Advanced Damage & Decay FX Tutorial! 100% After Effects!

hey what's up Andrew Kramer here for Video Copilot dotnet and welcome back to another very exciting tutorial today we're going to be taking a look at creating some damage and decay effects inside of After Effects without any third-party plugins so if you like procedural effects with tons of possibilities you're in the right place let's go and take a look at what we're going to be creating [Music] all right so lots of cool things happening here and what makes this effect so powerful is that it's entirely procedural and what that means is that all of the effects like the moss and the grass and the cracks they're all automatically created based on the input shape in this case a logo but what I could do is change it out to some text and now all of the effect updates I can even type something new and now you have a whole new animation and it's worth mentioning that even though the moss is growing out of the cracks it's not growing out of all of the cracks so there's a certain amount of randomness that we can add to the effect and just like before we can change the lighting so we can go into the 3d lights and we can change the colors move them around and we get a whole new effect and you can see that the moss and the cracks and the logo are all being affected by the lights there's really a ton of possibilities you can even control the decay around the edges instead of just the cracks in this example you could see the grass is only growing around the edges we could do kind of a chipped paint effect which is a nice more subtle effect some other possibilities like this where you have some blood on the logo maybe it's for a medieval TV show you could switch out the logo with like a McDonald's logo or maybe an Arby's logo and this could be barbecue sauce I admit the possibilities are starting to narrow out a bit but you get the idea another one of my favorite examples is this rust effect this is a good example of the layering that we can do you know it's interesting when I play this backwards it reminds me of this TV show I used to watch when I was kid was called Billy Mays it was about this guy that would go house to house fighting crime and fixing stuff with this magic potion called OxiClean he was literally cleaning up the streets hi Billy Mays here for OxiClean the stain specialist and will supersize your oxy clean to a whopping six pound bucket so these are all the examples oh wait there's more here's another cool example with like a gold plating or a gold foil now if you're looking for something a little more clean like metal shiny titles check out the fantasy title effects tutorial lots of great tips there alright let's go ahead and get started in this project we're gonna set it to 16 bits per channel so just alt click until we get to 16 bits per channel then let's create a new composition make this 1920 by 1080 it's all looks good ten seconds and we'll call this decay it'll hit okay alright so first thing we want to do is create our source title so we'll take the text tool we'll come in here we'll type in decay and we'll scale this up and then we'll pre compose this layer pre-compose we're gonna move all attributes we're going to call this decay alpha it'll hit OK now in order to get to all of the crazy fun effects we need to set up our basic title so to do that we're gonna duplicate this alpha edit duplicate and then we're gonna precompose it so we'll choose layer pre-compose now we're gonna move all the attributes we're gonna call this decay bevel and hit okay then if we open this up we can set up our bevel profile similar to how we did it in the last tutorial so we'll choose layer layer style inner glow we'll go down to the settings here we'll set it to normal set it to 100% opacity set the color to black hit OK and we're gonna set the technique to precise and then as we increase the size here we can see that it creates this inner glow that's perfectly aligned to the edge now I'm gonna set the size to about 20 all right so that looks good the other thing we want to do is get rid of the Alpha Channel so we'll create an adjustment layer we'll do an effect called channel solid composite and this just adds a color into the background we'll do black hit OK let me set this to full resolution and just to avoid some aliasing let's add a fast blur when she's blur fast box blur we'll do like one pixel one iteration repeat edge pixels so let's go back to the decay comp and we'll set up our title with the 3d lighting so if we go over here to our project we've got a couple of different things here we've got this grunge pick in this rock texture so let's take the rock grunge drop it out here and I want to pre compose it so I'll choose layer pre compose it will move all the attributes and we'll just call this rock texture and hit OK now to create our 3d looking title we're gonna use an effect called CC glass we'll go in here stylize CC glass and what we're gonna do is go into the surface settings and we're going to select our decay bevel as the bump and now we can see that it's starting to displace now in this case we're going to set the softness down to zero and we're going to set the displacement down to zero so we just want to create some of the relighting now in order to get rid of the background we're gonna use an effect called channel set matte and for this we're gonna select our decay alpha now we're using that in order to create a perfect cutout