Animate like Cyriak Part Duex | Hands & Eyes & Mouths

If you're looking to master the art of strange things in After Effects then look no father than Cyriak's work. He is the master of weird, and there's nothing that makes Joey smile more than watching Cyriak animate a cow turning into a spider. Seriously, that happens. In this lesson Joey is going to break down another one of Cyriak's strange creations to show you one way that you can create something unique and strange in After Effects. Sometimes there is no plugin, it's just hard work and brute force, and that's exactly what this lesson is going to take.

Make sure you check out the Resources tab to see all of Cyriak's weird creations on his YouTube channel, including the piece that we'll be re-creating in 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.
    00:00:00,833- Hi.
    00:00:03,439(garbled screaming)
    00:00:07,228(dramatic music)
    00:00:10,952(upbeat music)
    00:00:21,802What's up?
    00:00:22,635Joey here at School of Motion,
    00:00:23,775and welcome to Day 27 of 30 Days of After Effects.
    00:00:26,894I want to give a huge shout out to a motion graphics artist
    00:00:30,031that I love and respect and that is Cyriak.
    00:00:33,339Now if you're unfamiliar with his work,
    00:00:34,818please go to his YouTube channel right now and just watch
    00:00:37,374at least a dozen of his videos.
    00:00:38,921Don't do it right before you go to sleep though,
    00:00:41,301that's a bad idea.
    00:00:42,922Cyriak has this amazing brain that comes up with this
    00:00:45,810really weird stuff, and what I love about it
    00:00:47,637is that he does it all in After Effects
    00:00:49,959just using brute force for the most part.
    00:00:52,311There's not a trick to what he does.
    00:00:54,736He's just very precise and very patient
    00:00:57,203and he does a ton of roto and tracking and hand animation
    00:00:59,791and it's very, very hard and very, very time consuming.
    00:01:02,924That's why most people don't do it, it's just too hard.
    00:01:06,131So I want to show you how I made this crazy thing behind me
    00:01:08,638which was inspired by one of his videos.
    00:01:10,901You're gonna see how much work it takes, but hopefully,
    00:01:13,849you're gonna learn some cool tricks,
    00:01:15,659and maybe get a new appreciation for Cyriak's work.
    00:01:18,925Don't forget to sign up for a free student account
    00:01:21,065so you can grab the project files from this lesson,
    00:01:23,339as well as assets from any other lesson on School of Motion.
    00:01:26,924Now let's hop into After Effects and get started.
    00:01:30,821So this is the masterpiece
    00:01:33,358that we're gonna be creating here and,
    00:01:36,723I don't know, this kind of, this fits my sense of humor
    00:01:39,254which I think is why I love Cyriak's work so much.
    00:01:42,721I want to show you the piece of his that,
    00:01:46,183that I was sort of inspired by
    00:01:48,477and I wanted to recreate for this video.
    00:01:50,815So it starts with him staring at you
    00:01:53,923for an awkwardly long period of time
    00:01:56,389before his head turns into this weird crab monster.
    00:01:59,982And there's a lot of things Cyriak kind of does in his work.
    00:02:04,153He kind of has a lot of these mouths and tongues
    00:02:06,613and weird eyes in weird spots and
    00:02:08,767he seems to be obsessed with body parts
    00:02:11,251being used in ways they weren't meant to be used.
    00:02:13,076I want to point out one thing
    00:02:14,488which is at the very beginning of this animation here
    00:02:17,549where the head turns into the hand,
    00:02:20,715it's done in a very slick way,
    00:02:23,136and to me what this looks like is
    00:02:26,507a plugin called RE:Flex,
    00:02:28,918which is, it sort of lets you do really,
    00:02:30,937really high-end morphing in After Effects.
    00:02:33,237And I don't have that plugin and it costs $600,
    00:02:35,831so I did this a different way,
    00:02:38,335but I wanted to point that out, that's one of,
    00:02:40,340and I could be wrong, Cyriak is known for
    00:02:44,398doing things that just take a really long time
    00:02:46,620and doing a lot of hand rotoscoping and moving,
    00:02:49,888so maybe he built this effect by hand but
    00:02:51,989it looks like RE:Flex.
    00:02:54,723And I just wanted to point that out because
    00:02:56,439I do my effect a little differently.
    00:02:58,357I have the monster come out of my mouth,
    00:03:01,355so that I could avoid having to use the morphing plugin,
    00:03:04,153so just so you guys know.
    00:03:05,850So let's start just by looking at the footage I shot.
    00:03:10,578So here's the main piece of footage,
    00:03:12,409just me sitting against the wall,
    00:03:14,283and I did this, I don't know, 10 times
    00:03:17,047before I settled on a take that I liked.
    00:03:20,950So step one is, I don't know,
    00:03:24,693maybe you need to drink a little bit or
    00:03:26,347if you're like me, you just, you have no shame,
    00:03:28,313and so you're happy to get in front of a camera
    00:03:30,068and do this and I didn't do anything to this footage yet,
    00:03:33,765this is just straight footage.
    00:03:36,363Then I started shooting all the parts of the monster
    00:03:39,744I was gonna need.
    00:03:40,765So here's the shot of the hand.
    00:03:42,847Now this chair here (chuckling)
    00:03:44,955this is actually like a camping chair that I had
    00:03:47,374kicking around, and it just happened to be
    00:03:50,514the perfect chroma green color.
    00:03:53,467I'm shooting these videos in my spare bedroom at this point
    00:03:56,093so I don't have a studio.
    00:03:58,900I could have gone over to Ringling
    00:04:00,143and used their green screen studio but
    00:04:02,540it was kind of late when I was doing this so
    00:04:05,353use whatever you got.
    00:04:06,576I mean, one of the things about Cyriak's videos,
    00:04:08,818a lot of them is that they don't look super polished
    00:04:12,550and super slick.
    00:04:15,221They look sort of hand-done and that's one of the things
    00:04:17,878that makes them so cool and gives them a neat quality.
    00:04:20,846So all I did was open my hand,
    00:04:24,063wiggle my fingers around and then close my hand.
    00:04:25,819Now you'll notice, I drew a little X on my wrist,
    00:04:28,529I don't normally have an X on my wrist,
    00:04:30,982and I did that because I knew that, when I shot this,
    00:04:35,794my hand was gonna move around a little bit.
    00:04:38,152I tried to hold it very, very still and I did an okay job,
    00:04:41,608but it does move a little bit.
    00:04:43,078And I knew that in the final video,
    00:04:44,738I didn't want the motion of the hand
    00:04:46,426to come from my wrist wiggling around,
    00:04:49,491I wanted it to look like those hands were stuck to the face.
    00:04:53,313So I needed to remove all of the motion,
    00:04:56,187the sort of just the natural wiggling motion of my hand.
    00:04:59,976And so the way you do that is you stabilize the footage,
    00:05:03,044and that's why I put an X there thinking,
    00:05:04,872"Hey, if I need to stabilize the footage,
    00:05:06,363"I'll have a nice little tracking marker."
    00:05:08,280So let me show you how you do that.
    00:05:09,397What you do is you first trim your footage,
    00:05:12,901so you're only gonna stabilize the piece you need.
    00:05:15,113So I've already trimmed my comp,
    00:05:17,028and this is all the footage I need to stabilize.
    00:05:19,965Double-click your layer, and it opens up a layer viewer.
    00:05:23,560And I've talked about this before.
    00:05:24,849The different between a composition viewer,
    00:05:26,676which is what you normally look at,
    00:05:27,989and a layer viewer which just lets you look at your footage
    00:05:31,633but it also allows you to paint and do tracking.
    00:05:35,625So here's my tracking controls, and if you don't see them,
    00:05:37,983go up to window and hit this tracker button.
    00:05:42,425And I'm just gonna say stabilize motion.
    00:05:46,127Now if you're not familiar with tracking and stabilizing,
    00:05:50,852in general, you can track or stabilize three things;
    00:05:55,741Position, rotation and scale.
    00:05:58,303And you can stabilize all three, two of the three,
    00:06:01,043or one of the three.
    00:06:02,066In this case, I only need to stabilize position because
    00:06:05,110my hand isn't getting closer and
    00:06:07,874further away from the camera, it's not rotating too badly,
    00:06:11,019I just want to take out the motion of the position, okay?
    00:06:14,612So that's why there's only one checkbox.
    00:06:16,433And if you're only stabilizing one of these features,
    00:06:19,301you only need one tracker.
    00:06:21,028So here's my track point.
    00:06:22,270Now you see the first thing I did was I expanded it.
    00:06:25,209And really quickly, I don't want to spend too much on this
    00:06:27,733but this inner box, this is the feature
    00:06:30,272that is going to be tracked, okay?
    00:06:32,167So I need to line that up with the X.
    00:06:35,137And you can give it a little bit of extra room like this
    00:06:38,692and it will sort of have more information to track.
    00:06:41,822The bigger this box, the more pixels will be tracked.
