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00:00:01

today we will not just sit down at the computer

00:00:03

and poke strange buttons in order to

00:00:06

somehow understand after effects,

00:00:07

not today you and I will understand the

00:00:10

basics of the author of the effect and immediately

00:00:13

do something like this so that

00:00:16

you can immediately by flexi

00:00:18

or friends and we will do all this with

00:00:20

you in literally 30 minutes,

00:00:22

so you’ve run out of time a little,

00:00:23

look, I know from myself that the

00:00:39

biggest pain in learning is that a

00:00:42

certain period of time will pass before

00:00:44

you succeed, change something and During this

00:00:47

time, there is a high chance that you will simply

00:00:50

lose your passion and due to the fact that you

00:00:52

will not succeed in anything right away, you will

00:00:54

very quickly give up, I bet

00:00:56

you have already experienced something like this when you tried

00:00:58

to learn any other difficult thing

00:01:01

that you couldn’t give, but there is

00:01:03

one life hack which allows you

00:01:05

to overcome this, namely when you

00:01:07

manage to achieve a result in the moment,

00:01:10

that is, sit down and do something tasty and

00:01:13

interesting right here and now when

00:01:15

you get to something new and it’s very easy to

00:01:17

feel when you, for example, write

00:01:19

your first code because you only

00:01:21

you sit down to this complex

00:01:23

programming language before you open the first

00:01:25

tutorial, you start writing a program that

00:01:26

allows you to display Hello World on the screen,

00:01:28

for example, and then you click

00:01:30

compile and it appears and you’re like,

00:01:33

I made it to the staff, it works, it

00:01:36

encourages you to be dumbfounded further and I

00:01:38

think that this is very important thing, that’s why

00:01:40

I built today’s episode so that

00:01:42

you can get the result right here

00:01:44

now

00:01:45

if you devote at least half an hour of

00:01:47

your time to it and the result will be

00:01:49

beautiful and cool, you’ve already seen it, the most

00:01:51

important thing is that you don’t get high in this

00:01:53

process and this will allow you to study

00:01:56

after effects and further because the beginning

00:01:58

will have already been made and you will be able to do

00:02:00

your first work which is flexi on

00:02:02

Instagram with

00:02:03

so today in the process of creating this

00:02:05

thing we will analyze all the

00:02:06

basic tools author effect you and I

00:02:08

will import the material and

00:02:10

analyze it for further work

00:02:12

because yes, even at the very start

00:02:13

you make a mistake, for example, you took

00:02:16

footage that was not suitable for you or shot

00:02:17

it incorrectly, then you will have big

00:02:19

problems in post, so this is important, we

00:02:21

will master 3D tracking with you and

00:02:23

especially its reverse variation,

00:02:25

we will deal with you the simplest shelf

00:02:27

animations, that is let's move the keys and

00:02:29

make 2D animations;

