Motion Design in Real Life: The Godfathers of Hardcore

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Motion Design in Real Life: The Godfathers of Hardcore

This was a short but REAL gig Joey did for a client. The client happens to be a bad-ass guy, Ian McFarland. He's a documentary / commercial / music-video director based out of Boston who is also a die-hard metal fan like the rest of the School of Motion team. He came to Joey recently with a small gig that needed to be done, like, yesterday.

“When time is short and you have to get a good result to your client with no room for error, there are some tricks to make your life easier.”

In this video I'll try to take you through the process of working on something like this, showing you a few workflows in After Effects / Mocha, and also talking about some clever ways to get to "approved" a heck of a lot faster.

This work was done for the Kickstarter campaign for The Godfathers of Hardcore, a SWEET looking documentary about the legendary hardcore band, Agnostic Front.

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.

Motion Array - Insanely Affordable stock FX footage, including the ink blots I used in this video.

Gorilla Grain - A killer company that sells real film footage for adding grain, light leaks, film burns, and more.

McFarland & Pecci - Two amazing dudes who make some of the coolest docs, music videos and spots around.  

The Godfathers of Hardcore - Information about the film and Kickstarter campaign.

    00:00:00,000(high pitched whistle) (clanking)
    00:00:03,128(techno music)
    00:00:11,405- [Joey] I want you to meet my buddy, Ian McFarland.
    00:00:14,661He's half of a directing cinematography duo
    00:00:17,268called McFarland & Pecci.
    00:00:19,756Ian is not only a great dude
    00:00:21,743and an absurdly talented director, shooter, and editor,
    00:00:25,452but he's also, like myself, a metalhead.
    00:00:29,012(heavy metal music)
    00:00:30,482Ian has directed music videos
    00:00:31,995for some of the biggest metal bands out there,
    00:00:34,586like Killswitch Engage, Meshuggah.
    00:00:39,689Love Meshuggah.
    00:00:40,927Fear Factor.
    00:00:43,723And, a little band called Agnostic Front.
    00:00:47,175Now maybe you're not familiar with them,
    00:00:49,058but they are legends in the hardcore and punk scenes.
    00:00:52,937Ian has been doing a lot of documentary work lately,
    00:00:56,006and so he was approached by the band
    00:00:57,517to direct a documentary about Agnostic Front.
    00:01:00,552So, to raise money for the film
    00:01:02,255he shot a Kickstarter campaign promo
    00:01:04,201and asked his buddy, Joey,
    00:01:05,898for a little help with some graphics and compositing.
    00:01:09,055Here's the email that I got from Ian,
    00:01:10,685and I want to highlight a couple of points.
    00:01:13,454First, I would basically only have
    00:01:15,822a few hours to work on this.
    00:01:19,009Two, there would not be time for any revisions,
    00:01:22,494so I have to get it right the first time.
    00:01:25,441Three, Ian trusts me.
    00:01:29,236Now, I've worked with Ian before.
    00:01:31,161Here's a clip from a video we did a few years ago
    00:01:33,046with a ton of visual effects work in it.
    00:01:35,945So, having done jobs together,
    00:01:37,918I knew what sort of style he liked
    00:01:40,139and I knew that I could make something cool looking.
    00:01:42,462But, with only a free hours of free time
    00:01:44,486to actually dedicate to this, I had to be surgical.
    00:01:48,298So, I used a trick, it's one of my go to moves,
    00:01:51,023when timelines get compressed like this.
    00:01:54,339Don't just show one option.
    00:01:57,402So, let's first take a look
    00:01:58,645at the rough cut of the promo that Ian sent over.
    00:02:04,741(gentle music)
    00:02:26,093- My name is Ian McFarland,
    00:02:27,243and I'm directing The Godfathers of Hardcore.
    00:02:29,349(heavy metal music)
    00:02:35,178- [Joey] You can see where Ian
    00:02:36,189tried to mock up what he was going for.
    00:02:38,559He also sent over this poster
    00:02:40,402that was gonna accompany the film, and that's it.
    00:02:43,164That's all I had to work with.
    00:02:45,474So, let's jump into After Effects,
    00:02:46,994and let's work our way through this together.
    00:02:51,558So, the first shot we're gonna work on is this one
    00:02:53,457where we're gonna put the logo on this wall.
    00:02:55,782If you look back at the reference,
    00:02:57,021you can see kind of the mock up that Ian did for me
    00:02:59,872just to kind of let me know what he was thinking.
    00:03:02,259So, the first thing we're gonna need to do is get a track
    00:03:05,173so we can actually track the logo onto the wall,
    00:03:08,407and you'll see here that the footage is moving.
    00:03:11,916This is like a slightly handheld camera move,
    00:03:14,040but it's not moving very much,
    00:03:16,163and there's nothing over here to track.
    00:03:19,410This is just a completely white wall.
    00:03:22,020So unfortunately, we can't just do
    00:03:24,704like a nice easy mocha planar track.
    00:03:28,300So, what I'm gonna do is just do my best.
    00:03:32,031So, let's double click on the shot
    00:03:34,522so we can go into a footage viewer.
    00:03:36,810I have my Tracker open,
    00:03:38,107and I'm just gonna say Track Motion.
    00:03:40,078And I'm gonna zoom way in here,
    00:03:41,143and what I'm gonna try and do is track two points
    00:03:44,470that are on this surface somewhere,
    00:03:47,730and I'm gonna try and just get
    00:03:48,697a position and rotation 2D track.
    00:03:53,517So, I'm looking over here at this spot right here,
    00:03:57,489and there's a lot of contrast there,
    00:03:59,578so I think that will be a decent track point.
    00:04:02,285And you know, I expanded this inner box out a little bit,
    00:04:05,902because the feature that we're tracking is very small.
    00:04:09,742Expanding this inner box a little bit
    00:04:11,590is going to force the tracker
    00:04:13,317to look for more pixels on each frame
    00:04:15,887which tends to give you a little bit more
    00:04:17,791of a locked on result.
    00:04:19,510This outer box, this is the search area,
    00:04:21,533and since the shot is barely moving,
    00:04:23,458I can make that pretty small, okay?
    00:04:25,341So now I'm gonna select rotation
    00:04:26,802and I need a second track point.
    00:04:29,037Now, I wanna basically use this line here
    00:04:33,877as a reference, this edge.
    00:04:36,829And actually, now that I'm thinking about it,
    00:04:38,380it might make more sense to try and track this point,
    00:04:42,094because what that's gonna let me do
    00:04:43,206is if I can find another tracking point
    00:04:45,379somewhere along this line
    00:04:46,440I can actually use this as a visual guide
    00:04:49,130to see how my track is doing.
    00:04:51,098So, one of the things that you can do with the Tracker
    00:04:53,979is you can track things that are not actually features
    00:04:56,952but are just kind of intersections between two features.
    00:05:00,069So for example, this black pole and the white wall
    00:05:04,495form a pretty good trackable feature, right,
    00:05:08,165right about there let's say,
    00:05:10,069and you can see that the line
    00:05:12,094that's drawn between those two trackers,
    00:05:14,219it lines up perfectly along that edge.
    00:05:16,351So, this is gonna give me a good visual representation
    00:05:20,327of the success of my track, right?
    00:05:22,398So let's make this a little bit bigger,
    00:05:25,542and make the search area smaller,
    00:05:27,768and I'm gonna make sure I'm on the first frame,
    00:05:29,248and I'm just gonna hit Track,
    00:05:31,764and we're gonna see how this does,
    00:05:34,944and hopefully it tracks okay.
    00:05:36,795Alright, so if we zoom out
    00:05:39,014and I just hit the Space Bar and we play this.
    00:05:42,280Right, it's a little difficult to tell,
    00:05:43,992but it looks like we've got a track.
    00:05:48,195And one thing I should point out
    00:05:50,256is that I made sure to pick two points
    00:05:53,200that are far apart,
    00:05:55,462and the reason I did that
    00:05:56,300is because this looks like it was shot
    00:05:57,943with kind of a wider lens, a wide angle lens,
    00:06:00,539and so that means that you're gonna get some lens distortion
    00:06:03,124towards the edge of the frame,
    00:06:05,013and in the center of the frame
    00:06:06,027you're gonna have a lot less distortion.
    00:06:07,887So, that's gonna make this point
    00:06:09,492move a lot more than this one
    00:06:12,575relative to the actual shape of the wall.
    00:06:14,816So, if you're in a situation like this
    00:06:17,171where you're kind of doing a hacky two point track
    00:06:20,298because you can't actually track a surface,
    00:06:22,543try to track points that are as far apart as possible.
    00:06:24,846They'll get you a more accurate result.
    00:06:26,899Alright, so now that I've got that track
    00:06:28,988I'm gonna add a null object to my scene
    00:06:30,538and I'm just gonna call this my Track Null.
    00:06:33,966And I like to apply tracking data to a null
    00:06:36,782instead of actually applying it to the logo,
    00:06:39,378because then I can move the logo around,
    00:06:41,500and if I need to I can even keyframe it and adjust it,
    00:06:44,186but I'm not screwing up the original tracking data.
    00:06:47,153So, I've made a new tracking null.
