Download "How to Build a Title Sequence in After Effects - Part 1"

"videoThumbnail How to Build a Title Sequence in After Effects - Part 1

0:00

Intro

0:16

Inspiration

3:06

Adding Depth

7:12

Rough Cutout

14:00

Ambient Fill

14:15

Point Light

17:00

Ambient Fill Light

19:30

Point Lights

23:25

Selection Tool

26:20

Duplicate

27:00

Mask

41:43

Texture Light

42:08

Adding Extras

42:28

Adding Texture

42:58

Turning Light Off

43:33

Duplicate Light

43:43

Duplicate Textures

44:18

Reposition Elements

44:38

Textures

44:58

Air Particles

45:13

Compositing

45:33

Volumetric Light

46:03

Two Views

46:53

Scaling

47:08

Preview

47:23

Atmospheric Light

47:38

Tidal

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00:00:00

hey what's going on it's cameron and

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this is proflus plus and we're talking

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about lights and shadows and for this

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more advanced lesson today

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i want to

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show you

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well i want to create like a like a

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really simple title sequence

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and

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i saw something like this similar done

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and i can't remember who did it

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but uh it was inspiring to me when i

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instantly saw that i love being inspired

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you know when i see something if it

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immediately sticks out to me if

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immediately says well i say wow like

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that's inspiration to me

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and i pull from that so what we're going

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to do here is we're going to do like a

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simple camera pull out um of this guy

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and we're going to add some typography

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um around him in 3d space and we're

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gonna reveal like a final just title

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um it could be anything but we'll

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probably just call it title um

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and we'll like i said we'll add lights

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and shadows to make it more interesting

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so

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we've learned how to

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work with type how to work with

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um

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texture how to work with 3d cameras and

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we're working with lights now so we're

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building upon everything we've been

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learning so far

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so

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i'm gonna turn down my music here i've

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got some music playing

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some m83

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if you don't know m83 gotta definitely

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check them out this is an older song i'm

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listening to so anyways i've got um i've

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got a camera here

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and i've got a man

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here and this is something i pulled off

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uh i don't know how you pronounce it but

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it's px

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h-e-r-e

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i always call it sphere.com

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[Music]

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i don't know if that's how you pronounce

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it but it's a

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creative commons image

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so it's included in the project file

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and i've just got black solid here

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that's just a 2d layer so i'm going to

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lock that that's just my black solid

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um sometimes i work with with 100 black

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sometimes i work with off black it just

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depends

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so we've got our guy he's uh he's in 3d

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space i've pushed him back here a

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thousand pixels just to start

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right so

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um if i brought him in at zero this is

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where he'd be based on my camera but

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i pushed him back a thousand pixels

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and i've got

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a camera here

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and i'm just gonna do like a very i'm

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gonna set a keyframe here

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and in my testing

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um

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title a i'm not gonna show you that

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whenever you see an a and b here on my

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timelines that's because the a is

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usually my test right so i do a lot of

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testing

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to figure out what i want to teach you

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guys so i put a lot of time into that

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and i create these things so i've

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created this already

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um if i just jump in really fast i don't

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want you to see what the images we can

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see how many layers are here there's 20

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layers well actually there's the title

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so there's 20 layers here there was like

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50 but i really um

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brought down

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the complexity of it

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because i can't make this into like an

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eight-hour tutorial right that's just

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it's too much we don't have enough time

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for that

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so

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in my testing i figured out that my

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keyframe my camera pulls back here i do

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want to add more depth in this version

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which versus the one that i did the

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testing on

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i think on the testing i pull back to

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around here

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uh so negative 33.96 in pixels but i

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want to pull way back

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like three times as far so this is

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really going to change up

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how this looks

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um but that's what i want to do and then

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when i'm when i'm here

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i do want to see some type right this is

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where my title is going to be and i'm

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just going to call it

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title i've actually got my type face

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pulled up here it's big castle on fb

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again this is an adobe

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font

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so if you don't have it you can just

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install it really easily off adobe type

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kit

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i also like to

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work with

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my align tab here so i'm going to align

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layers now what's interesting is when

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you have a 3d layer

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you can't align it for whatever reason

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so

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unless they fix this in versions that

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you're watching

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in past versions you haven't been able

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to line it so i always align in 2d i

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center things up it's just how i work

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and then i make it 3d so now it's

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three-dimensional

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i'm going to bring it really far forward

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in z space and i'm actually going to

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change the two views

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here

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so i can see here's my

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uh portrait

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here's my type and here is my camera

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way the heck over here

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which you know looking at this now i

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think that's this is too much space so

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we'll go

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let's go negative six maybe

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i can deal with this because i want my

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portrait guy back here he's going to be

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the very far back uh maybe i'll put some

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texture behind him

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[Music]

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but there's going to be things lined up

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here in the

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middle ground so actually let's just go

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even

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closer we'll do five thousand negative

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five thousand like i said in the

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original example i think i was negative

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three thousand

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so let's bring title

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up here i also want to hit a a for my

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camera i'm going to turn on depth of

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field

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and this is one i already played with

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a little bit i found that my aperture i

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set my focus distance here you can see

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this is just

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620 620 pixels and my aperture 69.