    00:06:44,614This outer box is how far away from this box should I look
    00:06:49,504on each subsequent frame.
    00:06:52,209So if there's a ton of motion, I may need a big box,
    00:06:55,292but there's not a lot of motion
    00:06:56,462so we'll leave this kind of small.
    00:06:57,614And the bigger this box, the longer it takes to track,
    00:07:00,706it'll just take more processing.
    00:07:02,195So now I've got this setup,
    00:07:03,518we'll hit this little play button,
    00:07:05,294it's gonna track forward, and I will pause the video
    00:07:07,849so you guys don't have to watch this whole thing.
    00:07:10,785All right, so tracking's done and we now have a
    00:07:13,672good tracking point on this.
    00:07:15,373You can see it track that X perfectly
    00:07:17,496and you can see the motion as it moves up and down.
    00:07:20,013So once you've done that, you hit apply, okay?
    00:07:24,110And now it's gonna bring back up your composition viewer,
    00:07:26,221and if you look on the layer and you hit U,
    00:07:28,797you're gonna see there's a keyframe on every single frame,
    00:07:31,875and if I hit space bar on just sort of let this play through
    00:07:34,202you'll see that now my footage actually moves around.
    00:07:36,816You can see that After Effects
    00:07:39,128is literally moving the footage,
    00:07:40,702so that this point never moves on screen, all right?
    00:07:44,905And so the net effect is it's creating this awesome,
    00:07:48,293perfectly still-looking footage of my hand.
    00:07:52,381Now that I've done that, I'm gonna precomp this.
    00:07:55,004And I'll just call this Hand precomp.
    00:07:58,782Okay, and before I do that,
    00:08:01,123I just want to make sure that I'm actually working on
    00:08:04,059a copy of my hand and not on the actual hand.
    00:08:08,362So I'm gonna, just gonna dive into this really quickly,
    00:08:10,807give you a little sneak preview of what's about to happen,
    00:08:15,581and this should all look pretty familiar to you.
    00:08:17,272Okay, cool.
    00:08:18,111So now that I have precomped the stabilized footage,
    00:08:23,728all right, I'm gonna do the same keying procedure
    00:08:25,923that I did in the Tracking and Keying series
    00:08:29,220with the Baltimore Orioles that was part of
    00:08:31,01230 Days of After Effects.
    00:08:32,415So first I just do a big kind of rough garbage matte
    00:08:36,880and try to get rid of what I can.
    00:08:43,893There we go.
    00:08:46,731All right, and I don't want to keep any of this
    00:08:48,058black part of the chair, just the green part of the chair,
    00:08:51,282and I wasn't, I knew I wasn't gonna keep my wrist,
    00:08:54,317I was only gonna keep the hand, all right?
    00:08:56,732And now with that step, then you can really see
    00:09:01,844how well that stabilized.
    00:09:05,530The hand looks like it's just totally locked into place.
    00:09:08,961So stabilizing I think, I'm pretty sure stabilizing
    00:09:11,857is a very common tool that Cyriak uses
    00:09:15,355when he does his work.
    00:09:17,448And you need to kind of scrub through the footage
    00:09:19,299because you'll see the black parts of that chair
    00:09:21,477can kind of sneak back into the frame.
    00:09:24,376A little slow, okay, so that's good.
    00:09:26,203All right, so now that I've got that garbage mask,
    00:09:27,934now I'm gonna go back into my obsolete effect group here
    00:09:31,612and I'm gonna use the color key.
    00:09:34,619If you haven't watched the Keying and Tracking tutorials
    00:09:37,286in the Baltimore Orioles series,
    00:09:39,060you may want to watch that first because
    00:09:41,260this keying technique that I'm using,
    00:09:43,279it's the exact same one that I go into detail in that video
    00:09:46,715so you may want to watch that
    00:09:47,994'cause I'm gonna kind of fly through it here.
    00:09:49,715So I'm just doing a quick color key,
    00:09:52,868and I'm gonna make sure I pick a green color
    00:09:54,490that's close to the hand
    00:09:56,541because that's really what I want to get rid of.
    00:10:00,341There we go, just get rid of as much as we can there.
    00:10:04,295Okay, and then I'm gonna use my edge thin
    00:10:06,200and pull those edges back out.
    00:10:08,404And I want to make sure that I'm just getting rid of
    00:10:11,244as much green as possible.
    00:10:13,789Another thing you can do 'cause you got these little,
    00:10:15,834these little guys out here,
    00:10:18,349that I couldn't really get rid of without eating away
    00:10:21,593too much of the hand, what you can do is
    00:10:23,937you can duplicate this color key and reset it,
    00:10:26,639and on the copy of the color key,
    00:10:29,211you can just pick the other color.
    00:10:31,418And then up the color tolerance
    00:10:34,161there we go, until it goes away.
    00:10:35,210So you can double up that color key
    00:10:36,919to help get rid of more stuff.
    00:10:41,197And then use that edge thin again.
    00:10:43,406Let's see here.
    00:10:46,125All right, now I've eaten away a bunch of the hand
    00:10:48,069and the finger here, so I'm also gonna do
    00:10:50,110is I'm gonna add a matte simple choker
    00:10:53,963and just expand that matte out a little bit.
    00:10:57,060Cool, so now we've got the world's tightest garbage matte
    00:11:00,206around the hand and you saw that that didn't take very long,
    00:11:04,652that's like a really tight roto.
    00:11:07,528So now I'm gonna precomp this
    00:11:08,679and I'm gonna make this a guide layer,
    00:11:10,691this magenta solid here,
    00:11:13,337because it makes it really easy to see if my key is working
    00:11:16,713but I don't want to forget about it and have it show up
    00:11:18,875in my final comp so, there you go,
    00:11:21,112so let's precomp this now
    00:11:22,520and we'll call this GarbageMatted.
    00:11:26,349And now, we can use Keylight.
    00:11:28,760So we'll go to Keylight.
    00:11:30,310And let's go to a frame like this.
    00:11:32,537And I'm gonna pick that green screen color.
    00:11:36,527I'm gonna go into screen matte,
    00:11:39,159and let's take a look here.
    00:11:41,287All right, and this is not,
    00:11:45,055this is not gonna be a perfect key
    00:11:47,193because I shot it against a camping chair but
    00:11:51,357I'm gonna use some of these settings here,
    00:11:52,856and I'm probably gonna have to crank them quite a bit.
    00:11:55,107So first, I'm gonna do what I did in the last video where
    00:11:57,082I turn this exposure way up
    00:11:59,383so I can actually see better how much
    00:12:03,254garbage is in the back there I need to get rid of.
    00:12:05,367Then I use the clip black to get rid of a bunch of that.
    00:12:08,515Then I'll go back to my normal exposure.
    00:12:10,867And there's no holes in the matte here that I'm seeing.
    00:12:13,265Really the problem is this kind of junk in there, right?
    00:12:17,626And that's happening because of the shadow
    00:12:19,719my hand was casting on the camping chair.
    00:12:21,951So if we look at the final result,
    00:12:23,911you can see that there's a bunch of garbage in there.
    00:12:26,691So what I probably want to do is
    00:12:29,838push that clip black even a little bit further
    00:12:31,893and try and get rid of some of that.
    00:12:33,629And it's gonna make my edges a little bit crunchy,
    00:12:37,696but that's okay.
    00:12:39,128All right, so I'm really pushing that clip black.
    00:12:41,331I don't need to touch the clip white.
    00:12:42,830Now the edges still look kind of gross.
    00:12:45,026So what I'm gonna do is I'm actually gonna
    00:12:46,900shrink the matte a little bit, okay?
    00:12:49,517So I'm just using the shrink grow control here.
    00:12:52,694And if you shrink the matte, see if I grow it,
    00:12:54,779and then I shrink it, you can see exactly what it does.
    00:12:57,563And the fingers are gonna be moving around pretty quickly.
    00:13:00,881And I just need to try and get as good result as I can.
    00:13:04,480Another thing you can use is this despot stuff,
    00:13:07,849despot black and despot white.
    00:13:10,193If I despot the black,
    00:13:12,284you'll see that it sort of brings back some detail here.
    00:13:14,565If I despot the whites, it gets rid of some of that,
    00:13:17,496it kind of smooths that out a little bit.
    00:13:20,370All right and so now, you can see that there's
    00:13:23,155still kind of some schmutz in there,
    00:13:26,451but our edges look a lot smoother.
    00:13:30,453And it's actually not, for our purposes,
    00:13:32,699it's gonna work just fine.
    00:13:34,494This black stuff that's kind of,
    00:13:36,705that you're sitting in between the fingers,
    00:13:38,024I can try to push the clip black a little bit more.
    00:13:41,036Trying to get rid of a little bit more of it.
    00:13:43,837There we go.
    00:13:45,154Now I want to stress, this is not,
    00:13:47,812you don't generally want to push the values this hard
    00:13:50,676when you're keying, but in this case,
    00:13:52,934because I didn't really shoot this on a green screen,
    00:13:56,012this was against a camping chair,
    00:13:58,040I kind of had to do what I had to do.