now I'll go and turn these two layers off at the bottom now I'll turn off the transparent background set this to full res zoom out here now if I select our rock texture we can go to the lighting settings and change it from the built-in lights to the AE lights and what this will allow us to do is create our own real 3d lights so if we go up here we could choose layer new light it'll choose a parallel light and hit OK and so you can see if we move this around we're actually adjusting the lighting of this title so already this is a pretty cool technique for creating some nice-looking 3-dimensional eyes texts but we're gonna take it a little bit further move one of the lights over here to the side and maybe hit P and push it back a little bit and then we'll create a new ambient light maybe at 50% and maybe just one more point light that has just a little bit of an accent color maybe some blue I'll move that over to the side maybe push it into Z space a bit and now we were just lighting up the edges now we'll take our parallel light hit T and let's turn up the intensity of the light and P and we'll push it back a bit alright so now we want to create a more rocky edge and what I want to do is lock our comp double click on the bevel and then just move this over to the side now we want to add a little bit of texture to our bevel so what we're gonna do is inside of the decay bevel comp let's create a new solid and we'll call this rock fractal and hit OK then we're gonna add the fractal noise effect now one thing you might notice is this little command it's called effects console it's free you could get it from Video Copilot dotnet or you can go over here to effects and presets and just type it in fractal noise we'll drop that on our lair now one problem is that the fractal is taking over the entire title but if we change the transfer mode to additive then it'll only affect the ridge but I think it's a little bit too noisy so there's another option that looks pretty cool it's called Max and one thing I like to do is just turn the invert on and it creates more concave cutouts now we can play around with the brightness and contrast and this will affect the way that it cuts out the bevel could draw this down just a bit and another thing I like to do is create a little bit of an indentation now one way to think about this is that we're adding and subtracting lightness so what I'll do is take the decay alpha duplicate it ctrl D or edit duplicate and I'm gonna put it on top then I'm going to choose channel invert and then I'm gonna add a fast box blur and we'll crank this up just a little bit and now you can see that the way it's affecting it it's sort of changing it a little bit but I'm gonna turn the opacity down so I hit T and just lower this down and so look at the ridge now so if I turn it off its flat if I turn it on this just creates a bit of an indentation now even though we have a nice rock texture I want to add some real physical indentation so we'll create a new solid and we'll call this rock dense and hit okay now add the fractal noise effect now for this one we're gonna set it to multiply then we'll zoom in here and we're gonna increase the brightness and so now we leave these little small patches and that creates these nice rocky dents so let's turn the contrast down just a bit and maybe turn up the brightness a bit we could even do something like a sharpen unsharp mask and this will make it even sharper looking so that nice bit of variation where we have texture we have indentation that really adds to the realism of the base texture then we could go over here and just hit T and lower the opacity to say 50% and that way we're not doing too much indentation so maybe 70% that looks good all right so I'll go and close the bevel profile and now we can start having some fun all right let's set up a background I have this rock grunge texture drop it in there we'll choose effect curves and we're going to darken it down and just make sure it's darker than the title I think that looks pretty good now for this example we're gonna create a long shadow so to do that I'm gonna actually take a copy of the Alpha Channel and choose edit duplicate we'll put it right underneath a rock texture and we'll rename a few of these layers so we'll call this title like the one below it will enter we'll call this shadow we'll turn it on and I'll solo it now currently it's white we'll go ahead and choose color correction tint and we'll make it black now to make this into a shadow we're gonna choose effect blur CC radial blur and we'll change the type to fading zoom and they're going to move the center up really high so we can just zoom out we'll just put it way up here and then we'll increase the amount and if we turn that off solo mode we can start to see our shadow now we want to somewhat match the angle of our light and we could probably set up an expression but just for this I'm just going to use what we call winging it now one thing I do like to do is maybe do a duplicate copy of the shadow ctrl D and then set the range to maybe like 1 and this just creates two copies so it could turn the bottom copy down the opacity and it just creates a little bit more dimension now speaking of dimension there's a couple of different tricks we could use to dimensionalize this in a 2d way one thing we could do is duplicate the title ctrl D move it below and we could do the radial blur effect we could do CC radial blur change it to fading