Create a Cartoon Explosion in After Effects

Drawing hand animated effects takes a lot of time, patience, and practice. Being in an industry that can be as fast paced as Motion Graphics we don't always have the luxury of being on a job where we can just stop and learn a brand new skill that can take a lot of time to master. In this tutorial we're going to see how you can use After Effects to make a cartoon style explosion that looks like someone animated it by hand in a program like Adobe Animate.

Check out the resources tab for some inspiration and other goodies that go along with this tutorial. 

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.

22_ToonSplosion.zip

Joey originally made this tutorial after meeting Ryan Woodward at a presentation that he did at Ringling College of Art and Design. If you haven't seen Ryan's stuff before, you need to. He's an absolute BEAST at traditional animation.  


Joey used this amazing hand drawn effects reel for inspiration: 

Naoki Yoshibe

You can find the image of the star field image that Joey used here.

    00:00:22,727- Well hello again.
    00:00:23,986Joey here and welcome to day 22 of 30 Days of After Effects.
    00:00:27,975Today's video is really cool.
    00:00:29,915What we're going to try to do is replicate the look
    00:00:32,090of a hand drawn anime style explosion,
    00:00:35,260done totally in After Effects.
    00:00:37,400I become obsessed with this thing, this effect,
    00:00:40,053when Ryan Woodward, who's an amazing traditional animator,
    00:00:43,143came to visit Ringling College, where I used to teach,
    00:00:45,581and showed how he could just draw these things.
    00:00:48,527The only problem is I can't draw very well.
    00:00:50,193So I decided to try to do the whole thing in After Effects.
    00:00:52,679And I'm gonna show you every single step
    00:00:54,587that I did to get this result.
    00:00:56,419I'm gonna be using a lot of the tricks that I showed you
    00:00:58,584in some of the other videos, from 30 Days of After Effects.
    00:01:01,925And it's gonna be cool to see how these building blocks
    00:01:04,330can start to work together to create something
    00:01:06,781really unique looking.
    00:01:08,821Don't forget to sign up for a free student account,
    00:01:10,609so you can grab the project files from this lesson
    00:01:13,485as well as assets from any other lesson on the site.
    00:01:16,481Now, let's hop into After Effects
    00:01:17,598and I'll show you how this works.
    00:01:20,617Welcome to After Effects people.
    00:01:23,502This tutorial, I'm gonna try and do this
    00:01:25,746a little bit differently and this is an experiment.
    00:01:28,184And I want you guys to let me know how well this works.
    00:01:32,266This little animation here,
    00:01:35,397I forced myself to figure out how to make this.
    00:01:38,525And I've never really actually made
    00:01:40,122anything like this before.
    00:01:42,018And it took a long time, it took a few hours.
    00:01:44,844And really had to rack my brain to get it to work.
    00:01:48,208And one of the things that always happens,
    00:01:50,289in these tutorials, is I'm assuming
    00:01:53,552you don't want me to make a four hour tutorial,
    00:01:55,572where I go through every step.
    00:01:56,559So what I'm gonna do is, I'm just gonna
    00:01:58,639walk through this comp.
    00:02:01,089And I'm gonna try to show you
    00:02:03,252every little piece and just talk about it.
    00:02:05,803Maybe show you a couple of things,
    00:02:06,909rather than build something from scratch.
    00:02:08,737And then I'm gonna give you this project file
    00:02:10,781and let you just tear it apart.
    00:02:12,284And we'll see how well that works.
    00:02:13,614Hopefully you guys will dig that.
    00:02:16,267This is the anime explosion.
    00:02:22,077When I was teaching at Ringling,
    00:02:23,641we had a guest speaker come, named Ryan Woodward.
    00:02:27,145I will link to him in the description to this.
    00:02:31,383Amazing traditional animator.
    00:02:34,011I mean he can draw stuff like this.
    00:02:36,074And actually this particular explosion was inspired heavily,
    00:02:40,941and you'll know in a minute, by this artist.
    00:02:44,244And he's got his 2D FX compilation up on Vimeo,
    00:02:46,922which I also linked to.
    00:02:48,438And you can see I tried to replicate the feel of that.
    00:02:51,799And then his real goes on and it's all really, really cool.
    00:02:56,269I'm pretty sure that most of it is hand drawn.
    00:02:59,917I'm sure when there's straight lines,
    00:03:01,725he's probably using a line tool to do that,
    00:03:04,997but a lot of this is just hand drawn.
    00:03:07,089Well I'm not that good at drawing, people.
    00:03:10,482And I can tell you hand drawing effects like that
    00:03:13,510takes a lot of practice, it's very tricky.
    00:03:15,215So I wanted to see how to do it in After Effects.
    00:03:17,878Let's start diving in here.
    00:03:20,142This is my final comp, so why don't we
    00:03:21,787just dive all the way back to the beginning, here.
    00:03:24,217I've got a lot of layers, a lot of
    00:03:26,127color correction going on.
    00:03:28,301But this right here, this is a
    00:03:30,230giant oversized comp, that I've made.
    00:03:33,278It's 25 hundred by 25 hundred,
    00:03:36,082and I'll explain why it's that size.
    00:03:38,253And this is where I actually built up
    00:03:41,629all the layers that make this explosion.
    00:03:46,331What I wanted to have was this initial spark
    00:03:51,949and then it sucks back in and then there's a pause.
    00:03:56,408And then it starts to build and build and build,
    00:03:58,581and boom, there it goes.
    00:04:00,524Let's walk thought this, layer by layer.
    00:04:03,265I'm gonna solo these.
    00:04:06,640This first layer; all right actually,
    00:04:08,875let me not show you that one first.
    00:04:10,174That one's a little trickier
    00:04:11,089and I wanna go through some easier ones first.
    00:04:13,162Let's look at these lines, initial lines.
    00:04:16,775At first we just have some lines shooting out,
    00:04:19,350from the middle of the screen.
    00:04:20,801And then the last couple suck back in.
    00:04:26,258And you can see that there is some perspective on them
    00:04:29,651and they've got a nice angle to them.
    00:04:31,854And that was actually really easy to do.
    00:04:34,617There's another tutorial, in this
    00:04:36,22030 Days of After Effects series,
    00:04:37,592that deals with polar coordinates
    00:04:39,139and that's exactly how I made this.
    00:04:41,444If I jump into that comp, all this comp is;
    00:04:43,719Let me turn off this adjustment layer, for a minute.
