Create Cyriak Style Hands in After Effects

Ready to get strange? 

Of course you are or you wouldn't be here. In this lesson you're going to be breaking down an animation by Cyriak. He makes some very strange stuff that makes you take a second to scratch you head wondering "how the hell did he do that?" Sometimes the best way to learn about something is to try and re-create it yourself, and that's exactly what you'll be doing in this lesson.

Along the way you'll pick up a ton of new tricks for your After Effects arsenal. You'll learn a bunch of keying tips, tracking techniques, workflows for trying to blend images together in a natural way.

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.
    00:00:00,299(dissonant electronic music)
    00:00:19,485(pulsing, rhythmic music)
    00:00:28,923- Hey there, Joey here for School of Motion.
    00:00:30,909Now in this lesson things are going to get
    00:00:33,124a little bit weird.
    00:00:34,168I love the work done by Cyriac.
    00:00:36,685And if you don't know who he is
    00:00:38,130you're gonna wanna pause this video right now
    00:00:40,011and go check out his stuff.
    00:00:41,290It's weird, right?
    00:00:42,771His stuff is very unique and I wanted to figure out
    00:00:44,851just how the hell he does it.
    00:00:46,768One of the best ways to figure out how something
    00:00:48,622was made is to try and make it yourself
    00:00:50,068so that's exactly what we're going to do in this lesson.
    00:00:53,551We are going to take one of Cyriac's animations
    00:00:55,666and try to rebuild it from scratch.
    00:00:57,620Don't forget, sign up for our free student account
    00:00:59,752so you can grab the project files from this lesson
    00:01:01,844as well as assets from any other lesson on the site.
    00:01:04,851Now let's hop into After Effects and see if we can
    00:01:06,443figure this out.
    00:01:09,995So let's hop on youtube and I'm gonna show you guys
    00:01:12,676something that if you haven't seen it before,
    00:01:15,549it's gonna give you nightmares.
    00:01:16,625And then we're gonna try and figure out how
    00:01:18,234Cyriac actually made this.
    00:01:20,286So check this out.
    00:01:25,336(eerie dissonant music)
    00:01:26,860I mean, how creepy is that?
    00:01:28,731(eerie dissonant music continues)
    00:01:41,933Alright, that's enough.
    00:01:42,860So a lot of Cyriac's work deals with repetition
    00:01:47,982and things that kinda build on in this infinite loop
    00:01:51,516almost like fractals, you know, and spiral growth
    00:01:54,947and all these sort of natural phenomenon.
    00:01:57,375And he takes that and he applies that to
    00:02:00,526manmade things, or to hands and cows and sheep.
    00:02:05,460Really, he's a sick, twisted genius
    00:02:08,539and he does all this in After Effects.
    00:02:10,413And I've always wondered how in the world he does it.
    00:02:13,769So I've decided to try to figure it out
    00:02:15,427and it was actually a lot harder than I thought it would be.
    00:02:17,803So let's hop in After Effects and I'm gonna walk
    00:02:19,907you guys through a lot of the steps that it took
    00:02:22,274to recreate this animation.
    00:02:26,095So very handy for me,
    00:02:28,096Ringling has a full green screen studio.
    00:02:30,762So I went in there after class one day
    00:02:33,388and I took my iPhone in one hand
    00:02:36,081and I just stuck my other hand out in front of me
    00:02:39,467and just kind of tried to mimic that hand opening
    00:02:43,523that I saw in Cyriac's video.
    00:02:46,224So I tried it a bunch of different times
    00:02:50,046because it's actually pretty hard to hold an iPhone
    00:02:53,618and videotape your hand and keep things in focus.
    00:02:57,200And you can see that on the first few takes
    00:02:59,509my thumb got clipped off, things like that.
    00:03:01,799So I did this a bunch of different times.
    00:03:03,832I'm not sure what camera Cyriac used
    00:03:05,972when he did his version,
    00:03:08,439but all I had handy was an iPhone so you use what you have.
    00:03:14,015So really, all I need to do was find one good
    00:03:17,065hand opening.
    00:03:18,951That one's okay.
    00:03:22,246That one's pretty good.
    00:03:25,257And the key that I noticed on Cyriac's animation
    00:03:29,624was that he would basically replace
    00:03:31,631the tips of the fingers with a fist.
    00:03:36,416So I wanted to find a take that had a nice roundness
    00:03:39,704to this area,
    00:03:41,707and as the hand opens, that roundness gradually
    00:03:44,942turns into the fingers.
    00:03:46,322So that's actually a pretty good take right there.
    00:03:49,129So what I'm gonna do, I'm just gonna kinda clip that out.
    00:03:53,490I'm gonna duplicate this layer.
    00:03:56,923So I'm gonna duplicate this.
    00:03:59,915And then I'm going to clip this layer
    00:04:03,181just so I have the in and the out right where I want it.
    00:04:06,260And a good hot key for that is option left bracket.
    00:04:10,821And then I'm gonna move forward.
    00:04:17,253Now I actually want to make that even a little bit tighter.
    00:04:19,702Because what I'm gonna do is
    00:04:21,301as soon as the hand is in the position I want
    00:04:23,531I'm gonna freeze frame it.
    00:04:25,318And I'm gonna do the same thing at the beginning.
    00:04:27,514So let's play forward until the hand just starts to turn
    00:04:31,108and then let's just step back, frame by frame.
    00:04:35,146And let's say that's the first frame.
    00:04:37,116So we're gonna clip to there.
    00:04:39,331And now I'm gonna go to the end by hitting "O",
    00:04:42,062takes you to the end of a layer.
    00:04:44,231And I'm gonna step backwards, okay.
    00:04:47,557Now the hand is finishing its turn so I'm stepping forward.
    00:04:52,800Let's say that's the last frame.
    00:04:57,597Okay, so now I'm gonna copy this.
    00:05:01,111Alright, and you know,
    00:05:04,150before I started the tutorial, I imported my footage
    00:05:07,196as an image sequence.
    00:05:09,568The only reason I did that was because the video format
    00:05:11,885that an iPhone shoots in,
    00:05:13,851I was finding it actually tends to crash After Effects.
    00:05:17,601So I converted it to a TIFF sequence
    00:05:19,592so I could bring it in, key it and work with it.
    00:05:23,559And so I dragged it to this button here to make a new comp.
    00:05:27,608So I'm gonna do that again so I have another comp
    00:05:30,436and I'm gonna rename this Green Screen Hand.
    00:05:37,999Alright, I'm gonna erase the footage that's in there
    00:05:39,733and now I'm gonna paste in my clipped version.
    00:05:44,280I'm gonna hit the left bracket to bring it to my play head
    00:05:48,765and I'm gonna hit O-N to set an out point.
    00:05:53,883And then I'm gonna trim comp to work area.
    00:05:58,334Alright and this would be a good time
    00:05:59,388to save my project as well.
    00:06:04,320Okay, so I wanna talk a little bit
    00:06:08,378about some strategies for getting a good key.
    00:06:11,042This is much less than ideal lighting for a key.
    00:06:16,114It was just me in a green screen studio,
    00:06:19,041turning some lights on and trying to get something
    00:06:21,883approximating what Cyriac had done.
    00:06:24,837Okay, so you can see that things aren't exactly
    00:06:26,412exposed perfectly.
    00:06:28,448However, the green screen actually isn't bad
    00:06:33,752especially on the right side of my arm,
    00:06:36,298there's a lot of contrast,
    00:06:38,266so I know that that's gonna keep pretty well.
    00:06:40,458The left side I'm not so sure about
    00:06:42,261because especially over here by my thumb
    00:06:44,871you can see that now the value, the brightness of my thumb
    00:06:48,306is not that far off from the green screen
    00:06:50,611so that could be an issue.