zoom and turn the amount to about negative 8 then we could choose color correction curves and then turn the Alpha Channel up so if we look closely it's a bit faded but if we turn up the Alpha Channel it'll make it more solid so in this case it does a pretty good job I think if we just darken it down I think that's a pretty good now another thing to note is that the shadows are still coming out of the same place so what we could do is take the two shadow layers hit s and just scale them down until this dark edge lines up with that new bevel profile so we're just gonna scale it down all right so this is looking pretty good now speaking of look one thing we could do is go to our main title and maybe we'll just change the color to red so it stands out a little bit and we'll go in here to the shading I don't know maybe I'll just do a color correction let's add a curves adjustment and put it to the top and basically I just want to darken the text down a bit so that it's more affected by the lighting than it is by the texture cool now on the CC glass effect there are some options under shading and this actually gives you control over the material now for a stone surface we want to turn the roughness up and then maybe the diffuse down and maybe we'll take this other light here hit T and we'll turn it up a bit and you know we could have a lot of fun with the relighting now one quick optimization tip is on the layer where we created the extrusion why don't we turn off the CC glass effect and maybe just darken it down a bit alright so now that we have the title set up we can create whatever we want we can add moss we can add cracks rust blood paint chips this is where we start adding effects so let's get started by creating this moss effect since it contains most of the techniques that we need to learn and then we'll take a look at the paint peeling and corrosion effects at the end all right so let's add some moss to this title so first thing we'll do is we'll take a copy of the decay alpha and we'll choose edit duplicate and we'll turn it off and then we'll take the copy here don't you whose layer pre-compose will move all the attributes and we'll call this de que mas and then we'll hit okay now we'll double-click on the de que moss and let's move it over to the side here and I actually just want to turn the Alpha Channel off we'll probably use it later on now inside of this comp let's create a new solid I don't call this mas and hit okay now there's a really cool effect I like to use called cell pattern it will drop this out here you've probably seen it and you thought what is this what am I gonna do with this well much like the fractal noise effect this is a great building block effect so what we could do is play around with the size and just scale this down a lot then we can turn up the contrast just to create little small pieces and be a little less in there we go and then on top of this we could do something like a turbulent displace so turbulent displace and we'll set the size of this really low so this is just kind of like a distortion plugin but we're gonna set this really low and what this will do is just create irregular shaped cells so we'll set the complexity up to like three I don't know maybe two and then speaking of fractal noise let's add a fractal noise and we'll turn the contrast up and we'll set the blending mode to multiply and what this will basically do is allow us to create some variation in the moss effect so just bringing the brightness down will reduce the amount of moss so we'll lock this layer we'll jump back over here to our decay comp now if we hit back slash on the keyboard it'll bring up the comp or I think this button does it now if we select the title that has our CC glass effect on it what we can do is duplicate that layer so choose edit duplicate and we'll rename this moss effects now we could reuse a lot of the settings here but just so that you can see the process happening I'm gonna just delete the effects and what I'll do is I'll solo the layer now we just have a texture here so we'll add a curves adjustment which is just gonna give us the ability to color correct it I think that looks good then we're gonna add the CC glass effect again CC glass and under the surface bump map we're gonna choose decay moss and so now it's a little bumpy will turn the softness down and the displacement down we can start to see a little bit then we'll go to the light settings and change it to AE lights so now we're starting to see a bit of the moss effect now to fix the Alpha Channel we'll select it will choose effect channel set matte then we'll choose the original title Alpha Channel the decay alpha comp and now we've created an alpha Channel but we actually want to do something even more specific we want to create an alpha Channel from this luminance so we're actually going to create to set matte effects so we're gonna choose effect channel set matte again but this time we're gonna choose the decay Moss comp and that's this one over here with the bump map so choose that now nothing happens because there's no alpha Channel there's only a luminance channel but if we set the matte from alpha channel to luminance now we've created some transparency alright so this is the secret so now we have a very faded transparent edge and we're gonna try to tighten that up a little bit with a curve adjustment so add color correction curves we'll jump over here to the Alpha Channel and we'll just