    00:04:45,884This is an adjustment layer
    00:04:47,274that has polar coordinates effect on it.
    00:04:49,367If I turn that off, this is actually what that looks like.
    00:04:51,878And all I'm doing is animating lines moving.
    00:04:55,575Let me actually pick one of these and zoom out,
    00:04:58,223so you can see the keyframes.
    00:05:00,358It's just moving down, like that, that's it.
    00:05:05,186What's cool about this is that all I had to do
    00:05:08,689was animate one line, because I pretty much
    00:05:11,005wanted them all going the same speed or pretty close.
    00:05:13,557So I animated one line and I made sure
    00:05:15,710that I separated the dimensions of the position,
    00:05:19,408animated the Y position.
    00:05:20,738And then I could just duplicate it.
    00:05:24,344And just to show you, if I duplicate this.
    00:05:28,558I can either just use the arrow keys
    00:05:29,892and nudge it over, to the left of the right,
    00:05:32,716or I can actually click and drag it.
    00:05:34,431And it's not gonna mess up the keyframes at all,
    00:05:36,678because as long as you only move it on X,
    00:05:39,572you don't move it on Y, your Y keyframes
    00:05:41,522won't change and you can move it around.
    00:05:43,888And the reason that I wanted them to be
    00:05:45,638all moved around horizontally, is because
    00:05:48,462then when you animate lines from the top our your comp,
    00:05:52,067down to the bottom, and you put
    00:05:53,378a polar coordinates effect over the whole thing,
    00:05:55,805this is what it does.
    00:05:57,097And if you're unfamiliar with polar coordinates,
    00:05:59,033if you haven't watched that tutorial,
    00:06:00,348I would definitely watch that one first,
    00:06:02,481because I use it a lot, in this.
    00:06:05,224That was the first thing I did,
    00:06:06,287I made a bunch of these lines that radiate out
    00:06:09,967and the last few, I actually have extra keyframes on,
    00:06:12,863so they come out, but then
    00:06:15,301they go back where they came from.
    00:06:18,837One thing I should have pointed out,
    00:06:20,160all of this stuff, I'm animating at 12 frames a second.
    00:06:24,740Which is a little unusual for me.
    00:06:26,488I normally do everything at 24 or 30,
    00:06:28,894but because I was trying to mimic
    00:06:31,291that hand drawn look, I thought what the heck,
    00:06:33,221I'll animate it at 12 frames a second.
    00:06:36,493And you can see that when you do that it adds
    00:06:39,105a staccato feel to it and it feels
    00:06:42,150like a cartoon, so I'm glad I did that.
    00:06:45,797So there's my lines and you can see how simple that was.
    00:06:48,022I literally made one line, animated the position,
    00:06:51,356and then I just went through each line,
    00:06:53,701picked a different color for it,
    00:06:56,577and then I adjusted the stroke width on some of them.
    00:07:00,243Here, I'll show you, if I adjust the stroke,
    00:07:03,471you can see what it does.
    00:07:04,785The thicker it is, the wider this beam is,
    00:07:10,951that's shooting out of the center.
    00:07:12,974So there you go, that's how you make the lines.
    00:07:14,342It's really simple.
    00:07:15,868The next part, I've got these particles here.
    00:07:19,342Let me turn these on.
    00:07:23,884What I wanted them to do was just suck in, like that.
    00:07:28,659And then later on, in the animation,
    00:07:31,187when the big explosion happens,
    00:07:32,702there's another copy of this, except they explode outwards.
    00:07:37,384Now, you could easily do this with Particular,
    00:07:41,569but I didn't want to use Particular.
    00:07:42,902I wanted to try and do this whole thing
    00:07:44,637with native plugins.
    00:07:45,807So let me show you how I made these particles.
    00:07:49,058This first instance of that precomp, where they suck inward,
    00:07:54,065that's actually time remapped to play backwards.
    00:07:57,458I actually animated these animating out, like that.
    00:08:01,420Hop in to one of these, I'll show you exactly what I did.
    00:08:04,101This is really, I mean it's funny how simple
    00:08:07,039some of this stuff is, but I just
    00:08:08,725did the exact same thing with the lines.
    00:08:12,918I just animated dots from the top of my comp
    00:08:16,545to somewhere in the middle, like this.
    00:08:21,646Now, the key to getting this to feel right
    00:08:25,020is the animation curves.
    00:08:27,140So what I did was I animated one of these balls.
    00:08:30,422And I can just solo this one, open up the keyframes.
    00:08:32,253And all I did was animated on Y position and opacity.
    00:08:35,755So it comes in and disappears, that's what it does.
    00:08:40,705And if we look at the Y position animation curve;
    00:08:44,565Let me actually switch this to Value Graph.
    00:08:48,341So you can see that it goes really fast at the beginning
    00:08:51,400and then it levels out slowly.
    00:08:52,936So by frame four, it's already most of the way
    00:08:56,776to where it's gonna go and then
    00:08:58,024it spends the next few frames easing in there.
    00:09:01,642I did that because I wanted it to feel like an explosion.
    00:09:04,914Now, if we come back here, I spent a lot of time;
    00:09:07,585I actually went frame by frame through this,
    00:09:09,190at some points, to figure out
    00:09:10,684how this explosion should look.
    00:09:13,070But one thing about explosions that is really easy to see
    00:09:16,819is that things happen extremely fast, when the boom happens.
    00:09:21,807Really fast, like 1, 2, 3 frames.
    00:09:24,916And then it'll slow down.
    00:09:27,731And it's sort of like the air resistance
    00:09:29,580catching up with the explosion and finally slowing it down.
    00:09:32,961That's why I animated it that way.
    00:09:35,602And once I animated one of those balls,
    00:09:38,203I duplicated it a bunch of times,
    00:09:40,316and I literally would just grab a layer,
    00:09:45,346like this and I would just nudge it over
    00:09:48,240with my arrow keys, left and right.
    00:09:49,682And because I had separated the dimensions
    00:09:52,823you can move it independently on X and Y,
    00:09:56,164without screwing up your keyframes, that are there.
    00:09:59,020Then the next thing I did, you can see
    00:10:00,837that I've randomly spread all these out in time,
    00:10:03,965just so it feels a little bit more organic.
    00:10:08,506There's a buzzword for you.
    00:10:10,345The way I built this was, originally,
    00:10:13,199they were all lined up, like this.
    00:10:15,666And you can see that the keyframes are all identical.