00:02:30

we'll also do rata en masse because

00:02:32

we'll need it to cut out the

00:02:34

camera screen and create our own special 3D

00:02:36

space there; let's talk about

00:02:38

the author's built-in effects that will allow you

00:02:40

to get a direct

00:02:41

holographic menu from soutache in my case of

00:02:44

my fuji-k xt4 camera We’ll also talk to

00:02:46

you about how to use pre-

00:02:48

prepared animated elements

00:02:49

to saturate your footage with

00:02:53

all these flash drives, but at this end we

00:02:55

’ll add our signature watermark,

00:02:57

yes, geese, so you can

00:02:59

repeat step by step after me all the things

00:03:01

I’ll talk about and in parallel with

00:03:04

this master basic and professional

00:03:06

after effects tools, but is

00:03:08

n’t that awesome and along the way, I’ll also

00:03:10

tell you about a bunch of life hacks that I’ve

00:03:13

learned over the years of working with production and

00:03:15

the most important thing is that you’ll like

00:03:17

the result that you get and you

00:03:19

’ll want to study this craft further and

00:03:21

get cool only

00:03:23

large, full-fledged complex works with 3d

00:03:26

graphics with work in different packages

00:03:28

because it is important that you know not

00:03:30

only the author of the impressive sim 4d

00:03:32

photoshop or any other

00:03:34

3d animation program and thanks to this you created

00:03:37

not just cs camera footage,

00:03:39

full-fledged large complex powerful

00:03:42

work, then I highly advise you to

00:03:43

sign up for our course on motion and

00:03:45

design where in four months you will master

00:03:48

men’s design from scratch, you will learn how to

00:03:49

create animated videos, 3D models

00:03:52

and perform full-fledged cool

00:03:55

post-production and from scratch you will learn not only the

00:03:58

correct approach to

00:03:59

machine design to you could

00:04:02

close large projects with salt, but also a

00:04:04

package of basic programs Adobe Photoshop

00:04:06

cinema 4d

00:04:08

and authority and most importantly the expert

00:04:10

of this course together with whom we

00:04:12

created it is Azamat flight he is an

00:04:14

art director and a

00:04:16

designer with 15 years of experience,

00:04:18

sign up with us right now and don’t

00:04:20

miss this unique opportunity

00:04:21

to start your career in motion design,

00:04:24

training starts on August 6th, the link

00:04:26

will be waiting for you in the description, there you

00:04:28

can sign up and don’t miss it, so be

00:04:30

sure to go, well,

00:04:36

my friend, it’s time to start,

00:04:38

by the way, I have all the footage you need especially for you

00:04:41

for work, I

00:04:42

put it in a special folder, which you

00:04:44

can also find via the link in the description,

00:04:45

go to it, download it, open it and you

00:04:48

will have a project that you can not

00:04:50

only run through because the result will be

00:04:51

ready, but also start doing it

00:04:53

yourself, so open after

00:04:55

effects and add everything you need there It’s

00:04:57

not time to start recording footage,

00:04:59

and before you and I run to do anything at all,

00:05:04

throw on what effects we

00:05:06

need to understand what we’re dealing with, to

00:05:08

understand what kind of footage we have, that

00:05:11

means a person lifts the camera, turns it on,

00:05:14

something appears, twists it, turns it this way and that,

00:05:17

the hand rotates the camera itself is

00:05:19

movable, that is, it’s not a static

00:05:21

camera, but we want to get something like this, okay,

00:05:24

okay, you and I need a third 3D

00:05:28

third, and I’ll even say more, 3D printing in a special way

00:05:31

because our task will be

00:05:34

to get this thing to do

00:05:36

reverse 3D tracking because that this

00:05:39

will allow you to just throw in all sorts of different, a

00:05:42

large number of graphic pieces and

00:05:44

make the camera look like it’s not a camera,

00:05:48

this is the one I’m filming, here’s the one to finish

00:05:50

watching, there are two situations now,

00:05:52

more precisely, here’s what we have: one camera of mine

00:05:54

in my hands and 2 which I’m filming, I’m spinning

00:05:57

this one and I’m twisting this one, if we just throw in

00:05:59

3D tracking, then we’ll understand how

00:06:01

this camera moved, but we’re not

00:06:04

particularly interested in that, we’re interested in how

00:06:06

this camera moved, which was

00:06:08

filmed so that you and I can

00:06:10

throw in all sorts of infographics here,

00:06:12

which means we need to get how as if there was a

00:06:15

third virtual camera that would

00:06:17

move together from this camera,

00:06:20

nevertheless understanding how it moved around, I

00:06:23

hope I didn’t confuse you, now they will

00:06:24

show it, it will be much easier to

00:06:27

do this reverse 3D treatment,

00:06:29

let’s choose with you a place where it doesn’t

00:06:31

spin very much because all

00:06:32

these body movements with ointment, that is,

00:06:36

all the blur on the camera, is there a plus here, it

00:06:39

will be a little dark for 3D tracking, let’s

00:06:41

take somewhere from here, from

00:06:43

this rotation just up to the moment it

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turns on, and do a

00:06:47

control shift gluing here d we’ll extend the bottom footage to the

00:06:50

end and with this we’ll make a

00:06:53

contour of the tongs during the composition and say, well, fallout 3 boot

00:06:55

new composition let’s call it 3d camera

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tracker, this will be our auxiliary

00:07:02

composition, let’s go inside and here we’ll do a

00:07:05

simple excavation, select a tool, which

00:07:08

means a feather, select our footage

00:07:10

and draw here such a rough mask around

00:07:11

ours

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around the body of our camera is ready to make it

00:07:17

more comfortable let's even turn it off for now let's

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move on click we already have

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mask ps put the key and start ratas save up

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animate moved a little

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here we looked that here

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the turn ended, that is, the movement was

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massive just put the key,

00:07:32

moved the keys, we are looking for further

00:07:35

changes in its position, here the accounting

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hung up, let’s select, for example,

00:07:40

all the keys, so it will be even more convenient to go up,

00:07:42

let’s even make the colors and more clearly

00:07:44

highlighted there, pink pink, I want

00:07:47

everything now, at least I see it,

00:07:49

merged, moved a little -

00:07:52

we've selected everything a little forward again, moved everything, and so

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you'll need to go through the entire

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timeline,

00:08:01

ready to add the id parameter here, and

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now we'll see if we're all

00:08:06

correct

00:08:07

from the ratas copies, if you see that

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something has gone wrong somewhere, and

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get started It’s not a sin for our mask to

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apply the mask expansion parameter to the

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plus sign, thereby taking it and expanding it,

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everything is ok for me, so I’ll just

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blend it somewhere by 30 pixels,

00:08:25

that is, it’s important that it’s not hard,

00:08:27

it should be soft otherwise trade, it

00:08:29

will perceive the edges as points, but we do

00:08:31

n’t need that at all, and thus we

00:08:34

got this

00:08:36

bang bang auxiliary footage, which we

00:08:39

will now put in 3 crochets here 3d camera

00:08:42

tracker Now you will understand what result

00:08:46

this thing will bring us all so

00:08:50

that tracking happens more

00:08:52

correctly click the detail to

00:08:54

analyze checkbox and wait a little bit longer,

00:08:55

usually for my computer the heavens were about to fly away,

00:08:59

but it managed to see that the

00:09:02

error on average per pixel is somewhere in the

00:09:03

region of two pixels, this is not bad and

00:09:05

terrible, like it’s tolerable, you can work

00:09:08

if you have three or four

00:09:09

try to either make a more correct

00:09:12

ratas cop, this means that he captured

00:09:14

the extra one and he catches some wrong

00:09:15

points, that is, the fund starts to catch, or

00:09:18

you didn’t check the detail to analyze box

00:09:20

and we got from cracks and our

00:09:24

image all the points seem to be

00:09:27

spinning - it’s spinning as it should, it’s nice

00:09:29

to watch now let’s check how

00:09:31

well everything is, choose

00:09:33

some approximate 3 here that would display the

00:09:35

plane of the location of our screen

00:09:37

and in general the cameras in general, let’s say right here

00:09:40

on the right mouse button we’ll create

00:09:42

salts you camera now I’ll explain why I’m doing

00:09:45

this done, turn off our auxiliary

00:09:47

footage, turn on our main

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solid footage, this one makes a long one of our

