,052It's pretty cool because then you get a camera
    00:07:34,617that you can then place 3D layer around your scene
    00:07:37,832and it will work perfectly.
    00:07:39,259The problem is it can be tricky to get a really good,
    00:07:42,637rock solid camera track in After Effects.
    00:07:44,894And this spaceship isn't flying all over the place,
    00:07:48,657it's just pretty much staying in one spot in the sky.
    00:07:51,438So, because of that, I don't need a camera track.
    00:07:54,874When you're tracking or doing any kind of compositing,
    00:07:56,655you always wanna use the least amount of effort
    00:07:59,077that you need to use, you don't ever wanna just do it
    00:08:02,037to do it because it can take a long time.
    00:08:04,333And if this was for a short film and I had 20 shots to do,
    00:08:07,059I'd wanna get this shot done as fast as possible
    00:08:09,816so I could move on.
    00:08:11,279So, I deliberately shot this knowing there would be
    00:08:14,361a spaceship here and I would zoom in and look at it,
    00:08:17,241and there you go.
    00:08:18,680So, here's what we're gonna do.
    00:08:20,538I'm gonna grab at a Bezier tool.
    00:08:24,741And I'm just gonna draw, and you know,
    00:08:27,121what I'm looking for is an area of the clouds
    00:08:29,497that has enough contrast that I think I'll be able to track.
    00:08:32,558Okay, so I don't wanna just grab this area here.
    00:08:35,993But in here, there's a lot more detail so
    00:08:38,719I'm gonna grab, maybe, this piece, just like that.
    00:08:42,115And then I'm gonna tell it to track backwards because
    00:08:45,076I'm in the last frame.
    00:08:47,160And it's gonna start tracking.
    00:08:48,416Okay, now I am going to pause the record and
    00:08:51,438let it track all the way through.
    00:08:53,876All right, so Mocha is done tracking and
    00:08:55,793it tracked pretty much just perfectly.
    00:08:58,340And then it got to about here and when it started
    00:09:01,476to go off frame, it lost the track and stopped.
    00:09:03,599So, that's why these frames are red.
    00:09:05,138And I don't really care about that because, you know,
    00:09:07,556this swish pan, this happens so fast that I'm
    00:09:11,391just gonna turn the layer off when I don't need it,
    00:09:13,955and I'll turn it on when I do need it.
    00:09:15,378So, now we've got a good track.
    00:09:17,456So, the next thing we need to do is set up a
    00:09:19,512surface for that track.
    00:09:20,800Mocha can output two types of tracking information,
    00:09:24,854position scale rotation, like a null object,
    00:09:28,456it can give you just transform controls,
    00:09:31,692or it can give you a corner pin.
    00:09:34,296Because I pan the camera, I turn it,
    00:09:38,598and the UFOs gonna enter from this side of the frame
    00:09:43,276and then move more into the middle,
    00:09:45,117and then I'm zooming.
    00:09:47,758The focal length of the lens is changing,
    00:09:49,296this thing enters from the edge of the frame
    00:09:51,276so there's gonna be lens distortion.
    00:09:53,014So, the shape of this should be changing a little bit
    00:09:56,278relative to where my camera is and how it's pointing at it.
    00:10:00,017And so, a corner pin is gonna give me a much more
    00:10:03,077accurate representation of what the object's doing.
    00:10:07,199So, to setup a corner pin, you have to have a surface setup.
    00:10:10,159So, you hit this blue button up here with the S on it
    00:10:12,538and it's gonna give you this blue box and
    00:10:15,539I'm just gonna grab the edges of the box
    00:10:18,820and I'm just gonna sort of eyeball about
    00:10:21,959where I want that UFO.
    00:10:24,554You can see it's really big in the frame there
    00:10:26,437and then it's a little smaller at the beginning.
    00:10:28,939And I'm not too concerned because I know I can adjust
    00:10:31,137this in After Effects, and I'll show you how to do that.
    00:10:33,613But I do wanna check my track and see how well it's working.
    00:10:37,139So, a good thing to do is select the layer of your track,
    00:10:40,798say Insert Clip, and I'll just pick the logo.
    00:10:44,352And this will let you import the Mocha logo
    00:10:46,155and hit Space Bar, and because you've cast your clip,
    00:10:49,811you can pretty much play it and in real time see,
    00:10:53,003yup, that looks good, that really does stick right in there.
    00:10:56,306Cool, that's how easy it was to track.
    00:10:58,908How ridiculously easy was that?
    00:11:00,907So, next, go to, select your clip, say Export Tracking Data,
    00:11:05,667and make sure the format is set to Corner Pin.
    00:11:08,767And there's two corner pin options, select the top one.
    00:11:11,367Copy to clipboard, and then we're gonna go into
    00:11:13,950After Effects, and I'm just gonna add a solid layer
    00:11:18,368in there, just as a place holder.
    00:11:20,645Call this UFO, and go to the first frame and hit Paste.
    00:11:25,648And what it's gonna do, it's gonna copy all of these
    00:11:28,788corner pin key frames and it's gonna paste that solid
    00:11:31,807in there for me and I can see it's tracked
    00:11:34,387in there perfectly.
    00:11:36,346Next thing I'm gonna do is replace that solid with
    00:11:38,986my actual UFO footage, so I'm gonna precomp this,
    00:11:42,468I'm gonna hit Shift, Command, C and I'm gonna leave
    00:11:45,150all the attributes in here so it leaves the corner pin
    00:11:47,367in this comp and I'm just gonna call this
    00:11:49,765"UFO_PC" for precomp.
    00:11:52,865Now I can come in here, I can delete my solid
    00:11:56,055and I'm gonna bring in my 3D render.
    00:11:57,964Now, here's my 3D render, okay?
    00:11:59,805And I'll show you exactly how I import that
    00:12:03,066so you can see and make sure you don't have any mistakes,
    00:12:07,124because there are some little got yas with stuff like this.
    00:12:10,250So, here's my C4d renders, and I rendered an image
    00:12:14,407and a multi pass image.
    00:12:17,149So, you'll see here's one set of files,
    00:12:18,711but here's my multi pass render, so I'm gonna grab one of
    00:12:21,108those, make sure I have opened EXR Sequence checked,
    00:12:23,967bring that in.
    00:12:25,032First thing I need to do is tell it the correct frame rate
    00:12:27,668because After Effects guesses 30 frames a second,
    00:12:31,107but it's not, it's 24 frames a second.
    00:12:33,226So, I need to Right Click and say Interpret Footage Main.
    00:12:37,80624 frames a second.
    00:12:39,505I also need to make sure my alpha channel is set correctly,
    00:12:42,863pre multiplied or straight.
    00:12:44,946Now, this is a setting that you set inside Cinema 4D
    00:12:48,159and I set mine to premultiplied so that's what
    00:12:51,080I'm gonna leave it at and hit OK.
    00:12:53,456I can now drag this UFO down here.
    00:12:56,099And you can see all that's happening in this animation
    00:12:59,358is it's rotating very slowly.
    00:13:00,691There you go, and that's it.
    00:13:02,916Now, let's come here and now you've got your UFO
    00:13:06,075tracked into your shot.
    00:13:08,588And if you're happy with it, then you're done.
    00:13:13,114But what if you want it to be a little bigger,
    00:13:16,927or a little lower, or something like that?
    00:13:18,812The built in corner pin effect doesn't give you any control,
    00:13:22,149it doesn't let you adjust anything.
    00:13:23,832There is a better effect in the Distort menu
    00:13:26,150called CC Power Pin.
    00:13:29,653And there's some cool scripts that you can download
    00:13:33,289that will actually let you create the power pin effect
    00:13:35,894instead of the corner pin effect,
    00:13:37,416but if you don't have them, this is an easy way to fix it.
    00:13:39,657What you do is you go to the first frame,
    00:13:42,820put key frames on top left, top right, bottom left,
    00:13:46,199bottom right and then hit U on your layer,
    00:13:49,076to bring up everything.
    00:13:50,077And all I'm gonna do is I'm just gonna copy, upper left,
    00:13:53,635paste to top left.
    00:13:54,918Copy upper right, paste to top right.
    00:13:56,996And just as quickly as that, you've transferred
    00:14:00,119these key frames to the power pin and
    00:14:02,153then you can delete the original corner pin.
    00:14:04,474And you get the same result, the difference is
    00:14:07,599with the power pin, you get some extra options,
    00:14:09,875you get this expansion percentage.
    00:14:12,295So, let's say I decide this is too small,
    00:14:14,949I want that to look bigger.
    00:14:16,611I can expand the top left right and bottom
    00:14:19,517by the same amount, so let's say we expand it by 10%
    00:14:23,138in each direction, now this is 10% bigger,
    00:14:26,270but the corner pin still works perfectly.
    00:14:34,079And I could actually go into my UFO pre comp and
    00:14:36,338lower this a little bit if I wanted it to be a little bit
    00:14:38,980lower in the sky.
    00:14:40,662I want it to be a little bit higher so let me go back
    00:14:44,338in there and just raise this back up.
    00:14:46,835There we go.
    00:14:47,841All right, so let's just do a quick ram preview
    00:14:49,958of every other frame, which is Shift and 0 on the number
    00:14:55,238pad, let's you preview every other frame,
    00:14:57,037and just see how this track is working,
    00:14:58,959make sure everything looks good.