    00:10:20,558I animated them, I animated one,
    00:10:24,199I duplicated it a bunch of times,
    00:10:25,032I spread it out left and right, and then what I did
    00:10:26,205was I went to the second Y position keyframe,
    00:10:30,205or sorry, that's not true at all.
    00:10:32,584It's ever easier than that.
    00:10:33,731What I did is I went layer by layer,
    00:10:36,778so I'll pick this layer, and when you
    00:10:38,829select a layer that has keyframes on it
    00:10:41,045you can actually see here's keyframe one,
    00:10:42,980here's keyframe two, and I can click and drag keyframe two.
    00:10:46,870And I'm in the middle of the animation,
    00:10:48,324but I'm telling it to go further,
    00:10:52,599by the end of the animation.
    00:10:54,074And so I just went and randomly did that, for each one.
    00:10:58,178And then, when I was done, I just took a minute
    00:11:00,474and I randomly went like this and just spread them out.
    00:11:04,680Let me undo everything I just did.
    00:11:06,610And I literally just hand did this.
    00:11:10,395Sometimes that's the best way.
    00:11:12,238And it didn't take that long to do.
    00:11:14,249It took me a little while
    00:11:15,082to figure out that's what I should do.
    00:11:17,224But that's always the case, right?
    00:11:18,900So there's my particles precomp.
    00:11:20,211And then on that precomp, in my Splosion-PC comp here,
    00:11:26,537I've got a polar coordinates effect.
    00:11:27,938And that's it.
    00:11:28,810That polar coordinates effect makes it look like
    00:11:30,559it's coming either out or in to the center.
    00:11:35,873And again, this first particles precomp here
    00:11:39,387has been time remapped to go backwards.
    00:11:44,109This is actually what that animation looks like
    00:11:47,117with polar coordinates on it.
    00:11:49,921One other thing that I did that I think
    00:11:53,497I actually forgot to turn back on,
    00:11:55,011but let me turn it back on.
    00:11:55,885You see this animation, how it just looks like
    00:11:57,651a bunch of dots, that's kind of cool?
    00:11:59,552But I have an adjustment layer here
    00:12:01,126with turbulent displace on it.
    00:12:02,618And if I turn that on; and this is another trick
    00:12:05,638I've talked about in a differen tutorial,
    00:12:07,758where if you use turbulent displace
    00:12:10,258on an adjustment layer, it lets layers underneath it
    00:12:13,997move through the displacement.
    00:12:15,987And so you can get these really interesting shapes.
    00:12:20,072It almost looks like motion blur, in some cases.
    00:12:23,228See how it's stretching out some of these.
    00:12:25,698And if I go back to this precomp and we look at that,
    00:12:29,396you can see that it looks a lot more random
    00:12:33,502and kinda cool, and I actually really like it.
    00:12:36,103One other thing that's happening
    00:12:37,513on a bunch of these precomps;
    00:12:39,910this Particles precomp, for example,
    00:12:42,746I'm rotating it slowly.
    00:12:45,835It's actually more obvious on the lines.
    00:12:48,313If you look at the lines you can
    00:12:49,146kind of see how they're rotating clockwise.
    00:12:52,234That's a really easy; actually the lines
    00:12:54,693aren't rotating clockwise.
    00:12:55,802Isn't that funny?
    00:12:57,416The particles are rotating clockwise.
    00:12:59,011The lines I did another way.
    00:13:03,034Let me hop back into lines.
    00:13:05,655See this is good, I think if I tried to
    00:13:06,914rebuild this whole thing, in front of you,
    00:13:08,377it would just be a nightmare.
    00:13:09,321So I'm gonna walk you through it,
    00:13:10,471hopefully it'll stick better that way.
    00:13:12,390If you notice, the lines are moving, subtly, right to left.
    00:13:16,879And so what I did; I honestly can't even
    00:13:19,653remember why I did it this way.
    00:13:21,004It would have been easier to just
    00:13:22,233rotate the comp, in my explosion comp.
    00:13:27,300But what I actually did was I parented all these to a null,
    00:13:30,462and the null is moving.
    00:13:32,739And when you move something right to left
    00:13:36,234and then you put a polar coordinates effect on it,
    00:13:38,457it has the illusion of rotation.
    00:13:41,950It actually makes it look like it's rotating.
    00:13:44,715The particles precomp, on the other hand,
    00:13:46,482does have rotation on it.
    00:13:48,372And whenever I want something to just
    00:13:49,956rotate at a constant speed, I don't keyframe it.
    00:13:53,389I put an expression on the rotation property,
    00:13:57,129time times a number and that's it.
    00:13:59,131And it's a small number, so it doesn't rotate very fast,
    00:14:01,619but it gives it a little bit of motion.
    00:14:05,488So there's another layer.
    00:14:07,076All right, so then I've got this Circle_Blast01
    00:14:10,253and I've got two copies of it.
    00:14:13,862And that's really simple.
    00:14:15,406All that is, let's dive in there;
    00:14:17,092this is just an ellipse layer, but I've got the size
    00:14:22,801equaled out here, X and Y, so it's a circle.
    00:14:26,933If you look at the scale, I've animated the scale.
    00:14:30,298And I've just got it really quickly scaling up,
    00:14:34,696and then it just slowly scales up a little bit more.
    00:14:38,932So again, it's that explosion feel.
    00:14:41,107It's like super fast and then really slow.
    00:14:44,732And then I'm also animating the stroke width of it.
    00:14:49,173So it starts out as a thicker stroke
    00:14:51,559and then it gets thinner and thinner and thinner,
    00:14:54,111rather than just fading it out.
    00:14:55,582I though it might be a little more interesting
    00:14:56,943to have it get thinner and thinner and thinner, like that.
    00:14:59,534Almost the corona of an explosion dissipating.
    00:15:04,014And that's it, that's that layer.
    00:15:07,236That was pretty easy.
    00:15:08,130And you can see that a lot of this,
    00:15:09,620the feel of it comes from just timing these layers out.
    00:15:12,446You can see that we start with some lines,
    00:15:16,663and then the first initial burst,
    00:15:19,943and then there's another one a couple frames later.
    00:15:22,564And I've just put a fill effect on these,
    00:15:24,282to give them some color, that's all I've done.
    00:15:26,412So far all we have are the lines,
    00:15:28,264the particles and these two circles.
    00:15:30,905And there you go, that's what we have so far.
    00:15:33,973It's getting there.