00:09:52

training and shifts it somewhere

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right or left and reduces

00:09:58

its saturation just for fun and look, wow,

00:10:01

we just did 3D

00:10:03

tracking of an object in the scene

00:10:05

just out of nothing hanging in place,

00:10:07

spinning and spinning, everything is just as it should be,

00:10:09

the beauty is what he and you have just

00:10:11

prepared the ground for our deliciousness,

00:10:13

which they will continue to create for the world,

00:10:15

solid, remove to 3d camera trading,

00:10:18

return, select again which three

00:10:20

points with a similar plane as we need,

00:10:22

that is, the plane screen area from the

00:10:24

camera on this side, create makeup, well,

00:10:26

cut it off and this one is just 0, this

00:10:29

will be our support.

00:10:30

you see this one appeared. which

00:10:33

hangs in 3d space, this will be our

00:10:35

reference point for obtaining

00:10:37

coordinates and position, that is, by x y z and

00:10:40

by orientation in space across the Rhine

00:10:42

.

00:10:43

Now I’ll explain why we figured it out for

00:10:46

you with reverse 3D tracking and I immediately

00:10:48

want to tell you that you’re a great

00:10:49

fellow and I also want to say that on August 7

00:10:53

at 1500 baht Saturday on our

00:10:55

YouTube channel there is simply a powerful

00:10:58

video from our new authors

00:11:00

Dasha and Yura about interactive cinema,

00:11:03

when I inspected this release in the editing room,

00:11:05

I was beside myself with delight at how

00:11:08

cool and juicy this release turned out,

00:11:09

especially within such a short

00:11:11

runtime of

00:11:12

13 minutes dido neck, tell me not only

00:11:15

about how to edit an interactive

00:11:16

movie, how it originated, how it got

00:11:18

to netflix, how in general, it is generally

00:11:20

created in short, simply uploaded to us on

00:11:23

August 7, 1500 on our YouTube channel and don’t

00:11:25

miss this video. It’s

00:11:31

time to create a simple shape

00:11:33

animation of it, which will now

00:11:35

play into your hands. For this, we will create a new

00:11:37

composition and make it with you very

00:11:41

small there 800 at 600, for example, or

00:11:45

here I want 800 g, click here through

00:11:50

the spikes, that is, select the tool here, this

00:11:52

rounded rectangle tool,

00:11:54

hold down the mouse button here, select

00:11:56

what we want, create this mems shape, we are

00:12:00

only interested in the granine, we are

00:12:04

not interested in the fill, turn it off and make the edges

00:12:06

white strictly do there bend 4

00:12:10

hello get and now we say

00:12:14

that we will have it three d object once

00:12:16

I’ll do it now let’s make its appearance

00:12:19

through animation, take the position parameter and

00:12:24

so we’ll drag it somewhere

00:12:25

here and make it move

00:12:29

forward to minus 100 there, for example, the fact that

00:12:31

she crawled out of the edges of the screen, don’t

00:12:33

worry, don’t worry, we’ll do

00:12:35

an interpolation of beauty here so that it

00:12:37

goes out quickly and then

00:12:40

cools down very slowly, I want great, good, now

00:12:44

we’ll make a double for her, we’ll move it by two

00:12:47

pixels, we’ll make

00:12:48

another one, we’ll move it by two pixels,

00:12:49

we’ll do it one more of them together for 2 pixies

00:12:51

now they will appear one

00:12:53

after another but they come to the same

00:12:55

point that they are very interesting so

00:12:56

we go to the inter point we came with you and we

00:13:00

want 2

00:13:02

to be even closer to us, that is,

00:13:05

here left by position so we add

00:13:08

it to inter point 100 the

00:13:10

next one to inter point 200 why am I

00:13:13

now doing this through n carp

00:13:14

Anthony through position because there

00:13:16

are already name keys for my position I

00:13:17

want to get into every key I am

00:13:20

this is the offset because I am

00:13:22

now I’ll add a camera here, you’ll see

00:13:25

that I have them scattered throughout the 3d

00:13:26

space cc pressed twice to turn on the

00:13:28

orbit pool, you see I’ll look at everything

00:13:31

else, I’ll turn on the broads, that is, I have them

00:13:33

scattered as if in space and

00:13:36

animation on them on all 1 floor bank bank

00:13:38

bank bank and it showed up it’s just more

00:13:41

convenient to do it through the n Carpathians, of course I

00:13:43

could also do this honor position but I don’t

00:13:46

want to touch the key and the last thing

00:13:48

left to do is adjust the

00:13:49

translucency for them, let the very

00:13:51

first one be the brightest there somewhere

00:13:52

around 80 then 60 then 50 and then 40

00:13:57

buzz ears for women and now the most

00:14:01

interesting thing is I take and add this

00:14:04

composition just created let’s

00:14:06

rename the player in the neck it’s very important to

00:14:08

rename everything they do through these, in

00:14:12

short,

00:14:14

through the return it carried as usual through the

00:14:18

classic just these names

00:14:19

because very soon I’ll get confused to say

00:14:21

that the project will be big and someone

00:14:23

else will get confused who will open it someday in

00:14:25

life and try to do something,

00:14:27

so I immediately accustom myself to the correct

00:14:29

