Using Polar Coordinates in After Effects

GMunk is the man. He creates some incredible work, and in this After Effects lesson we're going to re-create some of the effects from one of his pieces, Ora Prophecy. Check out the resources tab to take a peek at that before you get started. 

You'll learn how to use the lesser known Polar Coordinates effect, which has a bit of a strange sounding name, but once you see what this effect does you'll see why it's perfect for what we're building in this lesson. You'll also be doing a bunch of animating, use a couple of expressions, and start to think like a compositor to break down exactly what's going on in the original GMunk piece. By the end of this lesson you'll have a ton of new tricks in your bag. 

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.

Polar Coordinates Project File

GMunk Ora

    00:00:01,039(ambient techno music)
    00:00:10,388(School of Motion jingle)
    00:00:21,353- What's up, Joey here at School of Motion,
    00:00:23,321and welcome to day two of 30 Days of After Effects.
    00:00:26,334Today what I want to talk about is an effect
    00:00:28,544that a lot of people don't really understand,
    00:00:30,427and it's called polar coordinates.
    00:00:32,707It's this really geeky sounding effect.
    00:00:34,336But with a little creativity and some know-how,
    00:00:36,557it can do some incredible stuff.
    00:00:38,479Now, this tutorial was inspired by a sick piece
    00:00:41,971done by my favorite motion designer, G Munk.
    00:00:44,611I tried to recreate a little bit of it,
    00:00:46,244and I show you how I do it.
    00:00:47,842And don't forget, sign up for a free student account,
    00:00:49,774so you can grab the project files from this lesson.
    00:00:52,124Now, let's hop into After Effects and get started.
    00:00:55,651So like I said, the purpose of this video
    00:00:57,548is going to be to introduce you guys
    00:00:58,903to the polar coordinates effect.
    00:01:01,744And if you look at the final render that I put together,
    00:01:05,184I kind of went a little bit overboard,
    00:01:07,509and I obviously did a lot more
    00:01:09,042than just put together a simple little demo here,
    00:01:12,570and I'm not going to be able to show you
    00:01:14,204how I did every little piece of this.
    00:01:16,554If that's something you're interested in,
    00:01:18,463please let me know in the comments,
    00:01:20,476because you know, all of the stuff you're looking at,
    00:01:22,931there's free information about how to use, you know,
    00:01:26,179the sound effector in Cinema 4D,
    00:01:28,207and how to create things that react with audio.
    00:01:30,532What I want to show you in this tutorial
    00:01:32,292is how to make this tunnel,
    00:01:34,291this kind of rotating 3D infinite tunnel.
    00:01:39,398And it's actually a lot easier than you'd think.
    00:01:43,275I wanna show you guys the G Munk piece,
    00:01:46,450and I know it wasn't just G Munk.
    00:01:48,682He probably worked with a lot of people on this,
    00:01:50,576but he made this piece recently.
    00:01:55,728And if you look at this part right here, this tunnel.
    00:02:00,154And there's a lot of really neat stuff going on here,
    00:02:02,253and there's some really fancy particle stuff.
    00:02:04,307But this tunnel, this cool techie-tron-looking tunnel,
    00:02:09,489is what I wanted to try and recreate,
    00:02:11,387and I thought it would be a good way of using
    00:02:14,231the polar coordinates effect
    00:02:15,924to show you guys how to use it.
    00:02:17,891So let's hop into After Effects.
    00:02:20,469First let me try to show you what this effect does.
    00:02:24,021Just on a very simple level.
    00:02:25,400So I'm going to make a new comp,
    00:02:27,394we'll just call it test.
    00:02:29,347All right, so, what this effect does
    00:02:33,532at its simplest level,
    00:02:34,696okay, I'm just going to make big horizontal line
    00:02:37,282across the entire comp.
    00:02:39,006And I'm going to add an adjustment layer,
    00:02:42,141and then I'm going to add
    00:02:42,974the polar coordinates effect to it.
    00:02:46,653So polar coordinates, it only has two options.
    00:02:50,577The type of conversion,
    00:02:51,959and then the interpolation is basically
    00:02:55,078the strength of the effect,
    00:02:56,268so if we set this to rectangular to polar.
    00:03:02,576And then we up the strength here.
    00:03:05,937All right, you can see what it does,
    00:03:07,078it basically takes that linear thing,
    00:03:09,150and it basically bends it into a circle.
    00:03:11,831Okay, so that's what the effect does.
    00:03:14,890And you might be wondering, why is that useful?
    00:03:17,665Well, like if you want to turn the tutorial off after this,
    00:03:21,960this might explain everything for you, okay?
    00:03:24,372If I take this line, put it up here.
    00:03:28,831Actually, I got a better idea,
    00:03:29,789let's put it way up here.
    00:03:31,100Let's actually move it out of the frame.
    00:03:34,954And let's put a key frame on Y position.
    00:03:37,978And go forward one second, and move it down here.
    00:03:42,337That's it, okay?
    00:03:44,055Now when we play that,
    00:03:45,486that's the animation that's happening, very simple.
    00:03:47,946If we turn the polar coordinates strength
    00:03:51,297all the way up to 100, and then we play it,
    00:03:55,458well now look what it's doing.
    00:03:57,083All right, it's taking that vertical motion
    00:04:00,530in our layer and it's turning it into radial motion.
    00:04:03,978So that's really why this effect is so cool.
    00:04:07,060I'll show you guys how I made the tunnel,
    00:04:08,899but before I do that, I wanna,
    00:04:10,473I just want you to understand a little bit better
    00:04:12,980some other ways that this effect can be used.
    00:04:15,161Of course, we're just scratching the surface here.
    00:04:17,950And there's actually some other really cool
    00:04:19,651things you can do.
    00:04:20,484So let me first turn my adjustment layer off.
    00:04:23,556Let me delete the shape layer.
    00:04:25,432And I'll show you guys this example
    00:04:29,185that hopefully will start giving you some ideas of your own,
    00:04:32,474some cool experiments you could run with this effect,
    00:04:35,138and see what you can come up with.
    00:04:36,845So here we've got a star.
    00:04:38,945And what I'm going to do is
    00:04:40,931I'm going to turn the conversion,
    00:04:43,202instead of rectangular to polar,
    00:04:44,711I'm gonna say polar to rectangular.
    00:04:47,114All right, and what this is gonna do,
    00:04:49,226is it's gonna take something that's radial,
    00:04:51,890like a circle or a star,
    00:04:53,564and it's gonna sort of un-distort it
    00:04:55,820and create and unwrapped linear version of it, right?
    00:04:59,432So if I turn this adjustment layer back on,
    00:05:04,109right, I'll scrub the strength here,
    00:05:06,643so you can see what it does.