crank it up so I'll grab a point and just crank it up so check this out we're creating a layer with an alpha channel of just the little bits of moss so now we can turn everything back on here and it's perfect thanks for watching or we could play around so a couple things to note is that we don't have to crank it all the way up another thing we could do is if we don't like it being so close to the edge we can use a matte choker so check this out we could do Matt maybe a simple choker and just drop it between the to set matte effects and if we turn this up a little bit it'll just cut it down a little bit now if we want to soften that edge we could use a channel blur blur channel blur and this just blurs the Alpha Channel so we could do the same thing drag this up above in between the two Matt effects we could turn the alpha blurriness up a bit and there you can see it just softens that let's just do a little bit of color correction on the moss so we'll do another copy of the curves and maybe we'll bring the red channel down a little bit maybe the green channel up just a touch and another thing I think I might want to go to the CC glass effect and lower the height of the map and also note that if we do a negative we can create some indentation so this is really the whole secret to this is we can create all of these effects from this single effect so now we could play with the shading and turn up the ambient light now to give it a little bit more dimension we're gonna give it a drop shadow so we'll go over here to the effects and presets will type drop shadow perspective drop shadow and drop it at the bottom here now this is not an effect I use very often but we could turn the opacity up and you can see it creates like a little drop shadow and gives it a bit more dimension and rotate this so it aligns with the direction of the light now let me set the distance to say two now what makes this effect look good I think is if you have a really tight alpha channel so if this is the Alpha and we crank this up so it's really sharp then I think it looks a little bit nicer when you have like a soft drop shadow versus if it's too soft but either way it definitely adds more realism alright so now if we jump over here to the moss comp head backslash that'll open up the timeline one thing to point out is that if I play around with the settings here and let go it updates in our final comp and this can be a fun way to design once you have it up you can really play around with the different settings so we could increase the contrast and this will create bigger gaps we could lower the size and just create a variation of looks there's also another mode called tubular and it just creates a slightly different looking moss and I think that could be kind of cool depending on what you're after now if we turn up the complexity of the turbulent displace to say four and increase the amount maybe the size to like three we can really create some randomness so let's jump back over here to this comp and if we jump over here to the CC glass effect one thing I want to do is turn the height up just a little bit and then let's go down here to the shading and set the metal amount down to zero and that way the specularity will be the color of the light and then turn the roughness up maybe you turn the diffuse down and the specular down and maybe the ambient up and also let's make the shadow a little tighter so go to the shadow maybe set it to a two distance and maybe just add a little bit of red back so if we jump back into the decay moss comp one thing to point out is that if we grab the moss effect and lower the brightness of this fractal noise the moss will begin to deplete so in fact this is not a bad way to animate the moss growing on we could simply animate the brightness now the moss is looking good let's come back to this I'm gonna close the moss comp and what I want to do is open up our decay bevel comp and in fact I'm going to turn the moss layer off so open up the decay bevel and let's slide that over to the side here what we want to do is create our cracks in our bevel and that way it creates the indentation in our title so we'll do is create a new solid I'll call this cracks hit okay we'll go over here to the effects we're gonna type in cell pattern again drop that on here and we're gonna change this to crystals high quality and that creates these cool chip looking effects and they're going to turn up the amount really high maybe to like fifteen hundred so they're really thin and then let's add a turbulent displace so a turbulent displace you can search it right here and del will scale this down a bit maybe complexity three and so now we're just getting a little bit more of the rigidness in our comp and I might even scale up the size of the pattern so we'll just scale this up maybe to about a hundred that looks pretty good and to make it a little bit thinner we'll set this to about 1800 now I want to reuse this layer so I'm gonna pre compose it I'll choose layer pre compose move and we'll call this cracks and hit okay now I'm going to set the transfer mode to multiply and now we can see that we've created some cracks on our main comp and maybe I'll turn the brightness down just a little bit and now we can close this comp now I want to put a little bit of shading into the cracks so let's jump back to the project grab the cracks comp drop that over the title set it to multiply and to get rid of the Alpha Channel will choose