Photoshop Animation Series Part 5: Rotoscoping and Details

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Photoshop Animation Series Part 5: Rotoscoping and Details

Let's finish this!

It's time to wrap this animation up. In this lesson we'll start out by going over a few little loose ends that we didn't cover before; like importing footage into Photoshop and rotoscoping that footage. The kind of rotoscoping we'll be doing here is not quite the same as what you do in After Effects, but it's close, and as tedious as it may be it can save you A LOT of time.

I'll also take a bit of time to go over how I approached doing the animation over the footage that Rich Nosworthy made for us.

After that we'll render everything out of Photoshop and take some time to give it some finishing touches in After Effects to really bring everything together.

If you don't know who Rich Nosworthy is by now, it's time to fix that. Check out his work here:

In all of the lessons in this series I use an extension called AnimDessin. It's a game changer if you're into doing traditional animation in Photoshop. If you want to check out more info on AnimDessin you can find that here:

And the creator of AnimDessin, Stephane Baril, has a whole blog dedicated to people who do Photoshop Animation that you can find here:

Once again a huge thank you to Wacom for being amazing supporters of School of Motion.

Have fun!

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    00:00:11,281- Hello everyone, Amy here at School of Motion.
    00:00:14,271Welcome to the final lesson
    00:00:15,917in our cell animation and Photoshop series.
    00:00:18,578This time, we'll be working with the animation
    00:00:20,906that Rich Nosworthy made for us.
    00:00:22,745We'll actually be learning the ancient art of rotoscoping
    00:00:25,858to get those octopus legs moving.
    00:00:27,954I will be the first to admit
    00:00:29,410that rotoscoping is not the most fun thing on earth to do,
    00:00:32,788but it can save you from a ton of trial and error
    00:00:36,411animating complex movement by hand,
    00:00:38,302liker waving tentacles.
    00:00:40,296We'll also get into some finishing and compositing details
    00:00:43,884in After Effects to really bring this animation together.
    00:00:47,156Make sure you sign up for a free student account
    00:00:49,743if you wanna grab the footage that Rich made for us
    00:00:51,846to use in this lesson.
    00:00:53,474One last shout out to Wacom for their support
    00:00:55,954and making the Cintiq.
    00:00:57,778You can do cell animation without it,
    00:00:59,794but it's so much nicer with one.
    00:01:02,454We've got a lot of work to do, so let's get started.
    00:01:05,990Welcome to lesson five, everyone.
    00:01:08,385First, we're gonna cover something that we didn't get to
    00:01:10,854in the last lesson, importing footage to animate
    00:01:13,406over in Photoshop.
    00:01:14,736Some of you may have figured this out on your own,
    00:01:17,046but we'll take a quick moment now to formally go over it.
    00:01:20,041So we're gonna go up here,
    00:01:21,756we have the timeline panel already opened,
    00:01:23,909we're gonna click new document scene,
    00:01:26,359and that's gonna create a new 1920 by 1080 comp.
    00:01:30,349Brings up our timeline frame rate,
    00:01:32,277which we'll set to 24 frames per second and hit okay.
    00:01:35,752Now, the next thing we wanna do
    00:01:37,571is we're going to delete this initial layer
    00:01:40,369that it made for us
    00:01:41,474and we're gonna come up here to this little film strip.
    00:01:43,907And this is where we're gonna import our footage.
    00:01:46,603So we're gonna go to add media,
    00:01:48,874and navigate to where our footage is.
    00:01:51,155All right, so now we have our proxy footage
    00:01:53,903imported into Photoshop.
    00:01:55,756And you see that it plays back just fine,
    00:01:57,697we're at our full 24 frames per second.
    00:02:00,061Now, the reason that we have to bring this in
    00:02:02,964at a full 1920 by 1080
    00:02:04,995is because if you try and transform this,
    00:02:07,483there's a chance that Photoshop will crash.
    00:02:11,980You're going to wanna repeat this process
    00:02:14,063to bring in your clean plate,
    00:02:15,709which is the footage that doesn't have the proxy on it.
    00:02:18,229The clean plate is going to be used
    00:02:19,997to give us a good idea
    00:02:21,040of what our final animation will look like.
    00:02:23,317Let's take one more quick look at that animation that I did
    00:02:25,977over this footage that Rick Nosworthy gave us.
    00:02:28,494You see we've got that splash going on
    00:02:30,768in front of those tentacles.