organization of the project, to the correct

00:14:30

name of everything and everyone and you will be

00:14:32

happy, everyone will love you

00:14:34

there will be a lot of money for chicks to call for projects and so

00:14:36

on, I cut it off, which was wrong,

00:14:38

I put it in our composition, I just

00:14:40

move it to the beginning of ours in our 3

00:14:44

and here we have it, and we isolate the gray one,

00:14:48

here we have it as it is, it reflects, for example,

00:14:51

what we are with you saw it here too because,

00:14:53

well, turn the camera and the trick is that

00:14:55

now I want to do this, I’ll make a 3D

00:14:58

layer, copy its position and orientation

00:15:02

from scratch, orientation copy, visited,

00:15:05

copy, now it’s become so small for me,

00:15:08

moving it here to the screen,

00:15:10

even someone who probably knows power

00:15:11

orientation from the menu

00:15:13

I want it to be right here, right here

00:15:16

in this plane, lying like this from

00:15:21

kontron like this and a little more like this, like it’s

00:15:25

wound, as if, and the trick is that the

00:15:28

whole point is that if you remember that

00:15:31

the composition you’re putting in another

00:15:32

composition, it is perceived simply as a

00:15:35

2D layer that I made 3D with it, that

00:15:39

is, all this volume that you and I

00:15:41

were spinning, it’s not here, but it doesn’t know

00:15:45

that this composition is actually a bunch of

00:15:47

nested shapes scattered in 3D

00:15:50

space, so let’s say about

00:15:52

it and we can do this through

00:15:54

this parameter, as soon as

00:15:55

we click on it, magic happens because

00:15:58

suddenly it ceased to be a 2d layer, this

00:16:01

composition became just a container for the

00:16:04

internal ones and as a

00:16:06

result we got a thing that is

00:16:11

spread out in 3d space

00:16:13

and this is exactly what you and I needed

00:16:15

was beauty, and

00:16:18

I’ll just put it here like this, let’s

00:16:22

align it,

00:16:23

let’s see what it looks like here for some reason,

00:16:25

it moved somewhere, let’s

00:16:29

return it here like this, it’s like it’s very important to

00:16:32

sometimes run around to see that you have

00:16:34

nothing floated thus, this

00:16:37

composition is just a container, it

00:16:39

is not a layer, it is a

00:16:41

container for all these things

00:16:43

that are internally lying perfectly, this is the

00:16:45

correct organization of the project and this will

00:16:47

lead you to great success,

00:16:53

now we will do the next thing,

00:16:56

we will work on the otoscope a little more, it will not

00:16:57

create the illusion that we have

00:17:00

a space inside,

00:17:02

as in our example, you see, I seem to be

00:17:04

moving cameras and as if through a screen I’m

00:17:06

looking somewhere there, as if in depth,

00:17:09

there also is its own volume, its own

00:17:10

space, some kind of wild cosmic thing,

00:17:12

I want to repeat it, how to do it,

00:17:15

you need to do it a little bit portos is saving up, so

00:17:17

again we make a double of our footage,

00:17:19

we cut it here, we do it with

00:17:21

the composition, we say all the attributes inside,

00:17:23

we write screen Matt, we go inside and here

00:17:30

we will select some better frame

00:17:32

here, for example, again round and Jess

00:17:35

would now draw a mask like this

00:17:37

hub and then rotate it under the screen,

00:17:43

well, a little somewhere here,

00:17:45

let’s move it here, let’s turn it off for now, this one here, this one

00:17:50

here, and this one here

00:17:54

a little bit didn’t seem to be plausible,

00:17:59

and now I have a gelding that I can’t animate all

00:18:01

this with my hands, we saw the mask and let’s go

00:18:03

to the tracker tab daddy

00:18:05

something new has appeared here, it turns out that you

00:18:07

can use a nasal mask for a third, so

00:18:08

let’s do it here, choose a method based on

00:18:11

perspective and press the tract forward and

00:18:14

watch it very carefully

00:18:16

because it can start to come off, you see

00:18:19

this key has already floated when it started to

00:18:22

float, let’s go back a little let's roll back

00:18:24

somewhere here and it floated to give it a little,

00:18:27

they put it

00:18:28

that these keys are here while they are not visible,

00:18:30

press the you key,

00:18:32

delete or we can even not delete, we can

00:18:34

say like a track from forward and then it

00:18:36

will be

00:18:37

recorded on top of these and we monitor we

00:18:40

monitor closely so that here, I did

00:18:41

n’t mess anything up, you can stand straight up and

00:18:43

think, take a

00:18:45

deep breath, understand that it’s

00:18:48

moved a little, let’s put it back in place, the method

00:18:52

that I’m showing you now is,

00:18:53

of course, not completely correct,

00:18:55

because these shifts that I’m

00:18:57

making right now can be noticeable that is,

00:18:59

wow, KS and we see a sharply right corner,

00:19:01

at this moment the bams has changed, well, of

00:19:05

course, not eating until the end is good, but

00:19:07

now we’re doing it using light, of course you can

00:19:10

try to do it all with your hands, but the

00:19:12

main thing is that she herself does

00:19:14

n’t go there here because here we need a

00:19:16

hard mask, there shouldn’t be such a

00:19:18