    00:06:49,200I'm gonna go into my Tracker Settings
    00:06:50,390and say Edit Target
    00:06:51,950and make sure that I'm applying the motion
    00:06:53,764to that tracking null, that track null.
    00:06:56,509And then I'm gonna hit Apply
    00:06:58,137and make sure X and Y dimension are selected,
    00:07:00,877and there we go, alright?
    00:07:02,429So now, this tracker in theory it should line up,
    00:07:07,703and you've got to see that it's been rotated
    00:07:09,317and it lines up pretty much right on with the ledge.
    00:07:13,255Now, let's see how well that actually tracks.
    00:07:14,895So, what I'm gonna do is grab the logo,
    00:07:18,402and I need to import that logo.
    00:07:21,831And I've got a little folder here from Ian,
    00:07:24,156and here is the McFarland & Pecci Films logo.
    00:07:27,866So, first thing I'm gonna do
    00:07:28,699is bring that into its own comp,
    00:07:30,340because as you can see,
    00:07:31,233it's a black and white image.
    00:07:33,025So, what I'm gonna do is make a black solid,
    00:07:36,236or a dark gray, that's fine, too,
    00:07:38,140and I'm gonna tell it to use this image as a luma matte.
    00:07:43,985Let me turn on transparency
    00:07:45,140and show you exactly what that did.
    00:07:46,785So now it's just taking the white parts of that logo
    00:07:49,073and using them as an alpha channel.
    00:07:51,121And we're getting a little bit of transparency here
    00:07:53,233because this logo probably wasn't truly black and white.
    00:07:57,188It was probably like a CMYK file as opposed to RGB,
    00:08:00,987so the black level is gonna be a little brighter.
    00:08:04,246So, what I need to do is add a Levels effect to that image
    00:08:09,076and just push the white values a little bit more,
    00:08:11,531push the black values a little bit more,
    00:08:13,187and now we've got this nice, knocked out logo.
    00:08:16,390So, I can take this, put it in the shot,
    00:08:19,611and I can parent it to my track.
    00:08:22,006And I can get rid of this reference shot.
    00:08:23,504I don't actually need that anymore.
    00:08:25,387Alright, so here is our logo,
    00:08:28,223and I need to map it to the wall,
    00:08:31,788but I can just kind of roughly scrub
    00:08:34,452and see that yeah, it looks like it's tracked in there.
    00:08:36,484It's kind of hard to tell
    00:08:38,058until we get the perspective all worked out and all that.
    00:08:40,995So, to actually get this thing
    00:08:42,981to feel like it's on the wall,
    00:08:45,106I could make it a 3D layer and mess with the rotation,
    00:08:47,526but I'm just gonna do it the easy way
    00:08:49,295and I'm gonna grab Distort, CC Power Pin.
    00:08:53,433And I'm using the Power Pin as opposed to the Corner Pin
    00:08:56,020because the Power Pin
    00:08:57,353let's you actually grab edges like this
    00:08:59,582and scale them up and down.
    00:09:00,542It's a little bit easier way to work.
    00:09:02,350So, I can take the bottom edge
    00:09:03,633and I can actually line them up with this edge here.
    00:09:08,465And then I can just sort of eyeball the rest of it
    00:09:12,911and make sure that it looks okay,
    00:09:14,437and then I can grab these edges
    00:09:15,710and slide them around, right, and it stays in perspective.
    00:09:20,882So, I can kind of get a good perspective here.
    00:09:25,488And I can make it bigger,
    00:09:26,912and maybe it needs to come over a little bit,
    00:09:28,433and I wanna make sure that it's readable.
    00:09:31,233That's the key.
    00:09:32,742Now, the reference, it was further over here,
    00:09:35,489but I think that this makes it a little more readable.
    00:09:37,526And I'm probably, I think I want it to be even bigger.
    00:09:40,782Alright, I really want this thing to read, alright?
    00:09:44,522McFarland & Pecci Films, that looks pretty good.
    00:09:47,654Cool, and then I'm just gonna do a RAM preview
    00:09:50,127and see how this feels, alright,
    00:09:52,359and see if we're...
    00:09:54,458I mean, it's actually amazing.
    00:09:56,599There's a little bit of slippage happening,
    00:09:58,595but that is pretty good,
    00:10:00,091and it's a short shot,
    00:10:01,156and I think that's gonna work well.
    00:10:03,023So, you could say, "Okay, that's good.
    00:10:05,043"We're done with that shot,"
    00:10:06,518but I like to add little details,
    00:10:08,815and I like to make things feel
    00:10:10,054a little bit more interesting.
    00:10:11,279So, I'm gonna go into this precomp,
    00:10:13,290and I have a bunch of stock kind of stuff
    00:10:16,018that I've collected over the years,
    00:10:17,806some grunge maps from,
    00:10:21,096and I grabbed one of those,
    00:10:22,299so here's a grunge map, okay?
    00:10:24,050Let me scale it down and try to get it something like that
    00:10:29,254so it's covering up the logo.
    00:10:31,046And I could even scale it down a little bit like this
    00:10:32,795to get a little bit more of that detail in there,
    00:10:35,032and I am going to put a Levels effect on there,
    00:10:38,134and I'm gonna crush the levels like this.
    00:10:40,056I'm gonna crush the blacks, push the whites up,
    00:10:41,731so I'm getting maximum contrast,
    00:10:44,145and then I'm gonna set the transfer mode to Silhouette Luma.
    00:10:48,302Now what this is gonna do
    00:10:49,337is it's gonna use the luminance of this layer
    00:10:52,406as a luma matte for the entire comp,
    00:10:54,404everything underneath it.
    00:10:56,595It's kind of a nifty way of doing this
    00:10:58,190without having to precomp both of these together
    00:11:01,016and then set the track matte setting to luma matte.
    00:11:04,010So now with this set up like this,
    00:11:05,702I can actually push the blacks a little more,
    00:11:09,214mess with the gamma,
    00:11:11,029and then I can actually go in and set the black level,
    00:11:13,666sorry, the white level, down a little bit,
    00:11:16,331and I'm basically just breaking up this texture,
    00:11:19,686sorry, breaking up the logo with a texture
    00:11:21,786so it feels a little bit less perfect,
    00:11:23,897like maybe it was a decal or is was painted on the wall
    00:11:27,466and it's just been scraped away a little bit,
    00:11:30,057and it looks a little bit more realistic.
    00:11:32,347So, already I like the way that's looking
    00:11:34,743a little bit better.
    00:11:35,576It just feels a little neater to me, okay?
    00:11:38,588Now, another thing that I want to do,
    00:11:41,155you'll notice there's this big glare here,
    00:11:43,013this big hotspot from the light,
    00:11:45,816and if this was painted on there,
    00:11:47,576if this was a sticker or something,
    00:11:49,109that would show up over the logo, and it's not.
    00:11:54,101So, we need to add that back on top.
    00:11:55,873So, what I'm gonna do is I'm gonna duplicate my final,
    00:11:58,240you know, this is my footage layer.
    00:12:00,305I'm gonna rename this GLARE.
    00:12:02,225I'm gonna put this on the very top,
    00:12:04,772and I'm gonna duplicate my logo,
    00:12:07,744put it on top, and I'm gonna rename this MATTE,
    00:12:09,786and then I'm gonna set my GLARE layer to use MATTE
    00:12:12,271as its alpha matte.
    00:12:13,763Let me just solo that so you can see what it's doing, okay?
    00:12:16,447So, all I'm doing is
    00:12:18,064I'm basically knocking out this footage layer
    00:12:21,990so that it only shows up over the footage.
    00:12:24,995And the reason I'm gonna do that
    00:12:25,828is because now I can color correct it, okay?
    00:12:29,185So, I'm gonna crush the blacks
    00:12:31,605and push the whites up a little bit.
    00:12:33,761I'm getting a lot of color out of this,
    00:12:35,477so I'm gonna desaturate this too,
    00:12:37,700because I don't want all that color.
    00:12:39,656So let me just bring the saturation way down like that,
    00:12:44,017and then I'm gonna unsolo this,
    00:12:45,667and you'll see what it's doing.
    00:12:47,149And I could actually, let me change this mode to Screen.
    00:12:52,224I might even push this black a little further.
    00:12:54,978And you'll see what it's doing.
    00:12:55,811I'm basically taking the glare that was on the wall,
    00:12:59,407and I'm color correcting it
    00:13:00,903so only the brightest parts are visible,
    00:13:03,538and then I can just adjust the opacity,
    00:13:05,781and I'm just bringing back
    00:13:06,782a little bit of that glare on the wall.
    00:13:11,230And so now it really looks like that was painted
    00:13:15,831or like a decal or something on that wall, okay?
    00:13:20,752And it really sticks on there kind of nice.
    00:13:23,365Now, it's not perfect, but it's a short shot.
    00:13:25,686There's really not a good easy way
    00:13:28,014given we have some pretty serious
    00:13:29,642time constraints on this project,
    00:13:31,115there's not a great way to get a good track
    00:13:32,457without a ton of work,
    00:13:33,878so this is gonna be pretty much good enough.
    00:13:35,550Now, let me show you...
    00:13:38,358So this is definitely like good.