    00:15:36,635The tricky part was this thing.
    00:15:41,145And I knew that this was gonna be the tricky part.
    00:15:44,283Whenever you look at hand drawn effects, like this;
    00:15:48,155they have this amazing quality to them,
    00:15:50,338because someone who can draw pretty well
    00:15:53,620can really shape these explosions into beautiful shapes
    00:15:57,875and then even add shading to them
    00:16:01,016and stuff like that.
    00:16:01,849It's really cool, but it's also very hard,
    00:16:03,698especially if you can't draw.
    00:16:05,555So I had to fake this.
    00:16:06,632This is actually just all done in After Effects.
    00:16:10,614I was actually pretty impressed with how well it worked out.
    00:16:12,931So let me show you; let me break down how this is working.
    00:16:16,335This small burst layer is what you're seeing.
    00:16:19,389And I'm gonna dive in and there's a few precomps in here.
    00:16:23,162This is actually what I created,
    00:16:26,096that then gets the polar coordinates effect.
    00:16:32,142Each of these has some effects on it.
    00:16:34,955But let's first dive into this precomp here.
    00:16:38,745You see that, you see how ridiculously simple that is?
    00:16:42,328That's what's creating that explosion, believe it or not.
    00:16:45,145Just that.
    00:16:46,331I have shape layer and it's coming in from the top,
    00:16:50,173quick, and then it shrinks back.
    00:16:52,487And that's it.
    00:16:53,320There's a stroke on it, so the center
    00:16:56,308can be kinda hollowed out.
    00:16:58,259I thought that might look cool.
    00:16:59,986And that's it.
    00:17:01,054What I then did; and let me turn these off,
    00:17:06,557and we'll just start with the middle one here.
    00:17:09,648Let me turn off this fill effect.
    00:17:12,310This is the precomp of that happening.
    00:17:15,944Because it's precomped, if I put a
    00:17:18,353turbulent displace effect on it,
    00:17:21,430it's going to let whatever's happening
    00:17:23,938on this layer move through the turbulent displace.
    00:17:27,231What I've done is I've turned the
    00:17:28,470displacement type to twist.
    00:17:30,897I've cranked the amount up pretty high
    00:17:33,832And the size is pretty high.
    00:17:36,171And I've keyframed the offset.
    00:17:39,199This is one of the cool things
    00:17:40,447about using polar coordinates, is you can have noise
    00:17:45,578move through things, and then when you apply
    00:17:47,671the polar coordinates, it's gonna look like
    00:17:49,154the noise is moving radially.
    00:17:51,633Moving outwards from the explosion.
    00:17:53,996If we go back to this precomp here, this one here,
    00:17:58,184and let me turn off everything except this,
    00:18:01,690except our little, small burst layer, we're looking at.
    00:18:05,315This is the polar coordinates version of that.
    00:18:08,768And you can see that it's moving
    00:18:12,438and the edges are wiggling, and that's because
    00:18:16,530I'm animating the offset of the turbulence.
    00:18:19,834Let me just show you what that does.
    00:18:21,935If that was off, for example, it would just look like this.
    00:18:25,551It would come out, and as it's moving,
    00:18:28,996the edges are changing, but when it stops
    00:18:31,110and it hangs there for a second, nothing is changing.
    00:18:34,572What you can do; let me come way out,
    00:18:38,006let me come out to here.
    00:18:39,509If I grab this offset turbulence;
    00:18:41,797what this is letting me do is it's letting me
    00:18:43,930take the noise field, basically the fractal noise
    00:18:47,799that this effect is creating to use to
    00:18:50,310displace the layer it's on and I'm moving it.
    00:18:54,402Watch, if I take this and I move it,
    00:18:56,121you can see it literally looks like
    00:18:57,804the noise is moving through my layer.
    00:19:01,565And it's directional, your eye can actually follow it.
    00:19:04,784And it looks like there's a direction to it.
    00:19:07,059So I'm moving it down, and what that's gonna do is
    00:19:11,196when we go up one level, and we get the
    00:19:14,528polar coordinates effect, now it looks like
    00:19:16,545it's moving outwards, which is really cool.
    00:19:19,047That's what I did.
    00:19:21,291It's crazy, sometimes, how simple the solution is.
    00:19:24,350Of course, I didn't know the solution,
    00:19:26,147so it took me a long time to figure it out.
    00:19:27,662Then I added a fill effect.
    00:19:30,627And I thought that that looked okay,
    00:19:33,737but it didn't have all the detail
    00:19:35,808that your normally see in these things.
    00:19:37,321So the next thing I did was I just
    00:19:38,335duplicated it and I put a copy underneath.
    00:19:43,386On the copy, I used lighter color.
    00:19:47,022And the only thing I've changed;
    00:19:49,126this turbulent displace effect and this one are identical,
    00:19:51,918except for the complexity setting.
    00:19:55,534The complexity was three on the other one.
    00:19:57,740And let me turn this one off and I'll show you.
    00:19:59,467As you crank this up, it just gets more and more convoluted.
    00:20:07,481The result of it, that I really like,
    00:20:09,350is it breaks off a lot more little pieces, here.
    00:20:12,864And if you have another layer over it,
    00:20:15,945that's similar, but a little simpler,
    00:20:18,301it looks like little highlights.
    00:20:21,106And then I did the same thing.
    00:20:22,886I then took another copy and I made this color lighter
    00:20:30,340and I upped the complexity,
    00:20:31,422but then I put this simple choker effect on it.
    00:20:33,936Let me show you why I did that.
    00:20:36,598If I turn the simple choker of.
    00:20:37,825Here's my main layer; and let me
    00:20:41,758turn the opacity up on this, so you can see it.
    00:20:44,408I wanted this layer to be within the main layer,
    00:20:48,451almost as if it was shading for it or something.
    00:20:50,930So I wanted to keep the basic shape,
    00:20:54,181but erode it away, so I used the simple choker.
    00:20:57,504And I just choked it down a little bit, like that.
    00:21:01,507And then I turned the opacity down to like 16 or something.
    00:21:06,534And then I have this bottom copy on it.
    00:21:08,110So now you've got all these layers
    00:21:10,415and they're all moving kinda the same,
    00:21:12,295and they all kinda looks the same,
    00:21:13,970but they're overlapping.
    00:21:15,526And if you choose a highlight color and a shadow color,
    00:21:18,804it almost looks like what you would do
    00:21:21,682if you were gonna draw it.