    00:14:00,805You can also see, if you look right here on the knuckles,
    00:14:03,890there's kind of a greenish tint,
    00:14:07,323which is the green spill, right?
    00:14:09,057When you shoot something against a green background,
    00:14:11,117a lot of times, the color of that green background's
    00:14:13,050gonna spill onto your subject
    00:14:16,785and it's gonna add a green color to it.
    00:14:18,974And Keylight usually does a pretty good job
    00:14:21,036of getting rid of it,
    00:14:23,017but because this wasn't a real green screen
    00:14:24,643and I've crushed these values so much,
    00:14:26,600there's still a little bit in there.
    00:14:28,526So one quick little trick you can do
    00:14:30,691is you can add a hue and saturation effect
    00:14:33,858and switch the channel controls from Master to Greens,
    00:14:37,888and then just pull some saturation out of it.
    00:14:40,133And let's see if the green's still there.
    00:14:45,539I have a feeling when it's moving,
    00:14:46,747you won't even be able to see it but
    00:14:49,745I'm holding my mouse over these pixels
    00:14:52,600and I'm looking up here at the values, and they're getting,
    00:14:56,336those colors are pretty neutral now,
    00:14:57,872so I think that helped.
    00:14:59,814All right, so now we've got one hand,
    00:15:03,243we've got a hand keyed out,
    00:15:04,502and I'm just gonna duplicate it
    00:15:05,783to create our little hand monster, all right?
    00:15:08,079Now let's just remember what we did,
    00:15:09,638we stabilized the hand, we did a garbage matte,
    00:15:11,930and now we have used Keylight, all right,
    00:15:15,255and we've gotten our hand nice and keyed,
    00:15:18,378and it kind of looks like, what, someone remind me,
    00:15:21,541what's the hand's name in The Addams Family,
    00:15:23,737the little hand that walks around?
    00:15:25,532Maybe that's how they did this.
    00:15:26,568Okay so now I want to do is I'm gonna make a new comp,
    00:15:30,204and I'm gonna start building out the monster,
    00:15:32,502so let me make a 1920 by 1080 comp here,
    00:15:35,999and we'll call this Monster.
    00:15:39,256Right, and I'm gonna drag my hand footage comp,
    00:15:44,895drag that into Monster.
    00:15:47,835All right, so here's our hand.
    00:15:50,286And let's scoot it over like this.
    00:15:52,092Now what I want
    00:15:55,324is I just want the hand,
    00:15:57,385I don't really want the wrist,
    00:15:58,550so what I'm gonna do is I'm just gonna
    00:16:00,233draw a mask around the wrist like this,
    00:16:05,578and I'm gonna set that mask to subtract,
    00:16:08,098and I'm gonna feather a little bit,
    00:16:10,242and I'm gonna put a keyframe on it, so Option + M.
    00:16:13,070And I'm just gonna kind of play through,
    00:16:14,859let me switch this to half res,
    00:16:16,273so it doesn't take a million years.
    00:16:18,374Right, and what you want to do is just sort of,
    00:16:23,514again, this is gonna be moving really fast,
    00:16:27,037and you're gonna be able to get away with a lot but
    00:16:30,598you want to try and,
    00:16:33,820you want to try and just get rid of the wrist
    00:16:36,021so that when you duplicate this hand
    00:16:37,584and you have two of them, it just looks like hands
    00:16:40,561and it doesn't look like two arms with hands on them.
    00:16:47,487Because we're making a weird sort of creature
    00:16:50,929out of body parts, I think that the more different
    00:16:53,777the body parts look from the way they normally look
    00:16:56,803in real life, I think the better off
    00:16:59,355we're gonna get our result to look.
    00:17:02,474Okay, so I'm just doing this really fast,
    00:17:04,246but you can see now we've got our hand
    00:17:08,980kind of separated out, so let's scale this hand down
    00:17:11,155a little bit, let's scoot this over,
    00:17:13,132and now let's just duplicate this hand,
    00:17:14,996and I'm gonna scale the copy
    00:17:18,103negative on the x-axis and scoot it over.
    00:17:21,427Okay so now we've got, now we've got something like this.
    00:17:24,331And let's name these.
    00:17:25,845So this hand is, top hand is the right hand,
    00:17:27,903so I'm gonna sat Right-Hand,
    00:17:31,248and then up here, you've got Left-Hand.
    00:17:36,174If I can type, here we go, okay.
    00:17:39,685And you can see that when they're sitting around,
    00:17:41,731wiggling like this, because we stabilized it,
    00:17:46,729the hands are really still,
    00:17:48,511and they kind of blend together,
    00:17:50,611and it's really creepy.
    00:17:51,650And I didn't get this when I did the demo
    00:17:53,621that you guys saw in the beginning of the video but
    00:17:55,793that little notch in your hand it's creating,
    00:17:58,532it's a really, kind of creepy, disgusting little area there.
    00:18:03,588All right, so at the beginning of the animation,
    00:18:06,633you gotta figure out where you want those hands to be, okay?
    00:18:10,996I sort of had them like this, okay?
    00:18:15,656Now if you go like this,
    00:18:18,756and you kind of layer one hand over another,
    00:18:23,322it starts to look like
    00:18:26,481a picture of a hand stuck on top of
    00:18:28,330another picture of a hand.
    00:18:29,375So another thing I did was,
    00:18:31,584let me lock this mask here.
    00:18:33,769And I'm actually gonna go up to layer mask and say
    00:18:37,177hide locked masks.
    00:18:39,111This is a cool trick, if you're gonna have multiple masks
    00:18:40,783on a layer, you can go to layer, mask, hide locked masks,
    00:18:45,074and then whenever you lock a mask,
    00:18:46,747it won't show up anymore.
    00:18:48,451And that can just visually make it a lot easier to look at.
    00:18:52,060And what I did was
    00:18:55,493I masked out just sort of roughly around the fingers here
    00:19:02,665and subtract that mask.
    00:19:06,086Oop, I did it on the wrong hand.
    00:19:08,934I need to do it on the right hand.
    00:19:10,374And the reason I did this was because
    00:19:13,656I wanted those two hands to really look
    00:19:16,951more like what Cyriak had done,
    00:19:19,667where it was sort of like interlocking fingers and
    00:19:23,113something like this, and it looked a little bit more like
    00:19:26,170they were actually two hands touching,
    00:19:29,437and I'm just gonna lock this mask,
    00:19:30,935let me feather this one a little bit.
    00:19:33,796Right, I wanted something a little bit more like that
    00:19:36,640at the beginning of this, and then once the hands separated,
    00:19:39,969they can look the way that they already look.
    00:19:44,128All right, so I'm gonna put them mask keyframe there,
    00:19:46,308so just Option + M,
    00:19:49,258and then I'm gonna move forward
    00:19:52,944and just sort of adjust this,
    00:19:54,455and I'm doing this pretty rough for you guys
    00:19:56,924'cause I don't want to spend a million years
    00:19:59,093having you watch me roto.
    00:20:01,368but just know that if you're gonna try and do this,
    00:20:03,726it just takes a long time.
    00:20:05,764You really have to like,
    00:20:07,578you really have to love what you're doing
    00:20:11,092and actually do the work of rotoscoping, right?
    00:20:13,441So I'm just gonna kind of go through here
    00:20:15,998as the hands separate and I'm gonna move the mask,
    00:20:22,349there we go, right?
    00:20:24,813So that it just kind of cuts into this right hand
    00:20:28,612and creates a nice little,
    00:20:31,257a nice little seam.
    00:20:32,403And right here, where this hand,
    00:20:36,635where sort of the meat of this hand is coming over this hand
    00:20:39,237I may want to come in and just adjust the mask
    00:20:43,501to erase that part.
    00:20:45,217and what you're going for is just
    00:20:46,737you want it to look really smooth and creepy,
    00:20:49,412like the skin is just blending together like that,
    00:20:52,988there we go.
    00:20:53,900All right and so now at the beginning,
    00:20:55,446because we, if I turn this mask off,
    00:20:57,821you can see that by using that mask,
    00:21:01,464and this happens so quickly,
    00:21:03,451it just sort of makes it look a little bit more like
    00:21:05,417two hands that are kind of together and then they open up
    00:21:10,310and form this weird thing.
    00:21:12,129Another thing you can try too is I could
    00:21:15,082knock the right hands,
    00:21:17,039I could knock this back maybe three frames.
    00:21:20,218So I'm gonna hold Option and hit Page Up three times.
    00:21:23,207And now what you're gonna get is
    00:21:25,588you're gonna get slightly offset timing on the hands too.
    00:21:29,324You can offset them even more.
    00:21:33,293Maybe not that much.
    00:21:34,188You want them to open roughly at the same time but
    00:21:37,368you want them to just move a little bit differently.
    00:21:41,357There we go.