    00:13:40,136This is one version,
    00:13:42,713and actually I think I might,
    00:13:43,966I wanna make sure that this is really legible,
    00:13:45,783so I'm gonna bring that glare down a little bit.
    00:13:47,721There we go.
    00:13:48,579So this is good, and so I'm gonna go ahead
    00:13:52,073and go into my comps here.
    00:13:54,225And let's see, of course I didn't name this correctly,
    00:13:56,837so let me bring this down here.
    00:13:58,773So, I'm gonna call this Logo_r1.
    00:14:03,282Now, this is great,
    00:14:05,024but I'd like to try something a little extra, too.
    00:14:09,395One of my favorite things to do
    00:14:11,088when I'm working for a client or anybody
    00:14:13,147is give them options.
    00:14:14,300It's just a smart thing to do.
    00:14:16,284It generally insures that your client
    00:14:18,438is going to pick something
    00:14:19,996rather than just try to figure out what they don't like
    00:14:23,082about what you just showed them.
    00:14:23,998So, I'm gonna duplicate this
    00:14:25,529and we're gonna do another version,
    00:14:27,090and what I thought would be cool,
    00:14:29,010you know, because there's movement down here,
    00:14:30,950you see a person walking on the frame,
    00:14:33,218you may not notice this,
    00:14:35,186because now it's composited on there,
    00:14:38,037not perfectly, but it's fairly convincing,
    00:14:40,566you may not even notice it.
    00:14:42,491So, I want to make sure you do notice it,
    00:14:44,512because this is the production company,
    00:14:46,546this is the director of this film.
    00:14:48,543So, what I want to do is make another version
    00:14:51,040where this animates on.
    00:14:52,787So, here's how we're gonna do that.
    00:14:54,833So, I've got this logo comp here, and that comp lives here.
    00:15:01,503So, what I'm gonna do,
    00:15:02,425I'm gonna organize this a little bit better.
    00:15:03,874I usually make a PC folder, stands for precomp,
    00:15:07,244and I keep that in my Comps folder.
    00:15:09,069So, I'm gonna duplicate this,
    00:15:10,620and I'm gonna call this Animate.
    00:15:14,427And then in this animated comp
    00:15:16,728what I want to do is animate this on.
    00:15:20,132This whole film, it's about these guys
    00:15:24,669that started this hardcore band.
    00:15:26,108They are covered in tattoos.
    00:15:28,486And so I like to look around
    00:15:30,400and see what else is already present in the material
    00:15:33,563if I'm trying to come up with some sort of look for titles
    00:15:36,072or something like that.
    00:15:37,918So ink, as cliche as that may be with motion graphics,
    00:15:41,590ink sort of makes sense.
    00:15:44,046So, I wanted to try and bring this on
    00:15:45,729in some cool kind of organic inky way.
    00:15:48,997I can't believe I just said organic.
    00:15:50,470So, what I'm gonna do
    00:15:51,444is I have a bunch of stock of ink, right?
    00:15:55,732And you can find this stuff just about anywhere.
    00:15:57,963Just google, "Ink footage,"
    00:15:59,324and you can get it on Pond5.
    00:16:02,023I actually don't even remember where I got this,
    00:16:03,714but so for example, here's one of the shots.
    00:16:07,234It's just a blob of ink
    00:16:08,749that someone dropped onto some paper or onto some glass,
    00:16:12,432and it's been color corrected a little bit,
    00:16:14,088and it creates this very beautiful effect.
    00:16:18,192And what you can do with that is you can take it,
    00:16:22,232let's put it on top here,
    00:16:23,384and what I need is for the ink to be white
    00:16:25,645and the rest of it to be black
    00:16:27,405so I can use it as a matte.
    00:16:28,707So, I'm gonna go to Channel, and Invert my footage,
    00:16:32,509and then I'm going to go to Levels
    00:16:35,378and I'm just gonna push the levels
    00:16:38,077so that this actually turns fully white.
    00:16:40,530And I can leave the black where it is.
    00:16:42,365I may have to push it a little bit,
    00:16:44,061but I think that's all I need.
    00:16:45,490And if I then set the mode of this to Stencil Luma,
    00:16:50,344then now what I can do is I can use this to reveal the logo.
    00:16:57,794Now, here's the problem.
    00:16:59,871Let me set this back to normal.
    00:17:01,084The problem we have is that this blob is not big enough.
    00:17:04,125It doesn't cover the logo.
    00:17:05,808So, I could scale it up,
    00:17:07,453but when you scale it up
    00:17:08,389you're gonna kind of blow out some of the detail, right,
    00:17:10,826and you're gonna lose some of these nice edges and stuff,
    00:17:13,373and I don't want to do that.
    00:17:14,461So, here's what I'm gonna do.
    00:17:16,566I am going to set this to Screen mode,
    00:17:21,195and the reason I'm doing this, let's see here.
    00:17:24,754So let me try it.
    00:17:25,931Let me actually set this to Normal.
    00:17:28,044Oh, not Dissolve, Normal, right,
    00:17:31,163and I'm gonna just turn it down like this,
    00:17:32,831and turn the opacity way down.
    00:17:34,219And what I wanna do is combine multiple ink drops
    00:17:41,695to eventually cover up this whole thing.
    00:17:43,830So, here's one, okay?
    00:17:46,987And then what I could do is I could just duplicate that.
    00:17:50,576Let me see what happens if I set this to Screen.
    00:17:52,763I should be able to, there we go, alright.
    00:17:55,569And then maybe this one I could flop it, right, like this,
    00:18:00,319and I could rotate it like this,
    00:18:03,701and stick it over here,
    00:18:05,119and offset it like three frames, okay?
    00:18:08,479And then I could duplicate it,
    00:18:10,634but I could replace it with a different ink drop footage
    00:18:13,130and maybe stick that ink drop there, right,
    00:18:15,934and offset it slightly differently.
    00:18:18,697And let's take a look at what that looks like.
    00:18:20,831Cool, that's looking pretty good.
    00:18:23,402Alright, and I can see there's a little gap down there
    00:18:25,258that needs to be filled in.
    00:18:26,133So, I'm gonna then offset and grab another clip,
    00:18:29,361and put this one down here, alright?
    00:18:31,791And I basically just need to make sure that by the end
    00:18:35,813I've got the entire title covered up
    00:18:38,454with these ink blotches.
    00:18:40,846Okay, that's pretty good.
    00:18:42,532So then I can precomp this whole thing,
    00:18:44,643and we'll just call this InkPC.
    00:18:47,727Let's hop in here and set all of these to Screen
    00:18:52,242and 100% transparency.
    00:18:54,488And because they're set to Screen
    00:18:56,036they're just going to basically overlap each other
    00:18:58,618and create this nice little ink transition,
    00:19:01,775and then I can set this to be a Stencil Luma, okay?
    00:19:08,772And so this is what it's gonna do.
    00:19:12,484It's gonna actually reveal this in this cool, inky,
    00:19:17,272I mean it looks really neat already.
    00:19:18,660It's just kind of, this is a very old trick, but it works.
    00:19:23,880It really looks cool.
    00:19:25,087And another thing that you can do with this
    00:19:27,190is duplicate this.
    00:19:29,412And actually, the way I've got this set up
    00:19:31,358I can't do it in here.
    00:19:32,191What I need to do is come in here,
    00:19:34,291precomp this one more time and say InkPC2,
    00:19:37,918and what I'm gonna do is I'm gonna set the opacity to 50%,
    00:19:42,387I'm gonna duplicate it
    00:19:44,072and set this opacity to 100%,
    00:19:46,504and I'm gonna take the 100% version
    00:19:48,233and offset it by like a frame.
    00:19:51,061And then I need to set this to Screen mode.
    00:19:53,390And what that's gonna do,
    00:19:55,982alright, you can see it's gonna basically
    00:19:57,742always have one extra frame of that ink
    00:20:00,953at 50% opacity being composited, okay,
    00:20:04,739and it's gonna give you a little bit more,
    00:20:06,990it's almost like a feathering effect, right?
    00:20:10,412Because some of the transitions
    00:20:11,747when these inks come on
    00:20:13,047it's pretty quick, it's pretty harsh,
    00:20:14,851and this kind of softens it a little bit, okay?
    00:20:17,635So now in Logo_r2 what I'm gonna do
    00:20:20,281is just go ahead and replace these two clips
    00:20:27,931with this animated version.
    00:20:29,910So now, at the beginning of the shot
    00:20:32,982this thing is gonna animate on, right,
    00:20:35,075like it was ink revealing it onto the wall.
    00:20:38,818And it looks neat, which is cool, it's kind of nifty.
    00:20:42,809On top of that, more importantly,
    00:20:44,803it draws your eye to the logo, okay?
    00:20:48,878So, it's just sort of an extra layer
    00:20:51,790of, "Oh, okay.
    00:20:53,491"So this is like this film
    00:20:54,638"has a little bit of production value behind it."
    00:20:58,046And what's great is, the client didn't ask for this.
    00:21:00,363So he may not like it.
    00:21:01,518He may think it's too much.
    00:21:02,438Well cool, I'm gonna give him this one, too.
    00:21:04,252And one thing that might be another cool option
    00:21:08,931is to have this a little bit smaller.