    00:06:52,392Now when you guys key things, one of the first things
    00:06:55,886that you should always do
    00:06:57,202is give yourself a garbage mat.
    00:07:00,475And if you don't know what a garbage mat is,
    00:07:02,257it means you need to draw a mask around the part
    00:07:06,703of that image that you want to key.
    00:07:09,113And the reason you'd want to do that is
    00:07:11,929the green screen is not one consistent color green.
    00:07:16,809It's brighter up here, it's darker down here.
    00:07:19,235But it's kind of mid-range in here.
    00:07:22,678So there's a lot of different green values.
    00:07:24,696And you really only need to deal with the green
    00:07:28,482that is directly around your subject.
    00:07:31,928So if I were to draw a mask here,
    00:07:34,225and it can be very rough.
    00:07:41,161Draw a mask like that.
    00:07:42,684Now I don't care what happens to this green, right?
    00:07:46,474So I when I start keying, my key can be a lot tighter
    00:07:49,314because I'm dealing with a much smaller range
    00:07:51,436of green values.
    00:07:53,150Now one way to do that is to draw a mask and
    00:07:57,192add some key frames to it and try to get it
    00:08:00,572as close as you can to your subject.
    00:08:04,586And then that's when you chroma key,
    00:08:07,085that's when you use Keylight or any other type of color key.
    00:08:12,502There's actually a really cool trick I learned
    00:08:14,633to kind of automatically give you a garbage mask
    00:08:18,279without having to draw a mask.
    00:08:20,156So this is how it works.
    00:08:23,259With your layer selected, go up to effect, keying,
    00:08:26,379and you want a color key.
    00:08:28,955And then you're just gonna pick any sort of green
    00:08:32,371that's close to the hand,
    00:08:34,945and we are going to increase that color tolerance
    00:08:39,246til we get rid of all the junk.
    00:08:42,883And you can see that this looks terrible.
    00:08:46,797This doesn't look good at all.
    00:08:49,238All we're trying to do is make a completely clean background
    00:08:53,324and it's okay if there's holes in the hand
    00:08:55,376and all that kind of stuff.
    00:08:57,356For the purposes of this all I wanna do is
    00:08:59,343make sure that I have completely cleared the background out.
    00:09:02,378So I'm gonna overdo it a little bit.
    00:09:05,352Then I'm going to add, if you go to mat,
    00:09:10,063use a simple choker,
    00:09:12,933and choke that mat out with negative values.
    00:09:17,104It's actually going to expand the mat out.
    00:09:20,728What that's doing is it's bringing the image back.
    00:09:25,491Your key got rid of parts of the image
    00:09:29,166and it actually took away way too much,
    00:09:31,416you can actually see the fingers look funky
    00:09:33,160and the edges are bad.
    00:09:34,528So the choker brings some of that back.
    00:09:36,958And if you see that if you keep pulling it out,
    00:09:40,207pulling it out, it brings some of the green back in, too.
    00:09:43,501And if I play this now you'll see I have the most
    00:09:46,651perfect garbage mat ever.
    00:09:50,452So now what's great is when I use my keyer,
    00:09:53,942there's very little variation in the green now
    00:09:57,454because I've managed to get, you know,
    00:09:59,414only keep the parts of the green that are right around
    00:10:01,718that hand.
    00:10:03,014So this is now what I wanna key.
    00:10:06,037So because this layer has effects on it now
    00:10:08,090I'm gonna pre-compose it.
    00:10:11,312And I'll call this Hand Pre Key.
    00:10:14,246And now we can use a keyer on it.
    00:10:19,020Now a good trick when you're keying things
    00:10:22,132is to always have something behind whatever it is
    00:10:25,802you're keying so you can check the quality of your key.
    00:10:29,043So a trick I like to use is to create a new solid.
    00:10:32,162Command Y.
    00:10:33,257And try to pick a color that's gonna contrast
    00:10:35,830with my subject.
    00:10:37,594So I've got kind of a pinkish hand but I've got
    00:10:43,180a green background, so maybe what I wanna do
    00:10:45,804is try and find some sort of blue color
    00:10:49,180or a kind of a warm red color.
    00:10:53,796And I'm gonna put that behind my hand.
    00:10:56,135So now when I key it, if there's any green showing up
    00:10:59,266that I need to key out, you know, I didn't do a good job
    00:11:01,987of getting rid of the green, I'll see it right away.
    00:11:04,799And then if I've keyed too much and parts of my hand
    00:11:08,443are transparent,
    00:11:09,781I should be able to see through the hand to the purple,
    00:11:13,579and if not I'll change the color.
    00:11:17,805And you can see here that I messed up when
    00:11:21,027I pre-composed this.
    00:11:23,155I probably picked, yes I picked this option.
    00:11:26,662Leave all attributes in the current comp,
    00:11:29,433which is not what I wanted.
    00:11:30,623So I'm just gonna command X cut these,
    00:11:34,224go into my pre-comp and paste them onto that layer.
    00:11:36,400So what we want is for this pre-composed layer
    00:11:40,675to have no effects on it.
    00:11:42,328All of the effects are inside the pre-comp.
    00:11:46,554Now we're going to keying and we're gonna grab Keylight.
    00:11:49,599And Keylight is amazing, and I've used a lot of
    00:11:52,842different keyers.
    00:11:54,059And for some reason, this seems to be the quickest,
    00:11:57,282easiest one.
    00:11:58,561If you want to really dive in and fine-tune your keys,
    00:12:03,102it's actually a lot better to do that in a program
    00:12:05,928like Nuke, where you can really easily isolate
    00:12:09,304different parts of the key, combine different mats
    00:12:12,007and do a lot of things to get a perfect result.
    00:12:15,145But for quick and easy, I really have never found
    00:12:17,826anything better than Keylight for After Effects.
    00:12:21,264So I'm just gonna use the color picker
    00:12:24,107and I'm gonna just grab a green.
    00:12:27,884I mean right off the bat you can see that we've got
    00:12:30,674pretty decent result.
    00:12:32,516If you look closely, you can see these dark areas here.
    00:12:36,772Right around the fingers.
    00:12:38,555So that's areas that still have opacity that we don't want.
    00:12:43,384I also think that I'm seeing some purple through
    00:12:47,174the hand over here.
    00:12:48,270So parts of my arm might be being keyed out
    00:12:50,922that I don't want.
    00:12:52,236So the first thing I always do when I use Keylight
    00:12:54,620is I switch this to screen mat.
    00:12:57,186And it lets you see a lot better.
    00:12:59,583And then another thing you can do is
    00:13:01,837there's this exposure control down here.
    00:13:05,280And if you crank this up, you'll start to see things
    00:13:09,152that you can't normally see when you're looking
    00:13:12,852at the exposure on zero.
    00:13:14,624If I click this it goes back to zero.
    00:13:16,147So you see how all that stuff on the right side,
    00:13:18,490it's very difficult to see?
    00:13:21,331Vice versa, if I lower the exposure, it kinda helps you
    00:13:24,914see parts of the mat that are going to black
    00:13:28,480that you don't want.
    00:13:29,626But it's really useful to see parts of the mat that
    00:13:32,187are still white that you don't want.
    00:13:34,112This, just so you guys know, this does not affect
    00:13:37,232the final render or the final image at all.
    00:13:39,908This is just letting you see things a little differently
    00:13:42,967to help you when you're keying.
    00:13:45,361So I know that I need to get rid of all of this junk, right?
    00:13:50,174And so what I'm gonna do is,
    00:13:52,058I'm gonna go to the screen mat.
    00:13:55,423And the two controls that I generally touch
    00:13:57,884are clip black and clip white.
    00:14:00,364Clip white, if you lower that, it brightens white things.
    00:14:04,292If you raise clip black, it darkens white things.