    00:02:32,137The way that I approached this animation
    00:02:33,762was that I did all of the line work for the splash
    00:02:36,216and got that looking good first,
    00:02:37,978and then I came in
    00:02:39,028and did some rotoscoping on those tentacles.
    00:02:41,097So what is rotoscoping?
    00:02:42,950The short answer is that it's tracing over footage.
    00:02:46,016And as much work and tedium as it can be,
    00:02:48,518it's also a major time saver.
    00:02:50,407So let's check out how I approached the rotoscoping process
    00:02:53,520in this animation.
    00:02:54,920So let's get started with that rotoscoping now.
    00:02:58,037Okay, so now that we're ready to add our color layers,
    00:03:01,556the first thing we need to do
    00:03:02,823is figure put which leg that is.
    00:03:04,960Because back in our style frame,
    00:03:07,079you notice that this leg is slightly darker.
    00:03:08,829So I'm actually gonna color pick that color really quick.
    00:03:11,455And I'll come over here and
    00:03:14,651if you'd look, that back leg is the first one
    00:03:18,106that gets revealed.
    00:03:19,338So we are going to start off with that darker color.
    00:03:22,600The other thing we wanna do is we wanna figure out
    00:03:25,069exactly where that water starts to come in.
    00:03:27,445So the water starts coming in on this frame,
    00:03:29,740so this is where we're going to want to start
    00:03:31,837our actual animation of this tentacle coming in.
    00:03:35,200Now, there's no tentacle revealed yet
    00:03:37,949so we can go forward two frames
    00:03:40,800and this is the frame we're going to start on.
    00:03:43,384So let's add our new video group.
    00:03:45,948And extend that by one frame here.
    00:03:48,780We're going to be tracing over each of these octolegs here
    00:03:51,970on two frame exposures.
    00:03:53,437And we're just gonna stay on twos the whole time.
    00:03:55,848Now, the other thing I wanna mention really quick
    00:03:57,630before we start drawing.
    00:03:59,380Is that see where this water overlaps?
    00:04:02,040Really, what I want to draw on this
    00:04:04,244is just going to be this portion
    00:04:06,448that's below this water line.
    00:04:08,692I don't even need to worry about
    00:04:10,474working with any of this stuff
    00:04:12,681that's covered up by the water.
    00:04:14,524So just focus on these parts that are exposed
    00:04:16,931as you're drawing.
    00:04:18,846All right, so all we're doing here
    00:04:21,177is we're adding a two frame exposure,
    00:04:23,244we're tracing around the edge of the tentacle
    00:04:25,904where it's exposed beyond that water line,
    00:04:28,770and then we're gonna use the magic wand,
    00:04:30,496which is the W key to select that inside area,
    00:04:33,460and then just use that expand fill action
    00:04:36,500that we made in an earlier lesson,
    00:04:38,827and using that to fill in the solid color.
    00:04:42,370And all we're gonna do is repeat that process
    00:04:44,872over and over again
    00:04:46,275every two frames like this until we get to the very end
    00:04:50,178of this animation.
    00:04:52,168Another thing that I wanna mention
    00:04:53,760is that I am taking into account
    00:04:55,740exactly where those suckers are placed.
    00:04:58,131And I am drawing just those little bumps there
    00:05:00,625for the suckers.
    00:05:01,723Because later on, I'll be filling in those details
    00:05:03,603and we want those suckers to be on the octopus tentacles
    00:05:06,324to make them look more like an octopus.
    00:05:09,324Otherwise, you just get these like flat,
    00:05:11,600stringy, noodley things.
    00:05:13,764So I'm adding those suckers in
    00:05:15,532and I'm trying to keep them as close as possible
    00:05:17,792to where the actual proxy suckers are.
    00:05:20,812There are gonna be a few places, again,
    00:05:22,656where I'm going to have to just kind of interpret them,
    00:05:24,672but for the most part, they're in a close enough spot
    00:05:27,140to where I can just follow this proxy guide for them.
    00:05:34,976Now, if you look at this frame,
    00:05:36,504something clearly went wrong with the model,
    00:05:38,402so we're just gonna kind of work around that
    00:05:40,152and not worry about it too much
    00:05:41,465and just fill this in and make it look correct.
    00:05:50,676Don't forget to stop and save your work
    00:05:51,977every once in a while
    00:05:53,272before those sneaky computer gremlins
    00:05:54,561cause Photoshop to crash.
