Making Giants Part 9: Compositing Part 2

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Making Giants Part 9: Compositing Part 2

And now for the finishing touches...

We've got a beautiful looking short-film, holy JEEZ!  But we're not done... no, not done.  There are a couple of shots in this thing that need some love:  that CU of the flower, and the ending shot where the type comes on.

We used Nuke to prettify, we'll use After Effects to add some effects and work on the type.

We go over some intermediate / advanced Particular stuff here, and if you aren't familiar with that plugin then you REALLY need to check it out.  It's more-or-less THE particle plugin (besides Form) that damn near every AE Artist uses.

At the end of this episode, we are picture-locked.  All that's left is audio!

Every episode of Making Giants comes with the most up-to-date projects and assets so you can follow along or break apart anything that isn't covered in the videos.

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.

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Trapcode Particular - THE particle plugin for After Effects you should be using.

    00:00:11,942- [Instructor] We left off last time with what's already
    00:00:14,334looking like a pretty nice piece.
    00:00:16,752So let's take one more peek at where we stand.
    00:00:23,454Giants are not what we think they are.
    00:00:29,230The same qualities that appear to give them strength,
    00:00:35,261are often the sources of great weakness.
    00:00:44,783The powerful, not as powerful as they seem.
    00:00:52,410Nor the weak as weak.
    00:01:04,973So now we need to do a little magic on this shot here.
    00:01:09,457We need this moment, which is the first time we really
    00:01:12,417see the flower close up, and we're relating to it.
    00:01:15,732We're close to it.
    00:01:17,502Camera distance equals emotional distance,
    00:01:20,107my good friend Ron Zietler would say.
    00:01:22,417And we need this shot to pop a little more.
    00:01:24,657So I think having some sort of burst,
    00:01:27,274particles of dust or something just to make
    00:01:29,393this more of a movement, is gonna make this
    00:01:31,812shot more special.
    00:01:33,196And that's gonna help the next shot feel a little bit
    00:01:35,687more like a crazy transformation is about to take place.
    00:01:40,656We also need to do something with this type at the end.
    00:01:44,304It needs to be laid out a little nicer,
    00:01:46,751it needs to be animated so that it just feels good,
    00:01:49,724has a good effect to it, and gives the piece
    00:01:51,711some nice closure.
    00:01:53,537So, let's dive into After Effects and get going.
    00:01:58,421So here's our shot, and we want to add some interesting
    00:02:01,627little particles coming off the flower when
    00:02:04,464it kinda opens up like this.
    00:02:06,349So what we could do is go through the trouble
    00:02:09,504of actually bringing in the camera information
    00:02:12,064from Cinema 4D using Cineware, or something like that,
    00:02:15,465but because this is such a simple camera move,
    00:02:17,744I'm just gonna kinda eyeball this.
    00:02:19,801So let's start by making a new solid layer,
    00:02:22,585and we'll call it particles.
    00:02:25,126We're just gonna kinda play around with Particular
    00:02:28,726and try to get something that feels like
    00:02:34,559a subtle, but kind of interesting moment
    00:02:38,159and kinda of gives the audience, gives the viewer a hint
    00:02:41,771that okay something's about to happen.
    00:02:44,213This flower is waking up.
    00:02:45,546It realizes what's happening to it.
    00:02:47,393So I'm just gonna go ahead and move the omitter
    00:02:51,111right into the middle of the flower.
    00:02:53,495I'm gonna add a camera to the scene, and I'm just
    00:02:55,813gonna very, sort of roughly.
    00:02:58,812So let me just call this camera.
    00:03:01,511And I'm just gonna kinda eyeball the movement here.
    00:03:05,532So I'm gonna put a keyframe on Z, right here.
    00:03:10,287I don't need X and Y, and then I'm gonna go to the end,
    00:03:13,175and maybe to make this even easier, what I could do
    00:03:15,620is just really quickly make a solid layer.
    00:03:20,462Make kinda like a circular mask, like this,
    00:03:23,462that's about the right size, ya know.
    00:03:26,041Like the same size as the flower.
    00:03:27,928I'm gonna make it a 3D layer, and then I'm gonna
    00:03:30,211go to the end here, and I'm gonna push this camera in,
    00:03:33,552like this, so that this stays about the same size.
    00:03:38,287Then I can kill that.
    00:03:40,008And what's that gonna let me know is that now
    00:03:42,046my After Effects Camera is moving forward.
    00:03:45,507Close to the same rate as the Cinema 4D camera,
    00:03:48,464and because these particles are gonna be kind of floating
    00:03:50,686and doing weird stuff anyway, I think it's gonna
    00:03:53,045be just fine.
    00:03:54,691Alright, so the first thing I want to do is figure out
    00:03:57,228what should this emitter be doing?
    00:04:00,237And I don't want it to just be emitting
    00:04:02,383constantly like this.
    00:04:03,686What I want is when this thing opens up,
    00:04:05,507I want it to emit, and then stop.
    00:04:07,789Like a little burst of particles, okay?
    00:04:10,008And right now, the default emitter in Particular
    00:04:13,507is just a point.
    00:04:14,886So it's literally just this one dimensional point,
    00:04:18,038and what I actually want is for it to feel as though
    00:04:19,987the entire yellow face of the flower is emitting.
    00:04:23,811So I'm gonna go to the emitter settings and change
    00:04:25,963that to a sphere.
    00:04:27,309And so now you can see, well you can't actually
    00:04:30,683really see anything yet.
    00:04:32,168I need to increase the size of the emitter.
    00:04:34,349So I'm gonna increase the X and the Y size
    00:04:37,037so that it's, more or less, emitting from the entire area
    00:04:42,025of that yellow part of the face, and it should probably
    00:04:45,083be a little bit smaller.
    00:04:46,654So it really is emitting just from inside
    00:04:51,026that yellow part, just like that.
    00:04:53,055I'm gonna animate the particles per second,
    00:04:59,157from zero, here.
    00:05:01,900And then as it starts to open up,
    00:05:06,408I want it to go up to, I dunno, maybe 250.
    00:05:12,443And then, after maybe two, three frames,
    00:05:15,747go back down to zero.
    00:05:17,243And so what that's gonna do is it's gonna make
    00:05:18,641a bunch of particles emit, and then no more.
    00:05:23,448And then the ones that emit will sort of fly around
    00:05:27,528and do whatever it is they're gonna do.
    00:05:29,604Now let's talk about the directions.
    00:05:31,605So right now, the direction is set to uniform.
    00:05:33,579Let me turn the shot off, or just solo this.
    00:05:35,566So the particles all sort of go in random directions,
    00:05:38,467and I want them all to go outward, alright?
    00:05:41,166So I'm gonna set this to outwards.
    00:05:44,928So now they're all gonna emit and go off,
    00:05:48,570kinda like in a circular, outwards direction.
    00:05:51,617It's gonna feel a little bit more like a burst coming
    00:05:54,911from the flower.
    00:05:56,373Now the amount of particles is not nearly enough.
    00:06:00,030So I'm gonna go to this keyframe here
    00:06:02,211and just double-click it, and I'm gonna make this 2,500.
    00:06:05,530So this way we get a lot more.
    00:06:08,328Now you're gonna see this happen a lot.
    00:06:10,170Particular is not great at letting After Effects know
    00:06:14,132that these frames need to be recached.
    00:06:17,616So you can see that even though I've changed
    00:06:19,820the number of particles, I can see more particles here,
    00:06:22,630but then further on, these frames need to be recached.
    00:06:26,132So one quick way to do it is to just change resolution.
    00:06:33,347You can go to the omission extras
    00:06:36,800and change the random seed.
    00:06:39,458And that will cause all the frames to be recached.
    00:06:42,022There's a bunch of ways around that,
    00:06:43,507but I generally use the random seed just
    00:06:45,899because it's a quick way to force After Effects
    00:06:49,089to recache all these frames.
    00:06:51,482So now we've got this little burst.
    00:06:53,547I want to increase the velocity.
    00:06:55,902I want them to be going a little faster.
    00:06:57,728Let's try 250, and I want some randomness.