    00:15:01,159All right, and you can see that that UFO sticks in the sky
    00:15:04,977perfectly, the track worked great,
    00:15:08,186so we are, you know, we're about 1/3 of the way there
    00:15:10,648all ready and it hasn't been much work yet.
    00:15:12,505So, we spin around and we see the UFO, there it is.
    00:15:14,622Now, first of all, we don't see the UFO,
    00:15:17,405we shouldn't really see it until maybe this,
    00:15:20,702this might be the first frame.
    00:15:22,139So, I'm gonna move the UFO, I'm gonna move the start
    00:15:24,742point of it, to that frame and I'm gonna scoot
    00:15:27,320the layer over.
    00:15:30,321And so now, let's just double check.
    00:15:31,940When we go backwards and forwards.
    00:15:34,953Does it look like the UFO just pops into place
    00:15:37,902or does it look like it comes out of the side of the frame?
    00:15:40,099And it may, you may want it to start to peak out here
    00:15:43,989and then you'll see it.
    00:15:46,251Maybe we should see it one frame earlier.
    00:15:49,730So, what I'm gonna do is I'm gonna slide, I'm gonna hit Y.
    00:15:55,472Y brings up your pan behind tool.
    00:15:57,528And I'm actually gonna slide this layer back a little bit,
    00:16:00,449and you can see it's leaving the key frames where they are
    00:16:02,754but it's sliding the actual layer.
    00:16:04,411And so I can have it up on that one frame.
    00:16:07,511It doesn't look like it's in the real spot in that frame,
    00:16:10,390though, you see how it jumps?
    00:16:11,731So, on that frame, the corner pin is wrong.
    00:16:14,593So, what I wanna do is actually just kind of fake this,
    00:16:18,654so I'm gonna delete all of the key frames that are bad.
    00:16:24,038And so on this frame, it's there.
    00:16:27,213I'm gonna put a position key frame on the layer
    00:16:28,972and I'm gonna go back one frame and I'm just gonna
    00:16:32,716manually kind of nudge this thing where I think
    00:16:34,951it should go, it should be kind of on the edge of the frame,
    00:16:36,811kind of up here, and I'm just gonna jump back and forth
    00:16:38,789until it looks right.
    00:16:42,991All right, so manually getting that first frame in there.
    00:16:47,207Okay, so now we've got the track,
    00:16:50,686let's start working on the composites.
    00:16:52,449So, the obvious thing is this thing looks really,
    00:16:56,132really dark and it doesn't match the colors
    00:16:59,149and all of those things.
    00:17:00,527So, one of the things that happens as a cue,
    00:17:05,850right, to tell you how far away something is,
    00:17:08,930is it is called distance fog.
    00:17:12,249So, this kind of goes back to design 101,
    00:17:15,311if you wanna tell the audience something is far away,
    00:17:17,349you can make it smaller.
    00:17:18,986And if you have perspective, you can place it in perspective
    00:17:23,792so that it's clear that it's further away.
    00:17:26,975But you can also do things like fade it back
    00:17:28,936into your canvas.
    00:17:30,675So, right now we are in this more or less blue environment,
    00:17:33,836and you can even see, if you look at parts of the footage,
    00:17:36,478if you look at this house that's further away,
    00:17:38,432it feels a little bit bluer and further away
    00:17:42,114than this house, which is much closer.
    00:17:44,610So, that's because in Florida it's very, very humid
    00:17:48,166and hazy, and so this would be faded back.
    00:17:51,452It wouldn't be this dark and it wouldn't be that saturated.
    00:17:53,896So, I wanna color correct it,
    00:17:55,835so I'm gonna put a level effects on it.
    00:17:59,213Now, you can...
    00:18:00,212That's not levels.
    00:18:01,468Now, you can try to eyeball it, right,
    00:18:04,468and if you're experienced with color correction,
    00:18:07,284you might be able to get away with eyeballing it.
    00:18:10,022That's not generally what I like to do.
    00:18:12,203What I like to do is go channel by channel
    00:18:14,647and color correct one channel at a time,
    00:18:16,946meaning I'm gonna set this to Red
    00:18:19,625and then I'm gonna look at the red channels.
    00:18:22,502So, you can click this button and say red
    00:18:24,083or you can hit Option One, which brings up the red channel.
    00:18:26,643And then I'm just gonna use this histogram
    00:18:30,101to make this match.
    00:18:31,723So, what I'm looking at is how dark would this thing
    00:18:36,423really be?
    00:18:38,100It probably wouldn't be any darker than that car.
    00:18:41,319So, I'm gonna increase the black output, and also,
    00:18:45,539you can see that all the values of that channel
    00:18:49,661are kind of in the back here.
    00:18:51,245So, I'm first gonna set my white to sort of
    00:18:54,845the white (mumbles) thing on that layer.
    00:18:56,661And then I can actually adjust the white output level
    00:19:00,002and adjust the gamma to kind of match.
    00:19:02,440And so, I wanna adjust the...
    00:19:05,135You know, the black output basically raises the black level
    00:19:08,018so it makes everything brighter overall,
    00:19:10,422and because it's far away, because it's reflecting
    00:19:14,238stuff off the ground, and you know,
    00:19:17,703it shouldn't be like this rich, dark black,
    00:19:21,304it should be a little bit more faded, like that.
    00:19:23,847Okay, same with the white.
    00:19:24,944You see how bright it is in there?
    00:19:26,665If I hold my mouse over this part of a cloud
    00:19:30,283and I look at the values, that's not truly white.
    00:19:33,951But if I hold my mouse over part of the UFO,
    00:19:36,830like over this pixel, the red component is actually
    00:19:41,406greater than one, meaning it's brighter than white.
    00:19:44,939By the way, the reason the values are going from zero to one
    00:19:48,224is because I'm in 32 Bit mode, which is usually what I use
    00:19:50,564when I'm compositing.
    00:19:52,084So, if you're not in 32 bit mode, hold Option,
    00:19:54,087and click that number until it says 32 Bit,
    00:19:56,467it will help your composites, it will work better for you.
    00:19:59,965And so then, I want to push my white output down
    00:20:03,506and probably bring the white input down too.
    00:20:08,184And if you're having trouble, which I am.
    00:20:09,966You see, I'm trying to get these pixels to not be so bright.
    00:20:12,926They are brighter than white, they are above one.
    00:20:15,742Well, if you're having trouble with that,
    00:20:17,217you can set the clip to Output White On,
    00:20:20,444and now those pixels can never be brighter than one,
    00:20:24,635which will let you darken everything overall much easier.
    00:20:27,837All right, so let's zoom out and...
    00:20:29,272Oops, I did not mean to put another
    00:20:32,521position key frame there.
    00:20:35,558All right, so that's starting to work.
    00:20:37,839We're probably gonna have to come back and
    00:20:39,882adjust this a little bit.
    00:20:41,600But here's before and after.
    00:20:44,497It's clearly blended in there better.
    00:20:46,798We'll do the next channel, green,
    00:20:47,858so switch levels to green, switch to your green channel,
    00:20:50,855which is Option Two, and do the same thing.
    00:20:53,942We can just sort of look at other things in the scene,
    00:20:58,940like that car, and try to make that UFO look like that car.
    00:21:03,819And now that car's much closer to the camera,
    00:21:05,637so it's not exactly gonna look like that.
    00:21:07,877Maybe more like that roof of that house, you know?
    00:21:10,155Like, it should look like it's faded back,
    00:21:12,717like it's just not quite as rich as everything else.
    00:21:16,538Then I'm gonna switch to blue, the blue channel,
    00:21:19,458and wow, the blue channel's very bright
    00:21:21,417because you've got this incredibly bright sky.
    00:21:25,116So, nothing should really be that dark in it,
    00:21:28,599it should be pretty blown out like that.
    00:21:31,297And now I'm gonna go back to RGB and take a look at it.
    00:21:35,061Okay, so, if I do before and after,
    00:21:36,976that is way better, so much better.
    00:21:41,238It's very blue, though, very, very blue.
    00:21:43,740So, you could just go back into the blue channel
    00:21:46,115and just try to manipulate it while looking at this.
    00:21:48,959I could grab the gamma, which is a good sort of middle range
    00:21:51,577adjustment and just pull it out a little bit,
    00:21:54,258and get rid of some of that blue.
    00:21:55,837That will help.
    00:21:56,875Another thing you could do if you don't like working
    00:21:58,712that way, I've used levels a lot so I kind of know
    00:22:01,397how to use it.
    00:22:02,519If you don't, just use another effect.
    00:22:05,200Go to Color Correction and use Color Balance,
    00:22:07,581that can help you, and that way you can literally pull blue
    00:22:10,779out of the midtones, for example, you can just pull
    00:22:13,699some of that blue out.
    00:22:15,540And you can see that now, it's sort of balanced out
    00:22:18,979the colors of that UFO, and it's sitting in that scene
    00:22:22,517a lot better.
    00:22:24,160Now, one thing, maybe you guys noticed it,
    00:22:27,202maybe you didn't, but when I zoom in,
    00:22:30,696the brightness of the scene goes down.
    00:22:32,838The reason for that is because I'm using a very cheap lens,
    00:22:35,538the one that came with the camera,
    00:22:37,099and a lot of zoom lenses, they actually, you know,
    00:22:40,397they change the F stop when you zoom.