    00:14:07,172So it's almost like using a levels effect
    00:14:09,261and crushing the blacks.
    00:14:11,406So I'm just gonna crush it a little bit,
    00:14:13,042now that stuff's gone.
    00:14:14,990We have a nice, if you really look at the edges of this mat,
    00:14:18,977they're not great.
    00:14:20,627The reason for that is I shot this on an iPhone
    00:14:22,635so I don't really know what I could possibly expect.
    00:14:27,566I don't know if there's any way to make that nicer.
    00:14:30,336So we'll try a few tricks and see what we've got.
    00:14:33,362Alright, so now I'll go to final result
    00:14:36,132and make sure I reset this.
    00:14:39,943So if I just kind of come back and look at this,
    00:14:45,491it's not too bad.
    00:14:47,092The edges are clean.
    00:14:50,101Keylight does a pretty good job of suppressing green spill,
    00:14:54,760and if you're not sure what green spill is,
    00:14:56,433let me show you.
    00:14:57,531If I turn Keylight off, you see how green the side
    00:15:02,090of my hand is?
    00:15:03,760That's because I'm on a green screen and the light
    00:15:07,002bounces off the green screen and hits my arm
    00:15:09,485and turns my arm partially green.
    00:15:11,463That's something that always happens
    00:15:13,033with green screen footage.
    00:15:14,593So what you end up having to do is color correct that
    00:15:18,575to get the green out and return that to a normal skin tone.
    00:15:23,491So if I turn Keylight back on, you can see that
    00:15:26,370Keylight attempts to automatically suppress that color.
    00:15:31,887And the way it does that is determined
    00:15:34,219by this replace method.
    00:15:37,153And so right now it's set to softs color.
    00:15:39,216And these all do different things.
    00:15:40,572None, you can see the edges poofed out a little bit.
    00:15:44,500If I change it to source, it looks a little different.
    00:15:47,770If I change it to hard color, it looks a little different.
    00:15:50,222What I like to do,
    00:15:53,696soft color usually works pretty well.
    00:15:56,937It's kinda dependent on the green screen.
    00:16:00,337So I'm gonna leave it like that for now.
    00:16:02,881It's looking a little bit purplish to me.
    00:16:06,727So what I wanna do is change the color of this background.
    00:16:10,707Let's just make it bright orange or something.
    00:16:13,840I just wanna see what happens.
    00:16:15,402So now I'm actually seeing orange where I was seeing
    00:16:19,561some kind of purple color.
    00:16:21,446So what I'm worried about,
    00:16:23,190I'm worried that I'm actually seeing through this layer.
    00:16:27,885And it's kinda hard to tell.
    00:16:29,459So maybe another thing I could do is put some kind of
    00:16:33,504texture on this color.
    00:16:37,154So maybe I can go to generate and generate ...
    00:16:41,872Let's use a checkerboard.
    00:16:43,080Now it's very clear what's going on.
    00:16:46,266The levels of my key are not working right
    00:16:49,707because I'm seeing right through the hand.
    00:16:53,845So that would be the clip white.
    00:16:55,999So clip black sort of gets rid of parts of the green screen
    00:16:59,120you don't want.
    00:17:00,002Clip white brings parts back that you do want.
    00:17:02,832So I'm just hitting the down arrow.
    00:17:07,582Right and now this is actually quite a bit
    00:17:11,371to have to bring things back.
    00:17:13,943To go all the way from 100 to 60.
    00:17:16,442That's a pretty drastic change.
    00:17:18,764And there's gonna be artifacts from that.
    00:17:21,244And you can already see the edges of the hand
    00:17:24,736are starting to turn dark.
    00:17:27,226So let's turn this checkerboard off
    00:17:29,601and you'll really see it.
    00:17:31,783You see that edge?
    00:17:33,707That edge was brought back because I had to hit this
    00:17:36,709white clip value so hard.
    00:17:39,179So now this is where you can use some of these
    00:17:41,371other controls.
    00:17:42,420We can look at the replace method and see if
    00:17:44,880changing that makes any difference.
    00:17:47,836Source brings a lot of that green back, right?
    00:17:50,715Which we don't want.
    00:17:52,997Hard color gives us a cleaner value than soft color.
    00:17:57,504You see that?
    00:17:58,626So let's use hard color.
    00:18:01,164And then the other thing we can do is we can actually
    00:18:03,325shrink the screen.
    00:18:05,427So this shrink screen, shrink slash go,
    00:18:08,446if I increase that value it grows.
    00:18:11,677So if I decrease that value I can just choke that in.
    00:18:15,718Just like, even one pixel.
    00:18:20,241And my edges are a lot cleaner.
    00:18:25,563Alright, and some of these edges,
    00:18:27,384we're zoomed in at 100% here.
    00:18:31,174For what we're using this for, this may actually be
    00:18:34,065just fine.
    00:18:35,130But you can also soften the screen,
    00:18:38,495kind of blur the edges a little bit.
    00:18:39,990So if I just give that a one pixel blur,
    00:18:43,139it might help blend that in with the background
    00:18:45,701a little bit more.
    00:18:48,424And then the last thing I might do is try to
    00:18:51,275color correct a little bit.
    00:18:52,536So you see how it's getting very cool.
    00:18:56,659Like the color of my hand is getting very cool up here.
    00:18:58,965It's warmer here.
    00:19:00,870We may actually like that, that might be kinda cool.
    00:19:02,901But if we didn't, all we need to do
    00:19:04,836is go into color correction and there's a lot of
    00:19:07,641ways to do that in After Effects.
    00:19:08,852I like to use hue and saturation.
    00:19:11,501And then for channel control, just set that to blues.
    00:19:16,188And you can use the hue control to warm it up,
    00:19:20,409maybe de-saturate it a little bit.
    00:19:23,919So you can kind of even out your colors.
    00:19:27,539So that's before, that's after.
    00:19:32,563So now, from an iPhone that was hand-held,
    00:19:36,616we've got a pretty decent, usable key.
    00:19:40,461Now the way that I'm gonna,
    00:19:45,216I'm not gonna take you guys through the entire process
    00:19:47,257of me fumbling around and trying to figure out
    00:19:49,359the best way to do this.
    00:19:50,437What I learned through trial and error
    00:19:54,204was that the best way to set up this project
    00:19:57,463is make a really large comp.
    00:20:01,012And create one kind of master pre-comp
    00:20:04,971that has the hand turning, opening,
    00:20:08,715and then each of these fingers turns into its own hand.
    00:20:12,170And then I'm just gonna copy and replace at the right
    00:20:15,588point in time on my master comp.
    00:20:17,910So I'll show you guys how I did that.
    00:20:20,548I'm gonna set my orange solid here to a guide layer.
    00:20:25,146So that I can just bring in this green screen hand
    00:20:27,195pre-comp and start using it.
    00:20:29,202But this orange solid will not show up.
    00:20:33,201So let's take the green screen hand.
    00:20:38,016Let's bring it in here.
    00:20:39,346And there's one more thing that we're gonna need to do.
    00:20:43,146Before we start using this.
    00:20:47,017So if you think about
    00:20:48,893we're gonna end with this hand open.
    00:20:51,969And these fingers are gonna be completely still.
    00:20:55,350And I'm essentially gonna replace my arm with a finger.
    00:21:00,428So there's gonna be a hand on the end of each finger.
    00:21:03,236Well the problem is, look at what my arm is doing.
    00:21:05,899My arm is moving.
    00:21:07,302There's really no way to keep my arm from moving
    00:21:10,273because I tried to keep it as still as I could,
    00:21:12,895but when you open your hand up,
    00:21:14,881your elbow kind of moves inward.
    00:21:18,477That's gonna make it very hard to line things up.