    00:05:07,476It does this weird warp, and we end up with this, okay?
    00:05:11,667Now why is that useful?
    00:05:13,336Well, it can be useful if you have something,
    00:05:16,479a piece of artwork that's circular or something,
    00:05:19,623anything that kind of has this radial shape,
    00:05:23,988radial symmetry to it.
    00:05:25,451You can use polar coordinates to now create a unwrapped
    00:05:30,099rectangular version of it.
    00:05:31,876Then you can do other stuff to it.
    00:05:33,999So for example, what if I, you know,
    00:05:36,351just took a simple effect like venetian blinds.
    00:05:41,507Sometimes a useful effect,
    00:05:43,058and all it does if you've never used it,
    00:05:45,254it just basically makes a lot of little cuts
    00:05:47,675in your footage, and you can control the angle of the cuts,
    00:05:50,510and you basically use it to wipe things on and off.
    00:05:56,070And what's interesting is that, you know,
    00:05:58,320this effect right now, it doesn't really
    00:06:00,671look like anything special.
    00:06:02,517The trick is you basically use polar coordinates
    00:06:06,538to unwrap something, you then affect it,
    00:06:09,596then you use polar coordinates again,
    00:06:11,757and go back to your original polar look, right?
    00:06:15,406So we first went polar to rectangular,
    00:06:18,730then we affected it,
    00:06:19,820and now we're going rectangular to polar.
    00:06:22,066And this doesn't look really all that interesting.
    00:06:24,200Now you've got lines radiating from the star.
    00:06:26,927Let me zoom in and go full res
    00:06:28,525so we can really see this.
    00:06:29,481But now you can start to get some interesting looks, right?
    00:06:32,664If I start messing with the direction,
    00:06:35,785now we're getting kind of a spiral wipe,
    00:06:38,798which, you know, would actually be pretty tricky to do.
    00:06:42,182And let me up the width of these things
    00:06:43,910so they're a little bit bigger.
    00:06:45,210And then I can adjust the direction
    00:06:48,258till we get a nice seamless looking thing.
    00:06:50,791And now what you have is a wipe that actually works
    00:06:55,049in a spiral fashion, okay?
    00:06:57,582So this is something that would be
    00:07:00,134pretty tricky to do actually.
    00:07:02,642If you wanted to create this type of wipe.
    00:07:05,958But here's a quick little trick to do it.
    00:07:08,119And it can also be used for maybe more useful things.
    00:07:11,915Let me turn this off for a minute.
    00:07:13,747If you wanted to distort that star,
    00:07:16,688but have it be distorted in a radial way,
    00:07:19,685you could use maybe turbulent displace,
    00:07:23,334and maybe set it to vertical displacement.
    00:07:27,571And let's bring the size down, bring the amount up.
    00:07:32,493And then use that same trick, right?
    00:07:36,742Then, you know, if you change the evolution of this.
    00:07:42,900You can start to see, you're going to get,
    00:07:45,913you're going to get noise and distortion
    00:07:48,192that moves in and out from the center of this object.
    00:07:52,052And so you could use this, you know,
    00:07:53,626here's a really quick cool example
    00:07:56,183of how that might be useful.
    00:07:57,768And I actually got this idea recently
    00:08:00,671from watching Andrew Cramer's tutorial
    00:08:03,845on how to make this really cool explosion,
    00:08:07,855and he uses polar coordinates.
    00:08:10,506I promise you, Andrew, if you're watching,
    00:08:13,865I did not steal the idea for this tutorial from you,
    00:08:15,990you just happened to do it at the same time
    00:08:17,617as I was doing this one.
    00:08:19,248So yeah, what I wanna do is just turn off the fill.
    00:08:21,998And just turn the stroke up a little bit.
    00:08:25,255So this is interesting, right, because.
    00:08:27,554Let me turn these effects off for a minute.
    00:08:29,906So we've got a circle.
    00:08:31,370And then I'm going to use the polar coordinates effect
    00:08:33,383to turn it back into a line.
    00:08:35,034Now why in the world would I want to do that?
    00:08:37,022That seems kind of ridiculous.
    00:08:38,616Because now I can use this turbulent displace, right?
    00:08:41,977And let me turn it to something else, maybe twist.
    00:08:45,927And if I animate the evolution,
    00:08:47,603you're going to get something like this.
    00:08:50,929And even better, if you offset the turbulence,
    00:08:53,722you can have something that looks like
    00:08:54,977it's moving through the shape.
    00:08:59,024And this effect, it doesn't work in a radial way,
    00:09:02,150it works in a linear way.
    00:09:03,304So if I use this trick of, you know,
    00:09:05,081sort of sandwiching an effect between polar coordinates,
    00:09:08,824what I can get, if I offset the turbulence on Y,
    00:09:11,645is I can kind of get this radiating, you know,
    00:09:14,800it almost looks like a star or something.
    00:09:17,005Like the corona of a star.
    00:09:18,735So let me just put a quick key frame here
    00:09:21,390on the offset turbulence, so I'll go forward one second,
    00:09:23,752and I'll move it outward a little bit.
    00:09:27,670And then we'll just RAM preview that,
    00:09:29,556and you can see, it's a pretty nifty little trick.
    00:09:33,226You'd obviously want to put some more effects on it
    00:09:36,961and layer it, and do other things to it.
    00:09:39,626But hopefully this starts to show you the power
    00:09:42,112of using the polar coordinates.
    00:09:43,588It lets you do things in a linear way,
    00:09:45,170but then turn them into this radial thing.
    00:09:47,354So hopefully that gave you a hint about
    00:09:49,520how I actually pulled off copying this amazing G Munk piece.
    00:09:54,057So let's take another look at this.
    00:09:56,486You know, I didn't copy it exactly,
    00:09:58,785there were so many layers,
    00:09:59,692I mean, there's so many things going on.
    00:10:01,538And again, I want to stress
    00:10:03,174that what makes this piece amazing
    00:10:04,829is not the fact that maybe they
    00:10:06,725used this trick to create it.
    00:10:08,932It's obviously the design and the sound design especially,
    00:10:13,625and the vibe that this piece gives you,
    00:10:16,062and none of that has to do with actually, you know,
    00:10:19,543what effect they used.
    00:10:21,092It has to do with the thinking
    00:10:22,782and the art direction behind it.
    00:10:24,614So I just wanted to stress that,
    00:10:26,537'cause that's kind of a big thing for me,
    00:10:28,025is never forgetting that that's the important thing.
    00:10:30,497But look at the design of this.
    00:10:31,780You've just got a bunch of
    00:10:33,737sort of lines that just move at right angles.
    00:10:36,604They sort of randomly, like,
    00:10:38,153they'll come out a little bit,
    00:10:39,782then take a turn, then turn back,
    00:10:41,172then turn this way.