    00:22:43,696So, they actually change your exposure.
    00:22:46,718So, I'm gonna have to manually kind of mimic that
    00:22:48,654because I color corrected this for the wide shot.
    00:22:52,802When we zoom in, it's gonna have to get a little darker.
    00:22:55,919So, let me show you how I did that.
    00:22:58,295I'm just gonna use another Levels Effect, actually.
    00:23:02,020And I'm gonna call this Zoom Adjust,
    00:23:05,700I'm just renaming my levels effect.
    00:23:07,221And I'm gonna go forward until right before we zoom,
    00:23:10,559right there, I'm gonna set a key frame on the histogram,
    00:23:13,119then I'm gonna move forward until we stop zooming,
    00:23:16,675which is right about there.
    00:23:20,059And now I need to darken this thing,
    00:23:21,716so I'm gonna start by just adjusting the gamma,
    00:23:23,719darken it a little bit.
    00:23:25,542And I'm also gonna bring the black level down so it
    00:23:28,398washes out even more, and I'm gonna bring
    00:23:30,335the white output down, too.
    00:23:34,757And let me, let's see here, what do I wanna do?
    00:23:39,652I wanna hit U to bring up all my key frames,
    00:23:42,338but I wanna close down the Power Pin,
    00:23:44,399and I'm gonna hit the J and the K key to jump
    00:23:46,636between these two key frames.
    00:23:48,836And what I wanna do is look at this frame
    00:23:51,098and look at this frame and try to figure out if
    00:23:53,142they are matching.
    00:23:56,376And the truth is, they are not matching at all, really.
    00:24:00,057Okay, so this is gonna have to get a lot darker than that.
    00:24:06,175Let's see, and a lot more washed out, too.
    00:24:08,902There we go.
    00:24:09,901All right, so now I'm just gonna sort of play through that
    00:24:11,938and see what that looks like.
    00:24:12,955And this part was actually pretty tricky to do in the demo.
    00:24:17,737I also wanna set these to easy ease, there we go.
    00:24:23,032And what I'm trying to get is I'm trying to get
    00:24:24,738that zoom to happen where I don't really see
    00:24:26,845much of a shift.
    00:24:29,742Okay, so it's kind of a tricky thing to do
    00:24:32,459and it took me a while to really get it to look smooth.
    00:24:38,878And I may actually wanna move this key frame over a
    00:24:41,660little bit, and really, this part, I just had to play
    00:24:44,258this a whole bunch of times and stare at it
    00:24:46,100to figure out what was working or what wasn't.
    00:24:48,817It also looks like it starts to get a little bit brighter
    00:24:50,941right after this.
    00:24:53,241So, I may wanna put this key frame here,
    00:24:56,497and then let's go back a couple of frames,
    00:24:58,617put a key frame in the histogram and
    00:25:01,019then move that key frame back here so it will get dark
    00:25:03,277and then bright again.
    00:25:06,697And that's not bad, I think with all the other effects
    00:25:09,874that we're gonna add on top of it,
    00:25:11,497that's gonna sit in there pretty well.
    00:25:14,678Cool, so we've got a good basic color correction,
    00:25:16,657let's talk about some other things.
    00:25:18,297If I go to full res here,
    00:25:20,019look at the quality of this footage.
    00:25:22,596This is decent but not amazing DSLR camera,
    00:25:27,391so you're not getting pristine edges,
    00:25:29,853you're getting a little bit of noise,
    00:25:31,339but look at my CG, look at how absolutely
    00:25:33,537pixel perfect that looks.
    00:25:35,240So, that is gonna be a dead giveaway.
    00:25:37,898So, I'm just gonna, first off, just blur it a little bit
    00:25:40,637because it's just too sharp.
    00:25:41,935So, that's easy, fast blue, maybe blur it a pixel,
    00:25:45,398just soften it, just even a pixel can really help.
    00:25:48,777And then I'm gonna add some noise to it.
    00:25:51,114So, I like to use Noise HLS Auto as opposed to Add Grain.
    00:25:56,260Add Grain is a much slower to render effect
    00:25:58,461that adds film grain.
    00:25:59,977Noise HLS Auto just adds noise, but in most cases,
    00:26:02,136that's okay.
    00:26:04,201And if you look here, you see how this color...
    00:26:06,500You see how this gray in the clouds actually looks like
    00:26:10,437there's some red and some green, and it's kind of noisy,
    00:26:13,460that's because that's the way a digital sensor works,
    00:26:15,959especially one on sort of a prosumer DSLR camera.
    00:26:19,300So, I'm gonna set the noise to grain because if you set
    00:26:23,856the noise to grain, it let's you size the grain up,
    00:26:25,697and then I'm gonna set the lightness to two percent,
    00:26:30,259and I'm gonna set the hue to maybe like five percent.
    00:26:33,441And if I crank this up, you'll see it adds a lot of noise,
    00:26:36,982similar to what's going on in these clouds,
    00:26:38,700and then I can crank the grain size up a little bit.
    00:26:41,739Maybe set that to like three, that's probably too much,
    00:26:45,097set it to two.
    00:26:46,735And turn that hue down, it shouldn't be that high,
    00:26:48,998I'd say like five.
    00:26:50,057So, this is before, this is after,
    00:26:52,841I don't know if you guys can tell on a screen cast,
    00:26:55,198but when this is moving, having that noise on there
    00:26:58,698that resembles the noise in the footage is so huge
    00:27:03,000and so key to having it blend in.
    00:27:06,419Another thing I'm kind of noticing here is that
    00:27:08,456the color of the light in there is so saturated
    00:27:12,421compared to everything else in this scene.
    00:27:14,459I mean, this is a pretty saturated sky,
    00:27:16,679but that's above the spaceship.
    00:27:18,478Everything below is a little bit more desaturated.
    00:27:21,158So, I think I need to take the saturation down
    00:27:23,799on the spaceship.
    00:27:25,653So, I'm just gonna add another effect
    00:27:29,197and I'm just gonna bring down the saturation overall,
    00:27:33,122just a little bit.
    00:27:35,798Let's see, so that's before and after.
    00:27:38,737Right, it's subtle, but that's kind of the trick with
    00:27:41,121compositing, compositing is all about training your eye
    00:27:44,356to see those little details and finding those little
    00:27:48,936nuances that make that CG, or make whatever it is you're
    00:27:52,700compositing, jump out as fake.
    00:27:56,683All right, so, color wise we're doing okay.
    00:27:59,380Saturation wise, we're doing okay,
    00:28:00,976and we've even added a little bit of noise to this thing.
    00:28:05,225Fantastic, now here's another thing that jumps out at me,
    00:28:09,761I don't know if it jumps out at you guys,
    00:28:11,952but if it doesn't, start looking for stuff like this.
    00:28:13,810The sky is above the spaceship, and that is what is,
    00:28:17,575that's the light source on top of the spaceship,
    00:28:20,152and it should be very bright.
    00:28:22,028But if you look here, this edge,
    00:28:23,991it doesn't really look that bright.
    00:28:26,073And what tends to happen is when you have a sky
    00:28:29,434that goes above something, you're gonna see kind of
    00:28:32,836spillage of the light on the edges of that object,
    00:28:35,872and that's called a light rap.
    00:28:38,333So, we need to create a light rap on top of this UFO.
    00:28:42,075So, what we're gonna do is we are going to take
    00:28:46,138our background, well, first thing we need to do is
    00:28:49,381take this UFO that has all of our effects,
    00:28:51,337and our power pin, and all that stuff,
    00:28:53,316and we need to precomp it.
    00:28:55,953And we need to move all the attributes into a new
    00:28:58,076composition and call this UFO Pre Comp.
    00:29:02,598Okay, and the reason we did that is because what we're
    00:29:05,876about to do to create a light rap,
    00:29:07,474it will not work if the layer is moving around,
    00:29:09,855it needs to be a pre comped layer.
    00:29:11,974So, now I'm gonna duplicate this and
    00:29:13,514I'm gonna call this Light Rap.
    00:29:16,838And I'm gonna move it above my UFO and we're going to use,
    00:29:21,758in the Channel Group, we're going to use
    00:29:23,442the Set Matte effect.
    00:29:25,532Take the matte layer from our UFO and invert the matte.
    00:29:28,417Let me solo this for a minute, this is another trick
    00:29:30,321I've shown in a different tutorial.
    00:29:32,881How to create your own light rap in After Effects.
    00:29:35,499I'm basically taking this UFO layer's alpha channel
    00:29:38,082and knocking out my layer with it.
    00:29:42,018Once I've done that, I'm going to add a fast blur.
    00:29:45,820I'm just gonna blur the layer a little bit.
    00:29:48,258Turn on Repeat Edge Pixel so I don't get that
    00:29:50,661little halo around the edge.
    00:29:52,078Then I'm gonna duplicate the Set Matte Effect
    00:29:53,738and uncheck Invert.
    00:29:56,060So, now, I've got the shape of my UFO with the edges
    00:30:00,181kind of showing a little bit of that background through.
    00:30:03,882And if I turn that on and off, you'll see that it just
    00:30:08,541helps sit that UFO in there a little bit better.
    00:30:10,621I'm gonna set the mode, sometimes I set it to add
    00:30:14,410but that's usually if there's a really bright object
    00:30:17,420behind my foreground.