light mask as we had before this,

00:19:20

1 which we drew as guarantees seems to

00:19:24

have gotten what we need, put the first key

00:19:25

and 3 than in the opposite direction and tan tan tan

00:19:29

here we go, let’s go with with you

00:19:32

all these keys

00:19:33

we will delete the mask again, pum-pam-pam is selected and

00:19:36

we animate

00:19:40

everything here with our hands now we turn it on, this is

00:19:44

important, we shade it just a little bit

00:19:46

by a couple of pixels, there are four pixels

00:19:48

for example and we return to our main

00:19:50

composition and we we got this footage

00:19:52

in which there is just a screen hanging out back

00:19:56

and forth doing something for

00:19:58

which we need it just so that we

00:19:59

create this window into a fictional

00:20:02

space, that is, we will work

00:20:04

3 km from through alpha mass while

00:20:07

we turn it off we don’t need it yet and we’re creating

00:20:10

another one, even you know, you can just take a

00:20:13

double, let’s make a double our player ears

00:20:17

shade appears player 2 we call and

00:20:19

your player background we go inside

00:20:22

here

00:20:23

the composition can be made a little larger

00:20:27

there in 1200 in the example

00:20:30

we did it so that it’s just easier to

00:20:32

navigate in the delivery now we have

00:20:34

these things moving forward, but you want because they did

00:20:37

n’t go back, for this we’ll take our

00:20:40

animation, take interpolation, swap them like

00:20:45

how to swap the keys ti frame

00:20:48

assistant time river frame and now when it

00:20:50

appears we will

00:20:52

move back noise then what do we need to

00:20:56

look at, only now it remains to change

00:21:02

the order of appearance this first this

00:21:05

second this then and then hand it over to the

00:21:10

women beauty and now we’ll do

00:21:13

the interpolation in 9 by the way you can

00:21:16

work with all the keys that you

00:21:18

currently have allocated take it so that’s where

00:21:20

the women all got it and the last one is

00:21:24

change the purpose of translucency,

00:21:26

again on the contrary 4568

00:21:30

all

00:21:32

this, even this one I would do too 6 find

00:21:37

[music]

00:21:38

and now we need to make the

00:21:42

background of space here, for this we drag our

00:21:44

footage of the car cabinet, make it 3D with it about

00:21:48

the opposition, move it there, recess it

00:21:51

by 500 in depth even,

00:21:53

oh well, it’s even possible at 600 and the most

00:21:56

important thing is that since we have a moving

00:21:57

fund so that there is no whale of additional

00:22:00

illusions, we press the timefreeze frame now

00:22:01

it’s just a picture everything is

00:22:03

fine and cc

00:22:06

we move the cameras here, most likely

00:22:08

we have very large-scale camera movements and

00:22:11

that’s when we will come here with

00:22:12

you in that account

00:22:15

this black field will appear, it doesn’t suit me,

00:22:17

so I’ll just be like hell or

00:22:19

until he takes up the entire space,

00:22:22

well, somewhere like this, although the style

00:22:24

will come strong ok and I’ll also him a little bit of a

00:22:27

fence through the gauge I like

00:22:29

such a cartridge for example so that it is a

00:22:31

little more smeared I move on to

00:22:33

our main composition now it’s

00:22:35

time to add what you and I did,

00:22:37

take this composition player bg and drag

00:22:39

it under the screen Matt or the most

00:22:41

interesting thing is make it 3d and make it its

00:22:45

nested ready

00:22:47

don’t be alarmed, copy the position from our 0,

00:22:50

paste the rotation, also copy the orientation in

00:22:54

space from ours, they are not from

00:22:56

our 0 to your player, copy here from

00:22:58

us more correctly, here we put only

00:23:00

the positive so as not to confuse, copy from the neck of the

00:23:04

player,

00:23:05

paste here and then into 3 km these

00:23:08

are the alphamed top layer, that is, the

00:23:10

screen of the man dad and now what you and I

00:23:14

cut out the screen became a mask for

00:23:16

this, this is the space in the depths of the

00:23:19

cameras and now we see how something

00:23:22

travels there aig that layer did not extend

00:23:24

let's do amc extended everything

00:23:26

it’s okay to live, let’s see if

00:23:29

black fields are appearing here, no, it’s not appearing

00:23:31

normally, you can live a little bit, you can see it

00:23:35

in volume, as if these lines here are

00:23:37

closer,

00:23:39

although in fact they should be further away,

00:23:41

so let’s pull it back a little bit

00:23:43

Well, despite the fact that we copied the position from scratch,

00:23:45

we’ll take it back

00:23:47

there and sink it into the depths, let’s see,

00:23:51

and now practically what we

00:23:53

need to move so much a little bit

00:23:58

further, well, we can live, in fact, let’s

00:24:03

see what we got and

00:24:05

you and I got the following: our

00:24:07

camera turns on an animation here,

00:24:09

an animation here, and we see through

00:24:12

the screen what’s happening inside and

00:24:15

these are the geometric lines

00:24:17

that we’re animating, which allows us

00:24:19

to create the illusion of volume, that is, the viewer

00:24:21

understands how all this is built so in

00:24:23

space you can move on calmly

00:24:26

[music]