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just based on some testing

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since i am rebuilding this there's

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always a chance i'm going to change that

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stuff but

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there you go

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let's zoom in here so you can see here

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is my focus distance i just want to make

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sure that this guy

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is closer there so there we go so

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there's title

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and

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in my original example i had title

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pretty big i liked it

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like that so we'll just

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put something like this

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and

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using lights it's going to

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eliminate

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how we see things right so right now we

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see this guy back here but let's just go

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ahead and add a light to this guy

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and i think for him we're going to use a

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spotlight

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and we're going to use falloff

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we're going to use shadow darkness

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diffusion we're going to turn it up

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cache shadows yes

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and there you can see immediately that

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the guy

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the man is lit up the text is not

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so go back to two views here and just

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see where is this light out here let's

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just take a look at where the slide is

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okay there we go

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so we're gonna push this light

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one thing i should mention is if i turn

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the light off i don't like

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i back this guy up i don't like how this

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guy

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is cut off here on the side

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but that's how the image was right i

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didn't have an entire image to work with

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so

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he's already cut off i think i did a

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really rough

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cutout job on this guy actually now that

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i think about it i think i

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was going to show you guys that and i

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didn't so let's open up photoshop really

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quickly here

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and

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i'll go ahead and give you this

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photoshop file

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but when i brought this guy in when i

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downloaded them off

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sphere.com

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if i turn off the

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layer mask here you're gonna see

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this is what the original image looks

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like right so it's pretty cool i like

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this texture that's going on around here

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um

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but

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i wanted to be able to see my own

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texture in the background so i just did

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a really quick lasso

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actually i think i did a quick selection

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and i just went around and picked the

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guy out like this

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and could have really feathered the

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edges but i didn't because i knew that

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he was going to be against a textured

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background

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i knew that he was going to

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be in focus just for a short amount of

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time and then be out of focus and

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somewhat blurry so

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that rough cut out job works for this

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right you can see here he is again he's

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it's a rough cutout but because i'm

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using lights and things like that we're

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going to mask some

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imperfections of this image

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if i was doing this for a client i would

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probably take the time i know i would

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take the time to

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you know spend

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15 minutes

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intricately cutting him out

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probably with the pen tool that's my

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kind of go-to

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and um just to give it that extra subtle

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um you know umph

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if that's even a word but

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um

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just to give it a little bit more detail

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that it's just so subtle that a client

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or actually the first time you saw this

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you didn't notice that he's not a

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perfect cutout but just having a little

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bit more detail in here would help

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but for this example i did want to show

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you that you can also get away with

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doing like quick selections

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in photoshop because we're hiding things

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with lights and depth of field and it

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can just speed up your workflow

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i like to do things as quick as possible

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for the most part um in my testings you

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know i spend a lot more time testing

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building these projects out

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uh just to see what's going to work right

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and not work right so

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um

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yeah i'll quit rambling now

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so here's our light again

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uh i think for now it's gonna work but

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i'm gonna change this to

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man

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spotlight just so i know because i want

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this light to be

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just pretty much focused on this guy

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okay

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so just to give an idea

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we could start on

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black if i start on

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0 here i could actually

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keyframe the intensity here

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so i could start it

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at zero so this is like a real quick

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fade up right so we'll start it at zero

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and we're at i believe our composition

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is 24 frames a second yeah

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so we could do like a quick one second

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fade up here

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so there we are at 100

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intensity

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and he's kind of pushing back in space

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and as he's pushing back in space we're

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seeing

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other

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type and textures moving through space

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so i don't want him to stay in focus

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you know for too long so by here let's

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say he's he's back out

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and i don't know that the yellowish

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light is

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ideal

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so let's just go with white because i

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like him being in black

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but again you can see just just by

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looking at this right here if i turn off

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my

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depth of field let's just turn it off

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there's our dude and if i turn the

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spotlight off

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look how much

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nicer this the spotlight makes him right

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and i i just brought in a spotlight i

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just made it almost 100 it's not 100

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white but it's white colored

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i just use the default position of the

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spotlight

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and

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the cone

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you know i have the cone angle turned

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down

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uh if it's turned up we can see kind of

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the edge there

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over in here that we don't want to see

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but just adding a simple spotlight

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really brings some some interesting life

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to this guy

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you know something like that

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looks really nice so simple spotlight

00:11:55

and then we're controlling him fading in

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and fading out with this

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simple spotlight

00:12:02

so now let's go ahead and let's add in

00:12:04

maybe let's try adding in the background

00:12:06

i found that i like this chalkboard

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texture like this

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in the background

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so i'm going to bring it behind this guy

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go back as far as i need to go and