    00:21:23,540When you take that and you apply polar coordinates to it,
    00:21:27,562now you get something like that.
    00:21:28,570Now this one's pretty small,
    00:21:30,407because this is the initial one.
    00:21:31,484The next one, you'll see a little bit better.
    00:21:33,739Let's move forward.
    00:21:35,681We've got all of these things I've explained.
    00:21:40,809We come to here, and, really,
    00:21:43,117a big part of this is just timing it out.
    00:21:45,188I made sure that everything dissipated
    00:21:47,157and those lines sucked in, right there.
    00:21:49,883Now, there's a couple layers up here
    00:21:52,002that I haven't turned on yet.
    00:21:52,919So let me turn those on, real quick.
    00:21:54,231Right up here, I have this initial shape.
    00:21:57,052All this is, this is just a line for two frames.
    00:22:01,919And I did that so it feels like it's;
    00:22:05,670I don't know, I guess I was thinking
    00:22:07,016it's like one of those cool missiles
    00:22:08,926that goes of in like Star Trek,
    00:22:10,499where it sucks everything into it and then explodes.
    00:22:14,746I thought, okay it's sucking everything in
    00:22:16,322and then exploding.
    00:22:19,288So you see, literally just a line, two frames.
    00:22:22,893It may seem ridiculous, but two frames,
    00:22:26,277on a little explosion animation, like this,
    00:22:27,780can actually make a huge difference.
    00:22:31,133This here, this is a flash frame.
    00:22:36,842For you to be able to see the flash frame,
    00:22:38,566I have to turn on this layer, down here.
    00:22:40,376This is just a solid layer, and it's just black.
    00:22:44,602It's actually just a black solid.
    00:22:46,615And the reason I needed that was because this flash frame
    00:22:50,504is just a solid, but I made it an adjustment layer
    00:22:53,410and I put an invert effect on it,
    00:22:55,412and it's one frame in duration.
    00:22:58,225So this thing sucks in, and then there's a flash frame,
    00:23:01,678and then it goes back to normal.
    00:23:05,519When you go frame by frame, it looks weird,
    00:23:07,792but when you play it, it looks like an explosion.
    00:23:12,780Let's go back to our reference.
    00:23:14,747He has a lot more flash frames in his.
    00:23:18,118It's kind of interesting, how there's this inversion.
    00:23:22,204But a lot of explosions, if you watch
    00:23:24,081these hand drawn things, a lot of times
    00:23:26,164they'll have little flash frames thrown in there,
    00:23:29,151just to give you that initial burst.
    00:23:32,493That's all that is, that's a
    00:23:33,326one frame invert adjustment layer.
    00:23:36,385I did that again, later on, in the animation.
    00:23:38,997And then this little fizzle layer
    00:23:40,542is the exact same thing as the initial shape.
    00:23:42,837It's a line that kind of sucks in.
    00:23:44,421Except this one goes all the way
    00:23:46,270from the edge of the frame, and takes three frames.
    00:23:51,147Here's what we got so far, that's it.
    00:23:54,915And so far, I've shown you every single piece of this,
    00:23:57,881so far, and hopefully you guys
    00:23:59,272have been able to follow along.
    00:24:02,166Then, once I have this happen, sucks in,
    00:24:05,742I had a few frames of nothing.
    00:24:08,417This is one of those things that,
    00:24:10,042especially when you're starting out in After Effects,
    00:24:11,494it's very hard to let nothing happen.
    00:24:14,431Sometimes that's what you want in animation.
    00:24:17,844I've actually heard it said that animation is about
    00:24:19,397the time in between the drawings, or something like that.
    00:24:22,016I had a little pause here,
    00:24:24,183a little pregnant pause, if you will.
    00:24:26,894Then these secondary lines.
    00:24:29,486Let me open this up.
    00:24:30,360These are working the exact same way
    00:24:33,265as the initial burst of lines.
    00:24:35,112There's just a lot more of them and they're going backwards,
    00:24:38,232cause I wanted it to feel like something sucking in.
    00:24:41,169If you look at the timing of the layers
    00:24:42,639you can actually see, it's almost like an animation curve.
    00:24:46,176It starts out with just one, and then a couple more,
    00:24:50,341and then, by the end, it's really building up
    00:24:52,515and they're overlapping.
    00:24:54,517So the effect is that it builds up speed
    00:24:56,773and builds up into this big, thick tunnel of lines.
    00:24:59,535If I turn the polar coordinates effect off
    00:25:01,832and show you what it looks like, that's it.
    00:25:04,087That's all it is, just shape layers animated.
    00:25:07,907And if we look at the animation curves,
    00:25:10,385it does have that animation curve where it starts slow
    00:25:12,893and speeds up, all the way to the end.
    00:25:16,103So those are my secondary lines.
    00:25:19,871Those build up, now at the same time,
    00:25:22,889here we go, this is the slow build first.
    00:25:25,551And this is another one of these
    00:25:26,465cool cell animated looking things.
    00:25:31,098I'm just gonna preview through it, so you can see.
    00:25:33,312And this one, I just wanted it to grow,
    00:25:39,570as these things are sucking into it.
    00:25:41,369It's like it's gaining energy.
    00:25:44,284And you can see that there's a ton of movement to it
    00:25:47,648and a lot of depth and it shrinks really quickly,
    00:25:49,932at the end, for like one frame.
    00:25:53,406Right there it gets smaller for one frame.
    00:25:55,754Let's hop in here, and this is the exact same technique.
    00:25:58,303There's more layers to it, so let's walk through the layers.
    00:26:01,301I've got my more complex highlight layer in the back.
    00:26:06,755Here's our main layer.
    00:26:09,286Or actually that may not be the main layer.
    00:26:10,859Yeah, that is the main layer.
    00:26:12,342Then I've got this highlight layer.
    00:26:14,771These three layers are the same
    00:26:16,679as what I had in my first burst, but then
    00:26:18,334I also have this fourth layer here,
    00:26:20,907where I added a shadow color.
    00:26:23,061And I just wanted this, because this one's on screen
    00:26:26,280for longer, I wanted to have a little bit more detail.
    00:26:29,298So this one actually has 1, 2, 3, 4, 4 colors.
    00:26:35,556And when they all work together,
    00:26:38,145you can see this starts to crawl a little bit.
    00:26:41,408Let's look at this precomp.
    00:26:42,708This precomp, it's just a shape layer animating like this.