    00:05:56,479You can very easily lose a lot of work that way.
    00:06:05,891So if you remember me talking
    00:06:07,513about using artistic interpretation here,
    00:06:09,533you can see that one frame
    00:06:11,149where I didn't really like the curve of the tentacle,
    00:06:14,189so I actually adapted that a bit more to my liking
    00:06:17,491and just gave it a little more of a curve to it
    00:06:19,922instead of it being quite as straight.
    00:06:29,472So we've got one leg done
    00:06:31,152and now we need to the other four.
    00:06:32,920I'm gonna keep each leg in its own video group.
    00:06:34,917And that's to make putting the outline on them much easier
    00:06:37,635once we're done.
    00:06:38,884Also, it'll make adding shadows and highlights easier.
    00:06:41,240And give us this ability to isolate
    00:06:43,652and easily change any of the legs if we need to.
    00:06:47,188Like if we wanted to add a mid tone
    00:06:48,936to those base colors of the legs.
    00:06:56,167So right here,
    00:06:57,324you can see me starting to change up this tentacle
    00:06:59,847just a little bit,
    00:07:01,119and I'm giving it a bit more curve
    00:07:02,574because I didn't like how flat it was getting.
    00:07:04,503So again, you can stray away from that proxy.
    00:07:07,217And I'm using, still, a lot of this
    00:07:09,191to help me along with it,
    00:07:10,603but I did make some changes here
    00:07:12,539so that I got more of a curved feel
    00:07:14,743and it felt a little bit more natural
    00:07:16,759and the way that I wanted it to.
    00:07:53,705All right, and just like that, about six hours later,
    00:07:57,003we have our tentacles moving.
    00:07:59,013So it doesn't matter that the stuff at the bottom
    00:08:01,056is jumping around like this,
    00:08:02,705we can take care of that later on in After Effects
    00:08:04,623using a matte, or we can even do it in Photoshop.
    00:08:07,602So this, I wouldn't be too concerned about right now.
    00:08:11,007It's just making these tentacles up top look good.
    00:08:14,214So this was a whole lot easier
    00:08:16,206than trying to go in and actually draw them all
    00:08:18,698by hand ourselves.
    00:08:20,487So the next thing that I did was colorize that splash.
    00:08:23,733Since I know that you watched the earlier lessons
    00:08:25,744on how to do that using the expand fill action,
    00:08:28,292we'll just forge ahead here
    00:08:29,614and go straight to adding those outlines on the tentacles.
    00:08:32,578I used that expand fill action on the outside of the legs
    00:08:35,430to give them this nice dark outline that you're seeing.
    00:08:38,408All you have to do is select the base coloring of the leg
    00:08:40,855and run that action.
    00:08:42,382The reason that I added the outline
    00:08:44,015is because it helps to separate the legs from one another
    00:08:46,601so that they don't look just like one giant pink blob.
    00:08:50,563I also went in and drew in some of the line work
    00:08:53,071where the tentacles curl at the end
    00:08:54,997that didn't automatically get an outline
    00:08:57,241from running that action.
    00:08:58,886I then gave those suckers some accenting
    00:09:01,363to give them a bit more dimension.
    00:09:03,304And then I moved on to adding shadows and highlights.
    00:09:07,076Let's take a quick look
    00:09:08,201at how to approach adding those in.
    00:09:10,942So we're gonna take a really quick look here
    00:09:13,001at how to add a highlight and a shadow layer
    00:09:15,600to our octopus legs.
    00:09:16,782So what we're gonna do is we're gonna come in
    00:09:18,932and we're gonna make a new layer really quick
    00:09:20,921and this is where we're going to make a palette.
    00:09:22,744So we're just going to color pick our base color.
    00:09:25,721And then we're just gonna come in
    00:09:27,225and just get that base color drawn Out over here.
    00:09:31,123And now I wanna make this shadow color
    00:09:34,041that I have going around the leg
    00:09:35,918or for these little accents here.
    00:09:37,732So what you can do is you can come in
    00:09:39,570and just turn the brightness down a bit on this
    00:09:42,085until you get the color that you want.
    00:09:44,937So that's actually really close
    00:09:46,153to where we were at with that, so we'll stick with it.
    00:09:49,215And the other thing we're gonna need
    00:09:51,337is a highlight color now.
    00:09:52,735And for the highlight color,
    00:09:53,796we'll go back to this base color here.