    00:10:42,259And every once in awhile, there's like a little area here
    00:10:45,908that kind of gets enclosed,
    00:10:47,851and as the piece goes on, too,
    00:10:50,050you kind of see this come back.
    00:10:52,840And you even get to see if from a side angle.
    00:10:55,174And you'll kind of see that sometimes
    00:10:56,765these little shapes get filled in,
    00:10:58,300sometimes they look a little bit less transparent.
    00:11:02,898This part's really cool too.
    00:11:04,274I'll just let you watch it because it's awesome.
    00:11:06,433All right, so what I wanted to do
    00:11:08,270was to see if I could just make that in After Effects
    00:11:10,711without having to resort to Illustrator
    00:11:12,817or something like that.
    00:11:14,603So let me delete this stuff.
    00:11:17,964We're gonna create all of this stuff in After Effects.
    00:11:22,482If we want to have things radiating out
    00:11:27,064from the center of our comp,
    00:11:28,884then the way we need to do it is to have them start
    00:11:31,565at the top of our frame, and move down.
    00:11:34,481That's how you get outward motion
    00:11:36,172using the polar coordinates effect.
    00:11:39,158So the first thing we need to do is create our artwork.
    00:11:42,241And I'm gonna make this comp a lot longer,
    00:11:46,243a lot taller than it is, because
    00:11:48,607if I'm gonna be moving these shapes down,
    00:11:51,677and I want to have a lot of them,
    00:11:53,105I'm not gonna have enough room
    00:11:54,300if I only have this small little comp.
    00:11:56,399So let me make this, instead of 1920 x 1080,
    00:11:59,351I'll make it 1920 by, let's do like 6,000.
    00:12:04,209All right, so now you get this nice tall comp.
    00:12:07,019So let's come down here to the bottom.
    00:12:10,264And I want to be able to make these shapes really easily,
    00:12:13,607so I'm gonna do two things.
    00:12:14,853One is I'm gonna turn on the grid in After Effects.
    00:12:17,857So you can go to View, Show Grid.
    00:12:21,009I usually use the hotkeys,
    00:12:22,245so it's Command + apostrophe will show you the grid.
    00:12:25,649And then the second thing you need to do
    00:12:27,470is make sure that you have Snap To Grid turned on.
    00:12:30,593If you don't, the grid won't actually help you
    00:12:32,868create these things.
    00:12:34,631So now I'm going to switch to my pen tool,
    00:12:38,278and I'm gonna hit the tilde key here.
    00:12:41,047All right, and if you don't know what the tilde key is,
    00:12:42,885it's the little key next to the one
    00:12:45,058on the top row of your keyboard with all the numbers.
    00:12:48,238That little squiggle is called a tilde.
    00:12:49,947And whatever window your mouse is over,
    00:12:52,779when you hit tilde,
    00:12:54,379will get maximized.
    00:12:55,975So if I wanna zoom in here and work on these shapes,
    00:12:59,806this makes it a lot easier.
    00:13:01,920All right, so the next thing I'm gonna do is
    00:13:03,411I'm gonna set up my shape settings.
    00:13:05,298I want no fill, all right?
    00:13:06,973So you can click the word fill,
    00:13:08,415make sure that this None icon is clicked.
    00:13:12,661For the stroke, white is fine for the color.
    00:13:15,671I'll just make it white.
    00:13:16,917And then for the thickness,
    00:13:19,027I'm not exactly sure what I want yet,
    00:13:20,681but why don't we just set it to five for now.
    00:13:23,550First let's just try drawing one of these shapes, all right?
    00:13:26,359And let's just keep this open,
    00:13:27,777so we can reference it.
    00:13:29,552Let's find a good frame, like that's a good frame, okay.
    00:13:31,895So really all I need are a bunch of, you know,
    00:13:34,642like a vertical line, and every once in awhile,
    00:13:38,587it kind of takes a right or left turn.
    00:13:40,655So let's hop into After Effects.
    00:13:42,070We'll start down here.
    00:13:43,451And I'm just gonna put a point there,
    00:13:47,024and because I have Snap To Grid turned on,
    00:13:49,593I can actually do this pretty quick.
    00:13:53,276Have this come back up here,
    00:13:55,042come over here.
    00:13:56,228Up, up, like this.
    00:13:57,142And you can see that this actually
    00:13:59,850doesn't take that much time.
    00:14:02,184So now I want to draw a different line.
    00:14:05,326So what I'm gonna do is I'm gonna hit the V key,
    00:14:08,384switch back to my arrow,
    00:14:10,114and then I can just click somewhere else outside of this
    00:14:13,234to deselect it, right?
    00:14:16,021Or a faster way would be to deselect everything.
    00:14:20,453So if you hit Shift + Command + A,
    00:14:23,139that deselects everything.
    00:14:24,575So Command + A is Select All.
    00:14:26,787Shift + Command + A is Deselect All.
    00:14:29,227So now if I hit my pen tool again,
    00:14:31,457which is the G key on your keyboard,
    00:14:34,367you guys should learn these hotkeys,
    00:14:35,629they really make you so much faster.
    00:14:38,566So now I can create another shape.
    00:14:41,153So maybe this one starts here.
    00:14:43,357Now I'm gonna show you this,
    00:14:44,778I just screwed up a little bit.
    00:14:46,135When I clicked, I clicked and dragged a little bit.
    00:14:48,402And you can see that the bezier handles of this point
    00:14:52,205were pulled out a little bit.
    00:14:53,702And that's a problem because now
    00:14:55,721if I pull this point over like this,
    00:14:58,517it's actually bending a little bit.
    00:15:00,348There's a little curve to it, which I don't want.
    00:15:02,063So I'm just gonna hit undo.
    00:15:03,934So that's one thing you have to be careful of.
    00:15:05,255Make sure that when you click your point,
    00:15:07,304you just click, and you don't click and drag.
    00:15:09,435So that you don't get any curves, okay?
    00:15:11,631So now I'll click here.
    00:15:13,396Click over here.
    00:15:15,194Maybe come down like this.
    00:15:17,031And, you know, I'm not really following any rules here,
    00:15:19,791I'm just trying to make something that resembles
    00:15:25,033the spirit of G Munk's.
    00:15:26,537So now I'm gonna deselect all,
    00:15:28,863and let me make one more shape.
    00:15:31,164All right, and then we'll move on here.
    00:15:34,856Make this one like a little bit fatter.
    00:15:39,867So then the next thing we wanna do
    00:15:41,779is I wanna take some of these.
    00:15:45,603Oh, I forgot to deselect all.
    00:15:47,644There we go.
    00:15:49,998So next thing I want to do is I wanna create
    00:15:51,627a few little caps for these things, all right?