    00:26:50,698It's kind of sad how simple that is.
    00:26:54,135This is actually at nearly linear animation.
    00:26:57,722I just had it ease in a little bit, at the end.
    00:27:00,872But then, when you go back here,
    00:27:03,025the turbulent displace is doing all the work.
    00:27:06,053And I've got it on twist and I've got it cranked up
    00:27:08,296and I'm offsetting the turbulence through it.
    00:27:12,519And let me do a little RAM preview here.
    00:27:14,302And the net result is that you get little pieces
    00:27:17,398that break off, but then they dissipate and go away.
    00:27:23,018And it almost feels like flame or something.
    00:27:27,882And it's very cell looking,
    00:27:29,630because I'm just using four colors.
    00:27:34,213Let me zoom out so you can see the whole thing.
    00:27:36,244This is what's going on.
    00:27:38,865Oh, and one thing that's important to note too,
    00:27:40,726you see how at the beginning here, it's smooth,
    00:27:43,297but then it gets more crazy as it gets away from the edge?
    00:27:48,214I wanted it to be like that, and that's really easy.
    00:27:51,147In turbulent displace, if you leave the default setting
    00:27:54,156on pin all, that basically keeps the effect
    00:27:57,366from effecting the edges of your frame.
    00:28:00,242And if you turn it off; so let me show you on this one here.
    00:28:03,603If I turn off pin all and I say none.
    00:28:09,690I did the wrong one, here we go, say none.
    00:28:12,157Now it's gonna do; it's gonna basically
    00:28:14,229do that effect all the way from the beginning.
    00:28:16,891And I liked how, when you have pin all turned on,
    00:28:22,620it sort of looks like it has to
    00:28:25,028take it's time getting there.
    00:28:27,740I don't know, it just works better.
    00:28:30,007So there you go.
    00:28:31,145And then, of course, up in our main precomp,
    00:28:34,050I've just got a polar coordinates effect on there.
    00:28:36,224Here's another thing that I did
    00:28:37,117to this that I forgot to mention.
    00:28:38,143I put a sharpen effect on there.
    00:28:40,683Now why did I do that?
    00:28:41,852Well let's zoom in here.
    00:28:43,132Let me actually go; let me solo just that slow build layer.
    00:28:48,659Let me go to full res, so you can see this.
    00:28:51,442I'm going for a hand drawn look.
    00:28:53,758If I turn off sharpen, that's fine
    00:28:57,394and it kind of looks hand drawn,
    00:28:58,733but if you turn on sharpen and you crank it up,
    00:29:01,061you see how you get a lot more definition to the edges.
    00:29:05,827It's funny, I used to never use the sharpen effect,
    00:29:08,894cause I though if you sharpen something it's gonna
    00:29:11,321add garbage to it, it's gonna add these artifacts to it.
    00:29:15,525But sometimes you want that.
    00:29:17,509And sometimes, really, if you're subtle with it,
    00:29:20,322which I'm not being here, it just does
    00:29:22,435a nice job to photos and stuff like that.
    00:29:25,361But I used it pretty heavy handed here,
    00:29:27,208because it almost gives you a little stroke.
    00:29:31,090You could really crank this thing.
    00:29:34,300I had it, I think, at like 70.
    00:29:36,791You can really crank it up
    00:29:38,058and it'll almost give you like a stroke.
    00:29:41,390It's almost like giving you an extra edge on these things.
    00:29:45,341And it's pretty cool.
    00:29:46,755I gotta tell you, I probably could not draw this.
    00:29:49,993And if I could, it would take me forever.
    00:29:52,960So I'm glad I figured out this little trick.
    00:29:55,602Let's go back to half res
    00:29:57,279and let's turn all these other layers back on, here.
    00:30:01,453Let's turn on our fizzle and our flash frames.
    00:30:04,948We've got our lines that suck in, like that.
    00:30:08,007And at the same time you've got
    00:30:10,209the slow build thing happening here.
    00:30:14,799And then I animated, in another precomp here,
    00:30:18,517I just animated a circle shrinking in.
    00:30:21,414Again, really simple.
    00:30:23,712If we look at the scale, it starts out slow,
    00:30:26,174and then it accelerates.
    00:30:27,727I duplicated it a few times and I changed the scale.
    00:30:31,221Actually, I didn't change the scale.
    00:30:32,883I thought I did, but I didn't
    00:30:34,406All that does is reinforces the motion
    00:30:39,915that's happening with those lines.
    00:30:41,278It's sucking in, like you're getting sucked in to a tunnel.
    00:30:44,072And then, right there, there's a flash frame
    00:30:46,383and then nothing for one; actually no, nevermind, I lied.
    00:30:52,224There is something there, but it's very fast.
    00:30:53,935There's a flash frame.
    00:30:55,460On that flash frame, that's where the next layer happens.
    00:30:59,792And the next layer is my "huge burst".
    00:31:03,145Huge burst is just another copy.
    00:31:05,684It's just another one of these things.
    00:31:08,210But this one, it's much bigger.
    00:31:11,232And it dissipates, like this.
    00:31:13,786This is actually the big body of the explosion.
    00:31:18,916Let me do a quick RAM preview of this.
    00:31:23,118So same kind of deal, it shoots into frame,
    00:31:25,326real quick, and then it dissipates.
    00:31:27,346And it's got the same setup with layers.
    00:31:30,102Some of the layers have a higher complexity,
    00:31:32,083so you get more detail to them.
    00:31:34,572If we look in here, this one
    00:31:37,209is set up a little bit different.
    00:31:38,929I've got a few different layers in here,
    00:31:40,123but this is what it looks like.
    00:31:44,933It's funny, again really simple looking,
    00:31:47,676but when you put turbulent displace on
    00:31:49,302and you crank it up, you can make this look crazy.
    00:31:52,640The way I made this; let me start with my first layer.
    00:31:55,335I made a shape layer, animated it doing this.
    00:31:59,272Again, pretty simple.
    00:32:02,243Let's look at our curves.
    00:32:06,114Nothing really special going on.
    00:32:09,365It jumps up, really quickly, and then it slows down.
    00:32:13,846I duplicated that and I moved the duplicate
    00:32:18,102backwards, in time, a little bit and I set this to;
    00:32:21,810sorry Alpha Inverted Matte.
    00:32:25,328When you have a copy of something
    00:32:28,210and you set the original to use an inverted matte
    00:32:33,010of the copy, it slowly erases the original one.