    00:09:56,073So I'm gonna open up
    00:09:57,796the actual little color palette window here.
    00:10:00,149And I can see a little bit better
    00:10:02,413when I'm dragging stuff around in here
    00:10:04,793exactly where on this value scale it falls.
    00:10:07,577So what I'm gonna do is I'm gonna pick a color
    00:10:09,925that's kind of representative
    00:10:11,415to like, the light that's going on in the scene.
    00:10:13,935So in this case, we have a lot of orange in that background.
    00:10:16,537And it's somewhere in this value level.
    00:10:18,947So I'm going to go back to my orange, come here,
    00:10:24,777and then you just kind of bring it across
    00:10:27,215into more of like a whiter space there.
    00:10:31,399So a little bit more towards this bright side.
    00:10:36,370And you can just kind of tweak it.
    00:10:38,110I know it's a little more orangey from the background.
    00:10:42,145So we'll take that for our highlight color.
    00:10:44,928And then we can just out that right up here.
    00:10:49,580And now what we're gonna do is actually add those layers in.
    00:10:53,340So we need to make a new layer, obviously.
    00:10:55,783And we need to figure out
    00:10:57,438where our light source is coming from.
    00:10:59,139So let's just say that our light source is coming down
    00:11:02,374from this direction here, right.
    00:11:05,863So what we're going to do
    00:11:08,230is we'll start with that shadow really quick.
    00:11:12,460And for the shadow,
    00:11:14,183you're going to figure out which side of the leg
    00:11:16,423is going to be, you know, on the dark side of this light.
    00:11:21,921So what we're gonna do now
    00:11:24,039is we're actually gonna make it
    00:11:25,521so that we can only draw on the actual octopus leg.
    00:11:29,219So now what I'm gonna do is going to use the magic wand tool
    00:11:32,780I'm gonna select this pink base color here,
    00:11:34,881which is on this layer,
    00:11:36,620and we're just gonna go back and make a new layer
    00:11:40,023for our shadow.
    00:11:41,441And we'll come in and select our color
    00:11:44,882and then select our brush.
    00:11:47,555And just kind of start drawing where you think that this
    00:11:52,013would be the dark side of the tentacle.
    00:12:04,029So this takes, actually, quite a bit of practice
    00:12:06,892to just figure out where the shadow is going to fall
    00:12:09,488and where it's gonna kind of start thinning out
    00:12:11,048at the top here and stuff.
    00:12:12,832And then, you know,
    00:12:13,947if we wanna bring it back in a little bit
    00:12:15,319on the inside, do we wanna put it there.
    00:12:18,796So this is just like a bunch of practice
    00:12:21,249and then trial and error.
    00:12:23,038And you'll eventually kind of get a flow
    00:12:24,843and a feel for exactly where things need to be.
    00:12:27,739So now we're gonna repeat this same type of setup
    00:12:30,742for our highlight.
    00:12:38,904And the highlight,
    00:12:40,481you really don't need to make it quite as broad
    00:12:43,404as you did with the shadow,
    00:12:45,702like the shadow is pretty thick.
    00:12:47,185The highlight is just an accent.
    00:12:49,062So really, you just kind of come in
    00:12:50,321and give it a few little pieces.
    00:12:53,163You don't need to make it quite as bold.
    00:13:04,747So this is my work flow
    00:13:06,521for adding highlights and shadows to something.
    00:13:08,865And this is something that normally takes years to master,
    00:13:12,124and it's not something that you're gonna get right away.
    00:13:15,362But at least now you have an idea
    00:13:17,265of how to get started with this kind of work flow,
    00:13:19,321so now you can give it a try.
    00:13:22,092So now that we've done all this hard work animating,
    00:13:25,004let's actually get all of this footage out of Photoshop
    00:13:27,526and bring into After Affects to finish compositing it.
    00:13:30,577So to do that, what we need to do is
    00:13:33,105decide on what we want to render out.
    00:13:35,484Now, I'm not going to get into too much detail here
    00:13:38,215with all of this, like, highlights and shadows
    00:13:41,051and all these sublayers like this.
    00:13:43,175I'm just gonna take out these main chunks.
    00:13:45,656I'm gonna do the legs, this water first,
    00:13:48,721the water second, and the little snap accent here.
    00:13:52,422Now, when you actually render something out of Photoshop,
    00:13:55,862you need to turn off
    00:13:57,100everything that you don't want to render.