    00:07:00,064So I'm gonna set that to like 75%.
    00:07:03,206So now, you get some particles moving fast,
    00:07:08,003some moving slow.
    00:07:09,619Let me just kinda ran preview this part over here
    00:07:11,283over and over again.
    00:07:12,608We kinda get a sense of what's going on.
    00:07:14,025Get this cool little burst.
    00:07:16,927And I might also...
    00:07:19,287Maybe what I'll do is I'll move this keyframe
    00:07:22,107a little bit closer, and have these
    00:07:24,850particles turn off faster so it feels
    00:07:26,711a little more like a burst instead of...
    00:07:30,613Yeah, that's a little more bursty.
    00:07:32,951Now I also want some variation with the size
    00:07:36,977of the particles.
    00:07:38,067So that's down in the particles settings.
    00:07:40,505I'm gonna come down here.
    00:07:42,229I'm gonna make this size smaller.
    00:07:43,902So make it like two, but then I'm gonna increase
    00:07:46,550the randomness.
    00:07:48,087So you're gonna get a little bit more randomness to it.
    00:07:50,414You probably also noticing that these particles just appear,
    00:07:53,797just like that.
    00:07:57,726And I think what might be cool is to let them grow on.
    00:08:01,781So I'm gonna go to the size over life property,
    00:08:04,463and this size over life, this is based on
    00:08:07,461how many seconds the particles actually live.
    00:08:10,037So they're set to be three seconds.
    00:08:12,641But there are no particles until 33 frames in,
    00:08:17,138and then this shot only lasts another,
    00:08:18,961really, 40 frames-ish.
    00:08:21,218So this is only like a two second shot anyway.
    00:08:24,417So I'm gonna make the life two seconds.
    00:08:27,096Then I'm gonna draw a size over life curve that does this.
    00:08:32,007So what that's gonna do is it's gonna make
    00:08:33,993the particles animate on size-wise like that.
    00:08:39,130Cool, so let's take a look at what we've got now.
    00:08:41,420I've got something like this.
    00:08:44,632Kinda cool.
    00:08:46,120Alright, now if we turn our shot back on
    00:08:48,949so we can kinda see what this is looking like in context.
    00:08:53,811I like the burst.
    00:08:56,204It's kind of interesting.
    00:08:57,854But it doesn't feel like it's tied to the shot at all.
    00:09:02,511So there's a few things that I don't like about it.
    00:09:05,794One is that everything's just so linear.
    00:09:07,828These particles just sort of come out and they
    00:09:09,788move into a straight line.
    00:09:11,011So I'm gonna need some more variation to it,
    00:09:13,033but another thing that might be interesting
    00:09:14,734would be to use some of the physics tools
    00:09:19,228built into Particular to kinda warp
    00:09:22,195the area that these particles are able to move in.
    00:09:25,934So there's a few pretty cool options that you
    00:09:29,091can play with in Particular, and one of them
    00:09:31,795that I don't use very often, but is kinda interesting,
    00:09:34,393is the spherical field.
    00:09:36,254So let me show you what this does.
    00:09:38,035You can actually turn on this visualized fields option,
    00:09:40,490and Particular will give you kind of a UI
    00:09:43,374that's gonna help you understand what your turbulent
    00:09:45,926settings are doing, and what your spherical field
    00:09:48,063settings are doing.
    00:09:49,686So if I turned the strength up of the spherical field,
    00:09:53,246you get this little red circle, and let's say
    00:09:56,654I expand the radius of it.
    00:09:58,278You can see what it does.
    00:09:59,111So this just gives you kind of a guide as to what
    00:10:01,629this spherical field is doing as far as affecting
    00:10:04,690the particles, and it basically creates this bubble
    00:10:07,305that pushes the particles around.
    00:10:10,224And you can move it.
    00:10:12,626It sort of warps the particles.
    00:10:15,970So what I could do is turn on my shot,
    00:10:19,346line this up with my flower, make it a little
    00:10:23,424bit smaller, like this.
    00:10:25,970And I can feather it.
    00:10:27,844And so now, if we turn the shot off again
    00:10:31,141for a minute and take a look at this.
    00:10:32,887You can see that now it feels like the particles,
    00:10:37,857it feels like there's a little bit more of a shape
    00:10:40,035that they're omitting from.
    00:10:41,420So if I turn off visualized fields, it's a subtle thing,
    00:10:43,820but I think it's gonna help integrate
    00:10:47,006things a little bit more.
    00:10:49,021Okay, so that's one thing that would help.
    00:10:51,741We're also are gonna want some turbulence.
    00:10:54,280So let me turn on visualize fields again.
    00:10:57,432If I open up my turbulence options,
    00:10:58,800there's all kinds of stuff here.
    00:11:02,591What I want it to do is affect the position of my particles.
    00:11:06,673And as I crank that up, you'll see that we
    00:11:09,031get these wavy lines, and this is sort of showing you
    00:11:11,321about how crazy these particle
    00:11:16,224paths can be now, okay?
    00:11:18,333So if I turn the scale up, for example,
    00:11:22,911you'll see you can get all kinds of crazy loop stuff.
    00:11:25,053This doesn't make sense, because I want...
    00:11:27,853I basically want smooth, but random seeming paths
    00:11:32,735for these particles to take.
    00:11:34,275So you can play with things like complexity.
    00:11:38,520There's this whole idea of octaves,
    00:11:40,395basically the amount of noise that you're using.
    00:11:42,933You can off-set the noise, if you want to.
    00:11:45,317But basically, I'm just gonna have the turbulence field
    00:11:48,635affect the position, and if I just ran preview this
    00:11:51,968you'll see what it does.
    00:11:54,002Right, it's almost as though there's some
    00:11:56,527wind blowing or something.
    00:11:59,965And now that I'm looking at this, I think I want
    00:12:02,287even more speed on these.
    00:12:05,099So I'm gonna double the velocity, and I'm gonna turn
    00:12:08,379the randomness to 100%.
    00:12:11,931And you can mess with this velocity distribution setting.
    00:12:17,557This is really cool.
    00:12:18,738And this basically lets more of the particles move slowly.
    00:12:23,007Like in this, with this settings, or the other way.
    00:12:28,040Velocity distribution is zero.
    00:12:30,301It's truly random.
    00:12:32,440Alright, and so I like to leave...
    00:12:35,457I'm gonna crank this up a little bit so you feel
    00:12:37,332like you have some that kinda hang around here,
    00:12:40,664and some that get going really fast.
    00:12:42,858And you get this really interesting kind of a burst.
    00:12:47,455And now the turbulence feels a little bit too much.
    00:12:51,426It's kind of too wiggly, and what I want,
    00:12:54,862it feels too fast.
    00:12:56,967So I want to mess with some of these settings.
    00:12:59,607I think what I'm gonna do is I'm gonna turn on
    00:13:02,684my visualize fields, and let me mess with the octave scale
    00:13:07,307and turn it down a little bit.
    00:13:10,546I'm trying to get smoother looking lumps, I guess.
    00:13:14,044I could have it affect the position a little bit less,
    00:13:17,644and then let's see if we increase this,
    00:13:21,784but decrease the scale.
    00:13:24,887If we can get anything smoother.
    00:13:27,579So we'll decrease the scale to maybe like five.
    00:13:30,946So we've got big, but smooth lines.
    00:13:36,582Alright, and let's do ran preview and see
    00:13:38,122what this looks like.
    00:13:40,888Cool, and there's a lot of...
    00:13:43,424These are still moving pretty fast.
    00:13:45,847I think I might need to turn the effect position down,
    00:13:49,704do the opposite of what I just did,
    00:13:51,917turn the scale up.
    00:13:54,954But turn the effect position down.
    00:13:56,929There we go.
    00:13:59,103Alright, and let me turn on this visualize field off
    00:14:02,344and see if that works a little bit better for us.
    00:14:04,884So now you've got this cool little burst with this kind
    00:14:07,663of spherical field in the middle.
    00:14:11,676Another thing I want to do is go up and start
    00:14:13,562messing with my particle settings.