    00:32:39,612There we go.
    00:32:40,982It actually looks like I tweaked the keyframes
    00:32:44,690on this second shape layer, so it's not
    00:32:46,935actually doing the same movement.
    00:32:48,928This first layer, the one you're seeing,
    00:32:50,683moves in quickly, but then shape layer two;
    00:32:53,502it actually just looks like it slowly moves in.
    00:32:56,295Look at the animation curve, you see that's what it's doing.
    00:32:59,572And settles in, and it's erasing shape one.
    00:33:04,398I should have named these better.
    00:33:05,718But shape two is erasing shape one.
    00:33:07,506Then I also wanted this explosion.
    00:33:10,667So if we step back, here.
    00:33:14,328And then we can step back, here.
    00:33:15,317I wanted that explosion to dissipate,
    00:33:19,712but I wanted it to happen so that
    00:33:21,591it wasn't always this ring of explosion.
    00:33:25,233Because this one's so big, you can see a lot of detail to it
    00:33:28,423and it starts to look wonky, if you stare at it too long.
    00:33:30,530So I wanted holes to open up, in it,
    00:33:32,673and for it to dissipate.
    00:33:34,249So what I did was I used a solid layer
    00:33:38,133and I animated it, so that it just scales open, like this.
    00:33:43,636Then I duplicated that a couple times and offset them,
    00:33:46,048so you get three of these things opening up.
    00:33:48,878And the transfer mode, this is the key,
    00:33:51,313the transfer mode on this eraser layer is Silhouette Alpha.
    00:33:56,726Silhouette Alpha; here if I turn the alpha channel on,
    00:33:59,672turn the transparency on, it actually knocks out
    00:34:02,404whatever is behind it, it makes it transparent.
    00:34:07,661I very simply created this, which when you
    00:34:11,631add all these effects to it, makes this.
    00:34:13,704You can see that's where it starts to dissipate.
    00:34:17,145And then, when you put polar coordinates on it,
    00:34:21,450that's when you get this kind of thing.
    00:34:25,157And you can see it's dissipating
    00:34:26,785into little pieces, and it's wonderful.
    00:34:29,510And then I just layered a few other things.
    00:34:32,122I've got another one of these circle animations,
    00:34:36,767where it just pops out really quick and slows down.
    00:34:41,124All right, let me close some of these.
    00:34:42,811Here's my copy of the particles
    00:34:45,198where they actually burst outwards.
    00:34:48,337Let me change my preview range here.
    00:34:55,051So there's the particles, you can see them there.
    00:35:00,009And actually these, I may wanna, even,
    00:35:02,475delay these a little bit more, so we can see them better.
    00:35:05,550There we go.
    00:35:09,504And then I've got a couple of other things here.
    00:35:12,614This Circle-Boom2 is slightly different.
    00:35:16,093This is actually a filled in circle, going like that.
    00:35:20,004It starts 0% opaque, sorry 100% opaque, but very small,
    00:35:26,633and it grows really quickly and as it's growing,
    00:35:29,364it's fading out, at the same time.
    00:35:31,483It looks like an explosion.
    00:35:33,930I have that set to add mode, so when I turn that on
    00:35:39,405you can see that it's like a big flash.
    00:35:42,429And on top of that I've got this
    00:35:43,456flash frame happening, at the same time.
    00:35:45,629So you've actually got one frame
    00:35:46,771of this weird inverted explosion.
    00:35:48,890On the next frame, it's big and it's
    00:35:50,768blowing out whatever's behind it.
    00:35:54,188And then the last thing is, I just have
    00:35:55,560one more layer of this expanding circle
    00:35:58,021that's a little delayed.
    00:36:00,090And that's it.
    00:36:01,282I believe that's all the layers, all of them.
    00:36:04,739So, one more time, we'll do a quick RAM preview of this.
    00:36:08,675And you can see there's just really simple shapes.
    00:36:12,954I guess the only complex thing I did is maybe this cell,
    00:36:16,639shaded looking explosion cloud thing.
    00:36:20,508Most of the feeling of this comes from the animation curves
    00:36:23,598and just very carefully timing things out,
    00:36:27,381so that there's this nice sucking back in,
    00:36:31,471a pause and then it sucks in slowly,
    00:36:33,706it builds energy, and boom.
    00:36:38,796What did I do with this?
    00:36:39,629Well, first of all, let me point out
    00:36:40,893I made this at 25 hundred by 25 hundred,
    00:36:43,229so it's way oversized for and HD comp.
    00:36:45,744And the reason is when you use polar coordinates, on stuff;
    00:36:51,723and you can actually see what's happening here,
    00:36:55,064it doesn't carry the image all the way to the edge.
    00:36:59,890So if this was a 1920 by 1080 comp,
    00:37:02,912all of my image would live in a circular region,
    00:37:06,5401080 by 1080, so I would be missing out
    00:37:10,252on all this image information I want.
    00:37:12,167So if you make it oversized, then what you can do,
    00:37:15,661let me hit Tab, then you can see all my pieces
    00:37:17,907going into this precomp, which then goes into Explode.
    00:37:21,690This precomp here, this is actually,
    00:37:25,247kind of, a remnant of when I was
    00:37:27,873trying to do something else and then I failed.
    00:37:30,275But really, all this is, this is a
    00:37:32,0531920 by 1080 comp with my explosion in it.
    00:37:35,420And that's pretty much all that's going on.
    00:37:37,070But you can see that I scaled it, to fill the frame.
    00:37:42,074And it's not even scaled to 100%,
    00:37:44,929and it mostly fills the frame.
    00:37:46,721Doesn't entirely fill it.
    00:37:48,053You see how even this edge doesn't quite make it,
    00:37:51,267but I didn't want the explosion
    00:37:52,699to be any bigger than this, in the frame.
    00:37:55,418So what I did was, I then precomped this.
    00:37:58,201And this is where I did all my compositing and everything.
    00:38:01,579Let's step through this.
    00:38:03,737What I've got here, I've got a background color.
    00:38:08,345I found a royalty free image of some stars.
    00:38:11,993I color corrected it and that's basically it.
    00:38:16,040There's my stars.
    00:38:18,123I do have a camera on this.
    00:38:22,427And the camera is just moving like this.
    00:38:25,027Just slowly moving forward.
    00:38:27,483And I've positioned this stars layer
    00:38:30,136pretty far back in Z space, so that the explosion
    00:38:33,408can be closer to the camera, this can be further away,
    00:38:35,990we'll get a little bit of parallax.