    00:21:10,390This is kind of matching the size of the reference,
    00:21:12,791you know, the size of the logo
    00:21:13,826on the frame for the reference,
    00:21:15,356but one thing I like to do a lot is go full frame,
    00:21:18,367take a look in my comp at a full 1920 by 1080.
    00:21:21,455It gives you a much better idea
    00:21:22,740of how something feels size wise,
    00:21:26,371and this feels really big, which might be okay,
    00:21:29,842but it'd be an easy enough option to just say,
    00:21:31,783"Okay, let's do Logo_r1Small," right?
    00:21:34,850So we could also have a small version of this logo.
    00:21:38,432And really, all I need to do,
    00:21:40,822let me parent the MATTE to this,
    00:21:44,535and let me scale this down a little bit,
    00:21:48,232and let me actually go full frame and kind of take a look
    00:21:50,994and figure out where does this want to be?
    00:21:54,586And what's cool is
    00:21:55,419because everything is parented the way it's working,
    00:21:57,199that glare and everything,
    00:21:58,863it's cool it stays put
    00:21:59,813and it moves through the logo as I move it.
    00:22:04,116But you know, like maybe a little closer
    00:22:06,281to the center of the frame would help
    00:22:10,793so that our eye is kind of already here
    00:22:13,387and it doesn't have to travel too far
    00:22:16,109to see Ian walking in the frame.
    00:22:18,361So I don't know, somewhere about there feels pretty good.
    00:22:22,787And so then what I could do
    00:22:23,864is I could just copy the position and scale of this,
    00:22:29,916and then I'll do Logo_r2Small, right?
    00:22:35,045And I'm gonna parent the MATTE to this
    00:22:37,871and then I'm just gonna paste that on there,
    00:22:39,911and now I've got the same thing in the animated version.
    00:22:43,036So, you could see how quickly and easily you can build up.
    00:22:47,113Now I'm giving him four options for this one shot,
    00:22:49,162and it literally didn't take
    00:22:50,810more than an extra five minutes,
    00:22:52,965maybe 10 because I'm talking my way through it,
    00:22:56,142but it's gonna add a lot of value to this transaction
    00:22:59,866between Ian and I.
    00:23:00,869He's gonna look at this and say,
    00:23:02,938"This is fantastic!
    00:23:03,919"I have options, and I can try things and see what works."
    00:23:08,760Personally, I kind of like the small version.
    00:23:10,095I'll probably recommend that to him,
    00:23:12,377but it's totally up to him.
    00:23:13,253He's the director.
    00:23:14,101Alright, so let's move onto the next shot.
    00:23:16,165So, here's the reference of the second shot
    00:23:18,180where Ian walks in, turns the light on,
    00:23:20,154and you've got some credits kind of on the right side.
    00:23:23,801And again, this was just reference
    00:23:24,950kind of mocked up by the editor, Tony.
    00:23:29,389I like the idea of having credits
    00:23:32,454embedded in the environment like this.
    00:23:34,226I think it's great.
    00:23:36,007One problem, and you can probably already see,
    00:23:38,141is that you kind of have to work around what's in the shot.
    00:23:42,214You got these posters on the wall,
    00:23:43,626and really this would be great if the type was right in here
    00:23:47,409but you've got this poster on the wall.
    00:23:49,699Luckily, this is a pretty simple planar track situation,
    00:23:54,272and I think we can probably, without too much trouble,
    00:23:57,929remove that third poster and put type there.
    00:24:00,542I think it'll make the shot feel a lot more balanced
    00:24:03,716and a lot more planned out,
    00:24:05,749which will be very nice.
    00:24:07,945Here's the actual shot,
    00:24:10,307and one thing that I realized to my dismay
    00:24:13,518is that in the actual cut,
    00:24:15,710which is changed a little bit,
    00:24:17,172Ian does walk in front of that poster,
    00:24:18,964so there will be like a tiny bit of Roto.
    00:24:20,934It's only like three or four frames of Roto,
    00:24:23,422so not the end of the world.
    00:24:24,660But, we do need to remove this poster,
    00:24:26,473so how the heck are we gonna do that?
    00:24:28,436Let me show you.
    00:24:30,227So, we need to, first,
    00:24:31,596get a good planar track on this shot,
    00:24:34,809and we really only need it
    00:24:36,214once the shot starts moving, which is there.
    00:24:39,175So, what I'm gonna do is duplicate this layer,
    00:24:41,630and I'm gonna trim it.
    00:24:42,532That was the Option + Left Bracket Key.
    00:24:44,558It trims the layer to wherever the play head is.
    00:24:47,143And then I need to track this shot in mocha.
    00:24:50,856So, I'm gonna go up to Animation,
    00:24:52,468and say Track in mocha AE, okay?
    00:24:55,344And that's gonna open up mocha for me.
    00:24:58,313It's opening, it's bouncing around, there we go.
    00:25:01,020And so then I wanna make sure
    00:25:02,822that I have Cache Clip turned on,
    00:25:05,538and I usually leave everything default, so that's good.
    00:25:09,659Yes, we can overwrite.
    00:25:11,515Cool, alright,
    00:25:12,348and you can see there's an in and out there.
    00:25:13,851So, that's the only part of the clip
    00:25:15,281that's gonna get cached, okay?
    00:25:17,393So we're not caching the beginning.
    00:25:18,705We're only doing the part
    00:25:19,899right before where the camera starts to move, okay?
    00:25:22,833And I'm gonna have this loop like this.
    00:25:24,463So, what I'm gonna do
    00:25:25,937is just grab basically an area like this.
    00:25:30,554I mean this is kind of perfect.
    00:25:31,654You've got two perfectly rectangular things on the wall.
    00:25:36,326This is gonna be a very easy track for mocha.
    00:25:38,406I'm gonna hit Track
    00:25:41,361and mocha is gonna step through and track.
    00:25:42,833And as Ian starts to cross over this poster,
    00:25:48,733right about here,
    00:25:50,842I'm just gonna grab these points and move them over.
    00:25:54,363I'm gonna keep tracking.
    00:25:56,182I'm gonna stop, move them over a little more, right?
    00:25:59,711And I'm basically just gonna keep doing this
    00:26:04,513to ensure that we get a good, accurate track,
    00:26:08,502but that we're not tracking Ian, okay?
    00:26:10,491And this really doesn't take that much time.
    00:26:12,134I wish there was a little bit more that we could track here.
    00:26:17,499And that's really, these are like the last couple of frames.
    00:26:22,673Alright, and we're pretty much done, okay?
    00:26:26,769So, we've tracked that area and now what we need to do
    00:26:29,264is set up an image plane.
    00:26:32,763So I'm gonna come up here and I'm gonna click this.
    00:26:34,822And in mocha this is called a surface,
    00:26:37,264and a surface is basically a corner pin.
    00:26:39,483And to just test out how well this works,
    00:26:42,022I'm gonna line the corners up
    00:26:43,878with these corners of the posters just like this, alright?
    00:26:48,767Then, I'm gonna tell mocha to insert a grid,
    00:26:53,393an eight by eight grid,
    00:26:54,598and now when I hit Play
    00:26:55,814you can see that that sticks perfectly to that wall,
    00:26:58,985which is fantastic, okay?
    00:27:00,778So, the next step is I am going to be using this track
    00:27:06,804kind of in two ways, actually.
    00:27:08,233There's gonna be sort of two separate tracks here, alright?
    00:27:12,279So, what I'm gonna do,
    00:27:14,681let me rename this.
    00:27:15,764So, I'm gonna be using this tracking information
    00:27:18,089to track the type on the wall, alright?
    00:27:21,193So that's gonna be the first track.
    00:27:23,081So, let me go back to the first frame here,
    00:27:25,118and I need to position this corner pin
    00:27:29,727a little bit more I guess
    00:27:32,682in an area where the type is gonna be.
    00:27:35,344So, let me just take this whole surface,
    00:27:38,068I'm just gonna move it over like this.
    00:27:39,380So remember, we're gonna remove the poster
    00:27:41,641and we're gonna have something like this, right?
    00:27:45,577And what I can do is insert a different type of clip,
    00:27:49,726like a logo clip.
    00:27:51,391So now I'll be able to tell like okay,
    00:27:52,894am I stretching anything out
    00:27:54,431that shouldn't be stretched out?
    00:27:56,738And actually, now that I'm thinking about this,
    00:27:58,812this is the beauty of the stream of consciousness
    00:28:02,226type of teaching that we're doing here.
    00:28:06,204Now that I'm thinking about this,
    00:28:07,124there's a better way to approach this, a much better way.
    00:28:10,303Okay, so here's what we're gonna do.
    00:28:13,236Ignore this.
    00:28:14,164I'm gonna turn this off.
    00:28:16,541Let me try and explain
    00:28:17,374what's going through my head right now.
    00:28:18,729If I had a corner pin, like this, right,
    00:28:21,769and I want a corner pin some type to this,
    00:28:24,735it's gonna stretch out and distort my type,
    00:28:26,754and I'm gonna have to jump through hoops
    00:28:28,713to make sure that the type is not distorted
    00:28:30,617and all that kind of stuff,
    00:28:31,641and it's gonna be kind of a pain.