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let's just hit s for scale and let's

00:12:24

scale it up so it fills the frame here

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you know it's interesting because i

00:12:34

can't even see the chalkboard because of

00:12:36

this light that's in the scene so if i

00:12:37

turn the light off there's our

00:12:39

chalkboard again so what i want to do

00:12:41

now just so i can see a little bit of

00:12:43

that chalkboard is i'm going to add

00:12:44

another light

00:12:46

and i'm going to make this an ambient

00:12:48

light and this is just going to be my

00:12:52

i'll leave the word ambient in there

00:12:54

ambient fill

00:12:57

again i want to make it more on the

00:12:59

white side definitely not 100 intensity

00:13:02

maybe something really low like 20

00:13:04

percent and when i add this it's going

00:13:06

to affect how this guy is lit

00:13:09

so i'm gonna have to take that into

00:13:10

account

00:13:11

but

00:13:12

yeah

00:13:15

not enough so far something else i'm

00:13:17

going to look at is with this i'm going

00:13:18

to hit a8 i want to make sure that he is

00:13:20

not casting shadows

00:13:22

he is not casting shadows okay so there

00:13:24

we go so there's cash shadows on

00:13:27

only off

00:13:29

so i just want to make sure he's not

00:13:31

casting any shadows because i don't

00:13:33

see a need for him to cast a shadow onto

00:13:35

my background

00:13:37

what else could i do here i could also

00:13:39

[Music]

00:13:47

just gonna turn this ambient back on hit

00:13:49

aa

00:13:52

just bring it in there a little bit so

00:13:53

that's at 53 let's just try 55 you know

00:13:56

i like to have things

00:13:58

even

00:14:00

now i don't like that

00:14:02

at all okay

00:14:04

excuse me so

00:14:06

maybe what i need to do then is just

00:14:07

turn off this ambient fill

00:14:09

maybe i just make a

00:14:13

another light

00:14:15

that's going to affect the chalkboard

00:14:17

only

00:14:18

and if that's the case i'm going to

00:14:19

actually pull this chalkboard even

00:14:21

further back here

00:14:23

and i'm going to add another

00:14:26

light

00:14:27

and we'll make this

00:14:30

let's make this a point light

00:14:37

and we'll do inverse actually we don't

00:14:40

need any falloff here

00:14:42

i don't need to cast shadows either

00:14:45

and we do need to make sure

00:14:47

that

00:14:49

this light is

00:14:52

behind my guy here

00:14:55

so the light is behind my guide so it's

00:14:58

not lighting my guy right there in front

00:15:00

it's lighting him

00:15:02

behind him he's not lighting them

00:15:04

and

00:15:08

a-a against we have no fall off

00:15:12

one thing to keep in mind too i know i'm

00:15:14

jumping around a lot here but if i turn

00:15:16

falloff off for my man spotlight if i

00:15:18

say none

00:15:20

it is going to light up that chalkboard

00:15:21

back there you can see it's very subtle

00:15:23

but it's just enough fall off so it's

00:15:26

just reaching that guy

00:15:28

and then not going beyond the guy

00:15:30

and not lighting up this chalkboard back

00:15:32

here

00:15:35

so let me go back to my point light here

00:15:42

i'm actually going to try and

00:15:44

change it

00:15:45

to a spotlight with a really wide

00:15:50

angle let's see what that

00:15:52

does let's turn up the intensity

00:15:59

oh it's facing the wrong way

00:16:04

that would help

00:16:20

and my guy is turned to lighten so let's

00:16:23

change him back to normal

00:16:26

for now

00:16:34

i want this to be pretty subtle

00:16:37

and let's change it back to lightning

00:16:38

again

00:16:41

i don't love it when it's lightened so

00:16:43

we'll leave it there

00:16:45

and let's just change spotlight back to

00:16:48

point light just to see

00:16:52

i think i like point light better

00:16:54

just less intensity

00:16:57

change him back to lighten

00:16:58

[Music]

00:17:00

yeah that's nice so it's just a very

00:17:03

subtle background

00:17:06

texture that's there i like it

00:17:08

next let's add another light for the

00:17:10

title here so the title is actually

00:17:12

white text we can see here but it's

00:17:15

black because there's no light for it

00:17:17

okay so ambient fill i'm going to go

00:17:19

ahead and bring up here to the top again

00:17:21

i'm going to turn it on

00:17:23

so i have a feeling we're going to need

00:17:25

some ambient

00:17:26

fill light

00:17:28

i'm also i can see now the chalkboard is

00:17:31

way more uh visible

00:17:34

and it's not big enough

00:17:36

so we're gonna scale it up there we go

00:17:38

[Music]

00:17:39

and let's turn ambient off and be on

00:17:44

you know what let's leave it off for now

00:17:45

in my test i had to use an ambient light

00:17:48

i'll lock the chalkboard

00:17:51

we'll call this

00:17:54

chalkboard light

00:17:57

would unlock that

00:17:59

the man walk i just like to lock these

00:18:02

things in place

00:18:04

now let's add another actually let's

00:18:06

just duplicate

00:18:07

the man spotlight here

00:18:09

[Music]