    00:14:15,423So there's, by default, a feather on the sphere,
    00:14:18,259which I don't want.
    00:14:20,657I think I may want to crank the size randomness
    00:14:24,996up even more, and I might even want to turn
    00:14:26,999the size down so we get a lot smaller particles,
    00:14:31,297but then I can crank up the particles per second.
    00:14:35,196So maybe this goes all the way up to like 8,000.
    00:14:39,298And now I'm gonna have to change the random seed
    00:14:42,133so I can force Particular to update.
    00:14:44,032So now we'll get a really big burst of a lot of particles.
    00:14:49,662Cool, so now let's take a look, in context,
    00:14:53,246at our shot.
    00:14:54,424So you're not really able to see these particles very well.
    00:14:59,708And so what I need to do is I need to colorize them
    00:15:03,242so you're able to see them better.
    00:15:05,466So what I'm gonna do is just go into my particle settings
    00:15:09,490and for set color at birth, I'm gonna pick
    00:15:14,548this kind of brownish, yellowish color.
    00:15:17,183I might brighten it a little bit, push a little more
    00:15:20,905of that yellow color into it.
    00:15:23,385And then I'm gonna give it some randomness, maybe 25%.
    00:15:27,145Now it's still kind of hard to see these things,
    00:15:31,305even when they're moving.
    00:15:33,124And so what might be a good idea is to take a light
    00:15:38,107and add that to the scene.
    00:15:40,161We're just gonna add a point light.
    00:15:42,190I'll set it to 100%, with inverse square clamp falloff.
    00:15:46,976And if I now go into my particles, and I go down
    00:15:50,644to shading, I can turn shading on.
    00:15:55,026The light falloff, just leave it as natural,
    00:15:59,195and actually the falloff that I set on the light,
    00:16:02,203I think is actually being ignored, and this is
    00:16:04,763the falloff setting that Particular is using,
    00:16:07,765but I can move this light around now,
    00:16:09,744and it will actually shade those particles for me.
    00:16:14,256And so I kinda want that light right in the middle
    00:16:17,422of the flower, like this.
    00:16:20,403So that the particles that are closer,
    00:16:23,487get a little bit brighter, and the ones
    00:16:25,583that are farther away get a little bit darker.
    00:16:28,725Let's turn the shot off and make sure
    00:16:30,258that's what we're getting.
    00:16:31,727And I'm gonna turn...
    00:16:34,703Let me see, let's play with these things.
    00:16:36,178So if I turn ambient all the way down, and diffuse
    00:16:38,767all the way down and I just slowly bring it up,
    00:16:41,324you can see that you start to get some nice
    00:16:44,680variation to it all.
    00:16:46,182So it looks really nice.
    00:16:47,567And then the distance is gonna allow me to control...
    00:16:56,089It's gonna make these a little bit darker,
    00:16:58,242because they're far away.
    00:17:01,160So now another thing is there's a ton of depth of field
    00:17:03,629on this shot, and these particles don't have
    00:17:05,889any depth of field on 'em.
    00:17:09,083So let me go down to rendering, and I'm gonna say
    00:17:11,849full render, depth of field camera settings.
    00:17:14,892So what I need to do is turn on depth of field
    00:17:18,332on this camera.
    00:17:19,423So I'm gonna double-tap A.
    00:17:21,132Depth of field is on, but I need to set the focus distance
    00:17:25,469so that it's basically focused right where that flower is.
    00:17:29,907So what I can do is I can take a null object,
    00:17:34,989because remember, I sort of...
    00:17:36,884And I need to make this 3D.
    00:17:39,027And then what I'm gonna do is I'm gonna say
    00:17:41,048the focus distance for this camera, I'm gonna use
    00:17:43,622a little expression here.
    00:17:45,870And I'm gonna say that the camera position is basically
    00:17:51,149the position of this layer of my camera.
    00:17:54,531And then my focus position equals this nulls position.
    00:18:02,502So .transform.position.
    00:18:08,021And then, what I want is to measure how far,
    00:18:10,964basically what's the distance between the camera
    00:18:14,004and this focus null.
    00:18:15,703So I'm gonna use an expression called length.
    00:18:17,908I can just say length, camera position,
    00:18:20,688focus position, and what this is gonna do
    00:18:22,767is it's going to basically rack focus for me,
    00:18:25,924and it will always be focused right in the center
    00:18:28,892of that flower.
    00:18:30,724And then I can use the aperture control
    00:18:35,403to really push the depth of field.
    00:18:38,406Let me see what happens if I turn the light off.
    00:18:40,938It'll be probably a little bit easier to see
    00:18:44,059what's going on here.
    00:18:45,358So the particles, let me turn shading off.
    00:18:50,023Alright, and you know what?
    00:18:52,140Just to make this a little bit easier to see,
    00:18:54,295for now, I'm gonna turn
    00:18:56,711the size of the particle up.
    00:18:59,610Here we go.
    00:19:01,575Just turn it up to like three.
    00:19:03,602And so now if I go into my camera and I adjust my aperture,
    00:19:07,202I can really push the depth of field quite a bit.
    00:19:15,170So as these particles get closer and closer
    00:19:17,641to the camera, they go out of focus.
    00:19:19,998And if I turn depth of field off, you'll see
    00:19:22,062that I'm getting a lot of depth of field.
    00:19:26,487And I can turn the blur level even higher too, if I want to.
    00:19:30,239And let's set that.
    00:19:31,983Let's set the iris shape to something with a few
    00:19:36,087more sides to it.
    00:19:37,698That tends to give you...
    00:19:38,822It's not making a huge difference here, but that tends
    00:19:40,542to give you a little bit more,
    00:19:42,803a little bit more of a higher quality looking
    00:19:45,636depth of field.
    00:19:46,897And so now, looking at this, let's look at it
    00:19:49,739in context with the shot.
    00:19:51,419See if this is starting to show up any better for us.
    00:19:59,110Yeah, it is and it's fitting in with the shot
    00:20:02,153a little bit better, but it just feels so dark.
    00:20:04,851And these colors are starting to get really ugly.
    00:20:06,974So I'm gonna do this kind of a different way.
    00:20:09,971I'm gonna turn the randomness down to zero.
    00:20:12,959I'm gonna pick whip, like one of these
    00:20:17,391bright, yellow colors, like this.
    00:20:19,551And what I want to do is just get the burst,
    00:20:23,648the amount of particles, the size of the particles,
    00:20:26,928to feel the way I want.
    00:20:28,730And then I'm gonna do some compositing to it.
    00:20:31,050So let me turn the size of this particle down to two
    00:20:34,970and see if I like that any better.
    00:20:36,650And maybe I might even up the particles per second
    00:20:41,624to like 12,000, so there's even more of them.
    00:20:44,923And then I'm gonna set the life to four seconds,
    00:20:48,227and the life randomness to 80%.
    00:20:50,651So I'm trying to get even more randomness out of this.
    00:20:54,403And I need to come to my emitter, change the random
    00:20:58,147seed so I can force Particular to update.
    00:21:03,672Okay, and we get this nice little burst like this.
    00:21:09,822And now I'm feeling like things are moving
    00:21:12,881a little too fast.
    00:21:14,096There's a little too many of 'em.
    00:21:15,714So there's almost certainty like a good amount
    00:21:18,456of tweaking that's gonna need to start happening here.
    00:21:22,001But I want to show you, yeah that's better.
    00:21:24,253That's better.
    00:21:25,478And maybe, maybe what would be nice would be to have
    00:21:29,196the life not be as long as it is.
    00:21:31,713So we'll go to the particle settings and set
    00:21:35,273the particle life back down to two,
    00:21:38,353and then I'm gonna tell the particle to shrink
    00:21:44,292down to zero, as it gets older.
    00:21:47,693Which means some of these in this shot
    00:21:49,787will start to fade away.
    00:21:54,090Cool, and let's just look at just the particles
    00:21:56,688one more time.
    00:21:59,587So you get something like this, and this is
    00:22:02,938our particle paths now.
    00:22:04,500I'm gonna take the camera, I'm gonna delete this light,
    00:22:06,640'cause we're not actually using it.