    00:28:32,680It's not really gonna,
    00:28:33,737it's possible, but it's gonna be hard,
    00:28:36,554versus I could do something like this.
    00:28:40,976I am gonna go and click this button here,
    00:28:43,591and what this is gonna do
    00:28:44,967it's going to make the surface the entire size of the frame.
    00:28:49,799It may not make sense why I'm doing this yet, okay,
    00:28:52,370but when I hit Play now
    00:28:54,791you'll see that now the entire frame
    00:28:57,169distorts and sticks to the wall.
    00:28:58,546Now, why is that important?
    00:28:59,847Well now, all I need to do
    00:29:01,842is paint a clean frame in Photoshop
    00:29:04,423and it will track perfectly to the wall,
    00:29:07,009and then I can also place my type,
    00:29:09,511let me turn off this logo for a minute,
    00:29:11,749I can also place my type in a 1920 by 1080 frame
    00:29:15,586and it will automatically look correct,
    00:29:18,007it'll distort correctly,
    00:29:19,255and I won't have to worry about squishing it,
    00:29:21,114or stretching it, or doing anything unintentionally to it.
    00:29:24,987So this technique, this little button here,
    00:29:28,218this makes it possible to corner pin an entire frame
    00:29:32,209not just a piece of that frame.
    00:29:33,862That makes it a lot easier in a lot of cases
    00:29:35,793to place things or clean things up.
    00:29:38,160It's very important that I note what frame this is.
    00:29:40,294This is Frame 348, okay?
    00:29:43,439I need to remember that.
    00:29:44,272So, I'm gonna leave this open for a minute
    00:29:46,833and I'm gonna go back into After Effects,
    00:29:48,849and I need to go to Frame 348.
    00:29:53,775And it's not 348 in my comp.
    00:29:56,667It's 348 in this footage, okay?
    00:29:59,878So, let me actually scrub through here,
    00:30:03,642and I want to view this in frames
    00:30:07,798but I'm seeing it in seconds.
    00:30:10,273So, I'm just gonna go up to,
    00:30:12,696I'm gonna go File, Project Settings,
    00:30:15,915and I'm gonna change this to Frames, okay?
    00:30:20,587So now I can see my frames.
    00:30:21,462And I'm looking for 376.
    00:30:26,955Is that right, 376?
    00:30:28,301No sorry, 348.
    00:30:29,708I'm glad I double checked, 348, okay?
    00:30:34,774So this is the frame matches this frame,
    00:30:38,186and what I need to do is export this frame out.
    00:30:41,291So, I am going to hit Command + Option + S,
    00:30:44,896and what that does is it takes this frame
    00:30:47,542and it puts it in the render queue as a still.
    00:30:50,251And I can save it as a Photoshop file, that's fine.
    00:30:53,027Let me put that in my, let's see here,
    00:30:56,211let me put it in my Job folder,
    00:30:58,228and I'm gonna make a new folder called OUTPUTS,
    00:31:02,169AE, and I'm gonna put today's date,
    00:31:04,185which is April 20th, alright?
    00:31:08,137And then I'm just gonna render that frame out.
    00:31:11,716I'm gonna hop into Photoshop and open that frame,
    00:31:17,860and what I need to do is paint out this poster, okay?
    00:31:23,149And it should be pretty easy actually.
    00:31:24,655I'm first gonna try,
    00:31:26,037the first thing I usually try,
    00:31:27,796let me first make a copy of this
    00:31:29,657just so I have a copy of the original to go back to.
    00:31:33,092I'll turn that off, and this is gonna be the clean plate.
    00:31:35,737And for something like this
    00:31:37,316I might be able to get away with just a selection,
    00:31:40,815and Edit, Fill, Content Aware fill.
    00:31:47,481Yeah, that was amazing.
    00:31:49,977I can't, I love Photoshop!
    00:31:52,601Alright, so that's done.
    00:31:54,148We now have a clean frame.
    00:31:55,375We've gotten rid of that poster.
    00:31:56,431We're good to go.
    00:31:57,264I'm gonna hit Save, close this,
    00:32:00,345hop back to After Effects.
    00:32:01,796So now what I need to do is import that file, alright?
    00:32:06,115So, let me grab that,
    00:32:09,124and I'm just gonna bring it in as footage,
    00:32:11,128because I don't need all the layers.
    00:32:12,623Now, what I need to do is put this in this comp like this.
    00:32:20,242And what I need to do is go into mocha
    00:32:23,599and go to Adjust Track and say Export Tracking Data, okay?
    00:32:30,269And I want an After Effects Corner Pin,
    00:32:32,729so I'm gonna copy to the clipboard,
    00:32:34,223go back to After Effects,
    00:32:35,340and then on this frame I'm gonna hit Paste.
    00:32:40,495I made sure that I was on the starting frame here,
    00:32:42,564and you can see I've got corner pin keyframes
    00:32:46,674on every single frame.
    00:32:50,032Let me just turn off, let me solo this.
    00:32:52,852So, when I play this through now
    00:32:55,049you can see it takes that clean frame out of Photoshop
    00:32:57,980and it's corner pinning it for me.
    00:33:00,660So then what I could do is draw a mask on it.
    00:33:03,401So, I'm gonna draw a mask where that poster used to be.
    00:33:07,896And let me unsolo it,
    00:33:10,167and I can literally just,
    00:33:14,870just crop out just the part I need,
    00:33:17,878because I only need to get rid of that poster.
    00:33:21,387It's literally the only thing in the frame
    00:33:22,795that has to go.
    00:33:25,312Because this wall is white
    00:33:26,560and Photoshop did such a bang up job of fixing it,
    00:33:30,422I may need to feather it a little bit just to,
    00:33:33,494like as the camera turns
    00:33:36,299you're gonna get a little bit of,
    00:33:38,966just a tiny bit of lighting change
    00:33:41,605and it might give it away,
    00:33:43,092so I'm gonna put like a 20 pixel feather on there,
    00:33:46,070and then I'm gonna hit M twice
    00:33:47,606and expand my mask out just a little bit.
    00:33:50,554Turn this off.
    00:33:52,254Alright, and pretty much we have created
    00:33:57,086a clean plate, just like that.
    00:34:00,001Obviously, Ian goes in front of it.
    00:34:01,310We'll have to do a few frames of Roto
    00:34:02,934to get him to go back in front of that,
    00:34:04,579but now we have a clean plate there.
    00:34:06,542Let's deal with this right at the beginning here
    00:34:08,782it's totally black,
    00:34:09,998and really we only need it to start showing up,
    00:34:14,745go back here frame by frame.
    00:34:16,921So that's really the first frame you can even see it.
    00:34:21,305So, what we're gonna need to do
    00:34:23,620is basically key frame some sort of brightness effect
    00:34:27,511so that it starts out dark and matches the wall.
    00:34:31,715So, let's put a Levels effect on here
    00:34:33,710and just start there.
    00:34:35,139So, let me go to the first frame,
    00:34:36,787and I'll put a keyframe on the histogram.
    00:34:38,899I'm gonna zoom in,
    00:34:39,998and I'm actually going to crank up
    00:34:44,754my exposure control here a little bit.
    00:34:46,243Now, this doesn't actually effect the output.
    00:34:48,270When you render this doesn't do anything.
    00:34:50,040It's just while you're working
    00:34:51,692you can see a brighter version
    00:34:53,784or a darker version of your shot,
    00:34:55,395which can be helpful if you're trying to match values.
    00:34:58,293So, what I might start with is the white output
    00:35:01,966just bringing it way down.
    00:35:04,119And one thing that you're gonna notice
    00:35:06,168is that the way things look
    00:35:09,506when they get darker and brighter in the real world
    00:35:12,003is not necessarily the way After Effects treats things.
    00:35:14,240So, as this wall gets darker,
    00:35:16,323what's actually happening is the light is turning on,
    00:35:18,894and when it's starting to turn on it's very orange,
    00:35:22,510and then it gets a little bit brighter
    00:35:25,048and it becomes more white-like the hotter it gets.
    00:35:28,734Well, so we sort of have to mimic that,
    00:35:31,166unfortunately, in After Effects.
    00:35:32,513So what I would is maybe use some combination
    00:35:37,953of like the Color Balance effect.
    00:35:41,640Another thing we could do is maybe go into the red channel
    00:35:45,493and then just do this one channel at a time.
    00:35:47,814This is another way.
    00:35:49,858So, we could take a look at this and say,
    00:35:51,762"Okay, well let's get the red channel to sit in there."
    00:35:54,744And then we'll get the green channel,
    00:35:57,506and I'm just hitting Option + 1 for red,
    00:35:59,090Option + 2 for green, Option + 3 for blue,
    00:36:01,452and what at a time coming in here
    00:36:04,690and just doing my best to match that color.
    00:36:07,762And then we can go to blue, right,
    00:36:09,735and blue needs to be a little darker too, just like that.
    00:36:13,426And once you get all three channels dialed in,
    00:36:16,893you should be pretty close, okay?
    00:36:19,346And then we can go to the next frame,
    00:36:20,695and then we do it again.
    00:36:22,327So, I'm just gonna finish off this process.
    00:36:25,863I'm gonna pause it, and I'm gonna come back.