    00:13:59,361So I'm getting rid of this background, the clean plate,
    00:14:02,422and then we'll start with the legs.
    00:14:05,201So we're gonna turn off our water first.
    00:14:07,644Our water second, and our snap.
    00:14:10,116This is actually a matte,
    00:14:11,996so I'm leaving that turned on right now.
    00:14:14,520So if we scrub through,
    00:14:16,422we can see right away that we only have our legs on
    00:14:20,070and that's exactly what we wanna render out.
    00:14:22,081So now, let's actually render these out.
    00:14:24,397We're gonna go up to this little menu here,
    00:14:26,721we're going to hit render video,
    00:14:28,640and I'm going to navigate to where I want to save this to.
    00:14:32,753So I made a new folder for lesson five output.
    00:14:36,594And I'm going to name my file, and I'll just name it legs.
    00:14:40,342I'm gonna throw an underscore on it.
    00:14:43,302And I'm also going to create a new sub folder called legs.
    00:14:47,484And this is because
    00:14:49,004I'm going to be doing a Photoshop image sequence.
    00:14:52,242And I'm going to be doing a png sequence
    00:14:55,212because pngs carry alpha
    00:14:57,404and things like jpegs don't.
    00:15:00,321So use any preferred format that you have
    00:15:03,622that has an alpha channel to render this stuff out.
    00:15:07,496And then it will automatically number everything
    00:15:11,064after that underscore now.
    00:15:13,340And we wanna keep our document size
    00:15:14,538and our frame rate the same.
    00:15:16,080And we're just going to go up to our work area.
    00:15:19,440We want an alpha channel of straight, unmatted.
    00:15:23,814And that's all we need to do.
    00:15:26,331And all you have to do now is hit render.
    00:15:28,950And when this comes up,
    00:15:30,808you want to do the smallest file size.
    00:15:33,691And the interlacing is left to none.
    00:15:38,842And when that's done,
    00:15:40,411you will have one nice, tidy legs folder here
    00:15:44,611with all of your images in it.
    00:15:46,891So now, we're just gonna repeat that same process
    00:15:50,374for our water second, our water first, and our snap.
    00:15:55,616Now, I am rendering out the same amount of frames every time
    00:15:59,931even though a bunch of them will end up as black
    00:16:02,534'cause that will just make it much easier to line things up
    00:16:05,275in After Effects once we're importing our footage.
    00:16:08,706All right, so now that we've got all that stuff
    00:16:11,467out of Photoshop,
    00:16:12,534let's bring it into After Effects and start compositing.
    00:16:15,250So the first thing you're going to wanna do
    00:16:17,670is you're going to wanna bring in that clean plate.
    00:16:20,028So let's import our file.
    00:16:23,429And we will just drop that into a new comp like this.
    00:16:27,703So now, we will import all of our other layers.
    00:16:32,932Make sure png sequence is checked off
    00:16:36,317and it's importing as footage and you just hit import.
    00:16:39,516Now, you're going to want to right click on this guy
    00:16:43,496and go to interpret footage, and then main.
    00:16:46,919And what you want to do here is you wanna make sure
    00:16:50,812that After Effects is assuming the proper frame rate.
    00:16:54,572Typically, it won't do that by default.
    00:16:57,154So you're gonna have to come in
    00:16:58,956and just change this to 24 frames per second and hit okay,
    00:17:02,674and now this footage, when we drop it in here,
    00:17:05,692will actually be the proper length that we want.
    00:17:08,972Now, the reason you're seeing a little bit of tail here
    00:17:11,655is because we actually didn't animate
    00:17:14,252the full length of the footage that Rich gave us.
    00:17:16,451So this is correct.
    00:17:21,130And let's just put this in order,
    00:17:24,156and you can see here, those other pieces of footage
    00:17:26,839that I didn't interpret yet, they're much shorter.
    00:17:30,849And the hot key to get to interpret footage
    00:17:33,879is going to be ctrl + alt + G.
    00:17:38,343And let's just play this back really quick
    00:17:41,458and make sure that everything is in order.
    00:17:44,594All right, so now that we've got everything in order
    00:17:46,354and placed in here,
    00:17:47,515what we're going to do is we'll add a reflection first
    00:17:50,578in this bottom part of the water.
    00:17:53,495So to do that, we need to make a duplicate of our legs.
    00:17:57,575So ctrl + D,
    00:17:59,013and then you can just bump those up a couple layers.