    00:15:54,065So I'll create one, deselect all.
    00:15:57,535And then maybe I'll create a little area
    00:16:03,461like this, just fill in that shape like that.
    00:16:08,181All right, deselect all.
    00:16:09,939And then I'll do maybe a thicker one here.
    00:16:16,357Okay, and then maybe this one.
    00:16:23,487Okay, and then maybe I'll put a line here and a line here.
    00:16:26,776Then we'll call it a day.
    00:16:29,179Okay, deselect all,
    00:16:31,182and then do one maybe up here.
    00:16:35,970Cool, okay,
    00:16:37,767now I'm gonna hit Command + apostrophe,
    00:16:39,439and you can see our design here, beautiful.
    00:16:42,860And so then, the next thing I wanna do
    00:16:45,297is just sort of duplicate it a bunch of times,
    00:16:48,443so I don't have to actually create this
    00:16:50,062really complicated set-up here.
    00:16:53,952So an easy way to do that is to just select all of these.
    00:16:56,794Precompose them, and we'll call this Shape01.
    00:17:01,685All right, and so let me scoot this guy over like this,
    00:17:04,891and then I'm gonna duplicate it,
    00:17:07,241and I'm gonna come over here, and I'm gonna try to line up
    00:17:12,580these lines right here as best I can.
    00:17:14,696And then scoot this one down a little bit,
    00:17:17,682and the reason I'm doing this is so that
    00:17:20,335we can sort of hide the fact
    00:17:22,122that we're just gonna clone this thing a bunch of times.
    00:17:24,736I want to try and mix up,
    00:17:27,258and then maybe for this one, I could scale it
    00:17:30,393negative 100, horizontally,
    00:17:34,001so that it's actually a mirror image.
    00:17:37,109So it actually looks even a little different.
    00:17:39,652I can scoot this one up like this.
    00:17:43,263Cool, so now I've got this kind of building block
    00:17:45,402that I can start to use.
    00:17:47,788So maybe I'll duplicate this one more time,
    00:17:50,105scoot it over here.
    00:17:53,934And I'm just kind of nudging these things with the keyboard
    00:17:56,775and zooming in.
    00:17:58,328It's not gonna be perfect.
    00:18:00,555Unless you take the time to make it perfect,
    00:18:02,250which I'm not very good at.
    00:18:04,805I'm kind of impatient.
    00:18:06,102So now I'm gonna take this whole set-up, precomp that.
    00:18:09,206We'll call that Shape02.
    00:18:12,845And I can duplicate it, and bring it up like this.
    00:18:19,371And you can see that there's like a little hole here
    00:18:21,384that we need to fill.
    00:18:22,473So what I'll probably do is just duplicate it again,
    00:18:25,985and I'll just bring this over like this,
    00:18:29,525and I'll just sort of position it
    00:18:32,533so that it fills in that hole.
    00:18:33,996And we're getting a little bit too much overlap down here,
    00:18:36,328so what I might do is then mask that section off.
    00:18:43,923And set that mask to subtract.
    00:18:47,081And then I can just adjust that mask.
    00:18:49,927So it only shows up where I want it to, right?
    00:18:56,024And maybe move it up a little bit.
    00:18:59,638Grab those points.
    00:19:02,130Cool, and hopefully you're seeing how quickly
    00:19:04,350you can do this, too, I mean.
    00:19:06,477You know, if you're actually doing this
    00:19:08,733for a paying client, yeah,
    00:19:09,863you probably want to take the time to make it perfect.
    00:19:12,659But if you're just playing around,
    00:19:14,480or if you're just trying to, you know,
    00:19:16,175do something for your reel,
    00:19:17,506just to make something cool-looking,
    00:19:19,294no one's going to notice these little inconsistencies
    00:19:22,175when this is moving, cool?
    00:19:25,282All right, and then why don't we
    00:19:29,649duplicate this whole thing one more time.
    00:19:34,367And precomp this whole thing.
    00:19:36,719Shapes03, duplicate, bring it up here.
    00:19:43,335And just to make life easier,
    00:19:46,120let me mask off this little top piece here.
    00:19:49,284Subtract it, and then duplicate it,
    00:19:52,933and so now we can move this up.
    00:19:56,320There we go.
    00:19:58,215Cool, and then we just need one more copy,
    00:20:00,507and we're pretty good to go.
    00:20:03,868Cool, all right, so we've got
    00:20:04,923this really interesting looking set-up here.
    00:20:09,572The next thing I did was
    00:20:12,403I actually filled in some of these shapes.
    00:20:15,379All right, so,
    00:20:18,175maybe just wanna precomp this and just call these Lines,
    00:20:22,854so you don't have to think about it anymore,
    00:20:24,195and then you can lock it, so you don't accidentally move it.
    00:20:26,670And then let's hit that tilde key again and zoom in.
    00:20:29,549And this time what I want to do
    00:20:30,855is I'm gonna select my rectangle tool.
    00:20:33,930I'm gonna set the fill to a full fill.
    00:20:38,477And set the stroke to zero.
    00:20:41,468And so now what I can do
    00:20:44,370is zoom in, we can turn the grid back on.
    00:20:48,124Although, that may not actually help us at this point
    00:20:50,475because since we sort of hand positioned those lines,
    00:20:53,705you can see that a bunch of them
    00:20:54,980don't actually line up to the grid anymore.
    00:20:57,502So let's not even both with that.
    00:20:59,621And let's turn off Snap To Grid,
    00:21:02,599which it's grayed out because the grid is not showing.
    00:21:05,263So we're good to go.
    00:21:06,096So then I just take the rectangle tool,
    00:21:08,556and I just sort of quickly go through,
    00:21:11,674and I try to be somewhat arbitrary about it,
    00:21:15,599and not have too many big areas of filled in color.
    00:21:21,009But sometimes I want that section,
    00:21:23,987sometimes I want that section.
    00:21:26,146And I'll just try to do this
    00:21:30,203a bunch of times.
    00:21:32,050And I think when I did this for the tutorial,
    00:21:35,254I probably spent, I don't know, 15-20 minutes
    00:21:38,917making this design and filling this in.
    00:21:42,515I'm trying to do it a little quicker,
    00:21:43,647'cause I know how boring it is for you guys to watch.
    00:21:46,512But one of the things I'm hoping.
    00:21:49,751Let me undo that.
    00:21:51,075One of the things I'm hoping that you're getting from this
    00:21:53,408in addition to learning
    00:21:55,323a new trick is,
    00:21:57,023you know, seeing how quickly
    00:21:59,712you can get things done in After Effects.
    00:22:02,548And not having to overthink the production
    00:22:06,215of your elements sometimes.