    00:21:42,722All right, so now you got a nice little bit
    00:21:43,867of offset between them.
    00:21:46,711And you can see, it's already super creepy.
    00:21:48,719All right, so now we've got our hands.
    00:21:51,597And we would have to do the same thing at the end too.
    00:21:53,732When the hands come back together like this, right?
    00:21:58,176One of the things that I had to do was because I didn't
    00:22:01,304actually animate, I didn't rotate my hands
    00:22:03,991enough at the end, so at the end here what I did was I
    00:22:09,086just put position keyframes on these two layers
    00:22:12,433and then went forward until the hands turned
    00:22:15,071about as far as they're gonna turn,
    00:22:17,699and then I just scoot them closer together.
    00:22:21,608Right, so that they're more in the arrangement they were
    00:22:23,669at the beginning.
    00:22:25,146I'm just putting a little ease keyframe on there.
    00:22:28,665And I would need to go back in
    00:22:31,428and create the mask and everything so that,
    00:22:33,551this kind of covers up the hand again.
    00:22:37,042So there's a lot of just manual masking
    00:22:39,128and tweaking that's involved.
    00:22:41,082Okay, but now we've got the hands set up,
    00:22:43,081so now let's move on to the mouth.
    00:22:45,266So here's the mouth footage.
    00:22:48,772I'm sorry, I'm so sorry you guys.
    00:22:51,385Now I've already stabilized this,
    00:22:52,722you can see it's already stabilized, okay?
    00:22:54,536And so once it's stabilized, you precomp it
    00:22:57,174and you could say Mouth-STABLE.
    00:23:01,269And you should spell stable right,
    00:23:03,386you shouldn't do it like I just did it.
    00:23:06,366So once you've done that, and by the way, to stabilize it,
    00:23:09,206I think I used a nostril or something,
    00:23:11,552I just needed something that wasn't really moving.
    00:23:14,473And so now what you can do is let's go forward to a frame
    00:23:17,796where the mouth is open and let's just,
    00:23:24,307let's just draw a mask around it.
    00:23:25,790And, you want to make sure that you give the mask enough,
    00:23:30,033enough room on the sides 'cause I'm sticking my tongue out
    00:23:33,401and I don't want the tongue to get cut off,
    00:23:35,948but I wanted it to be pretty tight on the lips,
    00:23:39,639on the top and the bottom,
    00:23:41,354so that those could just kind of blend into the hand.
    00:23:45,007And also, I don't know, I can grow a beard really fast
    00:23:48,193so there's some stubble on my face
    00:23:49,703and I knew that that wouldn't really blend in
    00:23:51,525with the hand very well.
    00:23:53,606So I just made sure to do that,
    00:23:56,421the top and the bottom of the lips kind of tight
    00:23:59,889and then leave a little room on the sides like this
    00:24:04,003so the tongue doesn't get clipped, okay?
    00:24:06,271And then all you have to do is
    00:24:08,741you do have to put some keyframes on the mask path
    00:24:11,744so that when the mouth closes,
    00:24:16,092right, we can,
    00:24:18,458we can close that up just like that.
    00:24:22,064So again, a lot of tedious roto,
    00:24:27,159I mean, if you guys actually go through the process
    00:24:31,379and recreate this
    00:24:33,696and then you go watch one of Cyriak's videos,
    00:24:35,739you're gonna have a huge appreciation for what he does
    00:24:39,960because the amount of work it takes is insane.
    00:24:43,161Okay, so that's not bad.
    00:24:46,156Okay, cool, and we'll just do it on the beginning too.
    00:24:49,249So there's the mouth.
    00:24:50,674I'm gonna add a keyframe there, go to the beginning,
    00:24:53,792and then I'll just copy this keyframe
    00:24:55,566since it should be fairly close.
    00:24:59,136And we'll just kind of go forward.
    00:25:02,338And we'll help this out a little bit on this frame.
    00:25:07,486All right, and we're gonna feather the mask of course
    00:25:09,290to help it blend in.
    00:25:12,334Okay, there you go, and we'll just feather this
    00:25:15,214maybe like 30 pixels.
    00:25:18,156And there's our mouth footage.
    00:25:21,709It's really creepy when you just see the mouth.
    00:25:23,894All right, so now let's go back to our monster precomp.
    00:25:26,854And when these hands open, we're gonna want that,
    00:25:31,540we're gonna want that mouth footage on the hand.
    00:25:35,273All right, now you can see that when I shot this,
    00:25:38,094I must have changed the focal length
    00:25:40,664of the lens or something because
    00:25:43,904the exposure changed, and so now,
    00:25:46,697this doesn't match at all.
    00:25:48,822So what I first need to do is color correct it
    00:25:51,387and luckily, I shot this under the exact same lighting,
    00:25:55,165in the same room, so really it should just be a matter
    00:25:58,726of adjusting the overall levels.
    00:26:01,343I shouldn't have to do too much actual color correction.
    00:26:06,215I shouldn't have to the mess with
    00:26:07,132the blue and the red and the green channels,
    00:26:08,952I should just be able to do an overall color correction.
    00:26:10,670You can see now, just by brightening it overall,
    00:26:14,365I've gotten it to match a lot better.
    00:26:16,657And you can see here where the stubble
    00:26:18,497is going into the hands.
    00:26:20,516Oh, goodness.
    00:26:21,513So I'm gonna rotate this 90 degrees
    00:26:23,352'cause I wanted it to look kind of like Cyriak's,
    00:26:25,691where you kind of had this vertical mouth
    00:26:28,658right in the middle.
    00:26:30,381All right, there you go, that's fantastic.
    00:26:35,132It's just so fantastic.
    00:26:37,442Okay, and then here at the beginning,
    00:26:41,934you could see I have the,
    00:26:43,199so I want the mouth right in the middle,
    00:26:44,678but it kind of opens off to one side, right?
    00:26:47,154'Cause that's the way a jaw works.
    00:26:49,117So I'm gonna kind of split the difference,
    00:26:50,366let me just knock this over a little bit like that.
    00:26:55,050All right, that works, cool.
    00:26:57,005All right, and I'll just scale this up a little bit.
    00:27:02,243There we go.
    00:27:03,356All right, so we've got out mouth and
    00:27:06,108what I'm gonna do just for now is
    00:27:07,797I'm just gonna go to the first frame where
    00:27:09,151that mouth should appear,
    00:27:11,367which is probably somewhere in here,
    00:27:15,145and I'm gonna hit Option + Left Bracket
    00:27:17,108to just trim that letter because on this frame, right,
    00:27:20,265the fingers are covering it up,
    00:27:23,086and then it should be revealed by the fingers.
    00:27:25,351And I'm gonna show you a cool trick to kind of make
    00:27:28,387the roto for this a little bit easier, all right?
    00:27:31,487Because you are gonna have to rotoscope the fingers
    00:27:33,551back over the mouth, and the eyes too.
    00:27:36,960So here's our mouth.
    00:27:39,521And I think I might just color correct this
    00:27:41,135a little bit differently.
    00:27:42,103You see how bright the skin is around the mouth
    00:27:45,242compared to the hands?
    00:27:46,443And so I may have gone a little heavy with this.
    00:27:50,192And it does look like the skin of the hands
    00:27:54,017is a little redder than this,
    00:27:55,630so I may want to,
    00:27:57,003I may want to go into the red channel in my levels
    00:27:58,940and just push a little more red in there
    00:28:01,413by adjusting this gamma arrow.
    00:28:03,506All right, and you can see what that did,
    00:28:04,717that did help kind of blend it in a little bit more.
    00:28:07,601And then I'm just gonna scale it down
    00:28:10,223a little bit horizontally
    00:28:13,396so that we don't have the mouth layer
    00:28:15,299go outside the boundaries of the hands.
    00:28:18,694And now it's better,
    00:28:19,527yeah, it matches it a little bit better.
    00:28:22,041All right, so now we've got the mouth in the middle.
    00:28:25,041And now let's do the eyes.
    00:28:26,242So the eyes, exact same deal, right?
    00:28:28,730I've already stabilized this.
    00:28:30,841I grabbed this little freckle right here
    00:28:32,767and I stabilized my footage.
    00:28:35,348And then precomp this and say Eye-STABLE.
    00:28:39,800Gee whiz, talk about bad spelling, right?
    00:28:43,582And then,
    00:28:45,572and then we just go to like this.
    00:28:47,890We just draw a mask around the eye,
    00:28:49,217and the eye doesn't really move as much as the mouth,
    00:28:52,624so you really only have to do that.
    00:28:55,169Feather that maybe 30 pixels.
    00:29:00,904And then we'll grab our eye footage and drop it in here,
    00:29:05,136and scale that down.
    00:29:08,758And we do want to color correct a little bit.
    00:29:10,300And it is looking a little bit dark,
    00:29:12,650so let's zoom in and just try to match that.
    00:29:18,580Color correct that to match the hands, there we go.
    00:29:23,243All right, and then I'm just gonna,
    00:29:24,805let me call this Left-Eye and duplicate it.