    00:30:19,520In this case, it's not that bright so I'm gonna
    00:30:22,487try Screen Mode, and you can adjust the opacity of it.
    00:30:25,998100% might be too much, leave it at maybe like 50%.
    00:30:31,579And, you know, here's a before and after.
    00:30:33,843Before, after.
    00:30:35,618And it looks great except I don't really want it
    00:30:38,804on the bottom part of the UFO.
    00:30:40,499I only want it on the top part.
    00:30:41,999And this is just me nitpicking,
    00:30:43,639but the sky is very, very bright,
    00:30:46,263the ground is reflecting a lot of that light
    00:30:49,285but it's not nearly as bright.
    00:30:50,482So, you wouldn't necessarily get as much of a light rap
    00:30:53,598on the bottom as you would on the top.
    00:30:56,544So, I wanna matte that out.
    00:30:58,262Now, here's the problem, if I wanted to just have a mask
    00:31:01,701around the top of the spaceship so that's all that I saw
    00:31:05,342with the light rap, that would be kind of a pain
    00:31:07,484because this spaceship's moving in the frame,
    00:31:10,607and I don't really wanna have to manually key frame
    00:31:12,987a mask around that, so I'm gonna hop back into Mocha
    00:31:15,866for a second, and I'm gonna export tracking data again
    00:31:19,941except this time I'm gonna say use transform data.
    00:31:23,421Copy to clipboard.
    00:31:24,684What that's gonna do is gonna let me paste position,
    00:31:28,324scale, and rotation data onto a new null.
    00:31:31,880So, now I'm gonna make a new null,
    00:31:34,098we're just gonna call this Track.
    00:31:36,199You gotta go to the first frame, when you paste it,
    00:31:38,939and hit Paste.
    00:31:40,596And now, if you look, you'll see, especially if
    00:31:43,657you move forward here, that there is a null,
    00:31:46,262which is somewhere, and you can see the anchor point,
    00:31:50,697this is one of the weird things about Mocha.
    00:31:53,060The first time, when you do this, it copies it
    00:31:55,850kind of in this dumb way, and here you go, here's your null.
    00:31:59,084The null's way over here, but the center,
    00:32:01,488the anchor point of the null is there,
    00:32:03,373and it's in the right spot so the first step when you
    00:32:06,473copy position scale rotation data from Mocha is
    00:32:10,969turn off the anchor point stopwatch,
    00:32:14,040and then zero those values out.
    00:32:16,126Now, there's the null, you can see that it tracks
    00:32:19,945perfectly with our spaceship.
    00:32:23,367And what this is gonna let me do is it's gonna
    00:32:24,843let me parent things to that null that will track
    00:32:27,906with the spaceship, and it won't track exactly because
    00:32:30,588the spaceship, remember, has a corner pin on it.
    00:32:33,085But for a lot of things, it's gonna be close enough, right?
    00:32:36,068So, if I make a new solid, let's just make it really
    00:32:39,331bright pink so it's easy to see,
    00:32:40,966and we're gonna call this Light Rap Matte,
    00:32:45,022and it's above the light rap and I'm going to parent it
    00:32:48,501to my null, my track null, and let's scale it down.
    00:32:53,021All right, and rotate a little bit.
    00:32:54,380Here's what I'm gonna use it for, I'm gonna draw a mask
    00:32:57,420on this layer that will matte out,
    00:33:01,822so I only have the light rap on the top of my UFO
    00:33:05,581but because I have this nice little null,
    00:33:08,280my matte is gonna track with it automatically.
    00:33:10,881So, it's pretty slick, it saves you a lot of work.
    00:33:12,803So, let me sit this temporarily to an adjustment layer
    00:33:15,583so I can see through it.
    00:33:17,522Let me scale it up a little bit.
    00:33:19,461And I'm just gonna grab my pen tool, hit G,
    00:33:22,085and I'm going to just draw a mask only around the top,
    00:33:26,125like this, okay.
    00:33:28,923Turn off the adjustment layer,
    00:33:30,165and now I can set my light rap to use that layer as a matte.
    00:33:35,163And then I can feather this mask, too.
    00:33:37,082I can just select the layer, hit F,
    00:33:38,925feather that maybe 50 pixels.
    00:33:40,599And so now, if I turn this Alpha Matte off,
    00:33:43,023you see we get the light rap on the bottom,
    00:33:45,624and as soon as I turn it on, that goes away
    00:33:48,179and now the light rap's only on the top of the UFO,
    00:33:50,480and it's just that little two percent detail
    00:33:53,660that helps it sit in the scene a little bit better.
    00:33:56,642Awesome, cool.
    00:33:58,356So, we now have a UFO in the scene, color corrected
    00:34:03,201fairly well, it still might be a little bit dark.
    00:34:07,822And so now, I can just do an overall color correct.
    00:34:10,934Remember, our color correct is actually buried now
    00:34:14,301in this pre comp here, but that's okay,
    00:34:16,700because we're working in 32 bit mode,
    00:34:19,058you're not gonna lose any quality by just
    00:34:22,323stacking color corrections.
    00:34:24,104So, I can just add another levels effect here,
    00:34:26,459and I'm just gonna bring the black level up a little bit
    00:34:31,942more, just so it's a little bit more faded black,
    00:34:33,940and I'm gonna go into the blue channel and
    00:34:36,365just add a little bit more blue in, too, just a little.
    00:34:39,465Right, it's a subtle little shift there.
    00:34:42,098But that's gonna help sell it.
    00:34:45,237Cool, so now let's talk about how to add
    00:34:47,703the motion blur back in.
    00:34:49,678The way I do it is actually, it uses a third party plug in,
    00:34:54,023but it's one of those plug ins that, you know,
    00:34:56,305if you're serious about being an after effects artist,
    00:34:58,285you're probably just gonna have to pony up
    00:35:00,302and buy it at some point, it's not that expensive.
    00:35:02,900Let me pre comp this whole thing, call this UFO Tracked.
    00:35:08,624With this whole thing pre comped, I'm gonna select that
    00:35:12,040layer and I'm gonna put an effect on it called
    00:35:14,324Real Smart Motion Blur.
    00:35:16,899This plug in is amazing.
    00:35:18,980What it does is it looks at a source and
    00:35:21,145it compares one frame to the next and
    00:35:22,863adds motion blur to it.
    00:35:25,601And it does it pretty quickly and it does it really well.
    00:35:28,564Let me go back a few frames here.
    00:35:31,321And let's just do a quick (mumbles) preview,
    00:35:33,002and you can see that even with that really fast swoosh pan,
    00:35:35,785it adds motion blur in, and because now it's adding
    00:35:39,280the same motion blur to my footage and to the UFO,
    00:35:43,401it is really gonna help settle that thing in there.
    00:35:48,864That's another good compositing trick,
    00:35:50,521is effect your footage and your CG the same way.
    00:35:54,438There we go, and now there's motion blur and
    00:35:57,420it looks more natural and we're really,
    00:35:59,882we're really helping sell the illusion here.
    00:36:03,939Awesome, okay.
    00:36:05,002So, now I'm gonna go back into my tracked comp here.
    00:36:09,884Now, let's talk about how we can get some cool kind of
    00:36:12,542heat distortion, smoke coming out of this thing.
    00:36:16,362So, what we're gonna do is basically create a displacement
    00:36:19,764map, and we're gonna use fractal noise to do it.
    00:36:22,764So, I'm gonna make a new comp, let me just come up here.
    00:36:25,325I'll make a new comp and we're gonna call this Smoke Noise.
    00:36:29,284And I'm gonna make a new layer, we're gonna call it Noise.
    00:36:34,041And I'm just gonna put a noise, fractal noise effect on it.
    00:36:37,562There it is, there we go.
    00:36:40,842All right, now fractal noise is one of the most
    00:36:42,898versatile plugins that comes with After Effects.
    00:36:44,865It can do all kinds of neat stuff.
    00:36:46,444And there's a whole bunch of different types of
    00:36:48,458fractals it can create.
    00:36:49,961And so, it's a good idea if you haven't done this,
    00:36:51,882just kind of look through and just look and
    00:36:53,485see what kind of interesting results there are.
    00:36:56,625There's a lot of different types of noise,
    00:36:58,564some look like smoke,
    00:37:01,061some look like weird electricity stuff.
    00:37:04,364I kind of like this smeary one for some reason,
    00:37:07,783I thought that was interesting looking.
    00:37:09,263And you can, if you play with this evolution setting,
    00:37:13,060you can kind of see, it almost looks like
    00:37:14,755a swirling liquid or something.
    00:37:16,583I thought that might be interesting to use
    00:37:18,801as a displacement map.
    00:37:20,960And here's the brilliant thing, is we can change it
    00:37:23,200whenever we want.
    00:37:24,720So, let's take this noise and let's have the evolution
    00:37:27,955key framed, and whenever I use fractal noise
    00:37:31,020and I want this evolution to just keep moving constantly,
    00:37:33,220I use a simple, simple expression.
    00:37:36,169So, rather than set a key frame here, go to the end,
    00:37:39,223and then animate this, and then play it and say,
    00:37:42,206"Oh, it's too slow," so I need to come back over here
    00:37:45,485and change this key frame.
    00:37:47,101Rather than do that, I'm gonna hold Option,
    00:37:49,166click the Stopwatch, and type in Time*, I don't know, 300.