    00:36:28,140So, what I've done is I've just gone frame by frame
    00:36:29,878and adjusted the levels on every frame
    00:36:32,950and you can see if you look really closely
    00:36:34,604you can see a little discoloration happening,
    00:36:38,226but when we RAM preview this and just play it,
    00:36:40,516and the audience is not expecting
    00:36:42,931some sort of effect to be happening here,
    00:36:45,545I don't think you'll notice it
    00:36:46,526especially once we have some type there.
    00:36:50,484So, the next thing we need to do is lay out our type.
    00:36:54,072So, what I'm gonna do is just pull up my reference here,
    00:36:57,609I'm gonna turn on my reference,
    00:36:59,454and let me turn off this layer here,
    00:37:01,769and I just want to make sure
    00:37:03,755that I get everything I'm supposed to get.
    00:37:05,604So, I'm just gonna do this really quickly.
    00:37:08,031And the font that we're using is called Keep Calm,
    00:37:14,009and it's Keep Calm Regular.
    00:37:16,430So, I'm gonna do Shot by,
    00:37:20,654and let me put this up here so I can actually see it.
    00:37:23,076And all I'm really doing right now
    00:37:25,028is just getting the information set up.
    00:37:29,708I'm not worried about layout or anything like that.
    00:37:31,500So we've got Mike Pecci,
    00:37:34,244and all this stuff needs to be left justified.
    00:37:36,791So, let me go to my Paragraph tab and set that up, alright.
    00:37:41,828And Mike Pecci is more important than Shot by,
    00:37:46,564so let's do that, Mike Pecci.
    00:37:49,884And then we're gonna have,
    00:37:52,729let me turn my layer handles back on here.
    00:37:56,430There we go.
    00:37:57,764Mike Pecci, and then we've got Anthony Jarvis.
    00:38:01,421And a lot of times I like to actually lay type out
    00:38:05,486in Illustrator or Photoshop,
    00:38:08,693but again, this is one of those gigs where
    00:38:11,757it just needs to get done really, really quickly,
    00:38:14,595and unfortunately we just don't have the luxury of time
    00:38:17,753to spend a lot of time noodling around
    00:38:21,515with kerning and all that kind of stuff.
    00:38:23,634So, we're just gonna do it all in After Effects
    00:38:27,208and just try and get a good result really quickly.
    00:38:31,076Alright, so then we've got Tony Fernandez, cool.
    00:38:36,225And now I'm gonna turn on my clean plate again,
    00:38:40,764let me turn off the reference,
    00:38:42,794and let me lay these out, okay?
    00:38:46,314And let's find a good spot for them,
    00:38:48,062so something like that.
    00:38:50,371Looks pretty good.
    00:38:51,406They're kind of aligned with the posters.
    00:38:53,755I'm gonna go full frame real quick,
    00:38:55,606because again, when you're working in a smaller window
    00:38:58,070sometimes you might make the type too big
    00:38:59,799because you're thinking,
    00:39:00,716"Oh, this is a small little frame here.
    00:39:04,049"I need to make sure I can read everything."
    00:39:05,551Yeah, actually, the frame is bigger than you think.
    00:39:08,723So, take a look at it full screen.
    00:39:12,047It helps me a lot to keep my type from being too big.
    00:39:15,225And the edited and the shot by, those were italicized.
    00:39:20,274And I don't want to have an italic weight of that,
    00:39:22,206so I'm actually just gonna use the little faux-talic,
    00:39:25,266which you probably shouldn't do,
    00:39:26,784but what are you gonna do?
    00:39:28,792We're quick and dirty here.
    00:39:31,131I do want to take all of these and I'm gonna precomp them
    00:39:34,802and then I'm gonna colorize them.
    00:39:35,823So, I'm gonna call this Type_Precomp.
    00:39:40,446And I'm just gonna come in here,
    00:39:42,106gonna make the background a different color,
    00:39:43,951and I just want to make sure
    00:39:45,489that I've spelled everything right,
    00:39:47,121that there's no really glaring kerning issues
    00:39:50,481that are gonna bother me.
    00:39:51,871This font actually seems to have kerned itself pretty good.
    00:39:56,610I might be able to tighten up
    00:39:58,481a couple letters here and there.
    00:40:01,333But other than that,
    00:40:02,766and I hit Escape instead of Enter, so there we go.
    00:40:06,856Maybe the D and the E,
    00:40:08,467maybe the Y and B could be a little tighter.
    00:40:11,416Other than that, this feels pretty good.
    00:40:13,936So, I'm gonna come back here
    00:40:14,816and now I'm going to put a Fill effect on this,
    00:40:19,716and I'm going to colorize it
    00:40:21,720based on a color from the shot,
    00:40:23,640which is kind of a little thing I like to do.
    00:40:25,869And then what I need to do
    00:40:27,488is I need to copy this corner pin onto this layer,
    00:40:33,120and I need to make sure I copy it
    00:40:35,222on the first frame of the corner pin that has keyframes.
    00:40:39,806And what this is gonna do is,
    00:40:41,960and let me actually just get rid of
    00:40:43,585all these extra layers here.
    00:40:44,833I don't need these anymore.
    00:40:46,667And I've got this extra copy of this I don't need.
    00:40:49,585So what this is gonna do is it's going to
    00:40:52,552let that type stick to the wall perfectly just like that.
    00:40:57,163Okay, cool.
    00:40:59,072Alright, so the last thing we need to do
    00:41:02,264to have a version of this shot
    00:41:04,683that's gonna work perfectly,
    00:41:07,374is to do some quick Roto on Ian.
    00:41:10,563And this is really, it's not gonna be as bad as it could be
    00:41:15,352because it's literally one.
    00:41:17,432So this frame, it's just like there's a little bit
    00:41:20,784of maybe his key fob or something there,
    00:41:22,723and then one, two, three, four, five, six.
    00:41:28,761Six frames, that's it.
    00:41:30,568So, not a lot, and he's not moving that much.
    00:41:34,927I might actually just be able to do this with paint,
    00:41:38,885which is kind of a neat way to do it.
    00:41:41,639So, let's set that up.
    00:41:42,687So what I'm gonna do is I'm gonna have a copy of this shot,
    00:41:47,007which is gonna be my paint Roto, alright?
    00:41:51,528And I only want that shot to exist as long as I need it,
    00:41:54,958which is only these few frames.
    00:41:56,709And let me close down some of these windows,
    00:41:59,763because we're gonna need
    00:42:00,596a little bit more screen real estate here.
    00:42:03,514And I'm gonna move this Roto layer up to the top,
    00:42:06,438because it's gonna be covering up everything.
    00:42:08,960So, if we look at this
    00:42:10,483what I basically want to do is create an alpha channel
    00:42:13,104for this Roto layer that's only gonna bring back
    00:42:16,024the pieces of Ian that I need.
    00:42:17,315And if I look right now,
    00:42:18,148you can see that I'm looking at the alpha channel.
    00:42:20,177I hit Option + 4 to show me the alpha channel.
    00:42:23,165So, the alpha channel is totally white.
    00:42:24,597That means I'm seeing the entire frame.
    00:42:26,352So, the first thing I need to do
    00:42:28,320is set this alpha channel to black.
    00:42:30,621So, I'm gonna do that with a Set Matte effect,
    00:42:33,272sorry, Set Channels effect,
    00:42:34,942and then I'm gonna set the alpha channel to off.
    00:42:38,732So, that basically makes this layer invisible.
    00:42:42,285So, if I solo this you can see there's nothing.
    00:42:46,011You just see through it.
    00:42:47,731What's cool is if I double click this now
    00:42:49,542and I open up a layer browser, okay?
    00:42:52,651So this is a layer window,
    00:42:54,039and then this is a comp window,
    00:42:56,571and I have them open at the same time,
    00:42:59,716what I can do is grab my paintbrush.
    00:43:02,377And let me come over here
    00:43:03,508and set my paint to Alpha, Single Frame,
    00:43:06,670so I'm only painting on the alpha channel,
    00:43:10,734and everything else looks good.
    00:43:12,067So, what's gonna happen is if I paint over here like this
    00:43:16,505over here I'll be able to see the result,
    00:43:18,326and I'm basically bringing back that part of my Roto layer.
    00:43:22,967So, I'm in this mode here.
    00:43:24,286So, there's different modes.
    00:43:25,781You can look just at your alpha channel,
    00:43:27,542which does us no good,
    00:43:29,017you can paint in this kind of weird mode
    00:43:30,696where when you paint it creates this pink line
    00:43:32,722around what you're painting.
    00:43:36,479But, this mode, the little red button,
    00:43:38,622works a little better,
    00:43:39,502and it lets you basically create a little red overlay.
    00:43:42,531And I can zoom into it,
    00:43:43,702and I want to make my brush,
    00:43:45,991I want the hardness to be 0%,
    00:43:48,667and I may have to make it a little bit bigger,
    00:43:50,959you can also do that by holding Command and clicking,
    00:43:53,462and what this is gonna let me do is paint with softness.
    00:43:56,631And I can paint a little bit, and then I can look.
    00:43:59,353And I can turn this down quite a bit
    00:44:02,860so I can really see what I'm painting on.