    00:21:21,456I need to stabilize this somehow.
    00:21:24,422Now obviously there's really not a good tracking point.
    00:21:29,100It's a hand, everything's moving, every part of that arm
    00:21:32,056is turning and moving.
    00:21:33,329So how in the world could I possibly stabilize this?
    00:21:37,453Well I'm gonna show you a trick.
    00:21:40,351And I can't even remember where I learned this trick.
    00:21:42,957I think it may have been a class I took on Autodesk Flame
    00:21:46,796like 10 years ago.
    00:21:48,216And I ended up applying it to this.
    00:21:50,595And that just shows you how important it is
    00:21:52,722to just constantly keep feeding your brain new stuff.
    00:21:55,870Because you really never know when something you learned
    00:21:58,06710 years ago is actually gonna come in handy.
    00:22:00,995So really what I want to do is try and take
    00:22:03,744as much of the rotation out of my arm as possible.
    00:22:08,499So here's the way I did that.
    00:22:10,668This is gonna seem a little strange.
    00:22:12,499I'm gonna make two lines and I'm gonna make sure
    00:22:14,607they're white lines.
    00:22:16,292I'm gonna make one line.
    00:22:20,026And I want them to be perfectly straight.
    00:22:21,354One line there.
    00:22:23,208And then I'm gonna make another line down here.
    00:22:27,047So we've got two lines.
    00:22:29,286And I wanna kinda play this back and forth
    00:22:31,743and what I want,
    00:22:33,128I basically want my arm to be vertical in the frame.
    00:22:38,776Right, here's it's kind of an angle, here's it's vertical.
    00:22:42,072So why did it make those lines?
    00:22:44,573Well, because After Effects tracker is not gonna be
    00:22:48,224able to track any part of my arm.
    00:22:50,972However, it could definitely track the intersection
    00:22:53,806of my arm and this white line.
    00:22:57,391So if I pre-compose this, all this whole thing,
    00:23:00,036and I say pre-track,
    00:23:03,651and then I have my tracker window open.
    00:23:06,531So what I wanna do is stabilize motion.
    00:23:10,439So now when you stabilize, or when you track,
    00:23:12,596you have to do it in a layer viewer, not a comp viewer,
    00:23:17,265it's one of the silly things about After Effects.
    00:23:20,335So I want to stabilize rotation.
    00:23:26,118I don't even really care about position.
    00:23:28,240So what I'm gonna do is I'm gonna grab
    00:23:31,985track point two.
    00:23:34,518And I'm gonna line it up right here.
    00:23:37,453Okay, now you probably can see why I added that white line.
    00:23:42,664Because that is going to make a perfect track point,
    00:23:45,413that intersection.
    00:23:47,392And I'll do the same thing on the other side right there.
    00:23:51,228Now that's not as good of a track point
    00:23:52,937but hopefully After Effects can deal with it.
    00:23:55,898And I'm at the last frame so I'm gonna track backwards.
    00:23:59,447And you could see that it tracked the intersection of
    00:24:02,157my arm with those white lines.
    00:24:04,927And it did it perfectly.
    00:24:06,636Now we can close this, hit apply,
    00:24:15,172and you can see that it sort of stabilized it
    00:24:19,008but it actually kept it at an angle.
    00:24:22,101So I'm gonna have to straighten that out.
    00:24:23,270And it's not perfect.
    00:24:25,323So I may want to try tracking it again,
    00:24:27,132or in this case, I can probably just add a null
    00:24:29,559and try and smooth it out myself.
    00:24:32,706So because this is stabilized now,
    00:24:35,706I can go in and turn these shape layers off.
    00:24:42,781I'm gonna add a new null so I can move this.
    00:24:48,126And I'll just call this Adjust.
    00:24:53,671Now I just wanna straighten this out,
    00:24:55,259maybe I'll scoot it down a little bit.
    00:24:58,928So there's this little hitch in the movement that we get.
    00:25:03,106And it happens, you can see the frame,
    00:25:05,522it starts on this frame.
    00:25:07,370So I'm gonna put a rotation key frame here.
    00:25:12,198And then it starts to come back around here,
    00:25:13,998so I'll put another key frame there.
    00:25:18,302So what I'm gonna try and do is just ...
    00:25:22,620Just get rid of that little hitch.
    00:25:39,052So now let me sort of crop this.
    00:25:42,784So this is really the part
    00:25:46,093of the video that we're going to be using.
    00:25:49,461I'm not gonna use the bottom part of my arm.
    00:25:52,702So this is really what I'm concerned with.
    00:25:54,906And it's a little bit wobbly so I may just try
    00:25:57,457a little harder.
    00:26:03,961I might just spend a little more time trying to
    00:26:06,015keep it straight.
    00:26:12,322And make it feel a little smoother.
    00:26:20,996Now for the purposes of this Cyriac tutorial,
    00:26:26,366that's probably gonna work okay.
    00:26:28,359We're gonna have to,
    00:26:30,405there's a lot of manual labor involved in getting this
    00:26:33,143to look right, that's what I learned.
    00:26:35,390But we've managed to help stabilize it a little bit.
    00:26:40,592And then we manually went in and kind of tweaked it.
    00:26:43,897So it looks a little funky down here
    00:26:46,325but we're only gonna see it probably from about here up.
    00:26:51,397Alright, so now we've got our assets.
    00:26:53,161So now let's actually build one of these hands.
    00:26:56,366So this is green screen hand two, this comp,
    00:26:58,955so I'm gonna call this Final Stabilized Hand.
    00:27:06,155And let me start cleaning up my project a little bit
    00:27:08,514because kind of a stickler for that.
    00:27:11,124So I wanna take all of my comps,
    00:27:13,854put them in a pre-comp folder,
    00:27:16,762and now I want to take Final Stabilized Hand
    00:27:19,063and I'm gonna put it in its own comp,
    00:27:22,641and we're gonna call this Hand Build.
    00:27:28,909And I need,
    00:27:30,815what I wanna do is have this hand open up.
    00:27:32,422And then I wanna have hands come out of each of
    00:27:36,341these fingers.
    00:27:38,217And all I need to do is build one good looking sequence
    00:27:41,059of that.
    00:27:42,414And then I'm just duplicating it, cloning it,
    00:27:44,478and sort of lining it up with itself and putting a
    00:27:47,755camera move on it.
    00:27:48,926That's really the trick.
    00:27:50,478So I need to make this comp bigger.
    00:27:53,171Right now it's 720 by 1280.
    00:27:55,549So I'm going to, I'm just gonna double that.
    00:27:59,236So we'll do 1440 on the width,
    00:28:03,775and then the height I guess we don't really need
    00:28:05,446to double the height, let's just make it 2000.
    00:28:09,770And let's move this hand down here so we have room.
    00:28:16,695And I need to make this comp longer.
    00:28:18,729Right now it's only one second, twenty frames.
    00:28:21,572Let's just make it five seconds
    00:28:22,852just so we have plenty of time.
    00:28:26,216So the hand opens.
    00:28:29,394That last frame, I want that to freeze.
    00:28:34,603So I want to hold that.
    00:28:35,523So what I just did was I hit command option T
    00:28:38,068to enable time re-mapping.
    00:28:40,835And this is an annoying thing that happens
    00:28:42,941with time re-mapping.
    00:28:45,154It puts a key frame on the last frame
    00:28:47,502except it actually puts it at the end,
    00:28:49,622like right after the last frame.
    00:28:51,907So that's why the hand disappears once we get to
    00:28:54,497this key frame.
    00:28:55,752So what you have to do is go back one key frame,
    00:28:58,399add the key frame there and get rid of the original one.
    00:29:02,177So now our hand opens up and freeze frames.
    00:29:08,306Alright, now what I need to do is
    00:29:10,335line up the first hand finger.