    00:37:55,526Now, I can run and preview it and say,
    00:37:57,122"Well, that actually feels pretty good."
    00:37:59,502But if it didn't, I would just come in here
    00:38:01,424and change this number.
    00:38:02,637And this will ensure it moves at a constant speed forever.
    00:38:05,139The other thing I wanna do is I want the noise
    00:38:07,827to be moving down because this is gonna be like smoke,
    00:38:11,283or heat, or exhaust coming out of the UFO,
    00:38:13,303so it needs to be moving down.
    00:38:15,164The way you move it down is using the Transform tool here.
    00:38:18,525And you can offset the turbulence using this property.
    00:38:22,525So, I just wanna offset it down, like this.
    00:38:25,625So, again, you could set key frames and do it that way,
    00:38:28,768or you could use a simple expression.
    00:38:30,203So, let's hold Option and click on this to open
    00:38:32,849up an expression box.
    00:38:34,446And let's just say, so again, this...
    00:38:37,026If you're not familiar with expressions,
    00:38:38,764there's several tutorials on my site that deal with it,
    00:38:42,625So, I'm gonna gloss over this,
    00:38:44,569but basically, this offset turbulence property
    00:38:46,706needs an X and a Y value, and the way you return that
    00:38:50,485in an expression is you open a bracket
    00:38:52,725and you type in the first value, which is gonna be
    00:38:54,867the X value, which I don't really care what it is,
    00:38:57,166it can be zero.
    00:38:58,602The Y value is what I'm concerned with,
    00:39:00,707and that value I want to be Time*, I don't know, 100.
    00:39:05,659Now, you close the bracket.
    00:39:07,249Now let's try and preview this and you can see that
    00:39:09,786it's gonna keep this still horizontally, but vertically,
    00:39:12,828it's gonna move it by 100 pixels every second.
    00:39:15,365That's too slow, let's change that to 200.
    00:39:18,848And so, this make it a lot easier to sort of find
    00:39:21,519the speed of the noise you're looking for.
    00:39:23,567Also, because, remember, we talked about this in part
    00:39:27,166one of this, this is a very gigantic object very far away,
    00:39:31,104and I'm seeing far too much detail here.
    00:39:33,267So, what I wanna do is turn the scale down on this thing.
    00:39:37,142So, I can get a lot more detail out of it.
    00:39:40,885There we go, all right, so let's try that.
    00:39:43,269Smoke noise, so here's what I'm gonna do,
    00:39:45,365I'm gonna take the smoke noise, put it in the scene,
    00:39:48,627and parent it to that tracked null.
    00:39:51,748And it doesn't need to start until this frame.
    00:39:54,820So, here we go, there it is.
    00:39:56,578And let's just sort of roughly position this
    00:39:59,639where it needs to be.
    00:40:01,536Okay, this is gonna be coming out of the UFO
    00:40:04,942and let me turn the opacity down on this layer for a minute.
    00:40:07,917And let's just take a look at it.
    00:40:09,102Okay, so that size is gonna let me mask it out
    00:40:13,497and I don't want it to actually be hitting these
    00:40:17,307palm trees here because if it did,
    00:40:19,410that would mean I'd then have to rotoscope the palm trees,
    00:40:22,250I don't feel like doing that.
    00:40:23,251So, here's what we're gonna do, we're gonna pop in
    00:40:25,930and I'm gonna do a quick mask.
    00:40:27,270I'm gonna go into full res by hitting Command + J,
    00:40:29,870so I can see this better.
    00:40:31,391And I'm gonna take that smoke noise layer, grab my pen tool,
    00:40:37,008and I'm going to draw a mask like this.
    00:40:42,365And so what I'm doing is, I'm tracing the inside edge
    00:40:46,045of that UFOs opening, and then I'm gonna come down here
    00:40:50,170and I'm just gonna make a shape like that.
    00:40:55,650Cool, all right, now we can turn the opacity back up.
    00:40:58,762Awesome, so when the exhaust is coming out of the spaceship,
    00:41:04,489that edge should be pretty hard,
    00:41:07,065but I do wanna feather it a little bit.
    00:41:08,509So, I'm gonna hit F and I'm gonna feather this mask,
    00:41:11,289I don't know, two pixels, maybe.
    00:41:13,188Maybe that's not enough.
    00:41:15,128Something like that, just a little bit of feather there.
    00:41:18,288But down here, I want it to be much more feathered.
    00:41:20,569So, one thing you can do in After Effects,
    00:41:22,729and this is a relatively new feature,
    00:41:25,027I think it's only a couple of versions old.
    00:41:27,152So, you set up your mask shape, and then,
    00:41:30,531you can come up to your Pen tool and grab the Mask Feather
    00:41:34,399Tool and the way this works is you,
    00:41:38,137let me grab it again, somehow I didn't grab it.
    00:41:41,063You can add points, you click on a mask point
    00:41:44,906or somewhere on the mask, like this,
    00:41:47,829and then when you click and drag that new point,
    00:41:49,364it will feather the mask for you,
    00:41:51,284but if I add more points, like if I add a point here
    00:41:53,889and a point here, and a point here,
    00:41:56,124now I can selectively feather parts of my mask
    00:41:59,927and not others.
    00:42:01,749So, this is very useful, and you can even do the same
    00:42:05,433thing with an inside mask too.
    00:42:08,051So I'm just gonna reshape this so I get a nice
    00:42:11,367feathered edge at the bottom, but not at the top.
    00:42:15,635I don't want the top to be feathered.
    00:42:17,873All right, so let me suck that in like that.
    00:42:20,912Okay, cool, and let's just zoom out,
    00:42:24,428go to Half Res, do a quick (mumbles) preview
    00:42:27,454and just look at the speed.
    00:42:28,847The speed of that noise coming out of there.
    00:42:32,272Okay, if it's coming out too fast,
    00:42:34,310it's gonna hurt the illusion that this is
    00:42:37,474the enormous thing hovering in the sky.
    00:42:40,590So you wanna make sure that it's not going too fast,
    00:42:43,473that might be a little bit too fast,
    00:42:45,093but we can always adjust it in the pre comp.
    00:42:47,547Next thing I wanna do is use this as a displacement map.
    00:42:50,831So, if you wanna use that as a displacement map,
    00:42:54,549I need it to be displaced and I need it to all ready
    00:42:57,627be tracked to the UFO.
    00:42:59,959Which means I need to pre comp this.
    00:43:02,612It's the same reason when we made the light rap,
    00:43:04,149we had to pre comp the UFO.
    00:43:06,833So, I need to pre comp the track null and that noise layer.
    00:43:10,988So, I'm gonna duplicate the track null
    00:43:12,684and I'm gonna select Track 2.
    00:43:15,942I'm gonna parent smoke noise now to that duplicate,
    00:43:18,847and now I'm gonna select both of those and pre comp it
    00:43:21,067and call it Smoke Noise Pre Comp.
    00:43:26,187Right, and so again, this pre comp has no key frames on it,
    00:43:29,272but the smoke moves around on screen, wherever it needs
    00:43:31,904to go, which means now I can use it as a displacement map.
    00:43:35,513So, let me turn this off for a minute,
    00:43:37,193and what I'm gonna do is I'm gonna add an adjustment layer
    00:43:40,691called Distort.
    00:43:42,465So, this will just go over the entire comp,
    00:43:45,356make an adjustment layer, and I'm gonna use an effect
    00:43:47,379in the distort group called Displacement Map.
    00:43:50,142Displacement map takes any other layer and
    00:43:53,032it literally displaces pixels by whatever amount you tell
    00:43:58,354it based on the luminents or the red channel,
    00:44:02,035or the blue channel.
    00:44:03,034I'm gonna use the luminents for both horizontal
    00:44:04,874and vertical, and I'm gonna tell it to use my
    00:44:08,977smoke noise PC, and now it's all set up to distort.
    00:44:14,014And so let's zoom in, and if I just sort of play this,
    00:44:17,590you can see that it's shimmering a little bit in there,
    00:44:18,971not very much.
    00:44:20,370So, let's turn this up to 10 and 10
    00:44:22,530so it will distort more.
    00:44:24,491And now, I'm gonna zoom out, I'll just do a quick ram
    00:44:27,106preview and let you guys take a look at this.
    00:44:28,909So, what's happening is the, it's using the black
    00:44:31,573and white value of that smoke noise layer,
    00:44:35,489which remember, is a pre comp where we tracked
    00:44:37,989a fractal noise layer to the UFO,
    00:44:40,871and there's animation on it, and so as you watch it,
    00:44:44,551you can sort of see that it's pushing...
    00:44:48,051It's cool, you can actually see that the distortion
    00:44:50,167is moving sort of down.
    00:44:53,009And it just sort of helps,
    00:44:54,530it adds a little atmospheric something.
    00:44:57,639The other thing I did was I duplicated my smoke noise layer
    00:45:01,516and I turned it on so you could see it.
    00:45:04,959And then I set it to Screen Mode,
    00:45:08,831and I'm gonna color correct it a little bit.
    00:45:13,031Let's put a levels effect on there
    00:45:14,577and crush the blacks a little bit.
    00:45:17,294All right, like this, and because we're in 32 bit mode,
    00:45:21,468when I crush the blacks, I'm actually darkening
    00:45:23,263the footage underneath it, which I don't want.