00:24:29

now I would like to add a camera menu here

00:24:32

and we can do this as

00:24:35

follows I have this kind of footage

00:24:37

called fuji screen

00:24:39

we make a new composition out of it

00:24:41

we move this composition here and

00:24:44

here I have pre-recorded was

00:24:47

just a camera menu for you and we need to

00:24:50

somehow select only this area is

00:24:51

much easier to do the next thing,

00:24:53

we take it like this, you mean we cut out

00:24:55

only our taps and here in the contribution of

00:24:57

the composition we say to the boxes the position of the

00:24:59

wife in interest

00:25:00

and he will move this composition, reduce

00:25:03

its size, just under this

00:25:05

area that you and I don’t see,

00:25:06

now all we have to do is move it to the

00:25:09

right place and even do the

00:25:12

next thing, see what

00:25:14

duration we have, initial composition,

00:25:15

position settings, copy it, paste

00:25:19

fuji screen into duration ok now

00:25:24

we definitely won’t make a mistake and let’s

00:25:26

move our entire movement here, I

00:25:29

’m looking for a report on the screen, I’m looking, I’m looking, and here,

00:25:31

at the end, I’m already starting to select

00:25:32

color profiles, some kind of movement in

00:25:34

the frame is great, in fact, everything is here

00:25:37

and we take drag this layer here

00:25:41

took up the entire screen, terribly impossible,

00:25:43

smaller, very much according to the skill, we’ll make it a 3D bus

00:25:47

since, well, for now we’re only working

00:25:49

with it for now, let’s leave it only to yours and

00:25:51

nothing distracted us with it and the footage, once

00:25:54

we copy the positions 0 0,

00:25:55

we copy the orientation from the neck of the players and let's

00:26:00

move it here a little somewhere and

00:26:05

give it a screen blending mode

00:26:07

in which everything that is black will become

00:26:09

transparent, everything that is white will remain in

00:26:12

place and then all we have to do is

00:26:14

move it and pull it out as if from here

00:26:18

so it won't be there here and here and you can

00:26:22

also in size like this and here,

00:26:25

let's see how it is

00:26:27

positioned in space and dancing

00:26:33

now here, let's correct

00:26:36

the position, we need to remove the footage, it does

00:26:43

n't interest us yet, I see here that we don't

00:26:45

pull it out enough, we

00:26:46

pull it out, everything is here where -then we

00:26:50

should look here the time floated st she is still

00:26:56

in size a little less than bank yes yes

00:27:02

yes good everything we are dividing us in general for a

00:27:05

month it is right where we need beauty

00:27:07

and just by the way if you

00:27:08

turn on shako leaf and quality then this is

00:27:11

most likely from -due to the fact that the

00:27:12

resolution lens is ticked here,

00:27:14

if I move it like this, what

00:27:15

’s going on cherry blocky becomes just to

00:27:18

maintain the playback speed in the

00:27:19

preview no, I don’t really like it because I

00:27:21

still can’t keep track of the dates, it’s [ __ ], we

00:27:23

just turn it off and you and I are just what

00:27:25

did they do for the camera menu, which is also

00:27:27

located somewhere in space in 3D strains

00:27:29

hanging right above

00:27:30

very cool what we need let's

00:27:32

make two more of these and scatter them on the

00:27:34

sides make a duplicate of the fuji screen let's go

00:27:38

inside

00:27:39

move it a little further where I already climbed the

00:27:43

menu he for

00:27:44

example here I go to the

00:27:47

tab

00:27:48

select camera resolution somewhere here

00:27:50

let's stop at the key and perform all the

00:27:53

same operations add 3d

00:27:57

make a screen overlay mode copy

00:28:01

from here from worse than the screen the position and

00:28:05

orientation can be moved a little to the right

00:28:09

drown in depth so that it would be

00:28:11

somewhere here, reduced

00:28:13

in size,

00:28:14

I would even know what I would do, I would

00:28:16

cut off this part of the cheat menu with a mask, it does

00:28:18

n’t really bother me, so I would

00:28:20

just make rough bmc

00:28:21

and leave it here like this, it would be

00:28:24

more fun and turn it around a little bit and look

00:28:27

at us, look at how it looks

00:28:29

together with the hand,

00:28:34

also let’s move all these fujis, well, it

00:28:40

crosses the hand a little bit, no, I don’t

00:28:42

really like it, that is, make sure that

00:28:44

in terms of depth everything here hangs

00:28:46

believably It’s impossible for this

00:28:49

hologram to fit into your hand, now it does

00:28:54

n’t seem to fit, but it’s on the verge,

00:28:56

so I’ll pull it out and reduce

00:28:59

the size

00:29:00

at the top, now everything’s good, let’s see how it

00:29:04

all comes together, let’s go lower and add another

00:29:11

infusion, let’s move the diets, I’ve been playing around with curves here

00:29:20

you find this moment dia night

00:29:22

dabbling with tonal curves

00:29:24

but we’ll cut the wheelbarrow with a knife and

00:29:28

add it in the same way, make it 3d, make it screen, copy the

00:29:32

position from here, paste the orientation, I’ll

00:29:35

now connect it myself,

00:29:36

twist it more precisely, reducing it in size,

00:29:39

move it, move it a little bit down Thursday,

00:29:44

something something I’ll add about moving around

00:29:48

the timing

00:29:49

a little bit at myself, I look at what

00:29:52

happened

00:29:53

[music]