channel set Matt and we'll choose that same decay alpha all right so now let's turn our moss effect back on and it will jump down to the moss decay open that up slide this over so what we want to do is make it so that the moss only grows around the areas with the cracks so to do this we'll jump back to the project grab the cracks comp and drop it into the decay moss comp now if we think about this in terms of lightness and darkness what we need to do is Verte this so we'll choose effect channel invert so now we can see that the moss is growing around the crack so we're halfway there but we don't want it to be perfect we want to create some randomness and some variation so what we'll do is we'll set this to multiply and that'll make it so that the moss is actually part of the comp that we created so now what we need to do is just make the cracks a little bit thicker so we'll do a couple of things we'll choose effect blur fast box blur and we'll just blur it out a bit and then we'll make it thicker but it's a bit faded so let's boost it up with a curves adjustment and we'll take this and we'll brighten it up all right so now we're starting to get the idea so if we lower the blur amount then we can control where the moss grows out of but even this is still a bit too perfect so what we'll do is we'll add a turbulent displace so we'll come over here turbulent displace now we want to be careful not to displace it too much so that it's no longer aligning so we'll bring the size down and maybe turn the amount up maybe the complexity up just to give it a little bit more detail but I think that's a good start for what we need now just to point this out we can open up the cracks comp and we could change the size of the crack so we could turn up the size and now the cracks update the moss updates this is that sweet sweet procedural now we have our moss effects right here and I want to grow some grass out of the moss effects so a good place to start would be to duplicate that so we'll choose edit duplicate and we'll call this grass effects and we'll take this layer and we're gonna add an effect called CC hair so we'll take this effect drop it on to the grass right on top and right away if you look closely you can see little bits of hair so let me see if we can get rid of some of these effects think we need a drop shadow for this and jump into the CC hair effect here are the different options we have things like hair length we have things like weight we have the density and the cool thing about this effect is it's coming out of the moss so if we jump down here to the color we can change the color to sort of a greenish color maybe turn up the thickness and it's cool cuz as you turn up the thickness the weight gets heavier genius now there's some other options in the map settings we can add a little bit of noise just a little randomness maybe turn the density down a bit now the hairs are very straight so just to add a little randomness we'll add a turbulent displace so turbulent displace turn the size down really low like three we might also turn the opacity up on this and maybe darken down the hair color a bit now notice that the inheritance actually grabs the color from the moss which is kind of interesting so depending on what the color is you can simplify your workflow even more but yeah so we'll bring the thickness down a bit now you can see there's a little bit of lighting on this if we go to the shading maybe turn this specular down a bit now there is a way to add a little bit of wind blowing like in the original example the way to do that is to create a new solid it'll call this wind map it okay we'll take fractal noise and we don't really have to change the settings just animate the evolution maybe turn the complexity down to like two and then pre-compose it's a lair precompose move all attributes wind map and hit okay so then we'll turn that off grab the grass effect and for the map layer let's choose the wind map and so now if we just take a look at this sort of just kind of blows in the wind here I'll play this back real quick so now we've got realistic plant physics inside of After Effects alright well maybe that's a little overstated but uh still pretty cool so let's turn that off and maybe bring the strength down a bit and let's add a color correction to this and this is the part where I think we just want to add some variation so we could take a copy of the grass now and hit ctrl D and let's put one down below even further and scale it down a little bit and then we could randomize some of the settings so let's see maybe maybe take the link down just a bit and the weight up and then these ones in the back here since these guys right here maybe will darken them down so it looks like they're a little bit in shadow and the real trick to the grass and any kind of vegetation is just a lot of randomness and variation so you could do things like duplicate the copy and maybe these ones are a little bit more random looking so we can add noise but just keep them really short so that they just create texture almost so one thing we could do is take this light hit AAA and let's change it to more of a warm colored light and then I'm gonna do a color correction adjustment layer so new adjustment layer let's do a curves adjustment and maybe add a little bit of red bring the blue down just a touch we don't want to look too orange and then maybe a tint effect just to desaturate it a bit the material of the stone