    00:22:07,984I know I've done jobs where
    00:22:11,571you have a big team, and so you sort of
    00:22:14,532end up trying to find ways to include everyone in the work,
    00:22:18,973and so you might have a designer actually
    00:22:20,983create this stuff in Illustrator,
    00:22:23,535but then you gotta take that Illustrator file
    00:22:25,528into After Effects,
    00:22:26,522and then you may need to tweak it.
    00:22:27,915So then you have to do a bunch of work,
    00:22:29,448and so, you know, when you're doing something like this,
    00:22:32,480don't be afraid to just say like,
    00:22:34,029"Hey, I can just do it in After Effects,
    00:22:35,996"and we don't need another person,
    00:22:38,337"and we don't need to make work for somebody."
    00:22:41,134A lot of this type of stuff you can just do very quickly.
    00:22:44,024So that's pretty cool, and let's just leave that for now.
    00:22:50,252And what we may actually be able
    00:22:51,754to get away with, all right.
    00:22:54,344And one thing you should notice, too.
    00:22:56,025Because I didn't deselect all,
    00:22:58,219when I was making those shapes,
    00:22:59,394it put all of those shapes on one shape layer.
    00:23:02,277Which is okay for this,
    00:23:03,617this isn't gonna bother me.
    00:23:06,172So I'm renaming this Solid.
    00:23:07,853What I'm gonna do is just duplicate it,
    00:23:09,835and see if I can get away
    00:23:14,383with just lining it back up.
    00:23:16,506Which seems to work.
    00:23:19,166So that way I don't have to literally go through this entire
    00:23:24,360layer here making these.
    00:23:26,536Okay cool, so we've go some filled in areas,
    00:23:28,597we've got some lines, we did that fairly quickly.
    00:23:31,908All right, so this is now our design.
    00:23:34,320Let me rename this comp.
    00:23:36,238This is gonna be Tunnel_Flat, okay?
    00:23:42,168Cool, so let me make a new folder here.
    00:23:47,497Because I'm super anal retentive.
    00:23:51,691There we go, all right.
    00:23:52,579So here's our Tunnel_Flat layer.
    00:23:54,748So the next you wanna do is make a new comp,
    00:23:57,221and this is gonna be our polar comp, okay?
    00:24:00,006Now what I'm gonna do here, I'm gonna start
    00:24:01,601by making it 1920 x 1080,
    00:24:04,022and I want to show you what happens if I do this.
    00:24:07,339So let's drag our Tunnel_Flat comp into this.
    00:24:13,088And let's flip it upside down,
    00:24:16,421and the reason we need to flip it upside down is because,
    00:24:19,503so this needs to be negative 100.
    00:24:22,325It needs to be upside down because in order
    00:24:24,710for the polar coordinates effect to work correctly,
    00:24:27,932and make this look like a tunnel coming towards us,
    00:24:31,185this layer's gonna have to move down,
    00:24:33,896and since I designed it from the bottom up,
    00:24:36,918then I actually just need to reverse it
    00:24:38,756when I move it this way.
    00:24:40,349So let's start by just opening up
    00:24:43,266the position property here.
    00:24:45,042So hit P, I always separate dimensions.
    00:24:49,100I almost never leave them connected for position.
    00:24:53,035We'll put a key frame on Y,
    00:24:54,547we'll move this thing out of the frame.
    00:24:56,693And then we'll go forward.
    00:24:58,111Our comp is 10 seconds long.
    00:25:00,124And let's just move this thing all the way down like that.
    00:25:02,467Let's see how fast that ends up moving.
    00:25:04,823That might be too fast.
    00:25:07,409But we'll see.
    00:25:08,993Okay, cool, so there we have it.
    00:25:11,525And now, the last thing we do,
    00:25:13,818is we add the adjustment layer,
    00:25:18,153and we add the polar coordinates effect.
    00:25:21,736So Distort, Polar Coordinates, switch this.
    00:25:25,229By default, it's polar to rectangular,
    00:25:27,388you have to switch it rectangular to polar,
    00:25:30,321and then turn the interpolation up, okay?
    00:25:33,881And now, if we RAM preview this,
    00:25:36,924this is what you get, okay?
    00:25:39,171So you get this infinite kind of, you know.
    00:25:42,242I mean, there it is, right?
    00:25:43,821Looks just like G Munk's.
    00:25:45,719Same thing, done.
    00:25:48,462All right, so obviously there's some problems.
    00:25:50,253One is the effect.
    00:25:52,267It only creates a circle that is
    00:25:55,297as tall as your comp, okay?
    00:25:59,379So what I did for the video I made for the tutorial
    00:26:02,790was I actually just set the width and the height to 1920.
    00:26:09,525And then make sure that your adjustment layer
    00:26:15,217is the same size as the comp.
    00:26:16,488So I just opened up the settings for that.
    00:26:18,633By the way, the hotkey, if you don't know,
    00:26:21,253Shift + Command + Y opens up the settings for a solid,
    00:26:25,259and then you can just hit make comp size,
    00:26:27,252and it'll scale it to the comp size.
    00:26:28,977So now we get a tunnel that actually
    00:26:32,485is the full size of the comp.
    00:26:34,558Now, I'll show you what's gonna happen.
    00:26:38,036So what we're gonna do is we're gonna take polar comp.
    00:26:40,965We're gonna make a new comp, and this will be our,
    00:26:43,215you know, our final tunnel comp here.
    00:26:47,142And this comp is gonna be 1920 x 1080.
    00:26:50,579So this is gonna be our normal comp we're gonna render from,
    00:26:54,592and we're gonna take our polar comp,
    00:26:56,992put it in there, all right?
    00:26:59,205And you can see that it's almost big enough,
    00:27:01,942but it's not quite big enough
    00:27:04,100And that's okay because I knew going in.
    00:27:07,445If you look at the final here,
    00:27:08,924there's so many effects and layers of things happening here,
    00:27:12,521that I knew that I could just kind of
    00:27:14,138cover that up if I wanted to.
    00:27:15,817And what I actually ended up doing
    00:27:17,493was putting an adjustment layer
    00:27:20,279above this whole thing.
    00:27:21,585And I do that a lot, I use adjustment layers
    00:27:23,832to kind of affect my whole comp.
    00:27:25,749That way it's easy to turn it on and off.
    00:27:27,778But I used another distort effect called Optics Compensation
    00:27:33,601and what that does is it sort of simulates either
    00:27:36,764a fisheye lens, if you just sort of leave it on
    00:27:39,106and you turn the field of view up, it kind of makes your,
    00:27:43,023it basically simulates a very wide angle lens.
    00:27:45,701Or you can do a reverse lens distortion, right?
    00:27:49,645And it'll actually,
    00:27:51,481it'll suck out the edges of your comp a little bit
    00:27:54,581and give you a little bit of lens distortion.