    00:18:01,574And you're going to wanna make a copy
    00:18:03,815of this water second here.
    00:18:06,018Again ctrl + D.
    00:18:07,516And we're gonna want the water second above the legs.
    00:18:11,351And what you wanna do here is we'll go up to a frame
    00:18:15,496that's a little further along
    00:18:17,251and we're gonna negative scale this
    00:18:18,788so that we can get it on the ground here.
    00:18:20,623So what you wanna do
    00:18:21,722is you want to uncheck the constrain here
    00:18:24,085and you want to just flip this to a negative value,
    00:18:28,425so it's negative 100 in the Y.
    00:18:30,965And then we will bring up our position and bring this down
    00:18:35,520so it lines up nicely like that.
    00:18:38,725Now, if you scrub through here,
    00:18:41,344obviously, there's no reflection yet.
    00:18:43,882And you have all this pink stuff
    00:18:45,583kind of poking up above here.
    00:18:47,583So what we wanna do is we want to alpha matte the legs
    00:18:51,343to this second splash that we just duplicated.
    00:18:55,002So let's turn that into an alpha matte.
    00:18:58,005And now that we've done that,
    00:18:59,525this looks a little bit better.
    00:19:01,546Like, it's only showing up where we need it to
    00:19:03,743on this end part here.
    00:19:06,568Obviously, this doesn't quite look like a reflection yet,
    00:19:10,426so we have a little bit more work to do with it.
    00:19:13,386So let's add some effects to this
    00:19:15,626to make it look a bit better.
    00:19:17,125The first thing we'll do
    00:19:18,442is we'll do the obvious and drop the opacity of it.
    00:19:21,837So let's just turn that down quite a bit.
    00:19:26,319And that helps a little.
    00:19:28,042So now it's not quite as bold anymore.
    00:19:31,023But it still needs a little something else.
    00:19:33,946So let's come in and add a little bit of a blur to this.
    00:19:38,990So we're gonna use our fast blur.
    00:19:42,466And just drop that on there
    00:19:44,520and just give it a little bit of a blur,
    00:19:47,362we don't need a whole lot here, just a touch.
    00:19:50,781So the next thing that we're going to wanna do
    00:19:53,704is we'll add a little bit of a turbulent displace on this.
    00:19:57,581And that will give it a nice texture.
    00:20:02,506So let's drop our turbulent displace on.
    00:20:06,315And again, we don't need a whole heck of a lot here.
    00:20:12,217So let's just kind of
    00:20:13,712play around with the amount and the size here
    00:20:16,473to get it to where we want it to be.
    00:20:17,859Right now, the size is really, really big.
    00:20:20,714So let's turn it down so it's just a little bit rippley.
    00:20:24,355Nothing too crazy.
    00:20:27,213Somewhere probably around like a nine, nine and a half.
    00:20:31,839And then we'll just give it a little bit more
    00:20:35,914to the amount here.
    00:20:45,776So now this will have kind of a nice, watery effect
    00:20:48,874when the legs are just kind of swimming around in there.
    00:20:51,936And the last thing we're going to do
    00:20:54,677is we'll give it a little bit of a tint
    00:20:56,197and that will help integrate this
    00:20:57,775into this footage a little bit better.
    00:21:00,213Now, for the tint, we can leave the black to black,
    00:21:03,163but you're gonna wanna grab this map white to
    00:21:06,192and select this color here.
    00:21:08,204And now, you can see
    00:21:09,472it's got a completely different look to it.
    00:21:13,993And I think I will actually bump this a little bit more.
    00:21:23,568All right.
    00:21:24,571So now we have this nice reflection
    00:21:26,571going on in the water down here.
    00:21:28,330And we can actually change the transparency on this too
    00:21:33,472just to kind of
    00:21:36,280be able to see the floor a little bit through there.
    00:21:39,733And some of these legs going on.
    00:21:44,221So that integrates it even a bit more into the footage.
    00:21:48,069Actually, I'm gonna turn this down just a touch more,
    00:21:52,241there we go.
    00:21:55,914Now, because we got rid of some of that
    00:21:59,483transparency to this,
    00:22:01,285the colors are not quite as vibrant as we want.
    00:22:04,800So we're gonna add a hue saturation effect here.
    00:22:08,501And all we're going to do with this hue saturation
    00:22:11,198is we're just gonna bump this saturation up again.
    00:22:14,283Just a little bit so it looks more
    00:22:16,181like our original color that we had.