    00:45:25,630I just wanted to use Screen Mode to get rid of the black,
    00:45:28,146so I need to make sure I clip my output black
    00:45:31,331and turn that on, so now I can't darken the footage
    00:45:35,325but I can just hide parts of the smoke,
    00:45:38,186and I can blur this layer a little bit.
    00:45:41,989Let me just put a little fast blur on there like that.
    00:45:45,031And then when we turn the opacity down a little bit,
    00:45:47,750so now, it's just gonna let you see a little bit
    00:45:51,994of that texture that's in sync with your displacement map,
    00:45:58,095and it's gonna sort of resemble, like you know,
    00:46:01,134a little smoke, or steam, or fog, or something
    00:46:02,573coming off of it.
    00:46:04,135And I probably crushed those blacks a little hard,
    00:46:06,573I don't want it too look too fake,
    00:46:08,532so let's bring that back a little bit.
    00:46:11,950Yeah, there we go, maybe more like that.
    00:46:14,334And let's do a ram preview.
    00:46:16,436So, now, you know, you've got your displacement map,
    00:46:19,948you're seeing a little bit of the steam come out,
    00:46:22,369and everything's color corrected, you've got a light rap,
    00:46:25,826you've even got a comp set up to put motion blur on this.
    00:46:29,244So, what are some of the finishing touches
    00:46:33,129that we're gonna need to do?
    00:46:35,442All right, well, first let's let this ram preview finish,
    00:46:38,629and you know, overall, but let's just do a quick recap.
    00:46:41,166We talked about fixing the rolling shutter,
    00:46:43,226we talked about getting a good track in Mocha,
    00:46:45,728exporting the data as both a corner pin
    00:46:48,509and transform data, and we've talked about making
    00:46:51,081your own light rap, color correcting the footage to match,
    00:46:54,387switching to use the power pin effect.
    00:46:56,825I mean, there's been a lot going on in this tutorial,
    00:46:59,224and I hope you guys are following along.
    00:47:01,289But this is looking pretty cool so far.
    00:47:04,046You know, I could nitpick it, there's some things
    00:47:05,886I probably wanna tweak, but at this point now,
    00:47:08,185this is where I wanted something to happen.
    00:47:11,488So, what I did was I had a bunch of little flashes
    00:47:14,665kind of appear inside the UFO.
    00:47:17,364All right, so let me show you how I did that.
    00:47:19,627I used one of my favorite plug ins,
    00:47:23,226which if you don't have it, just go buy it.
    00:47:27,344I mean, Andrew Kremer, he really is responsible for,
    00:47:34,198you know, the prevalence of lens flares
    00:47:37,359because he made this awesome plug in called Optical Flares.
    00:47:39,722So, what I did was I just went into the presets
    00:47:43,063and I usually just try to grab a preset,
    00:47:46,424I don't always build these from scratch.
    00:47:48,133But I tried to find something that looked a little bit,
    00:47:52,160maybe, I don't know, synthetic or mechanical, or something.
    00:47:56,200Something that had a little bit of a shape to it,
    00:47:59,884and then, what I also like to do is go through and
    00:48:02,723turn off certain parts of the lens flare,
    00:48:05,283so like, these little boca that are kind of coming out here.
    00:48:09,964If I can figure out where they are, I like to hide those.
    00:48:13,999And really, you know, I only wanna see this kind of stuff.
    00:48:19,418Actually, I like that.
    00:48:21,281I wanna hide that.
    00:48:23,052I'd like to maybe hide, yeah, that gigantic
    00:48:25,474square down there, there we go.
    00:48:27,319So, I just want this stuff, right, just that stuff.
    00:48:30,117Hit OK, and I'm gonna tint it, so maybe it's like
    00:48:33,559kind of that cool, alien teal color.
    00:48:36,937It's probably too saturated.
    00:48:39,358Let's bring that down a little bit.
    00:48:41,037And then I'm gonna set this to Color Dodge.
    00:48:45,693So, now I got a lens flare, and it's a little...
    00:48:49,294I don't know, I mean, I used a different lens flare
    00:48:51,198on the demo, but this is kind of interesting,
    00:48:53,357it's a little techy.
    00:48:55,377So, here's what I'm gonna do, I'm gonna make a new null
    00:48:58,053and I'm gonna call this Flare Null,
    00:49:01,213and I'm gonna parent it to the Track Null.
    00:49:04,032So, now what I've got is another null and
    00:49:06,874I'm gonna use this null to control where the lens flare is.
    00:49:09,730So, I first need to tell the lens flare to show up
    00:49:12,391where that null is.
    00:49:13,393The way you do that is you put an expression on
    00:49:15,716the position property of the optical flares effect.
    00:49:19,012Hold Option, click the Stopwatch,
    00:49:21,239and you wanna Pick Whip, right, from the expression
    00:49:24,394to your flare null, to the actual null.
    00:49:27,554Not to the position property null,
    00:49:28,930but to the null itself, and then type in .toComp,
    00:49:35,153just like this, open parenthesis, and then put a bracket
    00:49:38,070with 0,0,0 in there, close your parenthesis, there you go.
    00:49:41,350All right, if you go watch any of my expression tutorials,
    00:49:46,770you'll see this and you can probably copy and paste it,
    00:49:49,685but that's the expression that basically tells
    00:49:51,286the position of the optical flare to match wherever
    00:49:55,000this null is on screen.
    00:49:56,844All right, and so what's cool now is let's say I decide
    00:49:59,805that right about here I want a quick little boom, boom,
    00:50:03,494boom flare.
    00:50:04,492Well, what I could do is put a position key frame here
    00:50:08,749and then hold Command + Option,
    00:50:11,829click and make it a hold key frame.
    00:50:13,268Then on the next frame, move it over here.
    00:50:15,370On the next frame, move it here.
    00:50:17,326Right, and now I've got a cool little
    00:50:19,346three frame like flash.
    00:50:21,628Now, in addition to moving the flare,
    00:50:24,228what I'm gonna wanna do is adjust the brightness too.
    00:50:27,672So, let me set the brightness to zero.
    00:50:30,550All right, and put a key frame there.
    00:50:32,833Hit U, and set that to be a hold key frame,
    00:50:36,349just scoot it way back here.
    00:50:37,894So, on this frame, I want it to be, I don't know,
    00:50:41,330that bright, then it jumps and now I want the brightness
    00:50:44,694to go down a little bit.
    00:50:46,175Then it jumps again, I want it to jump back up
    00:50:48,293and then on the next frame, I want it to go back to zero.
    00:50:52,065And so, by using hold key frames and using this null,
    00:50:55,112you can get this cool little flashes.
    00:50:58,255And if it feels too quick for you,
    00:51:01,593which it might, it feels a little bit fast,
    00:51:04,176I may wanna add, you know, add couple extra moves here.
    00:51:08,950So, take the null, move it back over here,
    00:51:11,392or move it over here, move it back to the middle,
    00:51:14,773and then come to the brightness and have it dim down
    00:51:18,393a little bit, have it get really bright,
    00:51:21,372and then dim down a little bit, and then go to zero.
    00:51:25,612Like that, okay, cool.
    00:51:29,350So, now you get this little flashiness
    00:51:31,283and it's like jumping around, and you can really,
    00:51:34,323you could even push it further.
    00:51:36,224Have the null really move to the extremes of this.
    00:51:41,097The more jumpiness you get, the more violent it's gonna feel
    00:51:44,283because this is supposed to be this enormous spaceship.
    00:51:48,041So, when you see stuff like that...
    00:51:50,119Now, one thing that's kind of hurting it is
    00:51:53,225the scale of the lens flare, it's so big.
    00:51:54,828You know, and again, things are very small when
    00:51:57,389they're far away.
    00:51:58,429And it's not really supposed to be a lens flare,
    00:52:00,147it's just sort of a techy, lighty, glowy thing.
    00:52:02,550So, I'm just gonna turn the scale down a little bit,
    00:52:05,126not that much, just a little bit, and see if that helps.
    00:52:08,947Yeah, that works better now.
    00:52:10,288Cool, greatness, all right.
    00:52:12,390So, I did this and I had it happen a couple of times,
    00:52:15,879and then at the end, I had it happen one last time
    00:52:18,920and really blow out, like really start to blow out
    00:52:23,904the frame like this.
    00:52:26,291So, let's talk about what I did next.
    00:52:28,896So, let's hop into our, let's go up one level.
    00:52:32,234I'm gonna hit Tab to bring up my flow chart
    00:52:34,434and go up one level to this comp,
    00:52:37,551and this is the comp, remember,
    00:52:38,617has real smart motion blur on it.
    00:52:40,096So, I'm getting motion blur on all this stuff, too,
    00:52:43,174which is cool.
    00:52:44,416So, in this comp, the other thing I did was
    00:52:46,396I color corrected my footage, and I like to use a plug in,
    00:52:52,091which just sort of, it's an awesome time saver
    00:52:54,311and it's really fun, and it is called Red Giant Looks.
    00:52:57,814And if you've never used it, it is such a fun plug in.
    00:53:02,057I highly, highly recommend it,
    00:53:04,153and it lets you just sort of, you know,
    00:53:06,115just try out a bunch of different looks like this.