    00:44:06,323And the footage is kind of dark, but you know.
    00:44:08,399So you can see now I've Rotoed out that frame.
    00:44:11,498I'll go to the next frame.
    00:44:13,013I'll do that same thing.
    00:44:13,846I just need to, again, just paint out his hand.
    00:44:16,220And you can see because the details are really small
    00:44:21,773and the shot is moving really quickly,
    00:44:24,956doing this with a mask or something,
    00:44:27,575it might actually take longer than just doing it this way.
    00:44:30,844And I kind of screwed up here.
    00:44:32,763I painted a little too much.
    00:44:34,675I can just grab my Eraser tool
    00:44:37,256and come in here and just erase, and fix that.
    00:44:41,362There you go.
    00:44:42,195Now that frame is done.
    00:44:43,119So, there's only six of these frames to do,
    00:44:44,867so this isn't actually gonna take all that long to do.
    00:44:47,778So, I'm just gonna pause it now
    00:44:49,548and I'm just gonna finish this up,
    00:44:50,720and we'll come back when the Roto is done.
    00:44:53,770Alright, so the Roto is done
    00:44:55,820and you know, I just used the paint effect
    00:44:57,871and basically just frame by frame just painted in
    00:44:59,799just the parts of Ian that we needed.
    00:45:01,064Didn't take too long.
    00:45:02,534So let's take a look at this shot.
    00:45:04,443Alright, and light turns on, type is there,
    00:45:09,977and boom, alright?
    00:45:10,860So pretty cool.
    00:45:11,834We removed a poster.
    00:45:12,667We put the type in.
    00:45:14,403Not that big of a deal.
    00:45:15,741Now, I do want to do the same thing I did before
    00:45:18,559and actually pop into,
    00:45:21,819make sure I have my Arrow tool here,
    00:45:23,789I want to go into the type
    00:45:25,468and I want to put that same kind of texture on
    00:45:29,550that I had on the logo shot.
    00:45:32,066So, let me pop into the logo,
    00:45:34,073and I'm just gonna pop in here and grab my grunge map,
    00:45:37,227and I'm gonna copy here,
    00:45:39,492and make sure that I extend it
    00:45:41,541so it covers the entire comp,
    00:45:43,723and it's already got a Silhouette Luma on it,
    00:45:48,489and I just need to position it over the type like this.
    00:45:52,764I think I have Snap on.
    00:45:55,319Let's see here.
    00:45:58,741Which is why...
    00:45:59,574Nevermind, Snap to Guides, there we go.
    00:46:02,381That's why it was getting all that snapping.
    00:46:03,810Oh, I'm still snapping.
    00:46:04,973I don't want it to.
    00:46:06,279I'm not sure why, but what are you gonna do?
    00:46:07,949Alright, so we've got this little texture on here,
    00:46:10,314so now if I look on this shot
    00:46:12,636you get a little bit of that texture
    00:46:14,064coming back, which is cool.
    00:46:16,152And there's not really like a glare
    00:46:17,405or anything I need to add back on top,
    00:46:19,203but I do want to darken this a little bit.
    00:46:22,660I think it'll make it pop a little bit more.
    00:46:25,670I'm also gonna grab my Levels effect
    00:46:28,858and adjust the alpha of the levels,
    00:46:32,327and I'm just gonna play with it just to see
    00:46:36,251if I want to eat away a little bit at this more
    00:46:38,969or if I actually wanna go back the other way
    00:46:40,890and make it less transparent.
    00:46:43,376Somewhere in there looks pretty good.
    00:46:47,133Alright, so then this is gonna be one version of this shot.
    00:46:49,903This looks great.
    00:46:52,486Cool, so that's gonna be r1.
    00:46:54,730Then let me throw this in the precomp folder here.
    00:46:58,612So, I've got Credits_r1,
    00:46:59,799and then for r2, because of course I like to give options,
    00:47:02,694I want to have that same kind of inky paint
    00:47:05,345kind of reveal thing happening.
    00:47:07,518So, I'm gonna need another copy of Type_Precomp.
    00:47:10,647So, I'm gonna duplicate this, Type_Precomp_animated,
    00:47:15,372and I'm going to replace it, pop in here,
    00:47:18,755and then I can just come,
    00:47:19,775I can actually just come right back to my InkPC here.
    00:47:23,488Let's take a looks at this, something like this maybe.
    00:47:25,894So, that's InkPC.
    00:47:27,441So, what if I just grab that, throw it over here,
    00:47:31,401and I set this to Stencil Luma.
    00:47:37,073So now you get that kind of inky reveal, which is cool.
    00:47:41,234And because the type is a lot smaller than the logo,
    00:47:47,352what I could do, well actually it's not that much smaller.
    00:47:51,069Let's just make sure it's gonna cover everything up
    00:47:53,522the way we would need.
    00:47:55,641But, I want to scale it down
    00:47:57,231to maintain a lot of that detail
    00:47:59,722right on the edges and stuff.
    00:48:03,479Cool, alright, so then turn this back up
    00:48:05,773and turn this to Stencil Luma,
    00:48:08,385and now we'll get this cool reveal like this.
    00:48:11,366And I want that to basically trigger
    00:48:15,934when the light turns on,
    00:48:17,973so what I'm gonna do is move
    00:48:22,457the end point of the layer to here
    00:48:24,293and then slide the whole layer.
    00:48:26,128I want to make sure the keyframes don't move, okay?
    00:48:29,361Actually, maybe it would be better
    00:48:32,077if it was sort of already there,
    00:48:36,328like on the wall a little bit,
    00:48:38,984so we have time to really, really read it fully.
    00:48:43,303Let's see what that looks like.
    00:48:44,881I can play with the timing a little bit,
    00:48:46,975but I want to make sure that when we see the shot...
    00:48:49,778There we go.
    00:48:51,092I don't know.
    00:48:52,416Maybe we should see it actually reveal on like that.
    00:48:54,862That might be cool.
    00:48:56,922We could even offset it a little bit more,
    00:48:59,205maybe like this.
    00:49:00,737I'm gonna set this to half res
    00:49:01,795so we can preview it a little bit quicker.
    00:49:04,762There we go.
    00:49:08,600Yeah, I think that's nice.
    00:49:09,458It just adds a little bit of you know,
    00:49:12,114just a little bit of extra production value,
    00:49:13,745a little bit of interest to it.
    00:49:15,339Now, because the type is so small,
    00:49:16,803I do need to be careful.
    00:49:17,659This kind of looks like it says Snot by Mike Pecci
    00:49:21,317and not Shot by.
    00:49:24,333So, I'm gonna come in here
    00:49:26,557and I'm just gonna scale this up a little bit
    00:49:28,812and make sure that it, there we go.
    00:49:36,086Alright, so now we've got another version of this shot
    00:49:39,248that has the animation, which is great.
    00:49:41,894Right, make sure that this
    00:49:43,606looks good on the end, which it does.
    00:49:45,562Alright, so we've got one version without that animation
    00:49:48,277and another one with, so that's great.
    00:49:49,665So, now let's move onto the next shot.
    00:49:52,765So, in the name of brevity
    00:49:54,360I'm gonna actually just walk you through
    00:49:57,753the comps that I set up already for the title shot
    00:50:01,259where we actually have to reveal the title of the film
    00:50:05,484The Godfathers of Hardcore,
    00:50:06,753and I did a few versions of that.
    00:50:08,012So this is the one that I like the best, alright?
    00:50:11,344So let me just do a quick RAM preview
    00:50:12,688and show you what that looks like.
    00:50:16,752Alright, so we start on the shot of Ian.
    00:50:18,790That's obviously just a place holder still.
    00:50:20,789He's talking to camera.
    00:50:21,646He says, "The Godfathers of Hardcore."
    00:50:23,596You get this awesome inky reveal
    00:50:26,121of the photo and the type,
    00:50:29,024and this was a really simple setup.
    00:50:32,606So, let's hop into this precomp here.
    00:50:34,973So basically all I have
    00:50:36,489is I have a photo that was given to me.
    00:50:42,142This is part of the artwork for the poster for the film,
    00:50:46,595and this is the chest of one of the guys in Agnostic Front.
    00:50:50,550It's a very well known tattooed chest,
    00:50:53,960very tough, very hardcore looking.
    00:50:55,790So, what I wanted to have happen was I wanted the type,
    00:50:59,537you know, we've been playing
    00:51:00,512with this kind of inky motif in the previous shots,
    00:51:04,021so I wanted to do the same thing with the type,
    00:51:06,643and so I needed to build a little bit of a matte
    00:51:09,949to make that inky thing take up enough room on screen
    00:51:14,391to be able to use it.
    00:51:16,504So, if we come into the precomp for the type,
    00:51:22,013and then we come into this precomp, which is my ink matte,
    00:51:25,199you can see what I did.
    00:51:26,032I basically just took like an ink blot footage, right,
    00:51:29,766and I have a whole bunch of this stuff,
    00:51:31,964and I just started layering them
    00:51:33,741on top of each other in Screen mode, alright?
    00:51:37,010Because they're all white,
    00:51:39,614because I've inverted them.
    00:51:41,283I mean, the footage actually looks like this.