    00:22:19,082So if we go back now, you can see that looks a lot better
    00:22:22,864than that kind of washed out color that we had.
    00:22:26,800So that's how it was before,
    00:22:28,923and now that is much nicer,
    00:22:30,720and those richer blues that we had before.
    00:22:35,796All right, so now that we've got this nice reflection going
    00:22:39,541down here in the water,
    00:22:40,843let's move on and actually add a shadow
    00:22:43,765kind of over here from these legs
    00:22:45,837to make them just a little bit more
    00:22:48,000integrated into our scene.
    00:22:49,701So to make that shadow, what we're going to do
    00:22:52,923is we're gonna come in and we're going to grab these legs
    00:22:56,181and we're going to duplicate them.
    00:22:58,704Now, obviously, a shadow is not going to be the same color
    00:23:02,540as the legs.
    00:23:03,781So what you're gonna want to do is go over to your effect
    00:23:07,200and grab a fill effect.
    00:23:08,880And we can just drop that fill right on top there.
    00:23:12,640And then you're going to wanna pick a color
    00:23:14,923from one of these darker regions, probably off of the robot
    00:23:18,181or some place like that
    00:23:20,273so that you still get a nice tint to this shadow
    00:23:23,152so that it matches the coloring in the scene.
    00:23:26,341So now that we've got that done,
    00:23:29,599we need to get this shadow to lay on the ground.
    00:23:32,135So we're actually going to use an effect called cc slant.
    00:23:35,512And what we're gonna do with the cc slant
    00:23:38,483is we're going to actually just
    00:23:40,610kind of tilt this over a little bit
    00:23:43,255till we get it to roughly where we would want it to be
    00:23:46,181on the ground.
    00:23:47,995And then you're going to grab this height.
    00:23:50,394And you're going to smoosh this guy down
    00:23:53,215kind of somewhere down here.
    00:23:57,036And obviously, that's way out of place.
    00:24:00,039So we're gonna grab this floor
    00:24:01,537and we're going to move it up in the Y-direction
    00:24:05,079until we get this so that it's laying on the ground
    00:24:08,611where we want it to be.
    00:24:10,657And we can kind of mess around with these values
    00:24:13,495to get them to look right.
    00:24:15,095Just tweak things a bit.
    00:24:18,167And that's looking pretty close.
    00:24:29,141So probably right around there
    00:24:31,516is where we want this to be
    00:24:33,735so that it looks like it's on the floor.
    00:24:36,597And now that we've got that on the floor,
    00:24:39,719obviously, shadows aren't really sharp like this, right?
    00:24:43,537So we're gonna go in and we're going to grab a fast blur.
    00:24:48,947And we'll drop our fast blur on there.
    00:24:52,215And all we have to do is just crank this up a little bit,
    00:24:56,156we don't want it super blurry,
    00:24:57,835just enough so that it softens that edge there.
    00:25:03,973That's looking much more shadow like.
    00:25:06,615And we can actually turn down the opacity
    00:25:08,602a little bit on this.
    00:25:10,932There we go.
    00:25:13,617So that's looking like a nice shadow.
    00:25:16,353But we have all this kind of weird crawly stuff over here.
    00:25:19,036So what we need to do is create a matte
    00:25:21,793to knock this stuff out.
    00:25:23,975So what we're gonna do is make a new solid command Y.
    00:25:27,655And I always leave my solids some obnoxious color
    00:25:31,272when I'm doing a matte.
    00:25:33,815And I'm just going to drop my opacity down
    00:25:36,991so I can see what I'm doing.
    00:25:39,173I'm gonna grab my pen tool, which is G in After Effects.
    00:25:42,692And then we will just draw a mask onto our matte here.
    00:25:50,345And there we go.
    00:25:52,401But we need to invert our mask.
    00:25:54,516Because what's going to happen when we use an alpha matte
    00:25:57,194is it's going to show up wherever this solid is.
    00:26:01,500So let's invert that really quick.
    00:26:03,695And then we're also going to add a feather to this
    00:26:06,940just to soften the edge.
    00:26:08,679'Cause otherwise, we're gonna get this hard line
    00:26:10,439where it transitions between where this mask is and is not.
    00:26:15,617So let's just feather this really quick.
    00:26:19,335So now you can see
    00:26:20,434we've got a nice soft edge along that border.
    00:26:23,580And we can crank our opacity up.