    00:53:08,733Oh, that's cool, but its' a little bit blown out
    00:53:11,110so maybe I'll just adjust it a little bit.
    00:53:14,054You know, I'll bring the lift up a little bit
    00:53:17,255and bring the gain down.
    00:53:18,613I mean, you can really go crazy with this plug in
    00:53:21,853and I love it, but it doesn't come with After Effects,
    00:53:24,436and maybe it's not an option for you.
    00:53:28,142So, I'll also show you some tricks I used to color
    00:53:30,098correct stuff just using build in.
    00:53:32,156So, I've got an adjustment layer and I like to use curves
    00:53:36,176to kind of get a little bit more contrast out of it.
    00:53:40,497And this shape, this S curve, this is sort of mimicking
    00:53:44,423the way film actually captures light.
    00:53:48,159There's usually like a little bit...
    00:53:50,943You know, it's a little bit darker in the blacks,
    00:53:53,079and then it kind of levels out,
    00:53:54,458and then it captures the whites even a little bit brighter
    00:53:56,177and so, it just gives you a little bit more contrast.
    00:53:59,442And I'm gonna kind of go back and forth between a
    00:54:02,019few frames because I don't want it to get too bright
    00:54:04,242and blow out the clouds.
    00:54:06,738And let's push the mids down,
    00:54:09,037and maybe push the blacks up a little bit,
    00:54:12,401and there we go.
    00:54:13,423So, now I've got a nice basic contrast.
    00:54:15,304Now, there's an alien spaceship over the city, right,
    00:54:18,360and the colors are just very neutral, and bright, and sunny,
    00:54:21,779so another thing I like to do is use my color balance effect
    00:54:25,751and add or take away color.
    00:54:28,315So, you know, let's say we wanted this to feel really
    00:54:32,356creepy and alienish, what I might do is push some green
    00:54:35,656into the shadows, and then remove some red
    00:54:39,261from the midtones.
    00:54:41,158And probably desaturate it a little bit too.
    00:54:44,741So, let me actually also add hue and saturation effect.
    00:54:49,497Okay, and I want the hue and saturation to happen
    00:54:52,523before the color balance.
    00:54:54,543And really, I'm just adding green, and I'm taking away,
    00:54:57,837I'm adding an unnatural color,
    00:55:00,037and I'm taking away natural colors.
    00:55:02,156Right, there's automatically a lot of blue in
    00:55:04,159the highlights because we're outside
    00:55:05,860and there's a blue sky, so if I subtract blue
    00:55:08,238from the highlights, it's gonna bring in sort of
    00:55:12,930less natural colors.
    00:55:14,513And so if I turn color balance on and off,
    00:55:17,955you can see that it gives it kind of a little cast.
    00:55:20,748You can also go into Hue and Saturation and
    00:55:24,246if you have a predominant color like this blue sky,
    00:55:28,085go into your blues and you can desaturate that a little bit,
    00:55:30,308or you could even push it and make it go a little bit teal,
    00:55:35,225right, push a little bit of green into it,
    00:55:38,219and desaturate it a little bit.
    00:55:39,923And so, you can just use, I mean,
    00:55:42,107these are really the three big ones I use,
    00:55:43,767Curves, Hue Saturation and Color Balance,
    00:55:45,625and of course levels, I use a lot, too.
    00:55:47,447And just using those, you can really change
    00:55:52,428the tone of your piece.
    00:55:55,244And because I color corrected the footage and the UFO,
    00:55:58,083and there's motion blur on it,
    00:55:59,948and I've color corrected it all as a whole,
    00:56:02,185it's just one more layer of glue to help hold
    00:56:05,106this composite together.
    00:56:07,126Right, and then, you know, it would not be a Joey Korenman
    00:56:12,614composite without adding a vignette to it.
    00:56:15,911I literally do this, I'd say,
    00:56:18,109on 99% of the things that I produce.
    00:56:20,233I usually just use an adjustment layer with levels,
    00:56:23,449where I'll, like, push the levels a little darker.
    00:56:27,808And then I'll grab an ellipse mask, like this,
    00:56:30,688and I'll invert it and feather it.
    00:56:34,081And there's your quick and dirty vignette.
    00:56:36,264And so now, we've got a color corrected, vignetted,
    00:56:40,202motion blurred tracked, light wrapped, heat distortion,
    00:56:43,366you know, there's a lot going on.
    00:56:46,385We've even got a few lens flares that are acting
    00:56:48,843like these little flashes.
    00:56:52,007So, let's hop forward in time to where those flares happen,
    00:56:56,309and I will show you the last piece of this,
    00:56:58,723which is how I did my little glitchy effect.
    00:57:03,203All right, so here we are, this is where those little
    00:57:06,787lens flares happen, right.
    00:57:08,644So, this is where I wanted to capture that feeling,
    00:57:13,486like, you've seen this a million times in movies
    00:57:15,866where the aliens do something, and all of a sudden,
    00:57:17,984all the electronics go crazy.
    00:57:19,987And so that's why I wanted the glitchy-ness,
    00:57:22,286I wanted it to be like, uh oh, the video camera's
    00:57:25,148messing up because the aliens are using their weapon.
    00:57:28,770So, there's a million ways to make a glitch effect
    00:57:31,609in After Effects, and there's a lot of tutorials
    00:57:33,948about this, too, so don't just do it this way,
    00:57:36,067there's 10 million ways, but I just did it this way
    00:57:38,223because I thought it would be nice and easy to control.
    00:57:41,007I made a new comp called Noise,
    00:57:44,345and I'm gonna make a new layer called Noise,
    00:57:47,790and we're gonna use Fractal Noise again.
    00:57:49,962I told you Fractal Noise was versatile
    00:57:51,185and I'm gonna prove it.
    00:57:53,082So, I'm gonna set the noise type to Block,
    00:57:56,628and it's gonna make this very pixely,
    00:57:59,569interesting looking noise, and I'm gonna go into
    00:58:01,711my Subsettings and I'm gonna turn Sub-Influence down to zero
    00:58:04,021and watch what happens.
    00:58:06,169It keeps the overall big noise, but it gets rid of
    00:58:09,571all that extra kind of transparent noise in there.
    00:58:13,423Okay, so now I've got this very pixelated looking thing.
    00:58:17,325And what I wanna do is I wanna have it jump around a lot,
    00:58:21,579so if I animate the evolution, you can see that you
    00:58:24,798can have the evolution change slowly,
    00:58:27,583but I want it to happen very quickly.
    00:58:29,559So, what if I just hold Option, click the Stopwatch
    00:58:32,140and type in "Time*5000".
    00:58:35,140Right, if I do a little ram preview of this,
    00:58:38,237you can see now I've got this crazy, jumping pattern.
    00:58:41,357It changes on every single frame.
    00:58:44,012So, I'm also gonna scale this up a little bit.
    00:58:47,740All right, let's go back to our Transform.
    00:58:50,782And scale this up.
    00:58:52,518So, I have big chunky noise,
    00:58:54,561and I'm gonna turn the contrast up too.
    00:58:57,534There we go.
    00:58:58,716Then I'm gonna duplicate the noise and I'm gonna set
    00:59:00,316this Copy to Screen, and on the Copy,
    00:59:04,496I'm gonna scale it way down, like this.
    00:59:09,093Right, so now I have some big chunks and I have some
    00:59:12,216small chunks, and I can actually set this to Add.
    00:59:18,077Sorry, here we go.
    00:59:20,131Add, and by setting it to add, it's actually,
    00:59:23,445because I'm in 32 Bit Mode, it's gonna brighten
    00:59:26,487and darken certain parts.
    00:59:28,390So, you're getting a ton of variation in the blocks
    00:59:31,608and the texture.
    00:59:32,970Screen, I actually liked a little bit better.
    00:59:36,086So, I'm gonna just leave it on Screen.
    00:59:37,630Cool, all right, so what the heck could I do with this?
    00:59:41,465Well, what I wanna do is create a matte out of this,
    00:59:43,804and use that matte to mess with my footage.
    00:59:47,246So, what I'm gonna do is pre-comp both of these
    00:59:50,681and call this Noise Pre-Comp.
    00:59:53,987The reason I did that is because if I turn on my
    00:59:57,106Transparency Grid, there is no transparency yet.
    00:59:59,440And that's what I'm gonna need in order to use
    01:00:01,424this the way I want.
    01:00:02,683So, let me now take a white solid.
    01:00:05,686It doesn't really matter what color it is,
    01:00:07,163it could be blue, could be anything.
    01:00:09,639Put it underneath your noise and use it as a Luma Matte.
    01:00:13,061Set this layer to use the noise as a Luma Matte,
    01:00:15,563now I have transparency.
    01:00:17,380And it's this crazy glitchy transparency like this.
    01:00:21,043So, now I can take that noise layer,
    01:00:23,423all right, let me turn my Color Correct and my Vignette off,
    01:00:27,618and what's cool is now, because there's an alpha channel
    01:00:30,777there, I can make this noise an adjustment layer,
    01:00:33,151and it's not gonna do anything except if I now
    01:00:34,849put an effect like Magnify on there.
    01:00:39,051And I change the shape to Square, and I crank the size
    01:00:44,370of it up, right, it's moving around,
    01:00:47,629and it's actually not moving.
    01:00:49,412And I think I know why.
    01:00:51,906Let's go back into our Noise Comp really quickly.