00:29:56

I really like that it’s

00:30:03

normal here now some of them are

00:30:05

lost, so I would throw a course on them on

00:30:08

the air to increase this

00:30:11

contrast bams and the same thing

00:30:14

duplicated the buna everything the rest, they

00:30:18

have become more obvious,

00:30:19

starve without him with him, that is, without him, I

00:30:23

see this backdrop in the form of a menu he

00:30:25

no, I don’t really like everything that is needed, it’s

00:30:29

a thrill and also you and I can add

00:30:36

additional graphic elements from

00:30:38

other projects if you import right

00:30:40

away, just a project that is in the

00:30:42

attached photos for this lesson, additional

00:30:44

info graph, then you will have a folder loaded

00:30:47

with something like this, for example, about

00:30:50

which you can also insert, why

00:30:52

not let’s do it directly, take this

00:30:54

composition, paste it here,

00:30:58

make it 3D,

00:31:01

let’s isolate it that we have a

00:31:03

lot of graphic elements of the table and everything

00:31:05

is lagging, so I can’t

00:31:07

handle the laptop, you just turn something off than

00:31:08

now while you’re not working, insert the

00:31:11

position here, the orientation, I’ll take the necks of

00:31:14

player

00:31:15

3 of these guys, I’ll hide them now, I’m no less

00:31:18

interested, but the necks of the player are interested in the

00:31:20

orientation I’ll copy and paste and move it

00:31:24

down to something here, for example, say

00:31:28

everywhere it starts here, we

00:31:30

already have our own first animation prepared in advance by

00:31:33

Yasha, so you see it’s

00:31:35

acting out here, it’s good that we also

00:31:38

have a text block here of some kind like this,

00:31:40

let’s take it,

00:31:45

drag it, and do the same the very

00:31:48

manipulations of the 3d layer, the position was copied,

00:31:52

the orientation was copied and moved

00:31:56

here because I remember that this

00:31:58

place is not particularly occupied with anything, and

00:31:59

let’s now place it relative to the

00:32:01

whole bounce okay, let’s say I’ll

00:32:06

move it here and the

00:32:07

anchor point of the player selected the tool and

00:32:10

moving it here in order to

00:32:12

rotate it normally, this layer doesn’t

00:32:16

want to turn it towards itself from here like this

00:32:18

and now I’ll move it here

00:32:20

according to timing

00:32:21

beauty, you can add something else here

00:32:24

at your discretion because there is

00:32:26

such a pre-prepared one

00:32:28

shape its animation is also like this, that

00:32:33

is, there is already room for creativity,

00:32:35

do what you think is necessary, adding

00:32:37

some graphic elements,

00:32:38

experimenting, maybe download something from the

00:32:40

Internet, the

00:32:41

main thing is that you and I have done, we have

00:32:43

prepared everything so that it is convenient to

00:32:44

insert here and it it looked like a

00:32:47

glove and this is the most important thing now, what else do you and I

00:32:51

have to do? While you and I have

00:32:53

everything appearing at the same time and this is

00:32:55

not good, we need to add

00:32:57

some kind of desynchronization and we need to add

00:32:59

an animation for the appearance of these guys,

00:33:01

we’ll do it through two parameters

00:33:03

in -first, through translucency, I will select

00:33:05

only it, I will put the key on

00:33:07

translucency in the first frame 0, then

00:33:10

two frames forward, I will put 52 frames forward,

00:33:15

I will put 0 2 frames forward,

00:33:18

42 frames at 0

00:33:20

02 frames forward 40, thereby I get

00:33:25

this animation, the manifestation of your lips,

00:33:27

that is, it as if winking I

00:33:29

take the straight ones I copy to another fuji

00:33:33

screen

00:33:34

at the beginning be sure the main thing is to put

00:33:36

the slider here and another fuji tv screen

00:33:40

here too and then I’ll scatter them

00:33:43

slightly relative to each other

00:33:44

I want the central one to appear first

00:33:45

this is the lower one

00:33:51

then it appears right and now I moved it

00:33:54

here, then it appeared with the left, okay, here

00:33:58

I turn off everything, I look, now it’s already starting to

00:34:03

appear just a little bit and in

00:34:06

fact, you and I have already done the

00:34:08

desynchronization that was needed and the last

00:34:11

nice touch is one that I would like to

00:34:13

make it stand out in different ways the colors are

00:34:15

different elements, but for now they merge

00:34:18

a little with each other, so

00:34:21

now I’ll take the neck player layer and throw a tint effect on it,

00:34:25

which will allow me

00:34:29

to replace all the light dots with a different color,

00:34:32

if here I indicate white in the map with

00:34:35

yellow, for example, and now they have become

00:34:37

yellow for me I want even more

00:34:39

orange, in short, here now

00:34:43

I’ll copy the same color here because

00:34:45

I’ll still need it, I threw the same

00:34:47

effect here, for example, but like the fallout of the

00:34:51