    00:29:14,344So let's duplicate this.
    00:29:18,592Scale it down.
    00:29:21,944And let's figure out our timing.
    00:29:24,424So as soon as that stops,
    00:29:27,499we'll wait one frame and then we'll have the hand open up.
    00:29:33,443Now of course we're gonna have to do some masking
    00:29:35,588and things like that.
    00:29:37,093But first I just wanna kind of see how this even feels.
    00:29:41,653So I'm gonna rotate this layer and I'm gonna try
    00:29:44,894to line it up with the finger.
    00:29:46,349And I'm gonna stick it underneath just to make it easier
    00:29:49,028to line up for a minute.
    00:29:50,774And it's very important that we name these.
    00:29:54,787So we know what's going on.
    00:29:55,855So I'm gonna call this Index 01,
    00:29:58,697'cause this is the index finger.
    00:30:01,539And I'm lining up the arm.
    00:30:10,667And I'm just gonna do a quick mask on this hand.
    00:30:19,344I'm just gonna kinda clip the finger off a little bit here,
    00:30:22,370just the tip of the finger.
    00:30:27,247So I need to switch that mask to subtract mode.
    00:30:29,383So I'm gonna hit M, set it to subtract,
    00:30:32,585feather that a little bit.
    00:30:34,937And then on my index, I'm gonna chop off most of this arm
    00:30:38,895because I don't need that.
    00:30:40,251So I'm just gonna draw a mask here.
    00:30:44,134Set that to subtract.
    00:30:46,344Feather that.
    00:30:48,09110 pixels.
    00:30:49,297Okay so you can see that we're starting to get things
    00:30:51,601lined up a little bit.
    00:30:53,060But obviously, even though we stabilized it,
    00:30:57,091it's still not perfect.
    00:31:00,351But it definitely is starting to feel creepy already.
    00:31:03,318So that's good.
    00:31:05,283So what I ended up having to do
    00:31:08,032is a lot of manual tweaking.
    00:31:11,563I wanna basically position this hand and rotate it
    00:31:16,157and have control frame by frame.
    00:31:18,570So I can totally line it up to the finger.
    00:31:20,819And what I knew was that once I lined it up to one finger,
    00:31:23,698it would line up to all the rest.
    00:31:25,296So I didn't want to actually animate the position property
    00:31:29,226and the rotation property.
    00:31:30,156I kinda wanted a separate set of controls.
    00:31:33,924So I used the distort transform effect.
    00:31:37,651If you've seen some of my other tutorials,
    00:31:39,109you know that I use this a lot
    00:31:40,332because it's almost like having a null built into
    00:31:44,004your layer so you can get some extra control.
    00:31:47,560So let's go to the last frame.
    00:31:52,085And line that hand up where we want it.
    00:31:54,534The index layer.
    00:31:57,717So once again, I put the effect on the wrong layer,
    00:32:00,573so I'm gonna cut that, paste it on index one.
    00:32:04,317And I'm gonna make a position key frame.
    00:32:06,925And I'm gonna go to the first frame.
    00:32:09,463And you can see that it's quite a bit off.
    00:32:11,534I'm gonna have to rotate it as well.
    00:32:13,819So let me go to that last frame, add a rotation key frame.
    00:32:17,838Go to the first frame and line it up.
    00:32:27,383And then a good strategy is just go halfway.
    00:32:31,487Line it up.
    00:32:37,726Right, go halfway.
    00:32:38,974And it's not perfect yet.
    00:32:41,573But you can see it's starting to get better.
    00:32:45,791And it's really just this really tedious process.
    00:32:50,092Of pushing it, lining it up a little bit.
    00:32:52,349I can see that this mask is gonna need a little work, too.
    00:32:55,070And actually the hand might need to be a little bit bigger.
    00:32:59,888Or what I ended up doing, which it's kind of like
    00:33:05,009the long way of doing things,
    00:33:06,733but it's sort of the brute force method,
    00:33:09,597and if all else fails you can do it.
    00:33:11,269Is you can use a mesh warp, which I'll show you guys
    00:33:13,180once this is a little bit closer.
    00:33:17,363So let's go halfway between these key frames.
    00:33:21,002Scoot it over a little bit.
    00:33:29,650Just nudging this thing all the way through the movement.
    00:33:33,820And when you see big errors like that, you can fix them.
    00:33:45,076Okay, so, it's not perfect.
    00:33:48,046But it's actually gonna be okay because in the end,
    00:33:51,950we're gonna have to come up with some kind of transition
    00:33:55,625from the finger into the hand and that's gonna hide
    00:33:57,928a lot of these sins.
    00:34:00,809So let's say that that's good for now.
    00:34:02,353The next thing I wanna do is just sort of help my wrist
    00:34:08,620blend into the shape of the finger.
    00:34:11,752And I think I'm gonna turn the feather down
    00:34:13,411a little bit on this.
    00:34:15,641And maybe move that mask up a little bit.
    00:34:24,595Okay, so here's my mesh warp trick.
    00:34:27,402So what I do is on index one, add a distort mesh warp.
    00:34:35,432And a mesh warp is pretty processor intensive effect.
    00:34:41,409It literally lets you drag a,
    00:34:44,991and I actually need to do it on part of the image
    00:34:46,849that you're seeing.
    00:34:48,736So let me reset that.
    00:34:50,028It will let you push and pull an image and reshape it
    00:34:55,494to literally anything you want.
    00:34:58,248And you can increase the grid so you have more resolution
    00:35:02,121to use your mesh warp.
    00:35:04,850And this is really really handy when you want to
    00:35:07,619blend two things together that aren't supposed to
    00:35:09,941go together, like a hand and a fingertip.
    00:35:13,907So if I go to the first frame here.
    00:35:17,307And you put a key frame on this distortion mesh property,
    00:35:20,944that's how it saves the information.
    00:35:23,502So if I just kind of just pull this out
    00:35:27,505just a little bit,
    00:35:29,511just to help that wrist blend right into the finger,
    00:35:35,632what we want is that smooth transition.
    00:35:38,909And then we can go to the ends,
    00:35:40,746in the end it actually looks pretty good.
    00:35:42,851So I'm going to hit E,
    00:35:47,253open up mesh warp, put a key frame there, at the end.
    00:35:52,502I'm gonna go halfway.
    00:35:54,163And here I'm seeing a problem, right?
    00:35:55,957This wrist is,
    00:35:57,319my wrist, when it's turned to the side, it's thinner.
    00:36:01,631So I may just wanna grab some of these points
    00:36:06,647and they all have bezier handles, too.
    00:36:09,319So you can kinda just shape them like this.
    00:36:19,233And this is just so tedious.
    00:36:22,321But see, now that side it's a little bit smoother.
    00:36:25,843There's still a little bump here.
    00:36:28,790So you may actually find that you're making the palm
    00:36:31,888of the hand a little thicker at certain points.
    00:36:37,158You're pulling the wrist out, okay,
    00:36:38,632so that feels pretty good.
    00:36:39,750Now let's look at that side, that side's probably okay,
    00:36:41,877especially when we're zoomed out.
    00:36:46,103Alright, so now around here,
    00:36:49,797we need to fix that.
    00:36:53,125So I would guess that when I did this for the test render
    00:36:58,688that you guys saw at the beginning of this tutorial,
    00:37:02,188I probably spent four or five hours setting up
    00:37:07,838this piece of the hand.
    00:37:09,811And I normally don't have that type of patience.
    00:37:12,590So what this tells me is that
    00:37:14,810Cyriac is truly a mad scientist
    00:37:18,555because he didn't even have a reference to look at.
    00:37:22,428He just came up with this and he must have spent hours
    00:37:24,871lining everything up.
    00:37:32,055Okay, so there's a little bit of a glitch right in here.