    00:26:26,220And that soft edge is really obvious now.
    00:26:30,001And then we just grab our legs that are for our shadow
    00:26:33,639and we will alpha matte this.
    00:26:36,845So now we have all that stuff that was kind of over here
    00:26:41,361is pretty much gone.
    00:26:43,079There's just a tiny bit there, but it's not bothersome.
    00:26:46,961And this is looking pretty good.
    00:26:49,454So the next thing that we're gonna do
    00:26:51,629is we're just gonna add a nice, simple, light wrap on here
    00:26:54,407to give this a bit of a glow
    00:26:56,519and get it to really integrate into this scene.
    00:26:58,737So what we're gonna do
    00:27:00,237is we're actually going to duplicate this background
    00:27:03,777because this is what we need to pull our color from.
    00:27:06,561And I'm just gonna kind of pop it up here in the middle.
    00:27:10,679So you guys can really see what's going on here.
    00:27:13,761And what we wanna do with this
    00:27:16,016is we're going to use something called a set matte
    00:27:19,358to do this.
    00:27:20,463Now, if you wanna know more about the set matte effect,
    00:27:23,281you can check out our 30 days of After Effects tutorial
    00:27:27,404called tracking and keying part two
    00:27:30,754where Joey gets a little bit more in depth
    00:27:33,100to the mechanics of what's going on here
    00:27:35,324with this set matte effect.
    00:27:37,004But I'm just gonna show you really quickly how to this.
    00:27:40,342So we're gonna type in set matte
    00:27:43,175and we're going to grab that effect
    00:27:45,084and we are going to drop it onto our duplicated footage.
    00:27:49,825Now what we want to do is we're going to pick
    00:27:52,582one of the layers with the legs on it.
    00:27:55,025In this case, I will pick my shadow layer.
    00:27:57,265Now you can see there's just a little bit of an outline
    00:28:00,295going on here.
    00:28:02,044And this is correct.
    00:28:03,484Even though we put those effects,
    00:28:05,921like the cc slant and the blur,
    00:28:08,161onto that layer, set matte ignores all transforms
    00:28:12,067and any effects that you've put onto a layer
    00:28:15,778that you're pulling the alpha data from.
    00:28:18,445So what you're seeing here is completely correct.
    00:28:21,190Now, what we're going to do
    00:28:23,409is actually invert this matte
    00:28:25,866because right now, we need these legs to be showing up.
    00:28:28,803So the next thing we'll do
    00:28:30,988is we're going to grab our fast blur again.
    00:28:34,545And we're gonna drop that right here into this stack.
    00:28:38,806And we're just going to blur this.
    00:28:41,875And if you notice, this background is getting blurry too.
    00:28:44,964And that's okay, but you can see if we zoom in here,
    00:28:47,965we're getting this nice glow on the edge of the legs there.
    00:28:51,766There is is without it.
    00:28:53,107And there's that glow on the edge.
    00:28:56,042So this nice, light wrap effect.
    00:28:58,307So what we're going to do now
    00:29:00,488to cut out this background again
    00:29:02,995is we're going to grab another set map.
    00:29:06,045We can actually just duplicate our original
    00:29:09,027and then drop it to the bottom of the stack.
    00:29:11,920And then we're just going to uncheck
    00:29:13,667this invert matte button.
    00:29:15,546And right there,
    00:29:16,545our background is right where we need it to be again,
    00:29:19,027but we have this nice, light wrap effect
    00:29:20,925and this nice glow to the legs.
    00:29:22,968And it really just pulls those legs
    00:29:24,749into the footage even more.
    00:29:27,353All right, and there you have it.
    00:29:29,725We've done some really quick stuff
    00:29:31,352that was very easy to achieve in After Effects
    00:29:34,168to really just add those finishing touches
    00:29:36,428to this animation.
    00:29:39,591That's it, you've made it to the end
    00:29:42,029of our cell animation in Photoshop series.
    00:29:44,589I hope you enjoyed this series and learned a bunch of stuff
    00:29:47,389to get you started with traditional animation.
    00:29:49,410I also hope that you had a lot of fun doing these lessons.
    00:29:52,508I know I did.
    00:29:53,709If you liked this series, please spread the word
    00:29:56,749and share it with people.
    00:29:58,210Thanks to Wacom, Rich Nosworthy,
    00:30:00,821and thanks again to you for watching.
    00:30:02,632I'll see you next time.

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