    00:22:08,242I'm gonna use the camera, the null,
    00:22:09,456and the particles, and I'm just gonna precomp
    00:22:11,019them all and call this particles precomp.
    00:22:14,605And so now I can actually do some
    00:22:17,181nice compositing with this.
    00:22:18,959So for example, I'm gonna switch to 32 bit mode here
    00:22:21,581so that now I can switch this to add mode.
    00:22:26,045Add those particles over the top of the shot,
    00:22:29,405and now I can dial back to opacity of them,
    00:22:33,659or even better, what would be smarter would be to add
    00:22:36,583a levels effect to this, and just start to dial back
    00:22:40,685brightness a little bit.
    00:22:45,040And maybe push a little bit of blue into them.
    00:22:49,294Let's see if this is actually showing up at all.
    00:22:52,019I'm not sure we're gonna be able to get much blue in there,
    00:22:56,097'cause they're already so bright.
    00:22:58,128Let me leave that on there, but then what I could do
    00:23:02,062is make a copy of this, call this glow.
    00:23:05,342I could blur this.
    00:23:09,315Blur this a little bit.
    00:23:11,835Get rid of the levels effect that's on there,
    00:23:14,718and now some of these are starting to glow.
    00:23:17,277And really, I only want the glow to kind of be happening
    00:23:19,257kind of close to the center here.
    00:23:21,953So I'm gonna mask this layer, just like this.
    00:23:29,131Feather this.
    00:23:30,357And so now I'm getting just a little bit of glow
    00:23:32,639right in the middle there.
    00:23:37,580There we go.
    00:23:39,255It's kind of cool.
    00:23:41,399And one thing I didn't do, I didn't turn motion blur on,
    00:23:44,752and I think that that would help these feel a little
    00:23:46,490bit more natural too.
    00:23:47,997Help them kind of sit in that scene a little bit more.
    00:23:54,833There we go.
    00:24:00,474And you know what might be interesting too?
    00:24:02,938Now that I'm looking at this, here's another idea:
    00:24:05,535what if we actually had...
    00:24:11,773Let's see here.
    00:24:12,859So what if we actually had the particles start
    00:24:16,938to build up earlier, but we didn't actually have the move
    00:24:23,597until about here.
    00:24:26,827So what if I took the velocity and went back
    00:24:30,316a couple frames and set it to zero?
    00:24:33,793So what's gonna happen, this is gonna be interesting,
    00:24:36,715is that we're gonna have some particles start
    00:24:38,350to build up like this, and then they're gonna
    00:24:41,174explode outwards.
    00:24:43,775And it's gonna be interesting because this
    00:24:47,571is the shot where we start to see the flower.
    00:24:53,678Yeah, this might be kinda cool.
    00:24:56,131So you know what I'm gonna do?
    00:24:58,110I'm gonna copy this layer.
    00:25:00,529I'm gonna bring it here, and paste it,
    00:25:02,507and I'm gonna make this a guide layer.
    00:25:05,032And I'm gonna turn the opacity down.
    00:25:06,849I made it a guide layer so that it won't show up,
    00:25:09,512if I render.
    00:25:10,726Or in the next comp up from here.
    00:25:13,571That shot doesn't show up.
    00:25:15,432It's a guide layer.
    00:25:17,011So this is gonna let me see that shot
    00:25:19,032while I'm working on this.
    00:25:20,225So I kinda like that idea.
    00:25:22,200We start to see some particles build up,
    00:25:25,007there's some interesting stuff happening here.
    00:25:27,331And so what I'm gonna do is I'm gonna start
    00:25:32,422with the spherical field.
    00:25:34,822I'm gonna animate some properties of it.
    00:25:36,517So I think what I'm gonna do is animate the strength,
    00:25:39,286maybe from like 50 to 100, and I may also
    00:25:47,579bring the radius down a little bit at the beginning,
    00:25:51,474and then push it up to like 120
    00:25:54,199so that you're also getting a little bit,
    00:25:57,641it's almost like it's building up critical mass,
    00:26:01,342and then boom, and then everything starts
    00:26:03,377to kind of fly out at you.
    00:26:06,997Yeah, that's interesting.
    00:26:08,682And this velocity, it just instantly changes to 250.
    00:26:13,002Maybe what we do is we have it change to like 2,500.
    00:26:17,677It changes to some really big value.
    00:26:22,663And maybe this spherical field, the strength dips to zero.
    00:26:27,667This is one of the fun things about particles,
    00:26:32,602is that whatever the settings are,
    00:26:35,027Particular kind of remembers them.
    00:26:37,916So boom, and then the velocity's gonna push
    00:26:41,244all those particles out.
    00:26:44,587And another way we can that instead of animating velocity,
    00:26:48,115maybe what we animate is the wind.
    00:26:50,515So we can animate a wind on Z that goes from zero
    00:26:53,955to some giant number, which is gonna push all
    00:26:59,192of these particles at us really quickly.
    00:27:03,888Although that's not looking that great.
    00:27:06,074Yeah, we may actually want to undo a bunch of times
    00:27:11,506so we can get back where our velocity was being animated.
    00:27:16,751There we go.
    00:27:19,755Cool, alright so I'm gonna play with these settings.
    00:27:23,646I'm gonna get this to feel a little bit better,
    00:27:25,565and then I'm gonna come back, I'm gonna walk
    00:27:27,232you through where I end up.
    00:27:28,934So this is where I've ended up with this effect.
    00:27:31,830And there's some things going on that I actually,
    00:27:33,821really, really like.
    00:27:34,930So first of all, it's very easy to see the particles now.
    00:27:39,490So I've manged to get them bright enough.
    00:27:42,210And there's a little bit of glow, and there's depth
    00:27:44,180of field, and they're big enough.
    00:27:45,745And there's enough of them that you really notice it,
    00:27:48,247and they're there, and then they're gone pretty quick,
    00:27:51,263which is great because I didn't want them
    00:27:52,943in the next shot, and I don't really want
    00:27:54,407the particles to be like this big thing
    00:27:58,498in the film.
    00:27:59,331I just wanted them to kind of make this moment
    00:28:01,456a little cooler.
    00:28:02,459Another thing that I like that's going on is
    00:28:04,120I've masked out the particles in the beginning
    00:28:07,636of the shot, when they're kind of clustering
    00:28:10,440around this yellow part of the flower.
    00:28:12,984But I left the glow version on.
    00:28:15,958So let me show you what's going on.
    00:28:17,601So I've got a mask.
    00:28:19,696Basically subtracting this part of the particles.
    00:28:23,944So what's that doing, it's basically turning off
    00:28:27,101this cluster, if I spice up this mask to none.
    00:28:29,901It's masking all this stuff out.
    00:28:34,931But, let me turn that back to subtract,
    00:28:37,251the glow version of this.
    00:28:40,832It also has a mask on it.
    00:28:43,190But it's actually doing the opposite,
    00:28:45,624it's adding and it's allowing these particles
    00:28:48,084to show through.
    00:28:49,329And so what that's doing is it's creating
    00:28:51,267this interesting kind of glowy, sparkly effect
    00:28:56,726that happens on the flower right before, boom,
    00:29:00,588right before this big burst.
    00:29:02,369Now another thing you'll probably noticing
    00:29:04,486is that the burst feels a lot more like a burst now.
    00:29:07,708And so what I ended up doing was going into
    00:29:10,201my particles here.
    00:29:11,945Let me turn this shot off, 'cause I don't need it.
    00:29:14,242What I ended up doing was keyframing the velocity
    00:29:18,108from zero, all the way up to 2,500.
    00:29:22,406So I really amped up the velocity.
    00:29:25,446But I also turn on another option that Particular has
    00:29:29,190called air resistance.
    00:29:30,985And so what that does is it lets your particles
    00:29:33,106encounter, basically a deceleration kind of force.
    00:29:38,166So they're going really fast, they encounter air resistance,
    00:29:41,089so they slow down, and the more you crank this up,
    00:29:43,308the quicker they slow down.
    00:29:44,646And it lets you get these nice bursts where it's like boom
    00:29:47,965and then everything slows down, like bullet time.