    00:51:44,148It's white with black ink, but I inverted it
    00:51:47,216and I screened all of these on top of one another
    00:51:50,097and scaled them and moved them and rotated them
    00:51:51,892to build up a big area of ink.
    00:51:54,890At the same time, I have an adjustment layer
    00:51:56,647that's gradually brightening the entire thing
    00:51:59,624to get rid of those little black spots.
    00:52:02,197And then at the end of the transition
    00:52:03,709I have a white solid that just animates on
    00:52:06,567from 0% to 100% opacity.
    00:52:09,556So all I'm doing is building a little matte
    00:52:11,494and then I'm using that to reveal the type, cool.
    00:52:16,204So that's it.
    00:52:17,037It reveals the type.
    00:52:18,294There's a little bit of a layer,
    00:52:21,212so this layer here, this is called my GLOW layer.
    00:52:23,540This is just copy of the type blurred in add mode.
    00:52:28,791That's literally all it is,
    00:52:30,027and there's a little bit of a mask
    00:52:31,256so that it glows in the middle but not on the edges.
    00:52:35,803And that's it,
    00:52:36,636and then I just faded up this information here.
    00:52:39,073Now, I wanted the whole thing to animate on over Ian's face.
    00:52:44,250So, what I did was I just used that same ink matte
    00:52:47,554and I just made sure that it was positioned
    00:52:50,779so that you'd be able to read this,
    00:52:53,596and it just transitions on just like that.
    00:52:54,901It's really, really simple.
    00:52:56,372This is using a luma matte to do that, and that's the key.
    00:53:00,165When you have a matte that you want to use
    00:53:02,492that's black and white,
    00:53:03,799you don't use an alpha matte, you use a luma matte,
    00:53:06,241this setting right here.
    00:53:07,936And look at that, beautiful.
    00:53:11,350Now, this isn't actually the version
    00:53:13,637that ended up in the cut,
    00:53:14,991and I thought that that might actually be a problem,
    00:53:17,280because although this looks really cool,
    00:53:19,593I like the way it looks,
    00:53:22,101it takes a lot longer to come on
    00:53:25,300than Ian had sort of planned for in the cut.
    00:53:28,223So, this cut happened
    00:53:29,364before any of these graphics existed,
    00:53:31,828and so I knew that this might be too long.
    00:53:34,958So, I did another version where I made it a lot simpler,
    00:53:38,425and I basically just created a little bit of a light burn
    00:53:42,879that kind of cuts to this.
    00:53:45,293And the way I did that was really simple.
    00:53:47,775I have a pack of these film burn clips,
    00:53:51,110and all I did was add one over
    00:53:54,089and then fade it out at the end, and that was it.
    00:53:57,891So, I literally just cut, boom, to this,
    00:54:01,032and I think that's what ended up in the cut.
    00:54:02,704Now, these colors that are in this film burn clip
    00:54:05,773are really cool,
    00:54:06,648but they're colors that are not really seen
    00:54:08,445anywhere else in the piece,
    00:54:10,451so I did another version, an alt version,
    00:54:13,391where I desaturated the film burn.
    00:54:15,508I just tinted it black and white
    00:54:16,813so that why it would match the style
    00:54:20,427of the documentary a little bit more.
    00:54:23,360And I rendered these, when I gave these to Ian,
    00:54:25,564I rendered them without this shot on actually
    00:54:28,390because I knew he was probably gonna need
    00:54:29,612to color correct that,
    00:54:31,244and I gave him instructions to add this clip
    00:54:35,861on top of your shot,
    00:54:38,147and then once you get to this part
    00:54:39,372you can just cut and go to this full frame
    00:54:42,272and it will work perfectly for you.
    00:54:44,767Alright, and so I did a couple of other versions.
    00:54:47,143So this was, right,
    00:54:49,676here's another version of the title
    00:54:52,707where the type doesn't come on separately.
    00:54:55,918It comes on at the same time.
    00:54:58,326I thought that might be a way
    00:55:00,080to get this effect to actually work,
    00:55:02,203because then you don't have to take extra time
    00:55:04,777to wait for the type to reveal on.
    00:55:06,446If you look at r3, right, it takes longer
    00:55:11,398because the type is delayed before it comes on.
    00:55:13,402I think it looks neat,
    00:55:15,073but I think you really need an extra two, three seconds
    00:55:17,370if you're gonna use this title,
    00:55:18,962and by the time I was brought into this
    00:55:21,203it was probably already too late.
    00:55:22,226So, that is why I ended up
    00:55:24,804doing a simpler version for Ian,
    00:55:26,932and that's a very, very smart thing to do.
    00:55:29,683As motion graphics artists
    00:55:31,403it can kill you a little bit.
    00:55:32,906Like this is the kind of stuff I like to do.
    00:55:35,337It's really neat.
    00:55:36,563It's really cool and interesting looking,
    00:55:39,588but I knew it may not be what my client needed.
    00:55:43,219So, I had to provide this alternate version
    00:55:45,748that was simpler,
    00:55:46,603and that's the one that ended up going in the cut,
    00:55:48,964but that's okay.
    00:55:51,083Cool, so that was the title shot,
    00:55:52,676and then the very last thing I needed to do
    00:55:54,958was I was given this photo
    00:55:58,331of sort of the two main guys in the band
    00:56:01,147from a long time ago.
    00:56:03,329It was one those things where it was like,
    00:56:04,895"Oh, we need you to put a move on this still."
    00:56:06,888Now, I literally had like 10, 15 minutes left at this point.
    00:56:11,057I wasn't gonna cut him out
    00:56:12,405and do a full 3D treatment of this.
    00:56:15,599I just didn't have time.
    00:56:16,807So, what I did was I used one of my favorite plugins,
    00:56:21,013Magic Bullet Looks, and I just built up
    00:56:23,980a little bit of a look with some (mumbles),
    00:56:26,416some lens distortion, stuff like that,
    00:56:28,918and the lens distortion, I hit it pretty hard, okay?
    00:56:32,469And if I RAM preview this,
    00:56:33,897let me go to half res
    00:56:35,083and I'll do every other frame RAM preview,
    00:56:37,677look at the edge here.
    00:56:39,053That lens distortion, what it does
    00:56:40,568is it makes things move a lot faster
    00:56:42,733at the edge of the frame than it does in the middle,
    00:56:44,483and even though there is no parallax,
    00:56:47,819there is no 3D in this scene,
    00:56:48,912you sort of get a little bit of a 3D feel.
    00:56:51,729It makes it feel a little more interesting.
    00:56:53,318If I turn the treatment off and just show you the original,
    00:56:56,182this is just the original move on the still
    00:56:59,238if you do nothing to it,
    00:57:00,701and just adding Magic Bullet Looks
    00:57:02,292and tweaking the look a little bit,
    00:57:03,758by the way, you don't need Magic Bullet Looks.
    00:57:05,369It's just such a fun plugin to play with.
    00:57:07,448It's really good for color correction
    00:57:09,350and doing stuff like this.
    00:57:11,636But, it gives it a little bit more production value.
    00:57:15,573And then I did a few different versions,
    00:57:17,436one with a little bit more of a blur on the edge.
    00:57:20,698I did one here where at the beginning
    00:57:22,452there was a little bit of that film flash.
    00:57:24,370I love to give my clients options because,
    00:57:27,798there's many reasons,
    00:57:29,256but the main reason is by giving your client options
    00:57:33,730you're forcing them to think a little bit harder
    00:57:36,844about what it is they like about one over the other,
    00:57:40,713and if you just show them one thing
    00:57:42,612then they are in this weird position
    00:57:44,904where they may like it but they may think,
    00:57:47,887"Well, I can't just say it's done.
    00:57:50,212"I need to say something.
    00:57:51,375"I need to tweak something."
    00:57:52,585Give 'em options and generally that goes away.
    00:57:56,314And in fact, when I sent all this stuff over to Ian,
    00:57:59,427that was it.
    00:58:00,577He just used it.
    00:58:01,637Part of that was probably because he didn't have time
    00:58:03,126for me to do any revisions,
    00:58:04,307but I think also it's because
    00:58:06,267I gave him all these tools,
    00:58:07,957he was able to go through
    00:58:08,895and pick out what he needed, okay?
    00:58:10,900So, let's take a look at the actual video
    00:58:13,759and how these things got used.
    00:58:16,430(gentle music)
    00:58:37,494- My name is Ian McFarland,
    00:58:38,638and I'm directing The Godfathers of Hardcore.
    00:58:40,800(heavy metal music)
    00:58:51,429This film is about two
    00:58:53,064of the most respected individuals in underground music.
    00:58:57,322- [Joey] A few days after launching this promo video,
    00:58:59,811the campaign got fully funded.
    00:59:02,259$15,000 was the original goal,
    00:59:04,951but now Ian has added stretch goals,
    00:59:07,232and the rewards are really, really amazing
    00:59:09,541and they've raised even more money.
    00:59:11,557So there you go, a successful project
    00:59:14,046and hopefully a semi interesting lesson
    00:59:16,921in using After Effects to very, very quickly
    00:59:20,495make your client happy with no revisions.
    00:59:22,882(rock music)
    00:59:29,308(high pitched whistle) (clanking)
    00:59:32,252(techno music)

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