    00:38:38,923I've also got, one of my favorite tricks,
    00:38:41,665which I've done in many tutorials already,
    00:38:43,531optics compensation on an adjustment layer
    00:38:46,999with reverse lens distortion.
    00:38:48,582And that's gonna help you get,
    00:38:50,972A, on your stars it's gonna give you
    00:38:52,952a little bit of that tunnel effect, which is kinda cool.
    00:38:55,355You can see the edges move a little quicker than the center.
    00:38:57,767The other thing it does, and let me
    00:39:00,028just turn it off for a minute.
    00:39:01,170If I turn on the explosion layer,
    00:39:04,988and I didn't have the explosion start right away.
    00:39:06,718There's a little pause, and then it starts, boom.
    00:39:09,932And here you can see it doesn't reach the edge of the frame,
    00:39:13,563but with my optics compensation on, it does.
    00:39:16,889And it doesn't mess with the look of this too much.
    00:39:19,569It actually doesn't change the center, all that much,
    00:39:23,367but it just stretches the edges out,
    00:39:26,020so now it does go all the way out to the edge.
    00:39:29,407On this explosion layer, let me show you,
    00:39:31,173you just got a couple of effects here.
    00:39:34,044This is what it looks like, normally.
    00:39:35,977I didn't really change it that much.
    00:39:38,451All I did was, I added curves
    00:39:40,396to get a little bit more contrast out of it.
    00:39:43,368There's already a lot of contrast,
    00:39:44,547so I didn't push it too hard.
    00:39:47,568And then I used a hue and saturation effect,
    00:39:49,641just to boost the saturation, a little bit.
    00:39:52,750And that was mainly for stuff like this.
    00:39:56,955I just wanted a little more;
    00:39:58,490if you zoom in you can see what it's doing.
    00:40:00,013I wanted a little bit more pop out of these blues here.
    00:40:05,042And then I took that layer and I duplicated it.
    00:40:10,375Let me turn this on.
    00:40:13,016Same layer, same hue saturation, fast blur levels.
    00:40:16,764Now the fast blur, this is what's doing this trick here.
    00:40:22,133I basically blur my image.
    00:40:26,517It looks like I desaturated it quite a bit.
    00:40:28,368Let me saturate it a little bit more, and it's blurred.
    00:40:33,461And I've take my levels here; let me open this up for you.
    00:40:38,690What the levels is doing is just
    00:40:40,104making that glow a little bit brighter.
    00:40:43,086And if you basically take an image,
    00:40:45,234you blur it and then you add it back over itself,
    00:40:48,917it gives you a glow.
    00:40:50,872I've got a whole tutorial called
    00:40:51,818Better Glows in After Effects,
    00:40:53,008where I walk you through exactly how to set this up.
    00:40:55,905And now looking at this, I wanna tweak it,
    00:40:57,989I just can't help myself.
    00:40:59,056I feel like the glow's a little heavy, just a little heavy.
    00:41:01,864I wanna make it a little less.
    00:41:04,306So there's my glow.
    00:41:08,072So far, that's all we got.
    00:41:12,085But it just adds a little niceness to it.
    00:41:15,424It's a little nice to have that glow in there.
    00:41:18,067Let's zoom out, see what else we got here.
    00:41:20,085So then, moving forward we get to here.
    00:41:23,754Now here, this frame here; and I think
    00:41:28,618I actually I may need to move this.
    00:41:31,323I've got this white frame here,
    00:41:33,899which this is just like an extra flash frame.
    00:41:38,578I could have just put this in the explosion precomp,
    00:41:42,383but I thought it would be nice to
    00:41:45,699have the control to see it all in context,
    00:41:47,767so literally, this is just a white frame.
    00:41:51,768Not 100% opaque, but it just sort of
    00:41:53,989gives it a little pre flash, before the big one.
    00:41:59,490So then what's going on here,
    00:42:01,115how come I've got another copy of my explosion.
    00:42:04,428So here's Explosion2 and Explosion2_Glow,
    00:42:09,697and it's the exact same explosion.
    00:42:11,209All I did was, I'll show you what I did.
    00:42:14,067The explosion actually came out all the way to the end.
    00:42:16,935And what I did was right here, I split the layer,
    00:42:19,893shift + command + D, will split your layer for you.
    00:42:22,819Pretty handy.
    00:42:23,997So I split the layers of both the glow and the explosion
    00:42:28,101and I split them, because after this flash frame,
    00:42:35,756when this explosion is dissipating,
    00:42:38,953I actually scaled down the explosion.
    00:42:41,104The scale on this explosion is 132.8,
    00:42:44,990the scale on this explosion is 100.5.
    00:42:48,354So this is actually bigger and then there's a flash frame,
    00:42:52,801and now you're seeing a smaller version of it.
    00:42:55,276And you can't tell, because I cut on a flash frame,
    00:43:00,380but it looked too big.
    00:43:02,133And so I used that to split it.
    00:43:05,373And then what I did was I sandwiched
    00:43:07,111the School of Motion logo in between
    00:43:08,800the glow layer and the explosion, so that
    00:43:13,206it could look like it was coming from the explosion.
    00:43:19,900And then no comp would be complete without a vignette,
    00:43:24,838so I put a little vignette on there.
    00:43:26,311And this one's subtle.
    00:43:27,570All right, come on people, it's not that bad.
    00:43:31,619And that's it, I've just walked you guys through
    00:43:33,841the entire comp, every single layer, every single step,
    00:43:37,445and I feel like this went a lot faster
    00:43:39,071than if I tried to rebuild this thing.
    00:43:41,179Thank you guys so much.
    00:43:42,347I hope you dug this and I'll see you next time.
    00:43:45,432Thank you so much for watching.
    00:43:46,791I hope that was cool and that you learned some new tricks.
    00:43:48,899And I really hope that your understand now
    00:43:51,157that something that looks super complicated,
    00:43:53,547if you break it down frame by frame,
    00:43:55,771you can usually figure out that
    00:43:57,523it's made up of very simple little pieces.
    00:44:00,252Especially something that this.
    00:44:02,399Lines, circles and some turbulent displace
    00:44:05,102and there you go and you're done.
    00:44:06,436You got a nice explosion.
    00:44:07,831If you have any questions or thoughts about this lesson,
    00:44:10,055definitely let us know.
    00:44:11,617Thank you so much for watching and I will see you next time.