    00:37:36,127You can see the wrist kinda poking out,
    00:37:40,280so let's tuck that in.
    00:37:44,859Okay, cool.
    00:37:48,072So let's take a step back and let's play this a few times.
    00:37:53,459Now that wrist is actually stuck on that finger pretty good.
    00:38:01,902And I really just love how twisted this is.
    00:38:04,316Maybe that says something about me.
    00:38:05,794So now we need to figure out how are we gonna transition
    00:38:08,469from the fingertip to the fist?
    00:38:11,478So I stared at Cyriac's clip over and over and over again.
    00:38:16,211And to me, it looked almost like he used,
    00:38:20,543there's a plug in, I believe it's called RE:Flex
    00:38:24,301and it's a morphing plug in, and it almost looked like
    00:38:26,412he may have used that.
    00:38:28,540I don't have that plug in and I didn't want to get into
    00:38:31,947that level of work 'cause using that plug in
    00:38:35,301and making morphs work is a whole lot of work.
    00:38:38,492So I wanted to try and fake it,
    00:38:40,631which I know is kind of the easy way out.
    00:38:43,563So first off, two things.
    00:38:47,419You can see that the lighting on this finger
    00:38:51,541doesn't totally match the finger right now.
    00:38:55,298Sorry, the lighting on the fist doesn't match
    00:38:57,645the lighting on the finger,
    00:38:58,994just because the lighting was a little different
    00:39:01,945when I turned my hand over and you saw the palm.
    00:39:07,307My skin's a little different color,
    00:39:09,415it was maybe angled a different way
    00:39:10,929so the light hits it differently.
    00:39:12,490So even when we get to here, I think the color needs
    00:39:16,350to be adjusted a little bit so that it matches
    00:39:18,453and it blends in better.
    00:39:20,145So I'm gonna put a levels effect onto the hand.
    00:39:25,556And you know, a lot of times,
    00:39:30,834if you don't quite yet have the hang of
    00:39:34,128looking at two images and saying,
    00:39:36,320this one is a little cooler than this one,
    00:39:39,546I need to add some red to this one to make it match.
    00:39:42,425If you haven't built up that ability yet,
    00:39:45,202an easy way to do it is to just look at your comp,
    00:39:49,391one channel at a time.
    00:39:50,459So down here where you see this red, green, blue icon.
    00:39:54,433You can come in here and click red green and blue,
    00:39:56,736and it will show you one at a time each channel.
    00:39:58,679So here's the red channel.
    00:40:00,638And you can see that as a black and white image
    00:40:03,434there's a lot more contrast in the hand
    00:40:05,357than there is in this finger right here.
    00:40:08,148So if I switch levels to the red channel,
    00:40:10,735maybe I wanna bring the black level up a bit, you know.
    00:40:14,187And then maybe I wanna bring the white level down
    00:40:15,515a little bit.
    00:40:17,176And try to blend that a little bit more.
    00:40:19,871If I turn levels off now and do before and after,
    00:40:24,032you'll see now it matches a little bit better.
    00:40:26,536We can do the same thing.
    00:40:27,441Go to the green channel, switch levels to green.
    00:40:30,728And you can see the same kind of problem.
    00:40:32,364We may just wanna increase the black output
    00:40:35,108just a little bit, maybe play with the gamma,
    00:40:38,670just a tiny bit, these tiny little adjustments
    00:40:41,418really do add up and make a big difference.
    00:40:44,539And then we'll switch to the blue channel.
    00:40:46,566In the blue channel, the hand looks a lot darker
    00:40:49,231so I'm gonna push the gamma up a little bit.
    00:40:53,689Now we'll switch back to RGB on both levels and this,
    00:40:57,042and you can see that even though those all looked good
    00:41:00,914in black and white, now that we're looking at it,
    00:41:03,179there's way too much blue in there.
    00:41:04,906So we can go back into blue and we can adjust,
    00:41:12,411try to figure out where the right control is.
    00:41:16,222And if you're seeing something that looks too blue
    00:41:17,931or too green, and when you adjust that channel,
    00:41:20,290it's not actually making the change you want,
    00:41:23,373most likely you have subtracted too much red.
    00:41:27,225So let's reset the red channel.
    00:41:30,552Here we go.
    00:41:32,411So now I'm just adjusting the red channel a little bit.
    00:41:36,878So you can see when I set the white output of
    00:41:40,404the red channel too low,
    00:41:41,659it starts to turn that bluish green color.
    00:41:44,613So that was probably the adjustment that was doing that.
    00:41:46,759Vice versa, if I increase the black output,
    00:41:51,479then it makes things more red.
    00:41:53,936And then if I adjust everything else,
    00:41:55,897it does these subtle adjustments.
    00:41:57,930So I'm just adjusting the gamma now,
    00:41:59,213this middle arrow is the gamma.
    00:42:01,656So let's look at a before and after.
    00:42:06,593So when I have this levels effect on,
    00:42:10,126and we zoom out,
    00:42:11,548to me that looks a lot closer, lighting-wise.
    00:42:15,414And it just is gonna make it blend in a little bit
    00:42:18,393more smoothly.
    00:42:20,077Now let's look at the beginning.
    00:42:23,466So at the beginning it feels a little bit too bright.
    00:42:26,755So what I wanna do is put a key frame on the levels, too.
    00:42:29,783So starting, probably, here it feels okay.
    00:42:35,095So I'll put a key frame there.
    00:42:37,702And then here, it just feels a little bright overall.
    00:42:41,337So I'm gonna set levels back to RGB
    00:42:43,538so it's in overall levels.
    00:42:45,023I'm just gonna darken it just a little bit
    00:42:47,121and that doesn't feel right,
    00:42:49,341so maybe what I need to do is just decrease contrast,
    00:42:53,854and mess with the gamma a little bit.
    00:42:59,438Okay, so here's before and after.
    00:43:02,354So it's just a subtle little adjustment,
    00:43:05,289but it's gonna help it, especially when everything's moving.
    00:43:07,648It's really gonna blend in nice.
    00:43:11,344And you guys can probably see, there's little,
    00:43:12,979there's still some little problems,
    00:43:15,627we may wanna come in here and put a mesh warp key frame
    00:43:18,413to tuck that part of the wrist in.
    00:43:21,170It's really a long process to get this to feel perfect.
    00:43:27,794But you know, for way under an hour,
    00:43:30,214we've got a nice kind of blend there.
    00:43:32,779So then the next step is, how do we get from a finger
    00:43:35,444to a hand.
    00:43:37,508So there's two parts.
    00:43:38,511One, I want to have the hand
    00:43:42,896almost extend out from the finger a little bit.
    00:43:47,345So what I'm gonna do is, I have a mask on the finger tip,
    00:43:52,237I'm gonna turn that off right now.
    00:43:54,274So here's the fingertip, here's where the fist
    00:43:56,577is gonna end up.
    00:43:58,556So what I wanna do is decide okay,
    00:44:00,841how long is it gonna take for that hand to come up?
    00:44:04,602So I'm just thinking that as that hand turns
    00:44:07,194and opens up like this,
    00:44:10,166it's gonna sort of extend outwards.
    00:44:12,493And maybe it's done extending outwards about here.
    00:44:16,091So let's put a position key frame on this hand.
    00:44:24,227Alright, and I'm gonna separate the dimensions
    00:44:25,575so I have more control.
    00:44:27,663And then I'm gonna go to the beginning here.
    00:44:32,204And I'm going to bring this down like this.
    00:44:36,159Now you can see that the fist
    00:44:40,859is too wide here.
    00:44:43,463And so when it comes up, right,
    00:44:46,993that will work, except you're gonna see the fist
    00:44:50,863outside the finger before you're supposed to see the fist.