00:18:10

duplicate it and let's bring it up here

00:18:12

and we'll change this to

00:18:15

tidal light

00:18:19

and tidal light we're going to bring

00:18:24

way back here so that we can see

00:18:28

the title

00:18:32

and we're going to bring him

00:18:38

left side view here

00:18:42

and bring this guy

00:18:45

down

00:18:46

like so

00:18:57

okay so

00:18:58

the light is not lighting up the title

00:19:02

and

00:19:03

[Music]

00:19:06

it's because i duplicated the light and

00:19:08

we're down to an intensity of zero

00:19:10

that's why so let's just bring the

00:19:12

intensity back up there we go so we'll

00:19:15

just go back up to a hundred

00:19:17

and

00:19:18

[Music]

00:19:21

you can see now

00:19:24

i'll go back to one view here

00:19:27

maybe

00:19:30

you saw from previous lessons i prefer

00:19:32

to use point lights

00:19:36

just because like so you saw there so

00:19:38

there's there's my spotlight see how

00:19:39

it's just kind of cutting off the coning

00:19:41

i could i could expand the cone angle

00:19:43

here easily right and cover this but i

00:19:46

like to work with

00:19:48

less um

00:19:49

options right so it's it's uh less

00:19:52

things to control less like you know

00:19:53

with the spotlight you've got the point

00:19:55

of interest and the position and with

00:19:57

the point light you only have a position

00:20:00

and just changing to point light lights

00:20:03

this up so that's going to work for me

00:20:05

for right now

00:20:07

and we'll go ahead and leave inverse

00:20:08

square clamped on

00:20:09

[Music]

00:20:11

so

00:20:12

there we go

00:20:13

it's looking

00:20:15

starting to get there so next thing

00:20:16

let's do let's bring in some of this

00:20:19

i've got three layers of texture here

00:20:21

okay

00:20:22

and these are just

00:20:25

documents that i downloaded off the

00:20:28

internet creative commons

00:20:30

i was looking for like old

00:20:32

writings old typewriter writings things

00:20:34

like that

00:20:36

and i found things like this so

00:20:39

that's what we're going to use so

00:20:41

nothing i don't want

00:20:42

the writing doesn't have to be anything

00:20:44

that we have to necessarily be able to

00:20:46

read it's just texture that's in there

00:20:49

that's in this piece for us to

00:20:52

add some visual interest okay

00:20:55

so let's

00:20:57

find an area here

00:21:02

one thing that makes this more

00:21:03

challenging is that there's like this

00:21:05

you know cursive writing so like the g

00:21:07

extends down to this line so if i wanted

00:21:09

to get

00:21:11

you know these lines they have these

00:21:12

these letters that extend way down

00:21:15

and i like to make things easy and i

00:21:17

can't just do like a simple mask

00:21:20

so let's actually

00:21:22

just

00:21:23

use the pen tool

00:21:25

[Music]

00:21:28

and let's zoom in here

00:21:33

i think we'll go with this line

00:21:56

there we go

00:21:59

now i want to do is i want this type to

00:22:00

be white versus dark so let's just go to

00:22:04

channel invert

00:22:08

yep

00:22:09

let's also go to color correction black

00:22:11

and white

00:22:13

there we go

00:22:15

and let's go to effect

00:22:17

color correction

00:22:19

levels

00:22:20

and what i want to happen here is i want

00:22:22

the black

00:22:23

to go away in the white to really pop

00:22:26

so to do that

00:22:28

we need to set this to screen

00:22:32

and we need to play with our levels here

00:22:34

i can never remember the right one so we

00:22:36

want to play with with the black level

00:22:38

here okay and probably the gray

00:22:47

it's okay if i see a little bit of this

00:22:48

kind of chalk texture in there that's

00:22:50

okay

00:22:51

because everything is going to be kind

00:22:52

of blurry anyways since we're going to

00:22:55

depth of field on i think

00:22:57

so

00:22:59

let's take this let's make it

00:23:02

three dimensional

00:23:04

and you can see my point of interest is

00:23:06

way down here is when we hit y

00:23:08

and i'm just going to drag this up you

00:23:10

don't have to do this i just like things

00:23:12

to be a little tidier

00:23:14

so if my point of interest is closer to

00:23:16

my center point of the actual part of

00:23:18

the layer i'm using that's going to be

00:23:19

better

00:23:20

for me

00:23:22

and let's zoom back here

00:23:25

and

00:23:27

i just want this guy to be somewhere in

00:23:29

the middle i could go to my two views

00:23:31

again

00:23:32

i could so i'm on the side view here i'm

00:23:34

gonna hit

00:23:35

v for my selection tool

00:23:36

[Music]