texture is a little bit shiny so let's go down here to the title I think this is it and we'll go to the CC glass effect and we'll turn up the ambient which will brighten the letters a bit and then we could turn the roughness up and then turn the specular down and then we could even tweak the color correction of the stone if there's just a touch more contrast there and now that looks a little bit more like the legends of the Hidden Temple on Nickelodeon which is what we want obviously and now we could play around with the environment a bit I have this light spot you could do optical flares we could just scale this up maybe add a curves adjustment to it we'll put it below the color correction and just add a little bit of red and scale it up and maybe drop the blue down just a touch so that always looks nice we could even move it over here to the side up here since I guess that's where the light source is coming from that looks a little bit better with the shadow back in the project I have some particle effects free particle effects pack that you can download from the website Video Copilot net and will take out an O particle number eight transform fit to comp we'll scale it up just a touch add a curves adjustment and we'll set this to screen and then drop that below the color correction and just slide it over now once that's in the scene I might go to the top and do a color correction on top like a little contrast alright so this is looking pretty good now add some really simple light rays I could just show you what I did I just made a new solid with a fractal noise and I did a mask around the top and then I did a CC radial blur set to fading zoom and then just turn this up and then I move the center point way up here now it's getting cut off so I like to do my solid composite trick and just place that before the radial blur and set it to black now it gets a little faded here so I just scaled the whole layer up and set it to screen and to create just a narrower scope I could just bring it in here and then hit F and feather out that little selection and if we add more contrast to the fractal noise you get a nice look like that maybe just lower the length of this and if we wanted to we could animate the evolution of the fractal noise so we hit you move forward here and just slowly animate it and that way you just get a little bit of movement in the light race so that's looking really good and again it's all procedural so if we jump back into our decay alpha where we have our title we could drop it to the side here and we can type could bring a logo out just make sure that your logo is white so I can add tint effect I'll just mask out the emblem here turn on the continuous rasterization now depending on the size of this we can even increase the bevel width so now how do we animate this over time now one thing we could probably do is open up the cracks comp and drag this over to the side here because the moss and the cracks everything is based on this comp so if we animate this comp we could probably control all of the other elements so what I'll do is I'll take a copy of the Alpha drop it into the crack pre comp now you can see it's covering over almost everything and we're only seeing a little bits of it so basically what we need to do is animate the logo on now we could do it a couple of different ways we could do something like a transition linear wipe because what this would do is just linearly animate it on and that might be pretty cool if you just had it set up the right way maybe you only want the growth to be at the bottom and therefore you could just rotate this and maybe now we just have some moss halfway on the logo now to get it to grow outward you might use the fast box blur with an alpha adjustment so a curves adjustment with the alpha Channel and the way I would do that is just increase it let's see so if we animated the fast blur hit you move the keyframe over and just animate it until it's gone so let's go and just take a look at that real quick so that looks pretty good get the basic idea there I think the other thing I did was I animated the color correction so you could probably just do the tenth here and just increase it so it feels a little bit withering I was also able to animate the bevel size and the way I did that was inside of the decay bevel opened that up and I just animated the inner glow so the size of the inner glow from 20 up to you know whatever and that way it gets rid of that nice chiseled edge you can even start it even tighter like that alright so we'll take a look here and it's looking pretty good I think we could see all the different ways that we can customize this and add more cracks add more dense add more grunge now the key to this is experimenting but I do want to show you a little bit of how I did the rust effect so I just reset this back to where we didn't have any moss and we just had a nice logo and what I'm gonna do is take the Alpha Channel that we created and duplicate it and then pre-compose it so I'll turn that back off and then pre-compose gonna call this decay rust and hit okay let me just turn it off they'll open it up slide it over and we'll turn this off and we'll create a new solid I'll call this noise okay and it'll take the fractal noise drop it on here and we'd want to turn up the contrast now I'll go ahead and lock this and jump back over here to our main comp we'll grab the title and we'll choose edit duplicate and we'll hit enter I will