    00:29:29,800And we have our Right-Eye,
    00:29:30,978we'll move this over here and for the right eye layer,
    00:29:32,681I'm just gonna slip this,
    00:29:35,278slip this layer in time a little bit
    00:29:37,060so that the eyes are not in sync to make it even creepier.
    00:29:40,044And I need to do the same thing,
    00:29:41,180I need to go forward, so this right eye,
    00:29:44,388you're not gonna see it until this frame,
    00:29:48,712so Option + Left Bracket.
    00:29:50,262And then on the left eye, you're not gonna see it until
    00:29:53,842probably this frame, so Option + Left Bracket, all right?
    00:29:59,500And there you go.
    00:30:04,187That's fantastic, yeah.
    00:30:06,582So if any of you do this,
    00:30:08,972try to do with feet instead of hands,
    00:30:11,562I think that would be even better.
    00:30:13,502All right, so here's basically how I built the monster.
    00:30:16,762Now I'm gonna show you a trick I did to
    00:30:20,565deal with the rotoscoping, 'cause there was a few times
    00:30:22,815where, like for example here, where these fingers come back
    00:30:27,214over the eyes, and you need to,
    00:30:29,341you need to cover the eye with the finger.
    00:30:32,004And while I'm looking at this, I'm gonna color correct the,
    00:30:36,205color correct that layer down a little bit
    00:30:37,870so the skin matches.
    00:30:40,699There we go, that's better.
    00:30:42,269And then especially the beginning,
    00:30:44,551you want those fingers you know to be on top of the layers
    00:30:49,259and sort of reveal them.
    00:30:51,530So here's what I did.
    00:30:54,807You could use masks to do it,
    00:30:56,841but I knew that that would be a pain because especially on
    00:30:59,971frames like this one, where all I need is
    00:31:05,323one, two, three three frames, right,
    00:31:09,198of roto for that fingertip,
    00:31:11,473and doing that type of quick roto with masks
    00:31:14,790is kind of a pain because you have to draw a mask
    00:31:17,232but then scoot it out of the way.
    00:31:19,424And so a lot of times,
    00:31:21,115it's easier to do this kind of stuff with paint.
    00:31:23,603So I'm gonna show you how to do this with paint,
    00:31:25,222it's actually kind of a neat little trick.
    00:31:27,188So first thing I'm gonna do is precompose my hands.
    00:31:30,318I'll just call this HANDS.
    00:31:32,058And actually just to make this a little more flexible,
    00:31:34,331I'm gonna duplicate my hands,
    00:31:36,678and then precomp the duplicate,
    00:31:37,942so I'm gonna just say HANDS.
    00:31:40,380And I'm gonna move this hands layer on top of everything,
    00:31:43,608so it's covering it up.
    00:31:45,210All right and so then, I'm gonna duplicate the hands layer
    00:31:47,968and I'm gonna call this one MATTE.
    00:31:51,109All right, and so here's what's going to happen.
    00:31:56,167I'm going to set my hands layer to use the matte layer
    00:32:01,643as its alpha matte.
    00:32:02,839So I'll key my, these two layers, HANDS and MATTE,
    00:32:05,082they are the exact same thing right now.
    00:32:07,590And so really all I'm doing is I'm saying,
    00:32:10,190"This layer, use itself as it's matte",
    00:32:12,563so you're seeing everything.
    00:32:13,795And so now what I want to do is I want to right-click matte,
    00:32:17,086and I want to say reveal,
    00:32:18,919sorry, I want to say open layer.
    00:32:22,087What that's gonna do is it's gonna open this precomp
    00:32:24,377in a layer viewer, okay?
    00:32:27,000If you double-click this,
    00:32:28,612it's gonna actually open the precomp
    00:32:30,148and take you into that comp.
    00:32:32,129What I want is to open this as if it's just a layer.
    00:32:34,933So now I'm looking at it in a layer viewer.
    00:32:37,717And what's cool is now I can paint on it.
    00:32:42,907I can use a paintbrush on it, okay?
    00:32:45,386And right now, my paintbrush settings
    00:32:49,563are set to do exactly what I want,
    00:32:52,833so let me kind of reset them
    00:32:54,004so I can sort of talk you through it.
    00:32:55,288So normally, this is what paint lets you do, right?
    00:32:58,287It lets you just paint onto a layer.
    00:33:00,649And, what I want to do here,
    00:33:04,292you can see I'm getting some issues with my key here,
    00:33:06,240maybe I'll go in and fix that but
    00:33:08,792what I want to do is actually paint
    00:33:11,847on the alpha channel of this.
    00:33:16,121You can paint on the RGBA if you want to,
    00:33:18,390and actually maybe this is what I'll do for you guys.
    00:33:21,499when I made the demo,
    00:33:22,887I painted directly on the alpha channel.
    00:33:24,870You don't necessarily need to do that.
    00:33:26,720You can paint on the RGBA channels,
    00:33:29,501which paints on the visible RGB channels,
    00:33:33,436but also the alpha channel, which is cool.
    00:33:36,212So what you need to do is first,
    00:33:38,925turn on paint on transparent.
    00:33:41,013And now, you see your layer has gone away.
    00:33:43,339You can't see it anymore, so in order to see it,
    00:33:45,723you need to click this little button in the middle,
    00:33:48,776Toggle Alpha Boundary, it looks like a little pink man,
    00:33:51,848and when you click it, it's gonna show you your layer again,
    00:33:56,095and so this is what it's doing,
    00:33:58,799it's basically showing you your layer
    00:34:01,221before you've painted it.
    00:34:03,275And now as you paint on it,
    00:34:04,575it's gonna give you this pink boundary
    00:34:07,510which is gonna sort of show you what the alpha channel
    00:34:10,231looks like overlaid on top of your image.
    00:34:13,426Now why is this useful?
    00:34:15,265Well this is how it's useful.
    00:34:16,565What I want to do is drag this layer viewer, right?
    00:34:20,550And I'm gonna grab these little notches up in the tab here,
    00:34:22,986I'm gonna grab this and I'm gonna move it down
    00:34:25,909to this bottom little tab right here,
    00:34:28,685and so now what I can do is I can actually see,
    00:34:30,917let me rearrange the screen a little bit,
    00:34:32,587I can see what I'm painting on
    00:34:34,306and I can see the result up here, okay?
    00:34:37,419Now remember, we have this setup so that this matte layer
    00:34:40,515which we are now able to paint on
    00:34:42,771is being used as the alpha matte for a copy of both hands.
    00:34:48,008And so here's how this works now.
    00:34:50,065Okay, if we go to like this frame,
    00:34:53,877okay, I shouldn't see the mouth,
    00:34:56,461I should see these fingers kind of over the mouth.
    00:35:00,036So what I can do is zoom in here
    00:35:01,731and I can just paint those fingers,
    00:35:05,173and then up here, you'll see the fingers reappear.
    00:35:10,649Let's go back a frame 'cause it'll be
    00:35:12,001even more obvious here.
    00:35:13,048And so you can just sort of quickly paint back in
    00:35:18,421the pieces of the footage that you want to keep.
    00:35:20,659And you can see how when you're doing,
    00:35:23,176when you have footage that moves really quickly,
    00:35:28,144this can actually be a lot faster
    00:35:30,052to just paint frame by frame like this
    00:35:32,811than to actually do masking.
    00:35:36,269You can see how quickly, and then on this frame,
    00:35:37,776the mouth is gone,
    00:35:38,718and so now the mouth gets revealed.
    00:35:40,423So let's do the same thing with the eyeball, right?
    00:35:42,077So now on this frame, there's no eyeball.
    00:35:44,641On this frame, these fingers should be
    00:35:47,748covering up the eyeball.
    00:35:49,404So I'm just gonna paint,
    00:35:50,495and I'm using a Wacom stylus by the way,
    00:35:52,553which makes this a lot easier because
    00:35:54,600it's actually pressure-sensitive,
    00:35:56,762and so you can see if I don't push very hard,
    00:35:58,589I get these little, fine brushes I can paint with,
    00:36:02,520and if I need to, I can push really hard
    00:36:04,601and get a fatter brush.
    00:36:07,406And so this is the process,
    00:36:08,724this is exactly what I did for the demo video
    00:36:10,413that you guys at the beginning of this,
    00:36:11,885I just went really quickly through every frame
    00:36:15,106that needed it, and that's it, so that quickly,
    00:36:17,272I've now rotoed the fingers back over the eye.
    00:36:20,161And you do the same thing for this eye.
    00:36:22,765All right, so we'll do this really quickly.
    00:36:24,449And this technique, I gotta tell you,
    00:36:28,361this is one of the things that,
    00:36:30,772it's kind of a pain to set up in After Effects,
    00:36:33,516and you saw how kind of clunky it was to set it up.
    00:36:37,371And if you guys ever get into Nuke,
    00:36:40,357Nuke is incredible at this stuff,
    00:36:42,346and the paint system in Nuke is a lot more powerful.