00:23:38

oh

00:23:39

you know because i did point i did push

00:23:41

the portrait guy back so at zero

00:23:44

this layer is actually right here um you

00:23:46

know this would work actually but

00:23:49

let me just bring this guy

00:23:53

i don't know i'm just looking at

00:23:54

composition

00:23:55

like

00:24:00

i guess you should understand you know

00:24:02

what makes a good composition and where

00:24:03

things should kind of line up i do teach

00:24:05

that in stylecraft

00:24:11

so there we go so we're kind of flying

00:24:13

past it now as i start adding more

00:24:15

lights and things like that it's going

00:24:16

to get a little bit more

00:24:18

intensive

00:24:19

for the

00:24:21

my computer here but right now we're

00:24:22

still able to kind of scroll through it

00:24:24

pretty quickly

00:24:27

and i'm not going to add a light just

00:24:29

yet to this at this point

00:24:31

let's go ahead and let's just duplicate

00:24:33

this

00:24:34

layer let's go back into our one view

00:24:36

here

00:24:38

and let's solo this layer

00:24:40

and

00:24:42

let's delete this mask

00:24:52

and let's just find a different part

00:24:53

here that we could

00:24:56

sample from

00:24:59

right here

00:25:20

there we go

00:25:23

and we'll zoom back out

00:25:26

and we're going to hit y

00:25:28

for our point of interest or

00:25:30

it's this tool right here it's called

00:25:31

pan behind but it actually controls

00:25:34

our point of interest as well

00:25:37

our are not our point anchor point

00:25:40

sorry two views again and

00:25:47

let's go ahead and bring this guy back

00:25:49

here

00:25:50

maybe up in here

00:25:58

and i could rename these layers to keep

00:26:00

things

00:26:02

a little tidier but this is fine for now

00:26:06

i'm going to kind of keep the text

00:26:09

and an interesting looking kind of block

00:26:12

here

00:26:13

so this is my other line of text here

00:26:15

here's this guy let's go ahead and bring

00:26:17

in

00:26:18

let's actually duplicate

00:26:21

this and i'm the reason i'm duplicating

00:26:23

this is so i don't have to apply all

00:26:24

these effects again and i'm going to go

00:26:25

ahead and bring in

00:26:26

[Music]

00:26:27

i'm alter option clicking dragging

00:26:31

replacing there we go

00:26:34

ooh that looks interesting already

00:26:37

but you can see here

00:26:38

instead of having to apply reapply

00:26:40

invert black and white levels

00:26:43

i just copy and

00:26:45

replace it's easier that's what the

00:26:47

original looks like so invert makes it

00:26:50

white

00:26:52

black and white makes it truly white

00:26:55

and levels

00:26:56

levels is going to be

00:26:58

a little bit different

00:27:00

so if i really want to kind of boost the

00:27:02

the text up the white that's what i'm

00:27:04

going to drag the right side levels here

00:27:08

and it makes me think that maybe i

00:27:09

should just take a look at

00:27:11

this one and maybe intensify it a little

00:27:13

bit

00:27:15

yup

00:27:16

same with this

00:27:18

one cool

00:27:22

and

00:27:23

let's just take a look let's sew this

00:27:25

guy

00:27:26

let's get rid of the mask

00:27:29

i do like this a lot and that's

00:27:31

interesting right there so

00:27:33

let's just do a simple

00:27:37

mask like so

00:27:39

awesome

00:27:41

and

00:27:42

[Music]

00:27:43

why

00:27:45

there we

00:27:46

go

00:27:48

two views and

00:27:55

i like to kind of just position

00:27:59

elements around and then come back after

00:28:02

my camera i see you know i'm flying

00:28:03

through it i see things

00:28:07

kind of reposition at that point

00:28:15

maybe something like that and let's

00:28:16

duplicate this one again

00:28:20

and [Music]