call this rust and we'll solo this now I'm gonna get rid of all these effects and just show you from scratch well add the CC glass effect stylize CC glass and for the bump map we're gonna choose the decay rust comp set the softness down to zero displacement zero and set the lights to AE lights and they'll choose channel-set matte and we'll choose the decay alpha from our text there we go just like before and then we'll do another channel set matte effect and this time we'll choose the decay rust comp this comp and then again we'll set it to luminance and then we'll add a curves adjustment and we can tweak the Alpha Channel if we solo this you can kind of see what we're trying to do and though we'll just turn this down actually I want to try to make it a little bit more crisp and I'm actually going to set this to be inverted so up here on the glass instead of a positive value I'm going to do a negative value and then add a curves adjustment on top and darken it down so this is the basic essence of this effect now there's two tricks to making it look right the first is we want to have the edge kind of bend upward now to create the bent upward edge we need to duplicate the rust ctrl D and we'll put this below our first rust copy and for this one we're gonna set it to be a positive value just like that and then we'll go to the curves adjustment and instead of a really crisp one we're actually going to make it a little bit higher we'll turn the whole effect on we can see we're sort of overlapping the bevels now on the top one let's get rid of the color correction and maybe turn the height down just a bit alright so this is looking pretty good one thing we're gonna add is a drop shadow so perspective drop shadow and again will match the angle of the light bring the distance down really low it's amazing what just that one pixel will do and then we'll take the top copy now there's not an inner shadow effect but there is a layer style so if we do layer style inner shadow we'll go down to the inner shadow settings let me solo this turn the opacity up and then rotate the shadow away from the light and then well shorten up the distance so it looks like a layer of paint and then maybe if we go to the curves adjustment for the Alpha and bring this down a bit let's see let me create a much sharper edge and then on the below copy maybe turn up the height so we're really trying to create this sort of chipped up effect now we could add a little bit of red to this top copy and that's the sort of rusted edge now a couple things I don't like the rest being so close to the edge so the solution is we take the alpha decay and we're going to invert this so choose invert and we'll set this to invert the Alpha and then we'll add a fast blur fast box blur would do like a 5 pixels and then we'll add a tenth and make it black and then we'll add a curves adjustment and go to the alpha channel I will just kind of crunch it down a bit so that's how we get rid of it from touching the edge now the edge is pretty sharp so the way to blend is maybe a turbulent displace and turn it down really low maybe a three complexity even that's already working pretty good one last thing to give the texture on the inside this is a cool trick let's do one more solid call this bump add a fractal noise really really small on the scale very noisy and then hit f4 hit the transfer mode to darken and then lower the opacity really low just like 5 or something like that and that way you create a little texture but if we take the bottom copy and drop the brightness in fact if you want this to be shorter just increase the contrast and that way there's like a texture inside but not on the outside now we can turn the brightness of the fractal down and then set a keyframe and then just animate it on let's take a look all right so this is looking good it could be an acid burn effect it could be a whole bunch of different things all right now if we take a quick look at this example it's the same principle now if I turn off these four top layers you can see that we have a little bit of a lift with a positive height then we've got a cutout which has a little bit of a negative and a little bit of an inner shadow and then on top of that we've got some plaster or just a deeper hole and then we have another negative value with an inner shadow so that it really cuts into the title now in this example I did something even simpler I just animated the mask and this sort of revealed the texture underneath it and that's what created this nice decay plaster effect all right guys well I hope you enjoyed the tutorial as always visit the web site Video Copilot dotnet we've got the project files the textures the particle stock footage all downloadable for free check it out have fun experiment always now if you do like what we do and you want to help support us check out some of our different plugins for After Effects we've got element 3d really cool 3d particle plugin we've got some great sound effects and motion pulls we've also got a great collection of action stock footage so if you need any of that stuff check out the website anyways I'm Andrew Kramer thank you guys for watching and we will see you next time

Channel: Video Copilot

Views: 745,795

Rating: 4.9769182 out of 5

Keywords: Damage, Grunge, Corrosion, Rust, Burn, Tutorial, No Plug-ins, andrew kramer, Gold, Plaster, moss, grass, growth

Id: gmC5251SLxg

Length: 47min 41sec (2861 seconds)

Published: Tue Apr 24 2018