    00:44:54,143So there's two things that I did to kind of fix this.
    00:44:57,636One, let me twirl all these down.
    00:45:01,788I'm gonna use the bulge effect on this fist
    00:45:06,941so that's distort bulge.
    00:45:09,894And I'm gonna extend this bulge out.
    00:45:14,346So that it covers the hand like this.
    00:45:17,959And you can actually bulge things in a little bit.
    00:45:27,822Right, so you can use a negative bulge height.
    00:45:31,621So I'm gonna tuck that in so that it's actually hidden
    00:45:37,018behind the finger.
    00:45:40,194Gonna put a key frame on bulge height.
    00:45:41,643And then I'm gonna go forward.
    00:45:45,030And I'm gonna set that to zero.
    00:45:47,764And you also have to make sure that
    00:45:49,387the bulge center moves with the hand.
    00:45:54,929Otherwise you'll get some weird artifacts.
    00:45:59,717So now it's sort of scaling the hand up as it comes out.
    00:46:05,634But it's doing it in a slightly more interesting way.
    00:46:07,825It's bulging it, so it's gonna feel a little bit
    00:46:10,284more organic.
    00:46:11,929The other thing I wanna do,
    00:46:13,453is a couple of frames before,
    00:46:17,430I'm gonna add a bulge onto the finger.
    00:46:20,550So the finger sort of bulges and then the fist comes out.
    00:46:23,810So let's add a bulge on this.
    00:46:27,061I'm gonna set the bulge center to that fingertip.
    00:46:30,033And you can see what it's doing.
    00:46:32,225It's sort of making that finger look like it's swelling.
    00:46:35,901So I'm gonna set the height to zero.
    00:46:39,568I'm gonna go forward.
    00:46:43,480So that the fist has started to come up.
    00:46:45,969And I'm just gonna increase this a little bit.
    00:46:50,876Alright, so now, that fist is coming up.
    00:46:54,478And now we just need to mask that finger out.
    00:46:57,793So what I'm gonna do now,
    00:46:59,698is I'm gonna take this mask that I've already kind of
    00:47:03,423put on the fingertip.
    00:47:04,869I'm gonna turn it back on.
    00:47:05,910So that's a subtract.
    00:47:07,887And what I'm gonna do is
    00:47:09,114I'm gonna have it animate into position.
    00:47:13,733So let me hit option M.
    00:47:16,743And let's come forward, and let's say right around here,
    00:47:21,337that's where that mask should end up in this position.
    00:47:25,650So let's put another key frame there.
    00:47:27,187So with this first key frame I'm gonna move this mask up.
    00:47:33,450And you can see what it's doing.
    00:47:37,733And because the hand is spinning into position,
    00:47:43,761that mask is actually in a bad spot at the beginning.
    00:47:47,046So I'm gonna go to the first frame here.
    00:47:50,066And I'm just gonna move that mask way over here
    00:47:52,882and I'm gonna set that to a hold key frame.
    00:47:54,721So that mask will stay there now.
    00:47:57,387The way I did that, I held option, command and clicked it.
    00:48:00,248It will turn a key frame to a hold key frame.
    00:48:02,281So it will not change.
    00:48:03,972When it gets to the next key frame it will just
    00:48:05,449pop into place.
    00:48:09,684So let's just preview this a few times.
    00:48:18,395So we're not quite yet getting a perfect match
    00:48:23,198between the finger and the wrist.
    00:48:25,344But I think what we could do to help that
    00:48:27,181is animate the bulge center.
    00:48:30,403So it starts here.
    00:48:32,624And then as it finishes,
    00:48:35,243we could move that bulge down.
    00:48:39,188So that it almost feels like the fist
    00:48:43,418is coming up through the finger like that.
    00:48:47,823And we do need to make sure,
    00:48:51,199I'm gonna hit U on this so I can see all my key frames.
    00:48:53,338We need to make sure that the bulge height does
    00:48:55,210go back to zero at the end.
    00:49:01,330So now this is kind of an interesting transition.
    00:49:05,858The finger bulges a little bit and it might bulge too much,
    00:49:08,737we may actually wanna decrease that a little bit.
    00:49:13,660You don't want it to be Popeye arm or something.
    00:49:17,412And so then the next step is really
    00:49:19,446just getting in there and putting key frames
    00:49:24,406and lining up the hand on all of these frames
    00:49:28,119and trying to get a seamless transition
    00:49:32,115when this hand comes on.
    00:49:35,496And this is the part that takes the most time
    00:49:37,706but this is also the part that's gonna give you
    00:49:40,053the best result when you're done
    00:49:43,038if you take the time to do it.
    00:49:45,127And now that looks like a weird frame
    00:49:48,675where the hand is all stretched out and bulgey.
    00:49:51,860But if you took the time to animate it,
    00:49:54,936the problem that I'm having is that I've got a lot
    00:49:57,006of key frames close together now on my mesh warp.
    00:50:05,254And so you may have to kind of just be very careful,
    00:50:08,857go through, on this key frame here,
    00:50:13,296I need to fix the wrist, which is kind of popping out.
    00:50:22,855Now we're starting to get a pretty good result.
    00:50:25,595And especially if you were just watching this
    00:50:27,653and you weren't expecting this to happen,
    00:50:30,183you're not gonna notice all the little imperfections.
    00:50:33,444So what we have is a pretty good, fairly seamless transition
    00:50:39,694from a finger to a hand.
    00:50:41,645Let's play this whole animation.
    00:50:49,493It's just really gross-looking.
    00:50:54,692So the next step would be apply that exact same procedure
    00:51:00,671to every finger.
    00:51:02,169Now the good thing is,
    00:51:04,642your transform effect, which is sort of helping
    00:51:08,441stabilize the hand a little better,
    00:51:10,390your mesh warp, which is helping to blend
    00:51:12,637the hand and the wrist with the finger,
    00:51:15,444and your bulge and your levels,
    00:51:17,319all of those things are right on this layer.
    00:51:20,560So when you duplicate this,
    00:51:24,732you just duplicate this layer,
    00:51:27,267and you're gonna need to just adjust your position
    00:51:31,410and your rotation a little bit.
    00:51:32,710But if you know, let's say we move this hand over here,
    00:51:40,304and we need to rotate it a little bit,
    00:51:44,069and we're gonna have to adjust the Y position a little bit
    00:51:47,828so that it's lined up correctly.
    00:51:50,673But all of those properties are still on it.
    00:51:54,740So if I now apply the same mask to this fingertip,
    00:51:58,308it's just gonna take a little bit of adjusting to
    00:52:00,825get a good result.
    00:52:02,302Apply a bulge to that fingertip.
    00:52:05,306Maybe adjust the mesh warp a little bit
    00:52:07,865'cause this finger might be shaped
    00:52:09,132a little bit differently.
    00:52:12,478And just do that for each of the fingers.
    00:52:14,456And I know it's tedious but,
    00:52:17,391the sad fact is when you wanna do something
    00:52:20,471really cool, super creative, no one's ever seen before,
    00:52:24,506chances are it's gonna take a really long time,
    00:52:26,912and it's gonna take a lot of manual labor
    00:52:29,614and tweaking and endless noodling to get it right.
    00:52:33,450So once you've got this built,
    00:52:35,336so what I'm gonna do now is I'm actually gonna open up
    00:52:39,534I'm gonna open up one that's already kinda done.
    00:52:44,019So here's this hand.
    00:52:46,831And you probably noticed that the one we just built
    00:52:49,014is actually, animates a little bit cleaner than this one.
    00:52:52,683And that's because after spending hours doing this,
    00:52:55,623I've gotten better at it.
    00:52:56,844So the version that we just did in the tutorial,
    00:52:59,816actually looks a little better than this one,
    00:53:02,156especially the thumb.