    00:27:56,731And so that's what I wanted to do.
    00:27:58,674So why don't we pull the start time
    00:28:01,158of polar comp to there, okay?
    00:28:04,953Or better yet, why don't we go into polar comp
    00:28:07,461and we'll have the Y position start
    00:28:11,047where it's already far enough out
    00:28:13,462that it's reaching the edge of our tunnel, okay?
    00:28:17,134So now if we look at Tunnel_Final,
    00:28:19,319we're in half res, I'm just gonna do a quick RAM preview.
    00:28:22,095Just to get a sense of the speed of this thing.
    00:28:27,498All right, so the next thing is,
    00:28:29,805you can see the beginning of this,
    00:28:31,581and it kind of goes off into infinity.
    00:28:34,037Which could be cool, and if you look at the G Munk piece,
    00:28:37,860it goes pretty far back.
    00:28:39,623But there is a definite hole there, okay?
    00:28:43,611So I don't know if they used polar coordinates
    00:28:45,736to actually create this piece, but to fake that,
    00:28:49,898there's an easy trick.
    00:28:50,798All you have to do is go to your polar comp here.
    00:28:54,759Let's turn off this adjustment layer for a minute,
    00:28:56,701so the way the polar coordinates effect works is
    00:29:02,988the top of your frame is the center of the circle, okay?
    00:29:08,976And the edge of the circle.
    00:29:10,344And by the center of the circle,
    00:29:11,287I mean the top of this frame
    00:29:13,987correlates to the center of this
    00:29:16,793circular version of your layer.
    00:29:20,895Now this outer part actually falls
    00:29:24,376in the middle of your comp, okay?
    00:29:26,520So the polar coordinates effect,
    00:29:28,588it doesn't use this bottom part of your frame.
    00:29:33,266So what I wanna do is mask out the correct part of this,
    00:29:39,177so that I get a hole in the middle.
    00:29:42,947All right, so since the middle corresponds
    00:29:44,907to the top of my frame, I need to mask this part out.
    00:29:47,643So I'm gonna make a matte layer here.
    00:29:51,582Just a new solid.
    00:29:53,739And I usually make my mattes some really bright color
    00:29:57,226on my timeline, so I can differentiate them.
    00:29:59,830And then I'm gonna take my mask tool,
    00:30:01,894and I'm gonna mask out this part,
    00:30:03,801and I'm gonna feather that mask and then invert the mask.
    00:30:08,190Sorry, I did that wrong.
    00:30:15,305So yeah, so I do that.
    00:30:17,078No, I was right.
    00:30:17,911Invert it, and now tell this layer to use this
    00:30:21,940as an alpha matte.
    00:30:23,559There we go, okay.
    00:30:24,639So here's my matter layer that I'm using as an alpha matte,
    00:30:29,211and so now we don't see this part of it, okay?
    00:30:32,414If I turn on the transparency grid,
    00:30:34,647you can kinda see, it's a little tough,
    00:30:36,398but you can see that there is no information there now.
    00:30:39,912So when I turn the polar coordinates adjustment back on,
    00:30:42,649now we have a tunnel emanating from there.
    00:30:45,922And I can adjust that by feathering the mask more,
    00:30:48,982and if I want, I can even adjust how far down this comes.
    00:30:54,178And that's gonna affect where the tunnel actually starts.
    00:30:58,749So now let's go to our final.
    00:31:02,025Cool, so we're starting to get somewhere now, okay?
    00:31:04,995Now I moved the mask too far, so you're starting to see
    00:31:08,128a little bit of the center there.
    00:31:10,420And so this is why it's helpful to have polar coordinates
    00:31:12,635on an adjustment layer,
    00:31:14,244because you can just turn it on and off
    00:31:15,792really quickly if you see that you messed something up,
    00:31:17,928like I just did.
    00:31:19,427So I need to adjust this mask, this.
    00:31:23,293And this needs to come out more.
    00:31:25,788There we go.
    00:31:27,926Now turn it back on, come here,
    00:31:30,346now we're good to go.
    00:31:32,207Cool, all right, so.
    00:31:34,701The next part of this is I wanted to make it
    00:31:37,905look like the tunnel was a little bit more 3D.
    00:31:41,421We're getting that sense that we're moving through a tunnel,
    00:31:44,558but it doesn't feel very 3D,
    00:31:46,860it feels very flat, which could be cool.
    00:31:50,119But if you want it to feel like it has
    00:31:52,699a little bit more depth to it,
    00:31:55,625what you kind of need is a little bit of parallax.
    00:31:59,047You can kind of see that parts of the tunnel move slower,
    00:32:01,964parts of the tunnel move faster.
    00:32:04,701So what I did, I just kind of did it the easy way.
    00:32:07,183So let's turn off our adjustment layer for a minute.
    00:32:09,725Oh, sorry, wrong comp.
    00:32:11,188Turn off our adjustment layer.
    00:32:15,202And what I did.
    00:32:18,066First let me change this set-up a little bit
    00:32:19,983to make this easier.
    00:32:20,958So I'm gonna turn off.
    00:32:23,405This layer is now no longer using this layer as a matte.
    00:32:26,240What I'm gonna do is turn this layer back on,
    00:32:28,663and I'm going to set
    00:32:31,938the mode to stencil alpha.
    00:32:35,299And so what that's gonna do is it's gonna use
    00:32:37,676this layer as the alpha channel
    00:32:40,616for every layer that's underneath it, okay?
    00:32:43,412And the reason I want to do that
    00:32:44,972is because I'm gonna duplicate this layer.
    00:32:48,655I'm gonna duplicate it,
    00:32:50,112and I'm actually gonna make it a 3D layer.
    00:32:55,163And then I'm gonna push it backwards in Z.
    00:32:58,307So let's push it backwards like 1,000, okay?
    00:33:01,642And now, since I did that,
    00:33:03,646I need to adjust the initial Y position.
    00:33:09,453All right.
    00:33:12,454But you can see that it moves slower
    00:33:15,610than the layer in front of it,
    00:33:16,620because it's further back in space.
    00:33:18,274Just a very quick and dirty little way to do this,
    00:33:20,346and I'm gonna make the opacity like 50%.
    00:33:24,796I'm also going to scoot this thing over.
    00:33:29,527And I'm gonna make it a different color,
    00:33:30,634so I can differentiate,
    00:33:31,850and I'm gonna duplicate it,
    00:33:33,420and scoot this over so now it'll fill
    00:33:37,753the entire frame, okay?
    00:33:39,451So now, we've got one layer of parallax,
    00:33:42,931just by doing that,
    00:33:43,764and if we look.
    00:33:44,742Oh, I need to turn my adjustment layer back on,
    00:33:47,397pop over here, and just by doing that,
    00:33:50,627you can see that it's given the tunnel
    00:33:53,236a lot more of a 3D look.