00:28:22

you can tell i really like to work in

00:28:23

one view

00:28:30

that's cool right there just that

00:28:35

boom

00:28:38

and

00:28:40

why again you don't have to move the

00:28:42

anchor point

00:28:45

like this but i like to

00:28:50

now you can see here with the whites

00:28:52

being drug you know

00:28:54

taking the slider to the left here it's

00:28:57

making this texture inside this image

00:28:59

come out too much and i don't want to

00:29:00

see

00:29:02

too much of that so i have to be careful

00:29:03

of that

00:29:10

that'll work

00:29:12

i also don't want to be too close to

00:29:15

my title here

00:29:17

because by the time i get to this point

00:29:18

i just want to see the title

00:29:26

again you can see this one there's too

00:29:28

much texture happening here

00:29:32

so this is a tricky one because if i get

00:29:33

rid of this texture it's getting rid of

00:29:34

this as well

00:29:41

let's forget to see about this one

00:29:47

hmm

00:29:48

let's just go ahead and keep this for

00:29:50

now

00:29:54

something i could do here is i could

00:29:55

feather

00:29:57

quite a bit

00:30:00

and kind of

00:30:08

that helps a little bit but you can see

00:30:09

what is this back here

00:30:13

is that my chalkboard

00:30:20

okay so there's a layer right here

00:30:24

okay that's that so let's feather this

00:30:26

one

00:30:29

let's bring this guy up

00:30:36

okay i want to bring this guy

00:30:38

back and z

00:30:48

that's looking kind of cool

00:30:54

save

00:31:01

and i'd probably go ahead and turn my

00:31:04

aaa camera depth of field on

00:31:09

and let's hit u for position

00:31:12

we're going to make this guy ease in

00:31:14

here

00:31:16

and the reason i'm doing this is because

00:31:18

here i'm at um

00:31:20

i'm 10 seconds into my animation right

00:31:22

so if this is like a title

00:31:24

i don't want to go take a full 10

00:31:26

seconds to get to this end title because

00:31:29

then it leaves me like what do we have

00:31:31

here

00:31:32

so that's 12 seconds so we're at 10

00:31:35

let's actually make it even

00:31:38

let's go right here to 10 seconds even

00:31:40

so if i if i'm fully pulled out with my

00:31:43

camera at this point that's 10 seconds

00:31:45

the end of my timeline here is 12

00:31:47

because my entire

00:31:48

title sequence here is 12 seconds

00:31:50

i don't want to just give it two real

00:31:52

quick seconds to read

00:31:54

because we've been seeing so much

00:31:56

information flying past us visually

00:31:58

we're looking at everything we want to

00:31:59

have some time to really settle on this

00:32:01

title whatever this title is so i want

00:32:03

to

00:32:04

move

00:32:05

my camera in quicker to this end point

00:32:07

so easy ease by default is going to stop

00:32:11

you know it's going to default to this

00:32:12

value which is what 33

00:32:17

let's just take it

00:32:20

i think in my testing i was around 60

00:32:23

[Music]

00:32:25

so that would probably work right in

00:32:26

there i've got depth of field on

00:32:30

now again we can see this text here and

00:32:33

we don't want to see that text by the

00:32:34

time we're to our title by the time i

00:32:36

get to my title i just want to be

00:32:37

focused on that title

00:32:38

let me save here i'm going to

00:32:41

okay ambient is not turned on

00:32:43

there's the ambient so we need some

00:32:45

light

00:32:47

to only affect our

00:32:50

textures here so what is the lighting

00:32:52

title okay so our tidal light is the one

00:32:55

that's lighting up

00:32:56

all this back here so what we need to do

00:32:58

here is we need to go aa on our title

00:33:00

light

00:33:01

we could change this back to spot or we

00:33:03

could just play around with our inverse

00:33:05

square clamped here

00:33:07

um i'm going to play around with radius

00:33:10

i'm going to bring it way down you can

00:33:11

see as i'm bringing it down everything

00:33:13

back here is going away

00:33:17

and but now our title is going away so

00:33:18

we want to make sure our titles

00:33:22

lit up there

00:33:40

you know it doesn't have to be perfectly

00:33:44

dark back there

00:33:53

but i could also even add another light

00:33:56

back here that

00:33:58

and let's try that let's just add let's

00:34:00

duplicate the title light and let's call

00:34:02

this

00:34:04

negative light

00:34:07

and this one we're obviously going to

00:34:09

make it negative

00:34:11

to pull light away right

00:34:14

but to do that we also need to be past

00:34:16

our title here so we don't want that to

00:34:18

affect our title so let's go past the

00:34:20

title

00:34:21

so we're just inside the title here and

00:34:25

you can see

00:34:26

it's doing its job so if i turn it off

00:34:29

there's

00:34:30

the text

00:34:31

there's without the text now the trick

00:34:33

here is to have it just enough

00:34:35

because like right here i want to see

00:34:38

the texture so i could do is actually

00:34:41

set a keyframe here

00:34:43

so let's make this zero so it's not

00:34:45

affecting it's not taking light away

00:34:48

but as it moves past

00:34:50

this title

00:34:53

there it's pulling

00:34:55

light away

00:34:58

maybe

00:35:00

i'm gonna have it coincide with this guy

00:35:01

back here

00:35:02

[Music]

00:35:04

so let's maybe do something

00:35:08

but not to be perfect

00:35:11

looks pretty cool

00:35:14

save that

00:35:15

and let's go ahead and

00:35:18

let's actually duplicate this guy again

00:35:20

[Music]