    00:36:45,613The paint system in After Effects hasn't been updated
    00:36:48,452in a very long time.
    00:36:49,700There's a lot of features that I wish it had.
    00:36:53,012But it doesn't, so if anyone from Adobe is watching,
    00:36:57,150I've got some thoughts for you on how to make this better.
    00:37:00,402But this does work pretty well,
    00:37:01,291so it's pretty cool anyway.
    00:37:02,821So now, if we just sort of play through this,
    00:37:05,136it reveals these eyes and the mouth and whoop-dee-do,
    00:37:08,566there you go.
    00:37:09,633All right, so now we've built out our monster,
    00:37:12,465and I'm not gonna do all of the roto,
    00:37:14,233'cause now you guys know how to do it,
    00:37:15,813but there is out monster.
    00:37:17,165So now, let's go into our footage, okay?
    00:37:21,179And let's figure out what we want to do.
    00:37:23,536How are we gonna make this work?
    00:37:25,015How are we gonna actually get that monster
    00:37:26,787to come out of my mouth?
    00:37:28,731So first thing I need to do is I need
    00:37:30,975to get a good track, all right?
    00:37:33,714And so I need to figure out
    00:37:35,183where is the monster gonna appear?
    00:37:37,125It's not, it's gonna appear on this frame,
    00:37:40,756'cause that's the first frame where my mouth is open.
    00:37:44,051Wow, that is a beautiful frame.
    00:37:45,700And then it's gonna,
    00:37:47,090that monster's gonna remain until my mouth is closed,
    00:37:49,735so that frame.
    00:37:51,419So I set my in and out points.
    00:37:53,787I double-click the layer.
    00:37:55,543And by the way, I'm double-clicking, nothing's happening,
    00:37:57,392that's 'cause I have my paintbrush tool selected,
    00:38:00,179so I need to go back to my selection tool
    00:38:01,990and double-click, and let's bring this up here.
    00:38:06,559And now I'm just gonna track the motion of my face.
    00:38:11,213And so I just used my nose because,
    00:38:18,140now you see how it's getting a terrible track there, right?
    00:38:20,487It didn't track very well.
    00:38:21,873Well the reason is, look how far my nose moves.
    00:38:25,273From this frame to this frame,
    00:38:26,532my nose moves up a whole bunch,
    00:38:29,217and this outer box isn't big enough to find the nose.
    00:38:33,133If I make it bigger, now it finds the nose,
    00:38:36,562but you can see how much slower it is
    00:38:38,430and tracking it takes a lot longer
    00:38:40,461but it's actually doing a great job tracking and
    00:38:44,512let me pause this and zoom out for a minute so that
    00:38:48,477you don't have to stare,
    00:38:50,251you don't have to stare down my throat.
    00:38:52,983Man, I have a ring light,
    00:38:54,409I don't know if you guys know what a ring light is,
    00:38:56,040but I have a light basically right around
    00:38:58,256the lens of the camera,
    00:38:59,780and it gives you these really nice reflections on your eyes
    00:39:02,783and it gives you pretty quick and dirty, easy lighting.
    00:39:06,093But if your mouth is open, you get a lot of sort of shiny,
    00:39:10,002specular on your throat and the inside of your mouth,
    00:39:14,648which, I don't know, it's kind of gross-looking
    00:39:16,337if you really just stare at it in slow motion.
    00:39:20,130So we're almost done tracking my nose.
    00:39:22,095And once we get a good track on that,
    00:39:24,185we now have the motion of my head.
    00:39:26,458And so what I want to do now,
    00:39:27,873let's go back to, oh, we can stop right there.
    00:39:31,021So I'm gonna add a new null to the scene.
    00:39:34,910And now I'm gonna go down here in my tracking settings,
    00:39:36,833I'm gonna hit Edit Target,
    00:39:38,174and make sure that my motion target is set to that new null
    00:39:40,979I just added, because I want the motion
    00:39:43,905to be applied to the null.
    00:39:45,924And so now I'll hit apply.
    00:39:48,981And it'll bring us back to our composition viewer.
    00:39:50,936And if I hit U, you'll see that this null
    00:39:52,780now has a bunch of position keyframes on it,
    00:39:55,114and it tracks perfectly to my nose.
    00:39:57,198So, the basic thing we do is we now,
    00:40:00,784here's our monster we've created.
    00:40:03,919So what we can do is grab our monster comp,
    00:40:07,201drag it in here,
    00:40:09,634oh, that's not it, that's the wrong monster comp.
    00:40:11,676Let me make sure I figure out which one this is.
    00:40:14,617This is this monster comp.
    00:40:17,850See this is the importance of naming.
    00:40:20,811I have two comps named the same thing.
    00:40:23,029So let's grab Monster, and drag it in there,
    00:40:26,579let's put this at half res, and now,
    00:40:29,745I can just parent that to my null.
    00:40:34,012And now it's stuck to my face.
    00:40:35,883And, maybe I'll scale this up a little bit, move it down,
    00:40:40,376position it where I want it.
    00:40:42,417And I'll do a quick little every other frame render here,
    00:40:45,318by the way, if you guys don't know, if you use the zero key
    00:40:48,494on the number pad to do RAM previews,
    00:40:51,137if you hold Shift and do that,
    00:40:53,390it previews every other frame.
    00:40:56,032And let's position this layer so that it doesn't start
    00:40:58,654until the right frame.
    00:41:00,841There we go.
    00:41:07,311There we go.
    00:41:09,201Oh, so beautiful, so nice.
    00:41:13,921Okay, cool, so now we've got the monster tracked to my face.
    00:41:19,199Oh, this never gets old.
    00:41:20,283And you can see that a lot of the issues we were having
    00:41:23,401with the key, you don't really notice them
    00:41:26,210when everything's going, okay?
    00:41:28,541And there's some color correction that we still need to do
    00:41:32,443because I actually had to reshoot this shot of me
    00:41:36,604with my mouth open wiggling my head around,
    00:41:39,880and it had gotten a lot darker,
    00:41:41,436so I had to turn on a light,
    00:41:43,069and that light was orange, and so the skin of the hand
    00:41:45,571doesn't quite match the skin of my head, my beautiful head.
    00:41:49,979Let me show you how I dealt with this, by the way.
    00:41:52,844What I did was I put
    00:41:55,810a hue and saturation effect on this.
    00:42:00,076And let's go to the reds control here.
    00:42:04,991And bring down the saturation in the reds.
    00:42:07,780Now you can see it's also bringing down the saturation
    00:42:09,599in my shirt, and I want to try and keep my shirt
    00:42:13,420as untouched as possible, color-wise.
    00:42:16,565And so if you look, the color of my head
    00:42:19,729has a lot of red in it and not much blue,
    00:42:22,695but the color of the shirt,
    00:42:24,786it's actually pretty close,
    00:42:27,029but what you can do, this is a cool thing you can do
    00:42:29,473with hue and saturation is you can try
    00:42:31,834to limit the effect that this has
    00:42:35,236by using these controls here.
    00:42:37,014So I only want it to affect certain reds,
    00:42:39,936and specifically reds that have a little bit more
    00:42:42,670of an orange tint to them then my shirt does.
    00:42:45,759So what I can do is I can pull
    00:42:49,868these controls over, okay?
    00:42:52,174And you can see that that did help.
    00:42:53,478If I pull this to the left, and if you look at my shirt,
    00:42:56,049as I pull this to the right,
    00:42:57,152it's gonna bring some of the color back to my shirt,
    00:42:59,460but it's gonna leave that adjustment on my head,
    00:43:03,243like that, and I do need to pull this up a little bit.
    00:43:06,457And so now, it did hit my shirt a little bit,
    00:43:09,657but it made the color of my skin match this much better.
    00:43:14,971And you can even push the hue a little bit
    00:43:17,347if you wanted to make it a little bluer,
    00:43:19,313or something like that.
    00:43:20,698And then I probably need to also put a levels effect on,
    00:43:23,303but you can sort of see that that helped a lot already
    00:43:26,877just by adjusting the hue and saturation.
    00:43:29,612Okay, so let's talk about how we get this thing
    00:43:31,820to actually come out of my mouth.
    00:43:33,201The first thing we need to do is time it out properly.
    00:43:35,751So let's turn this off for a minute.
    00:43:38,023So when this monster comes out of my mouth,
    00:43:42,694I want the fists to be closed,
    00:43:46,065and then open up pretty quickly.
    00:43:48,407So by the time we get to here,
    00:43:50,523I already want those hands opening up,
    00:43:52,999so I need to re-time this.
    00:43:55,388And so that'll work pretty well.
    00:43:58,967I also wanted this to feel a little bit creepier.
    00:44:01,247If you guys have ever seen the movie Beetlejuice,
    00:44:03,267there's this great shot where he sort of opens his mouth
    00:44:05,857and all these spider legs come out,
    00:44:07,577and they move really, really quickly,
    00:44:09,716so I also time remapped this.