    00:33:58,881Another thing that really really helped
    00:34:01,248with the tunnel kind of feel of this was having
    00:34:06,204it rotate a little bit.
    00:34:08,978Which that was really easy to do.
    00:34:11,246You could actually just rotate this comp.
    00:34:15,086The way I did it was I actually used another effect
    00:34:19,631on my adjustment layer.
    00:34:21,878I used Distort Transform.
    00:34:24,925And then I put an expression on the rotation,
    00:34:27,786to just keep it rotating.
    00:34:29,685So that's a very common expression I use all the time.
    00:34:33,362What you do is you hold the Option key,
    00:34:36,411and you click the stopwatch for rotation.
    00:34:38,858You can see it turns red.
    00:34:40,058So now I can type in an expression,
    00:34:41,834and the expression is just time
    00:34:44,236times, and then whatever number I want.
    00:34:46,271So let's try time*50, all right?
    00:34:49,451And I'll do a quick RAM preview.
    00:34:52,185That feels way too fast,
    00:34:53,717so why don't we do time*15.
    00:34:59,836And that's better, okay?
    00:35:01,381So now if we go to the final,
    00:35:03,920we have this nice kind of, you know,
    00:35:05,862we're drifting towards the tunnel,
    00:35:08,299and it's coming at us
    00:35:09,519and it's really neat looking, everything's cool.
    00:35:13,324All right, and then, you know,
    00:35:15,449just to make it a little bit neater,
    00:35:16,901why don't we turn this off,
    00:35:19,189and why don't we do one more layer of parallax.
    00:35:21,966So let's duplicate this, make it a different color.
    00:35:25,445Let's push this one back to 2,000.
    00:35:29,816And pop over here, push this over,
    00:35:35,223and let's see how fast that's moving.
    00:35:37,170Let's make the opacity different, too.
    00:35:39,098Let's make this 20%.
    00:35:43,831All right, and then
    00:35:47,849change the Y position a little bit,
    00:35:49,485so it moves a lot slower,
    00:35:51,737there we go.
    00:35:55,277Cool, all right,
    00:35:56,513so then I'll just duplicate that,
    00:35:59,186push this over like so.
    00:36:03,137You can see I'm be very very imprecise with this,
    00:36:06,640but because it's so busy now,
    00:36:08,573we've got so much going on,
    00:36:11,115it actually works okay.
    00:36:13,588Cool, so we've got that.
    00:36:15,007And if we turn our adjustment layer back on,
    00:36:17,645and go back to the final comp,
    00:36:19,638now you're getting something
    00:36:21,234with a ton of complexity,
    00:36:25,082and a few layers of parallax,
    00:36:28,408and you're really getting that 3D tunnel feel to it.
    00:36:31,778So now, looking at this,
    00:36:34,340one of the things that jumps out at me
    00:36:36,580is that everything feels really really chunky,
    00:36:39,892and that's not what I was going for,
    00:36:41,991One of the things I love about G Munk's stuff
    00:36:44,725is that he is not afraid to make stuff very thin, okay?
    00:36:48,927So let's try to do that.
    00:36:50,690The great thing about this
    00:36:51,880is the way was have it set up
    00:36:53,307it's all done in After Effects,
    00:36:54,660so if we just jump back into our comps.
    00:36:57,435Let's jump in here.
    00:36:58,778All we need to do is go back into our lines comp
    00:37:02,689and find our original shapes buried in there.
    00:37:06,215There we go.
    00:37:07,144That whole thing's built out of this little set-up.
    00:37:09,341I'm just gonna select all these,
    00:37:10,610and change that stroke to two, all right?
    00:37:13,971And now I'm going to jump to my final comp here,
    00:37:18,179and that's a lot better, okay?
    00:37:20,441Now this is half res,
    00:37:21,807so you're getting a little bit of degradation,
    00:37:23,499but I love how much thinner everything looks.
    00:37:26,765And then the next thing that I had done.
    00:37:32,475So here, let's RAM preview this a little bit,
    00:37:34,279I wanted to get a little bit more randomness
    00:37:37,177in how bright these panels are.
    00:37:41,001Because they just felt too uniform to me.
    00:37:45,695So this is already feeling pretty cool,
    00:37:47,470and this could be useful on its own,
    00:37:50,028but it just doesn't feel as glitchy and analog and crazy
    00:37:53,157as I wanted it to.
    00:37:55,630So I'll just show you a few more things I did.
    00:37:59,452So if we go back into our tunnel comp,
    00:38:02,014and you can see that all of these solid pieces here,
    00:38:06,010they're actually just made from these three shape layers,
    00:38:10,703so what I'm gonna do is I'm gonna precomp these,
    00:38:12,610and I'm gonna call this the Solid shape layer.
    00:38:16,521I'm going to make a new solid that is this gigantic
    00:38:21,0931920 x 6000 size, and I'm gonna use
    00:38:25,391a fractal noise effect.
    00:38:28,560And if you're not familiar with fractal noise,
    00:38:31,028you should be, and there is a tutorial coming
    00:38:35,651on the 30 Days of After Effects
    00:38:36,923about fractal noise.
    00:38:37,881There might even be two of them,
    00:38:38,879so you will learn more about this.
    00:38:41,479But fractal noise is great
    00:38:42,741at generating random shapes
    00:38:45,021and noise and stuff.
    00:38:46,278And it's got this really cool setting.
    00:38:48,634If you change the Noise Type to Block, okay,
    00:38:52,233and maybe it's hard to see,
    00:38:53,226but let me zoom in here a little bit.
    00:38:54,593It starts to resemble pixels,
    00:38:57,536and there's still like a lot of noise
    00:38:59,164and static looking stuff in there.
    00:39:02,552And all of that stuff is actually
    00:39:05,634the kind of sub-noise.
    00:39:07,868There's kind of two levels of noise happening
    00:39:10,125with fractal noise, the main level and then the sub level,
    00:39:13,305and that sub level,
    00:39:14,747if you take the influence of it down,
    00:39:16,898here in the subsettings,
    00:39:18,347turn that down to zero, okay?
    00:39:21,332And you'll see now you just get this pixel-y pattern
    00:39:24,785which is cool, and I am going to
    00:39:28,799close that down.
    00:39:29,632I'm going to scale this way up like this,
    00:39:32,673and what this effect can now do,
    00:39:34,664if I animate the evolution of this, right?
    00:39:37,750I can get this cool kind of pixel-y pattern.
    00:39:42,974I can even move this noise through these pixels.
    00:39:46,793So I'm gonna do two things.
    00:39:48,434One, I'm gonna put that same expression on this evolution
    00:39:52,335that I did on the rotation,
    00:39:53,676So I'm gonna say Option, click that,
    00:39:56,319and type in time* let's try 100.