00:35:22

now let's bring in our third texture

00:35:24

which is this guy

00:35:27

and let's just solo that

00:35:30

let's take the mask let's delete the

00:35:32

mask

00:35:41

and if i turn if i had a aaa and i say

00:35:43

accept lights off

00:35:46

now i can fully see this so

00:35:48

even though we're only soloing this

00:35:50

layer because lights are in our our

00:35:52

timeline they still affect the layer

00:35:54

that's soloed so lights are always on

00:36:00

so let's save that

00:36:04

and for this one we don't

00:36:07

i don't think we want to invert this one

00:36:11

let's just turn off our effects here

00:36:15

this is pretty big image

00:36:18

you know might be kind of cool to see

00:36:29

just kind of looking at this this is

00:36:30

kind of an interesting block right here

00:36:33

and if i'm not totally sure on the part

00:36:36

of the image i want to use i'll do

00:36:38

things like this where i'll just draw a

00:36:39

rough mask um you know

00:36:42

obviously this isn't something i

00:36:44

probably want

00:36:45

because of this vertical line here i

00:36:47

don't love the way that looks but

00:36:50

if i decide to use this

00:36:54

i can always refine my mask so if i

00:36:56

invert this

00:36:58

okay

00:36:59

black and white

00:37:01

yeah and then levels

00:37:05

so we need to let's actually reset the

00:37:06

levels here

00:37:11

i need to get rid of

00:37:12

that texture in there

00:37:20

and let's just try feathering

00:37:24

a large amount here

00:37:28

and we're out of focus here

00:37:33

and

00:37:34

my anchor points way up there

00:37:45

so i definitely don't like those

00:37:48

vertical lines there

00:38:10

that's not too bad it might be usable

00:38:16

depending on where

00:38:19

we position everything here

00:38:27

no i'm not a fan i can already tell it's

00:38:30

because i'm cutting too much off here so

00:38:32

let's solo that again

00:38:35

take the mask

00:38:37

do that here

00:38:45

and let's just look around inside this

00:38:47

image here so i think

00:38:50

i think previously maybe i used

00:38:53

this right here so let's just

00:38:55

take the pen tool

00:39:02

and

00:39:03

[Music]