    01:00:54,929Go to the beginning and you see you've got this nice
    01:00:56,624crazy, glitchy, noisy thing happening,
    01:00:58,685and when we get to the end, there it is, it stops.
    01:01:02,325Why is it stopping?
    01:01:03,768Well, remember I had this expression on here,
    01:01:06,586on these noises, time*5000 on the evolution.
    01:01:09,944Well, After Effects actually has a limit to how high
    01:01:13,719it will render things, and you can see the evolution's
    01:01:16,401still going up, but it has stopped changing.
    01:01:20,039So, apparently, that number is too high,
    01:01:21,416and so that's why it stopped animating.
    01:01:23,602No worries though because it doesn't really matter,
    01:01:27,019all I need is that glitch, and I'm actually gonna
    01:01:28,981rename this Glitch Adjust.
    01:01:32,516I don't need that to exist until here, right?
    01:01:36,696And here it is still moving.
    01:01:38,539Cool, so now if I play this, you can see we are
    01:01:42,021getting a really glitchy, crazy look.
    01:01:43,919Whoa, oh my gosh.
    01:01:45,097Now, I don't want the entire frame to be messed up
    01:01:47,477like that, so I'm gonna grab a mask, rectangle mask,
    01:01:50,859and I kind of just want it like, you know,
    01:01:54,603kind of a little bit random over parts of the image,
    01:01:58,182like this, and I only want it to last for a few frames.
    01:02:02,069And I kind of want these things to move around, too.
    01:02:04,992So, I'm gonna hit option M on all of these, actually.
    01:02:09,889So, I can put a mask path key frame on all of them,
    01:02:12,784and then I can, again, Command + Option and
    01:02:16,984click on the key frames and make whole key frames.
    01:02:18,296And that way I could animate,
    01:02:21,076I could animate the shape of these things, right.
    01:02:24,740So, it can be really big on this frame,
    01:02:28,316and then this glitch can be over here now,
    01:02:31,188and this glitch can be over here now,
    01:02:33,073and then on the next frame,
    01:02:35,175this can be more on this side.
    01:02:38,151And you know, you can see that you're doing frame
    01:02:41,610by frame animation here, but it can still be done
    01:02:43,514very quickly, you can just kind of drag things around.
    01:02:45,930And then, if I wanted to, I could even just sort of
    01:02:51,298loop these key frames.
    01:02:54,091This one hasn't moved yet, so why don't I move him
    01:02:56,737over here, and then go back and move him somewhere else
    01:03:01,175so he is kind of moving a little bit.
    01:03:04,197And then, I could have the glitches go away.
    01:03:07,610And I want the glitches to happen, let me turn this off
    01:03:11,573for a minute, I want the glitches to happen
    01:03:13,627just after we see that first flare.
    01:03:17,267So, there's the flares, so I actually want
    01:03:19,990the glitches to start here.
    01:03:23,124So, I just hit the left bracket key and
    01:03:24,550move my layer to this point.
    01:03:26,390And now we turn it on and you can get those cool
    01:03:27,905little glitches, there we go.
    01:03:31,005So, we got a flash and then, whoa, dude, look at that.
    01:03:36,071And you saw how easy that was.
    01:03:37,373And because it's an adjustment layer,
    01:03:39,376if I want it to happen again, I just duplicate it
    01:03:41,814and move it over here.
    01:03:43,613And now it will glitch over here.
    01:03:45,074And you can always adjust where the masks are
    01:03:47,012and all that kind of stuff.
    01:03:48,414So, on top of this, what I also did was I,
    01:03:53,313so here's my, this is my noise comp, right here.
    01:03:57,512This is what I'm using to actually create the displacement.
    01:04:01,998What I also did was I took this comp,
    01:04:04,610pre comped it, put an effect on it called Colorama.
    01:04:14,186Here we go.
    01:04:15,640And Colorama, it takes either the luminence
    01:04:20,505or alpha channel, or some aspect of an image,
    01:04:23,722and it maps different colors to it.
    01:04:25,488So, I wanna use the alpha channel of this.
    01:04:28,159So, I'm gonna say get Phase from Alpha,
    01:04:30,585and then here's my output cycle,
    01:04:33,308and you'll see it's gonna randomly create
    01:04:36,099these color blocks based on what the alpha channel is.
    01:04:37,943And you can change this output cycle if
    01:04:40,859I don't want the primary color to be red,
    01:04:43,584I can actually just animate the phase shifts.
    01:04:46,128Let me just make it more like this.
    01:04:48,686And what I really wanna do is I kind of only
    01:04:53,088want these little blocks,
    01:04:54,420I don't really want the big blocks as much.
    01:04:56,962So, what I'm gonna do is first I'm gonna put a
    01:05:01,621curves effect on here, here we go.
    01:05:04,640And I'm gonna bring the white all the way down to zero,
    01:05:08,388and then I'm gonna grab a point here
    01:05:12,306and kind of go like this.
    01:05:14,169And what I'm trying to do is get rid of as much of
    01:05:17,339the bright parts as possible.
    01:05:19,803And just kind of keep the midtones,
    01:05:22,405so that when colorama happens, you now,
    01:05:25,402you don't have as many of those big chunks,
    01:05:27,045you just have all this crazy digital noise.
    01:05:30,824And I can adjust the curves kind of interactively
    01:05:32,989to get the result I want.
    01:05:35,646Now, what's cool is because I'm using the same noise
    01:05:38,602that I used for my magnification,
    01:05:40,844I can now take this, let me rename this Noise Two,
    01:05:43,662and I'll call this Color Noise.
    01:05:45,941And you can see that the alpha channel is a little
    01:05:48,803messed up here, so I'm not gonna be able to just
    01:05:51,287use a straight alpha channel on this one.
    01:05:53,342What I'm gonna have to do is put this on top of my
    01:05:55,681glitch adjust, line it up,
    01:05:58,481so it's the same length and it starts at the same time,
    01:06:03,083and I can just set the mode, I can set it,
    01:06:06,679I can mess around, I can set it to Add,
    01:06:08,905or set it to Overlay and see what that looks like,
    01:06:11,079you can try different things.
    01:06:13,004I think Add is gonna work okay.
    01:06:15,285And then if I want to, I can even copy my masks
    01:06:18,304from this layer, so I think I'll do that.
    01:06:21,902I'm gonna go to the first frame, select all my masks,
    01:06:23,721hit Copy and come up here and Paste.
    01:06:25,664And now, you even get that little digital noise
    01:06:29,718that just happens to line up perfectly with
    01:06:33,259the magnification distortion that's happening.
    01:06:35,476If you wanted to, it could be off,
    01:06:37,245or I could just offset the color noise, maybe,
    01:06:39,082by a couple of frames.
    01:06:40,740So, it doesn't line up perfectly.
    01:06:43,697And now you've got this neat, little digital, you know,
    01:06:46,363H264 messup glitchy thing with not much effort,
    01:06:50,980that you can totally adjust, and if you don't like
    01:06:53,343these colors, you know, change them.
    01:06:54,876Go into the Colorama and pick what colors you do want,
    01:06:57,020and I don't know if I want them to be that, you know,
    01:07:00,399I want them to be a little more transparent.
    01:07:02,261So, there you go.
    01:07:05,119With that, I think that is gonna be the end of this
    01:07:09,080tutorial, we have gone through so many things
    01:07:12,040in these last two videos.
    01:07:13,544We modeled a UFO, we talked about UV maps,
    01:07:16,104texturing, lighting, using HDR, rendering,
    01:07:19,941creating (mumbles), and then we've talked about tracking,
    01:07:22,640and adding motion blur, and removing rolling shutter,
    01:07:26,379and oh my god, this is like possibly the most
    01:07:28,805jampacked two tutorials I've ever done.
    01:07:30,761So, first of all, thank you so much to Premium Beat
    01:07:33,780for asking me to do these.
    01:07:35,080These have been so much fun.
    01:07:36,125I really hope you guys got a lot out of them.
    01:07:37,681Check out Premium Beats Sound Effects and Music Collection,
    01:07:40,444it is amazing, all of the sound and music
    01:07:42,422that I used on the demo for this,
    01:07:44,999came from Premium Beat directly,
    01:07:46,940I did not use any outside music or sound effects,
    01:07:49,780and it is super affordable.
    01:07:51,567I highly, highly, highly recommend them.
    01:07:54,044And if you like these tutorials and you want more like it,
    01:07:58,062also please check out,
    01:08:00,497my own site, I have a lot of stuff on there.
    01:08:03,444And I know I'm gonna be partnering up with Premium Beat
    01:08:05,679a lot more, it's a great company, great bunch of guys.
    01:08:07,583And I look forward to showing you guys more cool stuff,
    01:08:11,742just like this.
    01:08:13,765Thank you very much.
    01:08:15,581I wanna thank you guys for watching.
    01:08:16,702I hope you learned a lot.
    01:08:18,161And please check out
    01:08:20,061if you need stock music or sound effects.
    01:08:21,722Super affordable, but super high quality.
    01:08:24,324I can't recommend them enough.
    01:08:25,541And if you like tutorials like this,
    01:08:27,163please check out my site,
    01:08:28,943where there's a lot more content just like this.
    01:08:30,938Thank you guys so much, I'll see you next time.
    01:08:35,922(exciting rhythmic music)