    00:53:03,307I'm not very happy about the way that thumb bulges.
    00:53:05,305But I have lined up all of the hands,
    00:53:08,194lined up with the wrists and the fingers,
    00:53:11,481and you've got this creepy creepy creepy animation.
    00:53:15,215And then what I did,
    00:53:17,310and I'm gonna walk you through this
    00:53:18,317because this is really tedious.
    00:53:19,731This is sort of what makes this type of project fun.
    00:53:26,113Is trying to recreate the feeling that the original
    00:53:30,917piece gave you.
    00:53:32,338So what I did.
    00:53:35,855Have a layer here, and I'm gonna solo this layer.
    00:53:38,736This layer is just that pre-comp that we just made.
    00:53:42,545The hand opening up
    00:53:45,516and then each finger turns into a hand.
    00:53:47,929Now, very important, if I hit F4 to show the switches.
    00:53:52,084This layer has continuously rasterize on.
    00:53:55,920What that means is
    00:53:58,223in this comp, all of these hands are very small.
    00:54:01,251They're scaled down to a pretty small size.
    00:54:03,787So even though we're at full quality, 100%,
    00:54:07,372if I zoom into these hands,
    00:54:08,829you can see they're very pixelated.
    00:54:11,204But if I use this comp, this pre-comp,
    00:54:15,555if I use this in a new comp and I turn on
    00:54:17,902continuous rasterize,
    00:54:19,322we can zoom in to those hands and all of a sudden
    00:54:23,301all of that quality comes back.
    00:54:25,512So this is the trick because now
    00:54:27,151you can just nest all of these things together.
    00:54:30,586Okay, now you see how there's three layers here
    00:54:34,160that all start at the same time?
    00:54:35,534So let's turn those on.
    00:54:37,810This is the trick.
    00:54:39,471And if I go frame by frame you'll see.
    00:54:42,064Watch when I go to the next frame.
    00:54:44,116You see how there's a little outline
    00:54:45,714that just appeared here?
    00:54:47,068That's because what I did, if I turn off this base layer,
    00:54:51,677I replaced the fingertips of that base layer
    00:54:55,763with a new copy of that comp.
    00:54:59,451If I turn that back on, right?
    00:55:02,943You can see that it's not totally perfect.
    00:55:05,497I probably could play with the mask a little bit more
    00:55:07,225and get a more seamless transition.
    00:55:08,989But you're moving so quickly you don't even really notice it
    00:55:11,441when it's playing.
    00:55:13,336So all I'm doing is swapping out the fingertips
    00:55:16,327with a new set of comps.
    00:55:18,138So if I, let me find which layer this is,
    00:55:21,825so this set of fingers here
    00:55:25,483is coming from this, layer two.
    00:55:28,048And there's a mask on there, it's actually two masks.
    00:55:32,479There's one mask that is cutting off the wrist
    00:55:35,414and the hand.
    00:55:38,191And then on the original base layer,
    00:55:41,051there's another mask that's cutting off the fingertips.
    00:55:43,522So I'm basically just combining.
    00:55:46,448And these are all the same comp.
    00:55:47,856These are all that big pre-comp that has the hand
    00:55:50,775and the fingers.
    00:55:52,390And I'm just trying to line them up.
    00:55:53,868And it's kinda tricky to line things up pixel perfect
    00:55:56,785which is what you need to do.
    00:55:58,959So one way to help you do that,
    00:56:02,058is let's say I wanna line up,
    00:56:04,427let me turn everything else off,
    00:56:05,643I wanna line up layer two over layer one.
    00:56:09,194You can switch your transfer mode to difference,
    00:56:14,525and it will show you an overlay.
    00:56:17,206And basically if you're trying to line two things up,
    00:56:21,891they're lined up when a difference mode creates black.
    00:56:26,330So if I move this hand, you can see that
    00:56:29,377I'm now starting to see two sets of hands
    00:56:32,219except where the intersect turns black.
    00:56:35,516So this makes it a lot easier to nudge things around
    00:56:37,790and decide okay, is this more lined up, less lined up.
    00:56:41,201I may wanna scale this up a little bit.
    00:56:43,560But it's a lot easier if you use the difference mode
    00:56:45,415and then switch it back to normal.
    00:56:49,049And then that's really the trick.
    00:56:52,448So I did that on those fingers.
    00:56:55,224And then when we zoom in again on those fingers,
    00:56:57,129and then when we zoom in again on these fingers,
    00:56:59,145and you just keep doing that trick.
    00:57:02,349And to get this weird spiraling camera move,
    00:57:05,554I just used two nulls.
    00:57:07,538I parented all of the hands to this position null.
    00:57:13,909And the position null has a few key frames on it.
    00:57:17,004It's just, if you watch it move, you'll see what it's doing.
    00:57:20,749It's just kind of helping keep things framed
    00:57:23,467where I want them.
    00:57:26,439But really what's doing most of the work is this scale
    00:57:29,628and rotation null,
    00:57:31,066the position null is parented to it.
    00:57:33,798And it's just scaling up and rotating constantly
    00:57:37,254along the entire comp.
    00:57:39,801And that's really it.
    00:57:43,323Let me think if there's anything else
    00:57:45,904I need to tell you guys.
    00:57:47,490One thing I'll point out is that
    00:57:48,820if you're using scale to zoom into things,
    00:57:52,851there's something called exponential scale.
    00:57:57,085And what that means is that
    00:57:58,218when you're scaling into something,
    00:58:00,539at the beginning of that scale it feels like
    00:58:03,328things are moving very fast.
    00:58:04,638And then as the scale grows and grows and grows and grows
    00:58:07,236it starts to feel like it's growing slower.
    00:58:10,061And that's just because of the way scaling works.
    00:58:12,783If you want there to be a feeling of a constant speed
    00:58:16,666as you're scaling, you have to use exponential scale.
    00:58:20,501In After Effects there's two ways to do that.
    00:58:22,143One is you set your scale key frame,
    00:58:25,349so there's one at the end, one at the beginning.
    00:58:27,217And you can go into key frame assistant
    00:58:30,830and set exponential scale.
    00:58:34,034And that will adjust your scale
    00:58:38,541so that it sort of helps you interpolate your scale
    00:58:42,458in a way that it feels like a constant speed.
    00:58:44,511The way I did it, was using the curves.
    00:58:47,641So here's my scale curve.
    00:58:49,266And I just created a very big buildup
    00:58:54,549into the scale so that it speeds up speeds up speeds up,
    00:58:57,263and it just keeps getting faster and faster and faster.
    00:58:59,753All the way until the end.
    00:59:02,126And you would think that that would make it feel
    00:59:03,781like we're accelerating.
    00:59:05,223In reality it doesn't.
    00:59:06,642It makes it feel like a constant speed.
    00:59:08,706So it's one of the tricky things that you'll learn
    00:59:11,194about using scale.
    00:59:12,551So there you go.
    00:59:13,384Thank you guys so much and I will talk to you soon.
    00:59:16,151Thanks for watching.
    00:59:17,455I hope you learned a ton of new techniques
    00:59:18,987that you can use in this lesson,
    00:59:20,591including how useful it can be to just break down
    00:59:23,741another artist's work and try to figure out
    00:59:25,722exactly how it was made.
    00:59:27,436You can learn some surprising new techniques
    00:59:29,592that you may not have thought of before
    00:59:31,554just doing your regular day to day stuff.
    00:59:34,291If you learned something valuable from this video,
    00:59:36,251please share it around.
    00:59:37,349It really helps us spread the word about School of Motion.
    00:59:39,747It means a lot and we will applaud you.
    00:59:42,392Thanks again and I'll see you next time.
    00:59:45,560(bouncing balls sound effect)
    00:59:48,505(pulsing, rhythmic theme)