    00:44:12,097And let's actually go into our Monster precomp here.
    00:44:19,228There we go.
    00:44:20,675And you can see one problem we're having
    00:44:24,127is that some of my layers are not long enough,
    00:44:27,009like the right eye and the left,
    00:44:28,924the right eye doesn't go out far enough.
    00:44:30,818So let me, let me actually
    00:44:34,713extend this out so we actually get enough, there we go.
    00:44:40,940Okay, so this is gonna be our last frame,
    00:44:43,676and and you can see, I haven't actually done
    00:44:45,381all the roto work on this,
    00:44:47,260but we're gonna just pretend I did for now.
    00:44:50,454All right, so I'm gonna trim this comp now.
    00:44:53,791And then we'll go back into our footage.
    00:44:56,296And I'm gonna time remap this so that
    00:44:58,354it all just happens a lot faster.
    00:45:02,578All right, so that when this,
    00:45:05,447when these hands open and they start wiggling,
    00:45:08,279let me just do a quick RAM preview,
    00:45:09,871I want them to move a little bit faster than normal speed
    00:45:12,971and just look really weird and freaky.
    00:45:16,614And it'll also help me because the hands will open faster.
    00:45:19,169Yeah, there we go.
    00:45:20,471(garbled vocalizing)
    00:45:22,300That's the sound effect I'm gonna make
    00:45:25,069when this happens to me in real life.
    00:45:27,563Okay so what I need to do is,
    00:45:29,982I need to split this layer, because up until here,
    00:45:35,090it's inside my mouth, and then from this point forward,
    00:45:38,395it's outside of my mouth.
    00:45:39,815So I'm gonna go to this point in time
    00:45:41,253and I'm gonna hit Shift + Command + D.
    00:45:43,873That's the hotkey.
    00:45:44,727You can go up to edit and say split layer, right?
    00:45:48,219And that just splits the layer
    00:45:49,400right where your play head is.
    00:45:50,709And so then what I want to do is go to this,
    00:45:53,066go to this layer here, and let's turn this layer on,
    00:45:55,849and I'm gonna make a new solid,
    00:45:57,139and I'm just gonna call this HandsMATTE.
    00:46:00,942Let's move it down here.
    00:46:02,409And I'm just gonna trim this layer up
    00:46:06,096so it lines up with that.
    00:46:07,271And then I'm gonna make it an adjustment layer
    00:46:08,528so I can see through it.
    00:46:10,213And I'm gonna start,
    00:46:12,466I'm gonna go to this last frame here,
    00:46:14,764and I'm gonna put position and scale keyframe
    00:46:17,158on my monster layer.
    00:46:18,962Then I'm gonna go to the first frame,
    00:46:20,508and I'm gonna scale this thing down
    00:46:23,123so that it could fit inside my mouth, okay?
    00:46:27,172So now it's gonna come forward as my mouth opens,
    00:46:31,869and then it's going to be outside of my mouth, like that.
    00:46:37,516And if I turn these off temporarily, you can see,
    00:46:41,385I need to make sure, there we go, so this is,
    00:46:44,078I actually kind of timed this out wrong,
    00:46:46,107so I'm gonna move these keyframes to here.
    00:46:50,010Move these over a little bit.
    00:46:53,274And then I'm gonna move where that layer was split,
    00:46:55,581so I'm just sort of adjusting the timing here.
    00:46:58,940Okay so, let's see, so now I open my mouth
    00:47:02,046and it comes out, yeah.
    00:47:04,204All right, so I'm sort of roughing out the timing.
    00:47:07,172(garbled vocalizing)
    00:47:10,309All right, and I'm gonna put an ease on the end here,
    00:47:13,097so that they sort of ease into position.
    00:47:15,883All right, so next thing I want to do
    00:47:17,670is I wanted my mouth to sort of bulge a little bit
    00:47:21,101as this thing popped out.
    00:47:23,207So I'm gonna turn off my monster layers for a second
    00:47:25,562and go to my, go to the footage layer,
    00:47:27,920and I'm gonna add a distort bulge effect, all right?
    00:47:32,491And I'm just gonna sort of roughly position that
    00:47:36,339where my mouth is.
    00:47:38,235And I did this very roughly, I mean,
    00:47:40,029you can track the bulge effect to the footage,
    00:47:43,678but this happens so fast,
    00:47:44,859I didn't really want to mess with it.
    00:47:46,051And what you're animating is the bulge height, okay?
    00:47:50,213And I do want to taper this, so it sort of feathers nicely
    00:47:53,626into the footage, but now I can, blah,
    00:47:56,996I can bulge my mouth like this.
    00:47:58,592So let's start with zero.
    00:48:01,043On this frame, it's zero.
    00:48:03,478And then we go forward
    00:48:07,403maybe to this frame and open it up like this.
    00:48:11,233All right, and I can adjust,
    00:48:13,658adjust this here, here we go, so, blah,
    00:48:15,880so it really opens wide.
    00:48:19,207And then I'll bring it back down to zero at the end.
    00:48:25,296And I just want, here we go,
    00:48:26,790I'll bring it back down to zero, right as this layer ends.
    00:48:30,284So, blah, there we go.
    00:48:32,466So this is just expanding my mouth
    00:48:34,148and giving that fist a little more room to come out.
    00:48:36,864And it also looks awesome.
    00:48:38,719All right, and so then what I want to do is
    00:48:41,337let's turn on the hands,
    00:48:42,888and I'm gonna set the transparency to 50% just for a minute,
    00:48:47,108just so I can see through the matte.
    00:48:48,502So I'm gonna set it a little bit lower,
    00:48:51,001there we go, so I can see through them.
    00:48:52,858Actually never mind, I'm gonna turn them off,
    00:48:54,862but I'm gonna turn my matte later on,
    00:48:57,721and I'm gonna go forward to this frame here,
    00:49:04,589and I'm going to rotoscope my enormous mouth.
    00:49:12,710You guys are gonna know my face (laughing) and my mouth
    00:49:17,533much better than I think I'm comfortable with after this.
    00:49:20,780All right, so I'm gonna put a mask keyframe there,
    00:49:23,602and then I'm gonna just sort of go back,
    00:49:26,277and just kind of do some manual, quick and dirty roto here.
    00:49:30,528And so what I'm doing is I'm just making this matte layer
    00:49:34,100into an alpha matte that I can then use
    00:49:37,242on that first copy of my monster
    00:49:41,160to get it to only be inside of my mouth
    00:49:43,686at the beginning of this animation, all right?
    00:49:46,663And I'll feather this mask maybe five pixels, right?
    00:49:51,842And again, Cyriak has just,
    00:49:55,103has just got a lot of patience, I assume, to be able to
    00:50:00,016do this kind of thing times a million.
    00:50:06,238All right, and then this is the first frame here,
    00:50:08,626so there should just be like a tiny little,
    00:50:12,631a tiny little hole where you can see
    00:50:15,090the fist starting to come through.
    00:50:18,880There you go, and then we'll scoot that over.
    00:50:22,020And by this point,
    00:50:25,678we should be starting to,
    00:50:28,770we should probably start to see the fist
    00:50:30,897come out of the mouth at this point.
    00:50:33,299All right, so let's see what we got so far,
    00:50:34,682so let's turn on our matte, our monster layer.
    00:50:37,696And let's set that layer to use the matte
    00:50:40,380as its alpha matte.
    00:50:42,659All right, so blah.
    00:50:45,312And so let's say right about there,
    00:50:50,030let's see, it pops out, so the timing of this
    00:50:52,546needs to shift a little bit.
    00:50:54,044What I want, and let me look at the time remap keyframes
    00:50:56,657of both of these layers,
    00:50:58,847you can see that the fist,
    00:51:00,439the fists are starting to open a little too soon.
    00:51:02,848I don't want them to open until maybe here,
    00:51:05,712so I'm gonna take those time remap keyframes
    00:51:06,823and push them forward a little bit, there we go.
    00:51:12,155And there we go.
    00:51:14,821And now I'm actually gonna, I'm gonna move,
    00:51:17,975move the out point of this layer back to here
    00:51:22,928and have that layer start here.
    00:51:25,720So I'm just playing with the timing of
    00:51:27,651when these things pop out, there we go.
    00:51:32,174Okay, and I think, let's take a look,
    00:51:36,271I have a feeling this is gonna be too abrupt.
    00:51:39,721Yeah, yeah, they pop out too abruptly.
    00:51:42,192It's pretty funny though.
    00:51:45,153So I think what I may wanna do is, let's see here,
    00:51:52,170oh, there's another problem,
    00:51:53,314there's another problem, people.
    00:51:54,331I keep finding problems.
    00:51:55,491So here's one of the reasons this is happening.
    00:51:58,895These hands here have scale and position keyframes on them.
    00:52:05,569This layer does not.
    00:52:07,445So what I need to do is actually go here,
    00:52:10,924I need to parent this monster layer to this monster layer.