    00:29:50,806And I also turned on gravity, but I made
    00:29:54,428the gravity negative so that everything sort of floats up.
    00:29:59,768It's almost like little specs of pollen or something,
    00:30:03,292and I want them to feel very light, so they just
    00:30:06,308kinda float up like that.
    00:30:08,130I made the life of everything very short,
    00:30:11,474so everything's one second, with some randomness.
    00:30:14,442I keyframed the particles per second and the velocity,
    00:30:17,814and basically just got this little burst, just like that.
    00:30:20,513And then so I did some compositing.
    00:30:23,734One thing I did was I actually cranked the white input
    00:30:30,118of the levels effect here.
    00:30:31,874So what this does is it really pushes the visibility
    00:30:35,621of those particles.
    00:30:37,568So they really do show up well.
    00:30:39,269They do feel like they're glowing.
    00:30:40,973And then on the glow layer, I haven't pushed that.
    00:30:44,296I might, just out of curiosity, I might see
    00:30:46,397what it does if I push that.
    00:30:48,970You can see it's not doing too much.
    00:30:51,291Let's see what it looks like at the beginning here,
    00:30:53,826'cause I don't want it start overpowering
    00:30:58,286the center of this flower.
    00:31:01,277I want to make sure that it's still very clear
    00:31:03,659that this is opening up.
    00:31:06,427It still works.
    00:31:07,902I dunno, I kinda like it with a little bit more
    00:31:12,848brightness to it, 'cause now it shows up even more.
    00:31:16,582It's kind of interesting.
    00:31:18,179Alright, cool.
    00:31:19,339So I am happy with this.
    00:31:20,843I'm going to render this out.
    00:31:22,466And this is going to be put into the cut.
    00:31:24,967So the next thing we need to talk about
    00:31:26,788is the ending titles.
    00:31:28,932So I laid out a few different options for the way
    00:31:32,431this type could look at the end.
    00:31:34,347So this was the first thing I tried.
    00:31:36,473I didn't love it.
    00:31:38,330And then I tried using a font called Bodani,
    00:31:43,652and it's a little bit more kind of storybookish.
    00:31:47,748And because of the...
    00:31:50,845I dunno, this is almost like a fable feeling
    00:31:54,692kind of story.
    00:31:56,125It's a very simple story, and you've got
    00:31:59,515the small hero, the giant antagonist, and there
    00:32:02,818was something about the way this looked
    00:32:05,688that made it look like a storybook, which I really liked.
    00:32:07,631And then I used a sand serif to call out
    00:32:09,974Michael Gladwell's name.
    00:32:11,955And I kinda dug this.
    00:32:13,534I tried it also where it was left justified,
    00:32:16,398and a little bit bigger.
    00:32:18,259And I like the way this looks, too.
    00:32:20,588This actually looks a little bit more
    00:32:22,150like a poster or something, but there's something
    00:32:24,158about this centered look that I like
    00:32:27,254a little bit more.
    00:32:28,630So I think I'm gonna go with this.
    00:32:29,896So here's what I'm gonna do.
    00:32:31,380I'm just going to copy this precomp here.
    00:32:35,39602, and let me grab this shot here.
    00:32:41,514So this is just the ending shot here,
    00:32:45,170after the vines have grown up the side of the building
    00:32:48,552and the flower grows on.
    00:32:50,295And I'm just gonna paste this precomp on here.
    00:32:52,474And so basically whatever animation I do inside here
    00:32:55,383will get composited on top of here.
    00:32:58,275So let's think about how this should animate on now.
    00:33:02,634I don't want to do anything really crazy
    00:33:04,880with tons of animation, right?
    00:33:06,617We basically just had this crazy, circular shot
    00:33:10,640where we're rotating around the building
    00:33:13,222as the vines are growing, and we settle
    00:33:14,758very slowly up here.
    00:33:16,577I want this to feel like a calm moment,
    00:33:19,214the music's ending.
    00:33:20,718But I do want something to happen,
    00:33:23,953and I want to, if possible, tie back to the film
    00:33:28,650in some way.
    00:33:29,654So what I thought might be interesting
    00:33:31,838is we've got this moment here where you've got
    00:33:35,198this interesting burst of kind of energy particles,
    00:33:38,550whatever you want to call 'em.
    00:33:39,990I thought it might be interesting to reference that
    00:33:42,179in this transition.
    00:33:43,470So here's what I'm gonna do.
    00:33:45,139I'm gonna come in here, and I'm actually
    00:33:46,659just gonna work on the titles in this comp.
    00:33:50,318So I'm going to first make a null object
    00:33:54,456and parent everything to that, and I want to just
    00:33:58,136scale this up, make it a little bigger,
    00:34:01,034give myself a little bit more room.
    00:34:02,934And so what I think I'm gonna do is I'm gonna try
    00:34:05,939and have the type animate on.
    00:34:10,450Maybe from like top to bottom,
    00:34:12,532maybe with a little bit of an angle to it.
    00:34:14,690I want some interesting sort of dissolve wipe
    00:34:19,514transition organic to bring the type on,
    00:34:23,514and I want some of these little particles
    00:34:27,169to kind of float off the top.
    00:34:29,071Almost like it's sizzling, or magically sizzling
    00:34:33,469into existence, or something like that.
    00:34:35,330So let's give this a shot.
    00:34:37,252Let me precomp all of this.
    00:34:39,287So this is our type, precomp.
    00:34:42,052And we can just have all of this animate on
    00:34:45,346at the same time.
    00:34:46,954Maybe in the end what'll make a little more sense
    00:34:49,471is to have the quote animate on in that cool,
    00:34:52,163interesting way, but then have Malcolm Gladwell's name
    00:34:54,530animate on in a slightly less crazy way.
    00:34:58,161Now there are some layer styles on here
    00:35:01,191from Photoshop.
    00:35:02,229If you look, you can see there's a little
    00:35:03,461bit of drop shadow.
    00:35:04,309I want to remove that from this.
    00:35:05,589So I'm gonna hit U twice, and you can see
    00:35:09,862that there's a drop shadow on all these things.
    00:35:12,331I'm just gonna select the layer styles on each
    00:35:14,856of these layers and delete it.
    00:35:18,792And we can add that drop shadow back on layer.
    00:35:21,287Alright, so the first thing we need to do
    00:35:23,162is come up with an interesting wipe for this.
    00:35:26,189So what I like to do, this is a really easy trick,
    00:35:30,930is figure out what direction you want
    00:35:32,982this to animate on from.
    00:35:34,219So I'm gonna say more or less bottom to top.
    00:35:37,259Maybe with a little bit of a left, right movement.
    00:35:39,739And I am going to just grab my pen tool
    00:35:42,875and I'm just gonna draw a shape that's kind of like this.
    00:35:48,943And then I'm gonna go to the beginning,
    00:35:50,135and I'm gonna animate the path shape.
    00:35:54,038Let's make it take, I dunno, let's try 40 frames.
    00:35:57,878And what I'm gonna do is just animate this thing.
    00:36:02,695I'm gonna grab all these points and double-click,
    00:36:04,981and then I'm just gonna scale this up, like that.
    00:36:08,953Then I'm gonna precomp this and I'm gonna
    00:36:10,721call this mat.
    00:36:12,161So now that it's precomped, what I can do to it,
    00:36:15,179and you can see you just get this simple
    00:36:16,939thing like this.
    00:36:18,017Now that it's precomped, I can start putting
    00:36:19,614all kinds of interesting effects on it.
    00:36:21,281So turbulent this place would be an interesting one,
    00:36:23,761because now it's gonna give it a little bit
    00:36:26,097of variation along the edge.
    00:36:30,498I might want to decrease the size a little bit,
    00:36:33,020increase the amount so you get a little bit more
    00:36:36,233of like an interesting, almost like it's liquid.
    00:36:39,947And it's kind of doing something like that.
    00:36:42,457That might be a little too much.
    00:36:44,835Let's bring the amount down.
    00:36:46,134I don't want it to feel too, too crazy.