    00:40:00,720All right, and so it just gives it
    00:40:02,225a little bit of change over time.
    00:40:04,827Nothing too crazy.
    00:40:06,197The next thing I'm gonna do is
    00:40:07,683I'm gonna offset the turbulence,
    00:40:09,879and I'm gonna have it offset,
    00:40:13,214like this, it's gonna offset vertically.
    00:40:15,173So what I'm gonna do is I'm just gonna put a key frame here.
    00:40:18,248I'm gonna hop to the end.
    00:40:19,859And I'm gonna animate this up like this,
    00:40:22,887and then let's take a quick look and see
    00:40:24,805what kind of speed we're getting.
    00:40:26,954All right, I may want that to actually happen
    00:40:29,800a little bit faster.
    00:40:32,102So let me crank that value a little bit.
    00:40:36,700Do a quick RAM preview.
    00:40:39,625All right, maybe a little bit faster.
    00:40:45,638Cool, and so now what I want to do with this,
    00:40:50,449is I want to use this cool animated pattern I made
    00:40:54,376using fractal noise,
    00:40:55,247I want to use that as a Luma Matte
    00:40:57,998for my solid shapes layer, right?
    00:40:59,557So here's the solid shapes, right here.
    00:41:02,866And I'm gonna tell that layer, solid shape,
    00:41:05,591to use my cool fractal noise as a Luma Matte.
    00:41:09,385And so now, if we watch this,
    00:41:11,181you're gonna get this cool kind of pattern
    00:41:13,600moving through it, okay?
    00:41:15,587It's gonna animate continuously throughout
    00:41:19,292the comp, okay?
    00:41:21,701And it's gonna be kinda cool.
    00:41:24,230You know, and if you wanted to,
    00:41:25,349I mean, there's a lot of ways
    00:41:26,505you could make it even more random,
    00:41:28,664it might be cool, you know,
    00:41:30,249maybe what I could also do is
    00:41:31,849put an expression on the transparency of these shapes.
    00:41:35,308So maybe I could have then flicker a little bit, too.
    00:41:38,328So why don't we turn the opacity maybe to like 70%,
    00:41:43,441and I'm gonna put a quick expression on there called Wiggle.
    00:41:46,164If you're not familiar with expressions, by the way,
    00:41:48,091you should watch the Introduction to Expressions video.
    00:41:50,939It's on the site, and I will link to it
    00:41:53,255in this video, in the description,
    00:41:56,362so you can watch that.
    00:41:57,931But there's a million ways to use expressions
    00:41:59,890to really speed up your ability to do this stuff.
    00:42:03,068So what I'm gonna say is why don't we have this thing wiggle
    00:42:06,76910 times per second by up to 20.
    00:42:11,335And if we RAM preview that, you can see it just
    00:42:13,463gives it a little bit of like a flicker, cool?
    00:42:16,747And if I wanted it to actually flicker more,
    00:42:20,430I could change the amount,
    00:42:22,938that second number is sort of the strength of the wiggle.
    00:42:28,784And one thing that now looking at this,
    00:42:30,700that I wish I had done,
    00:42:31,736I wish I'd had all of those shapes on their own layers
    00:42:35,503so that I could have them all flicker separately,
    00:42:37,553but you know what?
    00:42:38,946Live and learn.
    00:42:39,779All right, so now we've got that,
    00:42:41,590and we can turn our lines back on, right?
    00:42:43,587So now this is what you're getting,
    00:42:45,990and now this is what's feeding all the way
    00:42:48,446through your chain
    00:42:49,804into your final tunnel comp.
    00:42:52,843Okay, and so now you're starting to get a lot of that cool,
    00:42:56,872you know, complexity and that richness,
    00:42:59,748and there's just a lot going on,
    00:43:01,420and frankly, now that I look at it,
    00:43:03,352I think I want those lines to be even thinner.
    00:43:06,208I think I might just set this to one pixel.
    00:43:09,977All right, and come down here.
    00:43:13,480All right, in half res, it's gonna make it look
    00:43:15,352a little bit chunkier, but I don't want
    00:43:17,076the render times to be ridiculous for this.
    00:43:20,725Cool, so, I mean this is essentially how I built the tunnel,
    00:43:24,425and then of course, I did some compositing,
    00:43:27,524and I couldn't just let the center be, you know,
    00:43:30,616have nothing in it,
    00:43:31,544so I had to make this crazy thing in Cinema 4D.
    00:43:35,343Watching the G Munk thing a million times,
    00:43:37,252I noticed that there are these cool pulses.
    00:43:39,856Kind of timed out with music,
    00:43:41,486and it kind of looked like,
    00:43:43,120you know, one of those rainbow rings you get with,
    00:43:48,107with a lens flare.
    00:43:49,557So I used that and just,
    00:43:50,959but really it's, you know, chromatic aberration.
    00:43:55,041And some vignetting, I did some fake depth of field
    00:43:58,809using the lens blur with a gradient.
    00:44:01,293So that is, I guess that brings me to the end here.
    00:44:04,638I hope that this was useful,
    00:44:06,989and I hope that you kind of have like a new appreciation
    00:44:09,925for this effect that has, you know,
    00:44:12,252a weird name and it's only got two settings,
    00:44:14,542and it seems like how could that possibly be useful?
    00:44:17,205But look at this crazy thing that we just made, you know,
    00:44:21,177in like 20, 30 minutes, together,
    00:44:23,432all inside of After Effects,
    00:44:26,025with absolutely no Illustrator,
    00:44:28,169nothing like that, there's no third party
    00:44:30,032plug-ins or anything.
    00:44:32,732And it's great.
    00:44:33,742And you can use this to make really interesting radio waves.
    00:44:39,195I showed you a bunch of ways you can stack
    00:44:40,998a polar coordinates with effects inside,
    00:44:43,949and then un-distort it using another polar coordinates
    00:44:46,376and get some really interesting things.
    00:44:49,026So anyway, I hope that was useful.
    00:44:50,645Thank you guys so much.
    00:44:52,387Stay tuned for the next episode of 30 Days of After Effects.
    00:44:56,503I will talk to you guys later.
    00:44:58,027Thank you so much for watching.
    00:44:59,552I hope that was cool,
    00:45:00,615and I hope you learned something new
    00:45:02,043about using the little-known polar coordinates effect.
    00:45:05,410Now, we'd love to hear from you
    00:45:06,934if you use this technique on a project, so please,
    00:45:09,245give us a shout on Twitter @SchoolOfMotion,
    00:45:11,239and show us what you did.
    00:45:12,715Thank you so much, and I will see you on the next one.
    00:45:16,088(School of Motion jingle)