    00:52:14,531So now as it pops out, those will move too,
    00:52:17,548and that's gonna really help, there we go.
    00:52:21,288And then the other thing I need to do is probably
    00:52:23,736have those hands start even smaller than they do.
    00:52:29,677So that they can really feel like they're coming out of,
    00:52:35,308let's see (laughing) that's better, okay.
    00:52:41,568All right, and then what I might do is just sort of
    00:52:44,072on this frame here, let me open up
    00:52:46,942my little bulge effect here.
    00:52:48,942On this frame here, I may actually really bulge the mouth.
    00:52:56,436And maybe even bulge it a little more here,
    00:52:59,740and then have it go back down to zero,
    00:53:01,200just so as the hands pop through,
    00:53:03,292there's a little bit of a sort of blah on my lips,
    00:53:06,823like that thing's pushing through the threshold.
    00:53:10,095All right, and let me make this whole area bigger
    00:53:15,464so that it actually affects, there we go.
    00:53:20,598All right, and I, honestly, it took me probably a half hour
    00:53:25,774of just tweaking this transition
    00:53:28,011to really make it feel okay.
    00:53:29,510This isn't bad, but there's still a little bit
    00:53:31,006of a jump right there,
    00:53:32,729and so some of the things I would do is just,
    00:53:35,633I might even try to animate the mask so that maybe,
    00:53:38,803like the top knuckles start to pop through first,
    00:53:42,338so maybe if I go, if I made this take one frame longer
    00:53:46,757before, sorry, before the hands pop out,
    00:53:52,166what I could do is I could adjust this mask like this
    00:53:56,532so that the top of the fists have started to come out,
    00:53:59,539but the bottom is still stuck in there,
    00:54:02,971and even just having that happen for one frame
    00:54:05,731maybe can help, can help this feel,
    00:54:10,161there, like that, right?
    00:54:12,860It just helps that transition.
    00:54:14,597And the more of that that you can do, the better.
    00:54:19,344There we go.
    00:54:20,912All right, so there's a couple more things I did
    00:54:22,527to really help sell this.
    00:54:24,287So one thing is I animated some color correction,
    00:54:27,909so I put a levels effect on the monster
    00:54:30,691that's inside the mouth.
    00:54:32,239All right, and as it comes forward, it's gonna get brighter.
    00:54:35,868So what I did is on the last frame right before
    00:54:38,507it's like fully out of the mouth,
    00:54:40,815put a keyframe on the histogram for the levels effect.
    00:54:43,823You can use a different effect,
    00:54:45,520I just really like to use levels
    00:54:46,753for doing basic brightness color correction,
    00:54:49,088but you can also use brightness contrast.
    00:54:51,491But I put a keyframe here,
    00:54:54,943go to the first frame where it's really inside my mouth
    00:54:58,976and darken it, okay?
    00:55:00,152So I'm gonna push the white output down,
    00:55:02,212I'm gonna push the gamma down,
    00:55:04,189and I want it to just look like it's inside my mouth.
    00:55:09,836So I'm just sort of looking at the inside of the mouth,
    00:55:13,867looking at the hands and trying to match the colors, right?
    00:55:17,393As best I can, and this happens really quickly.
    00:55:22,070So something like that, right?
    00:55:23,344And so you can see before and after.
    00:55:25,343And so now, it's gonna get brighter as it
    00:55:27,721comes out of my mouth, there we go.
    00:55:31,397And now once it's out of my mouth,
    00:55:33,725it should cast a shadow on my face, and on the wall.
    00:55:37,592If you look, there's kind of this radial shadow on me
    00:55:39,976because I'm using a ring light on my camera.
    00:55:42,097And so this is really easy to do.
    00:55:44,468All you do is go to the monster layer,
    00:55:46,854the main one that's on the outside of my face
    00:55:50,197and go to perspective and add a radial shadow.
    00:55:54,622And then you can move the light source around,
    00:55:57,130which is right here, you can move it.
    00:55:59,162Now the light source I know when I shot it
    00:56:01,603was right in the middle of the lens,
    00:56:03,121so it's right in the middle of the camera,
    00:56:04,553and then you just soften it to match the existing shadows
    00:56:08,869and adjust the opacity to match the existing shadows.
    00:56:12,951Something like that.
    00:56:14,480And now that shadow sort of matches the real shadow,
    00:56:18,977helps a little bit.
    00:56:19,858And then the last thing I did was
    00:56:24,221right underneath this layer,
    00:56:25,842once this thing is outside of my mouth,
    00:56:28,072it's also supposed to cast a shadow on my face
    00:56:30,695and sort of darken my face
    00:56:32,498because it's coming out of my mouth,
    00:56:34,479so there should be a little shadow here,
    00:56:36,288a little shadow here.
    00:56:37,319So I just made a new solid that was black,
    00:56:42,141stuck it under here,
    00:56:43,982and let's just trim it so it's the same length,
    00:56:48,777let's just trim it to here,
    00:56:49,969and just temporarily make an adjustment layer.
    00:56:53,199And then I'm gonna use my mask.
    00:56:54,686I'm just gonna sort of draw
    00:56:57,003where this shadow should sort of fall, like that.
    00:57:01,958Let's make this a normal layer now.
    00:57:03,861And then just feather that, like this.
    00:57:07,352And turn the opacity down,
    00:57:08,765it doesn't need to be that dark,
    00:57:10,090but something like that,
    00:57:11,314I mean, it might actually look like that.
    00:57:13,169And so then what I want to do
    00:57:15,599is parent this solid to the monster
    00:57:20,243and it's moved so I need to, oh boy.
    00:57:23,861It's moved, so I need to now move this back to where it was,
    00:57:27,473it was somewhere like that, there we go.
    00:57:30,576And so now it will,
    00:57:31,871because I parented it to that monster layer,
    00:57:34,026it will move with it, and it's like a shadow on my face.
    00:57:39,581There you go.
    00:57:40,576So for the example, the only other things that
    00:57:43,067we haven't gone over is,
    00:57:44,634I finished the roto for the fingers,
    00:57:47,257I had the hand go back inside my mouth which,
    00:57:50,173using the exact same techniques.
    00:57:53,907And really, that's it.
    00:57:55,451So you guys should now have all the tools you need
    00:58:00,617to make a hand crab monster come out of your mouth
    00:58:05,871and go back inside, if you'd like it to.
    00:58:09,838And so we covered a lot in this video.
    00:58:12,340There was stabilizing, there's tracking,
    00:58:16,043a little bit of color correction, and really,
    00:58:18,560one of the things I just sort of
    00:58:20,610hope you take away from this,
    00:58:21,842I always try to give you a takeaway,
    00:58:24,113one of the takeaways is, sometimes there is no easy way.
    00:58:28,408If you're gonna do something like this
    00:58:29,896or anything that looks like Cyriak's work
    00:58:32,453or has that same style,
    00:58:34,545you're gonna have to do a ton of manual labor.
    00:58:37,988And there's no getting around it.
    00:58:39,151There's gonna be a lot of keyframes, a lot of roto,
    00:58:41,126there might be some paint,
    00:58:42,233there's gonna be tracking and stabilizing and adjusting,
    00:58:44,643and just trying to figure out,
    00:58:47,275what are those little details,
    00:58:48,802those little visual details?
    00:58:50,028It's really bothering me,
    00:58:51,256this pop that happens right there, you know?
    00:58:54,099And so I might even go in and manually mesh where my mouth
    00:58:57,700just to make it really feel good when that,
    00:59:00,997when that hand pops out.
    00:59:02,894So there's a lot of manual labor involved,
    00:59:04,824and you shouldn't be afraid of that,
    00:59:06,751and sometimes there's no magic bullet
    00:59:08,569to just make it easy on yourself.
    00:59:10,777So I hope you guys learned a lot, I hope this was fun,
    00:59:12,800I hope it gives you a little bit of insight
    00:59:14,652into how Cyriak, I'm assuming, does some of his stuff
    00:59:18,803and hopefully you can freak out your friends
    00:59:21,543and do some weird stuff with your body.
    00:59:25,107So thank you guys, as always, this was fun,
    00:59:27,764I hope you got a lot out of it,
    00:59:29,188and I'll see you next time.
    00:59:31,582Thank you so much for watching.
    00:59:33,086I hope you thought it was interesting.
    00:59:34,720And I apologize for making you stare at
    00:59:37,219the inside of my mouth and my pores
    00:59:40,089and different parts of me for long periods of time.
    00:59:42,615I hope you learned some cool tricks about stabilizing,
    00:59:45,138tracking, color correcting, and just strategies for doing
    00:59:48,015this weird kind of stuff.
    00:59:49,550If you have any questions or thoughts about this lesson,
    00:59:51,874let us know.
    00:59:52,815Now, go follow Cyriak and check out
    00:59:54,989all of his amazing, bizarre work.
    00:59:57,181Thank you again and I'll see you next time.
    01:00:00,775(upbeat music)