    00:36:48,238But that's pretty good.
    00:36:49,518And then we could go into stylize and we could
    00:36:52,718use roughen edges.
    00:36:55,287And we can crank up the border a little bit.
    00:36:58,159We may want to try some different types
    00:37:00,682of edges here.
    00:37:03,023Let's turn the edge sharpness down,
    00:37:04,916but turn the border up a little bit.
    00:37:07,199Alright, and then your fractal influence,
    00:37:09,614like if you have more, you get more little
    00:37:12,034kind of cuts too, which is kinda neat.
    00:37:14,352If we scale it up or down, you can get more or less detail.
    00:37:19,502So let's set that to about 30.
    00:37:23,532Okay, so now if you look at this,
    00:37:26,893you can see you're getting this kind of interesting...
    00:37:29,685Probably wanna crank that border up a little bit more.
    00:37:32,868Alright, this interesting sort of evolving liquid,
    00:37:36,938organic kind of shape that's covering up the type.
    00:37:41,324Let me play with some of these more settings.
    00:37:43,109I'm also gonna put an expression on the evolution.
    00:37:45,026I'm gonna say time times, I dunno, 200?
    00:37:48,085And what that's gonna do is it's gonna let
    00:37:49,887the edge animate a little bit too.
    00:37:53,205I'm not loving the rusty.
    00:37:55,285Let's try cut.
    00:37:57,285Cut might be interesting if we turn the scale up.
    00:38:02,065Maybe something like that.
    00:38:04,399Yeah, that's kind of interesting.
    00:38:07,138Alright, and now if I set my type, let me make
    00:38:10,874this a different color so it's a little bit
    00:38:12,442easier to see.
    00:38:13,988Let's make it pink.
    00:38:16,822And I'm gonna set my type to use this crazy
    00:38:19,679thing as an alphabet.
    00:38:23,039Alright, then you get something like that.
    00:38:24,786That's kind of cool.
    00:38:26,239That's interesting.
    00:38:29,077And one thing I like to do.
    00:38:31,000Well first of all, let's see how we feel about the speed
    00:38:33,237that that animates on.
    00:38:35,202It's a little bit...
    00:38:37,219It's a little bit fast.
    00:38:38,837So I'm gonna go in here and I'm just
    00:38:41,670make that take a little bit longer,
    00:38:44,133'cause that ending shot lasts for a while.
    00:38:48,126We hang on that plant and the quote for a few seconds.
    00:38:52,477So I'm not afraid to let this take
    00:38:54,336a little while to animate on.
    00:38:58,532Now let's see what that looks like.
    00:39:05,193Now this is great.
    00:39:06,907Even just with this you can see that you get
    00:39:10,380this interesting kind of edge to this.
    00:39:13,500But one thing I like to do is...
    00:39:15,430Let me precomp this whole thing and we'll call
    00:39:17,158this type wipe.
    00:39:19,604I'm a poet and I didn't even know it.
    00:39:23,581And we need to be in full res to really see
    00:39:25,535what this is gonna look like.
    00:39:26,839I'm gonna set the opacity of this to 20,
    00:39:30,098then I'm gonna duplicate it and I'm gonna offset
    00:39:32,635this one by a frame.
    00:39:33,917Maybe two frames, then I'm gonna duplicate it,
    00:39:36,360offset this one by two frames.
    00:39:38,255And I'm gonna slowly increase the opacity of this,
    00:39:42,751up to 100%, and what this is gonna do is it's gonna
    00:39:47,883give you some layers, and it's gonna let you
    00:39:51,601see this a little bit more.
    00:39:57,480There we go.
    00:39:58,735So it's gonna have the affect of sort of softening
    00:40:01,571that transition, while still giving you
    00:40:06,136that nice kind of cutout edge.
    00:40:09,320Now looking at this, one of the things
    00:40:12,818that I was a little nervous about and now it's coming true
    00:40:15,255is if we're bringing the type on from bottom to top,
    00:40:17,976that's the opposite of the way we read,
    00:40:20,536and it's kind of confusing me.
    00:40:22,018So I'm actually going to do this a little different.
    00:40:25,097Let me turn this mat back on for a minute.
    00:40:28,473I'm going to take this precomp and I'm going to flip it
    00:40:34,503upside down, so negative 100.
    00:40:39,143And now, there we go.
    00:40:43,060I'm going to move it.
    00:40:44,729Let me turn this alpha mat off for a minute.
    00:40:47,470And now I'm gonna have it animate on this.
    00:40:52,794There we go.
    00:40:56,102And I may actually need to slow this down a little bit,
    00:41:01,311but we'll see.
    00:41:02,398So now I can set this back to alpha mat and come back here.
    00:41:05,234And now it's gonna animate on from left to right,
    00:41:09,154from top to bottom.
    00:41:10,347Which is the way we read.
    00:41:11,992Now the reason I was thinking I wanted it to go
    00:41:14,403from bottom to top was because I want
    00:41:15,828those particles to kind of float upwards,
    00:41:17,983but I think it'll still work.
    00:41:19,481It'll still be okay.
    00:41:21,470Okay, interesting.
    00:41:24,885And I've definitely decided that I do not want
    00:41:27,605the Malcolm Gladwell call out to be part of this transition.
    00:41:32,022I want that to be separate.
    00:41:34,142Cool, so you get something like this, okay?
    00:41:36,123So now what I also want is I want
    00:41:39,225a little bit more to happen.
    00:41:41,967I want that edge to be called out a little bit more.
    00:41:44,607So let's think about how we could do that.
    00:41:46,861So we've got this really interesting
    00:41:50,827transition happening here, so what I'm gonna do...
    00:41:52,905Let me go in my assets here.
    00:41:56,496Let's figure out where, so this type precomp
    00:41:58,886and this map precomp, let's figure out where that is.
    00:42:01,804So I'm gonna say reveal composition in project,
    00:42:04,547and it's buried in there.
    00:42:05,986That's why I couldn't find it.
    00:42:07,242So here's my mat precomp.
    00:42:08,729I'm going to, let's see here.
    00:42:11,286I know I've got my type wipe.
    00:42:13,406And this comp is buried in there, so let's grab that
    00:42:17,550and pull it out.
    00:42:19,997Alright, cool.
    00:42:21,508So what I want to do is I want to duplicate my type wipe,
    00:42:24,365and I'm gonna call this edge mat.
    00:42:28,088And what I'm gonna do is I'm gonna take
    00:42:33,191this mat layer, okay.
    00:42:37,194Let me delete everything.
    00:42:38,800I'm gonna take this mat layer and turn it on.
    00:42:41,606So you get this.
    00:42:43,744I'm going to duplicate it, and I'm gonna offset it
    00:42:47,701by one frame, and I'm gonna tell this layer
    00:42:51,930to use this one as an alpha mat.
    00:42:55,344Let's see, and maybe I did that backwards.
    00:42:58,099Let's see here.
    00:43:00,059Alpha mat, let's see.
    00:43:03,261Oh, and I know what's going on.
    00:43:04,377So hang on.
    00:43:05,436So we're gonna have to do one more thing.
    00:43:07,186I need to take this whole setup, which has all
    00:43:10,146this neat kind of edge stuff to it, and I need
    00:43:12,866to precomp all of this.
    00:43:15,047And we're gonna call this mat with effects.
    00:43:18,204And the reason we need to do that is so the order
    00:43:21,205of operations in After Effects will then
    00:43:23,367let us use this as an alpha mat, right?
    00:43:27,301But offset it by like a frame or something like that.
    00:43:32,511I think what I want is inverted mat.
    00:43:35,498There we go.
    00:43:36,727Aha, look at that!
    00:43:38,729So this is what I wanted.
    00:43:40,807I wanted this crazy edge thing to kind of happen like this.
    00:43:45,654It's really interesting.
    00:43:47,975So then I'm gonna make an adjustment layer here.
    00:43:53,212I'm gonna just crank the levels of this.
    00:43:56,026So we'll say levels.
    00:43:57,821I'm just gonna crank this so I can see it better.
    00:44:00,687What I really want is just an interesting edge.