third it turned out cool, but I’ll go

00:34:54

inside this composition with this

00:34:56

shape and make these here guys,

00:34:59

while he gives her a yellow one, I’ll go to Leopard and I’ll

00:35:04

also make these guys yellow so that

00:35:08

everything matches in color, and now I’m

00:35:10

already getting a more or less tasty picture,

00:35:13

well, you and I have done

00:35:15

almost everything that’s needed, now there’s only

00:35:18

one moment left, as you can see

00:35:22

there is a lot on the camera during fast movement,

00:35:25

but there is no blurring of our elements,

00:35:28

so everything that you and I here have now

00:35:31

animated and created, we’ll take it and

00:35:33

make it a motion blur and then we’ll go

00:35:35

into the composition from us, the auto safe will allow us to

00:35:38

do this, thank you very much,

00:35:39

let’s go into the composition and in the settings and in

00:35:43

advance we’ll change the shutter angle to 90.

00:35:46

You most likely have 180 shutter angle here,

00:35:49

that’s what it is. 90 is equivalent to the fact

00:35:53

that the shutter speed is one hundredth on the camera, but

00:35:55

I had one like that, why do you need to

00:35:58

put the same

00:36:00

shutter speed value here? compositions like those on your

00:36:02

camera will provide you with the most

00:36:04

believable blur of all your elements

00:36:06

and then the viewer will most accurately

00:36:08

believe in what is

00:36:10

happening on your screen on the tee itself in all

00:36:17

this beauty there is only one

00:36:19

moment left - you need to go to the lice and player bg for

00:36:22

these footage

00:36:23

take the goose throw it here

00:36:26

make and but and yours drown it a little

00:36:29

reduce in size and make

00:36:32

it translucent well now this

00:36:34

life now this beauty but not

00:36:38

all if you sense the right one then I’ll

00:36:41

organize my whole project as it should be

00:36:44

folder with footage here are the footage

00:36:47

there is a folder with compositions you can

00:36:49

call it whatever you want and here we put

00:36:51

all the minor compositions 3d camera

00:36:53

tracking worse screens

00:36:55

screen madge and player player bg and

00:36:57

move it here thereby we are just

00:37:00

with you and by the way, yes, these are the spikes

00:37:03

which you can pull from here any more to

00:37:05

practice on top of your

00:37:07

example, we also throw it here why

00:37:09

all this is needed now we get that

00:37:11

being still like this with a tick Perry of

00:37:14

the past well me up and from my ears to the

00:37:16

top accumulate in everything

00:37:19

consulted up now with you and

00:37:21

I, the correct organization of the project

00:37:23

on the left, the correct organization of the project

00:37:25

inside and in general everything is wonderful, and in

00:37:28

fact, you and I just got a

00:37:29

complex scene with 3D tracking

00:37:33

using third-party footage and

00:37:36

shelf animations and animations just

00:37:38

inside in layers, in general, working very closely with

00:37:41

you so this is your

00:37:43

thumb flying towards you, you’re

00:37:46

handsome, and in fact, maybe you didn’t even

00:37:50

notice it, but you and I went through

00:37:52

not only the basic things, the author

00:37:53

was impressive, we also got hooked on professional

00:37:56

features, understood the principles of working with them,

00:37:58

and in the end we got even cooler great

00:38:00

work that you can now post

00:38:02

anywhere you have, of course, and did,

00:38:04

which I really hope

00:38:05

if you want to further develop in this

00:38:07

craft, master the profession of a motion

00:38:09

designer and continue to get a

00:38:11

result that you are proud of,

00:38:13

uploaded to our po-motion course and

00:38:15

design training starts very soon and

00:38:18

you can find the link in the description of

00:38:20

this video me and the whole Saratov Ukrainian team

00:38:22

will be waiting for you there, even

00:38:24

let’s see you buddy, like,

00:38:26

subscribe to the channel or ask your

00:38:28

question in the comments and we will definitely

00:38:29

answer them soon

00:38:35

[music]

Description:

👉 Курс по Моушн-дизайну https://sabatovsky.com/motion Привет, творец. На связи Слава Хохлов. Основатель Хохлов Сабатовский. Тут ты найдешь всю информацию, что бы научиться создавать киношные видео и построить профессию. ► Переходи в мой телеграмм канал https://t.me/+hhNn1iT40Hs5YmRi ► Хочешь получить творческую профессию? Записывайся по спец. условиям в мою школу https://sabatovsky.com/ ► Нужно заказать видео или найти исполнителя? Переходи на сайт моего продакшна https://sabatovsky.com/production ► Хочешь попасть к нам в команду? Заполняй анкету https://docs.google.com/forms/d/e/1FAIpQLSfpqDwNntb12TB55VmFdcY59N70bGH41m7IkM_iGAzq3wyUAQ/viewform?usp=send_form ► Хочешь стать партнером нашего проекта? Заполняй анкету https://docs.google.com/forms/d/e/1FAIpQLSfpqDwNntb12TB55VmFdcY59N70bGH41m7IkM_iGAzq3wyUAQ/viewform?usp=send_form Для студентов - ссылка на тех. поддержку https://t.me/khslearn_bot Production Music courtesy of Epidemic Sound

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