00:39:06

let's do that

00:39:08

yeah

00:39:11

and we'll unsolve that and we're going

00:39:13

to take y to move our anchor point up

00:39:15

here

00:39:20

so maybe somewhere in here

00:39:24

let's actually back it all the way up

00:39:26

here because i want to see a little bit

00:39:28

of text

00:39:29

maybe in here

00:39:31

so go two views here

00:39:35

something like this

00:39:43

yeah so it's just on the edge here

00:39:46

so that our first focus is on this guy

00:39:49

he's the important character in the show

00:39:52

and then we start to see some additional

00:39:53

text come in here i don't like

00:39:56

the

00:39:57

texture there so we need to get rid of

00:39:59

that texture so let's

00:40:02

play around here this

00:40:06

and there are different ways you can

00:40:07

remove

00:40:08

you know portions of this texture you

00:40:10

could do

00:40:12

luma keying

00:40:14

i just find that levels

00:40:16

curves

00:40:18

is a quicker way

00:40:20

now you can see here now the text all of

00:40:22

a sudden looks way blown out compared

00:40:26

to the image so you have to keep things

00:40:27

like that in mind so i was i got the

00:40:29

texture removed but all of a sudden the

00:40:30

white in the text was way too powerful

00:40:32

compared to the rest of it

00:40:37

and i'm gonna just reposition some

00:40:39

things here

00:40:41

so elements aren't competing

00:40:44

too much

00:40:46

it's also okay just to see

00:40:49

um portions of elements right we want to

00:40:51

see the entire

00:40:54

piece

00:41:00

this guy

00:41:02

is really far over here

00:41:05

don't need to be that far over

00:41:09

maybe something in here

00:41:13

i'm actually going to move this guy over

00:41:14

here

00:41:25

now it's funny because now this texture

00:41:27

we just brought in is so powerful it's

00:41:29

still there

00:41:30

even with the lights

00:41:33

off so let's make sure it's accepting

00:41:34

lights

00:41:36

it's not accepting lights

00:41:38

there we go that's why

00:41:44

so now you can see this guy's not even

00:41:45

being lit up at all

00:41:47

because he's not accepting lights and

00:41:48

he's too far away from other lights so

00:41:50

let's add

00:41:52

a light

00:41:54

we'll keep it a point light and this

00:41:56

will be called

00:41:57

texture light

00:42:00

actually we'll call it

00:42:02

word

00:42:04

texture

00:42:05

light and we're going to say one just in

00:42:07

case we need to add extras

00:42:09

and i actually want to turn uh they

00:42:11

don't need to cast shadows

00:42:18

now you can see i added that and look

00:42:19

what it did to the guy

00:42:21

way too much light there

00:42:24

so let's take the intensity down

00:42:27

let's find our texture here's our

00:42:29

texture right here that's not being lit

00:42:32

there's our light

00:42:40

so with light

00:42:41

without

00:42:42

so you can see the lights affecting the

00:42:44

man it's also affecting the the words

00:42:47

here so let's back it up just a little

00:42:49

bit more here

00:42:55

take them over to the right side

00:42:58

and then again i'll turn the light off

00:43:01

on just to see how he's affecting

00:43:03

the entire composition uh he's affecting

00:43:05

the man but it's not too much

00:43:08

but i may turn it down just a little bit

00:43:10

more

00:43:12

turn it off

00:43:14

on something i could play with again is

00:43:16

the fall off

00:43:29

and then off on off on so now the light

00:43:33

is only affecting this texture here i

00:43:35

think i'm going to duplicate this light

00:43:39

bring it back

00:43:40

and have it affect

00:43:43

some of these other textures here

00:44:20

not super happy with the placement of

00:44:21

elements so i'm redoing them a little

00:44:24

bit here just

00:44:26

for my eye just to see what i like

00:44:27

that's looking a little bit better i'm

00:44:29

going to save that

00:44:30

and i want to add

00:44:32

a couple more elements here

00:44:34

and those are

00:44:37

right here under footage

00:44:39

i've got two footage layers here this

00:44:42

one is a

00:44:43

i believe it's a free texture from

00:44:47

is it premium bead it's all linked to it

00:44:49

in the description below it's a

00:44:51

volumetric light with some dust moving

00:44:53

through it and you can go to their

00:44:55

website and you can download this

00:44:56

texture i can't give it to you

00:44:58

i can't redistribute it but i also have

00:45:00

another one here and this is air

00:45:02

particles wendy and this is from our

00:45:05

friends at vf action vfx

00:45:08

they've got amazing stuff i'll link to

00:45:10

their site as well if you want to pick

00:45:12

up any of their

00:45:13

product packs but you're going to get

00:45:14

this

00:45:15

element here

00:45:17

they create just different uh

00:45:20

footage

00:45:22

for compositing in visual effects and

00:45:25

it's great for like

00:45:26

visual effects shots but it's also great

00:45:28

for like motion graphics stuff like this

00:45:31

so let's bring both of these in but

00:45:33

we'll start with

00:45:35

this subtle dust and what this is going

00:45:36

to do with the volumetric light is it

00:45:39

puts a nice atmosphere

00:45:41

into our piece here

00:45:46

and make it three-dimensional

00:45:54

and we're going to pull it forward in

00:45:56

space

00:46:00

let's just kind of figure out what's

00:46:01

going on here

00:46:03

let's go back to two views

00:46:22

let's tell it to ignore the lights

00:46:26

there it is

00:46:32

and i need to also set it to screen

00:46:38

there we go so it's a nice you can see

00:46:40

there's a really nice volumetric feel to

00:46:43

it

00:46:45

and let's just see here

00:46:47

yeah that looks really nice

00:46:51

now the only thing that doesn't look

00:46:52

nice is when it gets

00:46:55

out here

00:46:56

and we're just gonna solve that by

00:46:59

scaling it up now remember i probably

00:47:01

will add a light to this and we we won't see

00:47:04

it by the time it hits this point but

00:47:05

just to be safe i scaled it up

00:47:08

so let's save this

00:47:11

we're at full res here let's go ahead

00:47:12

and preview this and see how let's see

00:47:14

how it looks

00:47:18

okay so here's our playback

00:47:21

it's looking pretty good

00:47:23

there's a few things i want to change

00:47:25

about it

00:47:26

for one i don't love the

00:47:29

like the atmospheric light here looks

00:47:31

pretty nice

00:47:32

it does need to fade away i believe

00:47:36

i want tidal to be more on its own

00:47:38

but it looks nice

00:47:40

adds a little bit of depth to it uh some

00:47:42

of this type works some of it doesn't

00:47:43

this line doesn't work the rest of the

00:47:45

stuff right here works so let's move on

00:47:47

let's wrap up this video and let's move

00:47:49

on to part two

00:47:54

[Music]

00:48:08

you

Description:

Here’s how you create organic, tactile, and visually stunning motion graphics that truly stand out. Download my FREE Guide to Mastering Organic Motion Design → https://www.motionscience.tv/guide In this video, I'll show you how to create a moody title sequence using After Effects. This is the first in a series of two videos. In Part 1 of this tutorial series, we'll set up the design elements and layer them in 3D space. We will also create visual interest through the use of lights and shadows, and we will animate a 3D camera. The techniques taught in this series can be applied to any type of title sequence. Discover, Transform, & Elevate your motion design at The School of Cinematic Motion Design. Join our community and master advanced techniques. Click to start: https://www.motionscience.tv/mastery Level Up Your Looks With These Texture Packs: https://www.motionscience.tv/offers/ZeP9DhfW https://www.motionscience.tv/offers/sC8YSDgm How I Organize My Creative Ideas: https://workflowy.com/invite/4fff13fe.lnx The Music I Use: https://www.epidemicsound.com/campaign/invite-a-creator/?_us=Referral&_usx=8hlgyn Follow Motion Science: Instagram: https://www.facebook.com/unsupportedbrowser Pinterest: https://www.pinterest.com/motionscience Website: https://www.motionscience.tv/

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