    00:44:09,584And so that's a good trick, by the way,
    00:44:12,786to basically have a copy of some interesting mat,
    00:44:16,387set the top copy to alpha inverted mat,
    00:44:20,546and then offset it by one frame and you
    00:44:22,787can get this one frame edge.
    00:44:24,524If I offset it by another frame, then you get
    00:44:26,480even more of an edge.
    00:44:27,862And maybe that's what we want.
    00:44:29,187So now that I've got this edge mat, what I want
    00:44:30,742to do is, let's go into my type here and let me
    00:44:33,507take my edge mat, and let me come in here
    00:44:37,238and grab this type precomp and paste it.
    00:44:42,742I'm gonna use that edge mat as an alpha mat.
    00:44:47,062What I want is to offset all this stuff.
    00:44:50,019And so what this is gonna give me is this.
    00:44:53,155So basically I'm seeing like a little bit
    00:44:55,162of a glint of the type, and I am gonna take
    00:44:58,480that edge mat, put a levels affect on it,
    00:45:01,061and make it affect the alpha channel
    00:45:03,357so I can push it a little bit more.
    00:45:06,777And then, I can take all these other layers,
    00:45:09,718let me make these different colors.
    00:45:11,502That's a little bit easier to see what's going on,
    00:45:13,076and then they can come on afterwards.
    00:45:15,705So you get this little highlight moving through,
    00:45:18,665and then it brings the rest of the type on.
    00:45:21,030And to make this look even nicer,
    00:45:23,363let me precomp this and we'll call this edge type.
    00:45:27,043I'm gonna duplicate it, and I'm gonna blur it.
    00:45:32,922With a fast blur, and set this to add.
    00:45:40,120Alright, so now you get this nice glowing edge.
    00:45:45,016Kind of brings the type on, okay?
    00:45:49,925And another cool thing you can do, too,
    00:45:52,899I dunno how much this would show up,
    00:45:55,320but some of these bottom copies of the type here,
    00:45:58,637like this one, right?
    00:45:59,837The opacity's turned down.
    00:46:01,424You could actually come in and add like a fill effect.
    00:46:06,298And push a little bit of maybe like a brown,
    00:46:10,074kind of a sepia tone in there.
    00:46:14,062And I could maybe do that on like the first two copies,
    00:46:16,573and so then you can actually get these little waves
    00:46:18,792of color and this initial glow.
    00:46:22,731Maybe I could add a fill effect to that one and push
    00:46:26,754a little bit of almost like a yellowish tint to it.
    00:46:31,304So it's almost like this golden kind of wipe
    00:46:35,168like this to bring the type on.
    00:46:37,227Pretty interesting, right?
    00:46:39,133Now just to see how this is actually
    00:46:42,594gonna potentially look in context,
    00:46:46,512let's scale this back down, 'cause I didn't want
    00:46:49,668it that big, and it's gonna be up here.
    00:46:53,092And there is gonna be a drop shadow, a subtle
    00:46:56,933drop shadow because that's gonna help it be readable,
    00:47:00,024which is really important.
    00:47:01,405So I'm gonna set the distance to like two.
    00:47:03,573We'll leave it there for now.
    00:47:05,450And then let's just do a quick,
    00:47:07,759let's come over here to where the plant
    00:47:11,872is starting to pop up.
    00:47:14,570We'll just do a quick little preview like this.
    00:47:19,069And we'll see what that's gonna look like.
    00:47:21,329Alright, and if it's starting to seem
    00:47:23,549a little like it's a little too much,
    00:47:25,439then I think we'll just dial it back.
    00:47:26,824But let's see.
    00:47:30,242Yeah, it's a little...
    00:47:32,070I mean it's pretty.
    00:47:34,025It is, but it's a little much.
    00:47:36,369Another thing that might help too is if I come
    00:47:38,193way back here into this mat layer,
    00:47:41,492and I ease it a little bit, so that way we get
    00:47:47,392a little bit more of a pause at the beginning
    00:47:51,872where we see it start to animate on,
    00:47:53,950and I'm gonna come into this key frame and pull
    00:47:55,923this handle so that ease takes a little bit longer.
    00:47:58,629That's gonna propagate all the way down
    00:48:00,533all of our precomps, so now in theory,
    00:48:03,253we should start to see the type a little bit there.
    00:48:09,203It's drawing our eye, but it's not really
    00:48:11,728animating on that quickly.
    00:48:15,337But then it's gonna accelerate in the middle
    00:48:17,932and we'll start to see it more quickly
    00:48:20,074in the middle.
    00:48:21,264Alright, now I think what I'm gonna do is
    00:48:23,229there's just too much contrast in it right now,
    00:48:25,591that brown color.
    00:48:26,805I'm not loving that.
    00:48:28,269The glow is a little much, ya know.
    00:48:30,311I like the glow, but it's just a little much.
    00:48:33,706But overall, this does feel pretty good.
    00:48:36,885I like the way it's kind of coming on.
    00:48:38,530So let's come in here, let's get rid
    00:48:40,471of the full effect that we put on there.
    00:48:43,402That's a ltitle much, and let's come up here
    00:48:45,808and let's get rid of that yellow color.
    00:48:47,849And then for the glow, let's bring that down
    00:48:50,162to like 50%, and so now you get a much
    00:48:54,132more subtle kind of build, like that.
    00:48:57,684Cool, alright so let's say we like that.
    00:49:00,244How do we get those particles now?
    00:49:02,421So we've got this comp, right?
    00:49:04,862Which is the edge type.
    00:49:08,551And so what I'm gonna do is I'm gonna add
    00:49:10,464another layer, and I'm gonna call this particles.
    00:49:13,133And I'm gonna put Particular on there.
    00:49:15,981Trap code Particular.
    00:49:18,262And what I'm gonna do is I'm gonna make a copy of this
    00:49:21,101and I'm gonna call this particle source.
    00:49:25,271I'm gonna tur it off, I'm gonna stick it down here,
    00:49:27,902and I'm going to make it a 3D layer.
    00:49:30,448You have to make it a 3D layer just because that's what
    00:49:32,265Particular requires when you do this technique,
    00:49:35,318and what we're gonna do is we're going to,
    00:49:37,306instead of having Particular, let me solo this for a minute,
    00:49:41,008instead of having Particular just emit particles
    00:49:43,878from a point, I'm gonna have it emit from a layer.
    00:49:47,763And the layer I want, if I come down here to layer emitter,
    00:49:50,822I want the particle source layer.
    00:49:53,984So if I turned the particle source layer on
    00:49:57,146so I can see it, here's what happens.
    00:50:01,061There's basically, right now the particle
    00:50:03,499source layer has nothing in it.
    00:50:06,101But as it wipes, it now starts to have
    00:50:11,168some alpha channel to it.
    00:50:13,180And what I can do is take the number of particles
    00:50:16,036per second on my Particular layer, and you really
    00:50:19,303have to crank it up when you do this.
    00:50:21,820And what it's gonna do is it's gonna look in
    00:50:25,234wherever there are letters showing up,
    00:50:29,836it's gonna emit particles.
    00:50:31,935Now what I want to do.
    00:50:36,137I want to say layer sampling, particle birth time.
    00:50:42,201So all it's doing is whenever that layer appears,
    00:50:46,057particles can be born, but they survive.
    00:50:48,646Now right now, the particles are kinda going
    00:50:51,611in whatever direction they want.
    00:50:53,359I'm going to tell 'em to go directional.
    00:50:57,419And so directional, the default direction
    00:50:59,482that it points is right at the camera,
    00:51:01,824which is not what I want.
    00:51:03,445So I'm gonna rotate the emitter on X, negative 90 degrees
    00:51:07,890so that they will emit up in the air.
    00:51:11,921There we go, they're kinda floating up like that.
    00:51:14,962Next thing I want to do, I want to make
    00:51:17,502the particles much smaller.
    00:51:19,570So let's make them two.
    00:51:22,779And let's have some variation to that,
    00:51:25,758so I'm gonna set the randomness to 75.
    00:51:29,831I'm going to set the particles per second way up.
    00:51:33,009I'm just gonna add another zero.
    00:51:35,105So you literally have 500,000 particles
    00:51:37,867per second being emitted.
    00:51:39,946But you can see now you're starting to get
    00:51:42,883a nice little effect here.
    00:51:48,603And what I want is I want the velocity to be higher.
    00:51:51,185Let's make it 250.
    00:51:54,060I want the randomness to be higher.
    00:51:56,381So I want the randomness to be like 100, and I want
    00:51:58,763that distribution to be higher too so that you get
    00:52:01,963more particles that kind of don't move very fast.
    00:52:06,572So you get some that just sort of linger.
    00:52:11,039That's pretty cool looking already.
    00:52:13,844But I think I have 'em going too fast.
    00:52:17,741So to counteract that, maybe I can do the same trick
    00:52:20,759I did before, and just add a little bit of air resistance.
    00:52:23,581I'm gonna go into air, I'm gonna add some air resistance.
    00:52:26,708Let's try a setting of two.
    00:52:28,861Let's see what that does.
    00:52:30,962Alright, so they float up and then they start
    00:52:34,152to slowdown, and I want the life of the particles
    00:52:38,665to be sort of short.
    00:52:39,973So let's say a second and a half, with a little
    00:52:42,653bit of randomness to it.
    00:52:45,497Let's say, I dunno, 25% randomness.
    00:52:47,974And I want the particles to just slowly fade out.
    00:52:52,354So I'm gonna draw on the opacity over life curve,
    00:52:56,058something like this so that when they get old enough,
    00:52:58,938when they've lived long enough, they don't get
    00:53:01,053any smaller, they just sort of fade out.
    00:53:06,239And then I think I do want a little bit
    00:53:09,091of that turbulence to them.
    00:53:10,993So I'm gonna add some effect position here.
    00:53:14,450We'll just set that to 50, and let's just do
    00:53:19,233a ran preview here.
    00:53:23,088And remember, we're in half res.
    00:53:25,027This isn't even full res yet.
    00:53:27,152But you can already see that the render time
    00:53:28,843start to go up a little bit here because when you
    00:53:30,833use a layer as an emitter like this, you have to crank
    00:53:33,906the number of particles up really, really high.
    00:53:36,592It can just make your render times a little slower,
    00:53:39,648but you get this really
    00:53:43,392cool looking effect.
    00:53:45,007Isn't that neat?
    00:53:46,751That's really, really neat.
    00:53:48,716Cool, alright and when we turn everything else on,
    00:53:54,787and we render everything.
    00:53:58,509Then you get this really, hopefully, beautiful, magically,
    00:54:03,992neat looking type reveal.
    00:54:06,851Let's let this preview out, see what this looks like.
    00:54:11,389And I may want...
    00:54:14,464I think I may actually want the life of the particles
    00:54:18,603to be a little bit longer because it just looks so neat
    00:54:24,079when they kinda animate on.
    00:54:26,000So I'm gonna increase the life, I'm gonna double it.
    00:54:29,600And I want to play with these settings some more,
    00:54:31,038and then I'm gonna come back and show you
    00:54:32,454where I ended up.
    00:54:36,077Well here is where we've ended up.
    00:54:40,008And I am pretty happy with the way it's lookin'.
    00:54:44,654It's got that kind of magically quality to it,
    00:54:48,881and I like how you've got this really interesting
    00:54:52,619effect with the particles kind of emitting out of the type
    00:54:55,594and they dissipate, and you're left with this
    00:54:57,172really simple, beautiful composition
    00:55:01,345with this kind of storybook-like font.
    00:55:03,674And everything's really working the way I want.
    00:55:05,888So let me just quickly walk through
    00:55:07,753some of the tweaks I made.
    00:55:09,513One thing, obviously, I added was I added
    00:55:11,953Malcolm Gladwell's name and the name of the book.
    00:55:14,595I tweaked the font a little bit.
    00:55:17,113I wanted it to be a little bit easier to read.
    00:55:20,683And I just had a simple fade on for that.
    00:55:23,444I'm literally just animating the opacity from zero to 100,
    00:55:27,595really simple.
    00:55:28,836If we go and we look at the particles,
    00:55:32,935basically what I did was I ended up splitting
    00:55:35,159the comps into basically two different comps.
    00:55:38,953So I've got one comp that just has the particles in it
    00:55:42,532that are being emitted, and then I've got another comp,
    00:55:45,636come back here.
    00:55:47,521So this comp just has the particles.
    00:55:49,732All these other layers are turned off.
    00:55:51,636And that's making it possible for me to have
    00:55:55,088a drop shadow on the type to make it easier to read,
    00:55:58,212but not having a drop shadow on the particles,
    00:56:00,530which we don't need.
    00:56:02,095On the particles themselves, I played with the lifespan,
    00:56:07,412which is now two seconds with some randomness.
    00:56:10,620I played with the air resistance a bit more.
    00:56:13,851I added some negative gravity so these things
    00:56:16,752were floating up, I played with the turbulence a little bit.
    00:56:21,546Really just played around with the same settings
    00:56:24,407that we did when we were messing around with the flower
    00:56:27,527and tried to get those particles to look
    00:56:30,327the way we wanted.
    00:56:31,788I built that up, and there you go.
    00:56:34,129And then that's pretty much done.
    00:56:35,924And for the type, all I did was make sure
    00:56:38,602the drop shadow looks good.
    00:56:40,188That drop shadow, if I go back here to the end
    00:56:42,668and I zoom in 100% like this, drop shadow might be
    00:56:46,289a little bit dark.
    00:56:48,151I may want to knock it down just a little bit.
    00:56:51,009Sorry, that's the drop shadow for Malcolm Gladwell.
    00:56:55,373And basically, a drop shadow to me it's just like
    00:56:58,677a necessary evil.
    00:57:00,790Like I don't want to use it, but sometimes
    00:57:02,995you kinda have to.
    00:57:04,814And so I want to do whatever I can to minimize it
    00:57:08,835so it's not so obvious.
    00:57:11,041So just gonna bring the opacity down a little bit on it.
    00:57:13,635You can still read the type.
    00:57:15,053You can see that without it, you can still read it,
    00:57:17,930but you don't have that crispness that you do
    00:57:20,573when you just have that little drop shadow.
    00:57:22,470Just helps a little bit.
    00:57:25,853Again, if we pop into 100%, this is how I'm intending
    00:57:31,035people to watch this.
    00:57:32,839I know that most people are gonna be watching it
    00:57:35,146this big on Vimeo.
    00:57:38,129So if I go to half res, maybe that's a little bit
    00:57:41,492of a better representation of what this is really
    00:57:43,915gonna look like.
    00:57:45,354But it still helps to have that drop shadow.
    00:57:47,412It really does just add that little bit of contrast
    00:57:50,890that makes it easier to read.
    00:57:52,476Now I think we're good to go.
    00:57:54,942So I'm gonna render these shots out,
    00:57:56,511I'm gonna put them back in the cut.
    00:58:00,411You know it's pretty amazing to look back
    00:58:02,150at all the work we've done to get to this point.
    00:58:05,966Crappy, place holder, 3D renders, tons of modeling,
    00:58:09,568texturing, animating,
    00:58:11,189simulating, hardware renders, more tweaks,
    00:58:13,907compositing, and now, finally, picture lock.
    00:58:18,828So here is what "Giants" looks like.
    00:58:27,163Giants are not what we think they are.
    00:58:32,890The same qualities that appear to give them strength,
    00:58:40,034are often the sources of great weakness.
    00:58:48,367The powerful are not as powerful as they seem.
    00:58:55,292Nor the weak as weak.
    00:59:09,646All that work and it just flies by in a minute.
    00:59:12,872But honestly, I think it looks good.
    00:59:15,492It flows well, the edit works.
    00:59:18,392I love the way the colors turned out.
    00:59:20,333But to really get the emotional response
    00:59:22,776out of this piece that I'm hoping you get,
    00:59:25,475we're gonna need more than just pretty pictures.
    00:59:28,251We're gonna need the sound to work just as hard.
    00:59:30,952So next up: the sound.

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