After Effects Motion Tracking Basics Tutorial

hey everyone welcome back to another After Effects tutorial in this video we're going to take a look at motion tracking we've got a couple different options available and we're going to touch base on the basics of each of these let's begin so I'm going to start by dragging my footage over to create a new composition and what we're going to be working with is this business card that's sliding into the screen we're going to replace this with our own text and image and just make it look like it's our own business card okay so we're going to be working in the tracker panel if you don't have it up you can go to window and tracker and from here I'm going to say track motion now you're going to see this little track point one show up and he has a couple different jobs with him so the middle square is the actual data that's going to be tracked so it's going to track all this information the outer square is actually the search area so I know this card moves vertically so I'm going to kind of make this into a little bit of a column and then I'm going to make him a little bit larger too now the bigger you make these the slower it's going to be because it has more data that it needs to track okay so generally this probably would be good enough except I know that this card kind of rotates just a little bit so I'm gonna go ahead and include a second tracker by clicking rotation now it's going to give me the second track point and what this does is relative to track point one wherever I'm tracking over here however much rotation is occurring he's going to track that data as well so I want to do basically the same thing here get my vertical column and my tracking data okay now under options on the tracker here you've got to come to a couple different things one thing you're going to set is normally it's by default can be adapt feature I like to stop tracking and adjust my confidence to say 90% what will happen if you have a DAP feature is that once the tracker can't establish the next track point location while it's doing its tracking it'll actually start jumping around trying to adapt the feature in my experience you kind of run into a lot of issues so if you have some low quality footage you're going to want to make sure you stop tracking or else you have to go back and clean up a lot of stuff so we have all that set we're going to go ahead and hit play which is analyze forward and that's going to track frame by frame on our track points until we get to the end okay and since we this in the middle I'm going to start on where we just were and we're going to go ahead and analyze backward all right we actually just frame-by-frame and kind of see what's happening here so you see it slowly tracking up on top of the screen and then right when it gets to the edge is going to have some problems here sometimes and so that's kind of the shortcomings you're going to see with the trackers a lot of times near the edges it kind of gets confused it doesn't know where the track tracker is not the most perfect thing in the world but it's a quick and easy job a lot of times and it does a pretty well job okay so now that we have that tracking information what we want to do is we basically want to put this into some sort of controller we don't want to apply this directly to our layers because it'll be easier to work with this way so I'm going to right click and say new null and I'm going to call this a tracker okay and then back on my footage here I'm going to hit edit target choose that tracker layer hit OK hit apply to X&Y so what that did was if we check our position and rotation for our tracker now we get a whole bunch of keyframes and this is all the information of this null and you can see it moving around here with the exception of this first one that it kind of threw in there okay let's clean up and so you see it kind of jiggling around a little bit there which is good because this card we along with the camera movement is what we want we want this organic movement that you normally can't get by hand to hand frame animation you kind of have to do a good motion track so now that we have this let's see what we can do with it so I'm going to make a new solid and we'll make it red and we'll just say like 200 and we'll make a little square okay so what we want to do is parent this square to the null object tracker now there's two types of parenting that you can do really when you click this and drag it over onto the tracker now that object in its current location is going to track to the null now a lot of times you actually want to put this where the null was so if I hold shift when I do this and let go it actually will copy the position anchoring all that information of the null into that layer and put it in the same spot now the reason that I could get I said before we want to use the trackers now I can move this solid anywhere I want you can see it's still going to move relative to that null now I could do this for a whole series of things say if I had a text layer and we put it down say here we'll make it white and then I go ahead and parent it to my tracker now when it moves I'm going to get some motion tracking here with this text and so I can position those anywhere on the screen I want I'm going to get that relative motion which is really nice 5se tracked someone's head maybe and as they're walking around talking I can make text pop up as if they're saying it all sorts of things but in this case we're going to work on a business card so I'm going to go ahead and bring my salad in here all right and I'm just gonna do a little trickery here by I'm going to adjust the width I'm basically want to match this business card that way my aspect ratio and the salad looks pretty good so I think we'll go about 600 and say 350 okay and that's close enough okay I'm gonna go ahead and pre-comp this leave all attributes so now I have a pre comp that's been parented to the tracker so this pre comp is going to follow along with that null still now the good thing is if I come into the pre composition I have this nice fresh composition here where it has no tracking data I'm viewing it at the correct aspect ratio and everything so right in here now I go ahead and add some text like this is big and blow line at right the middle now when I go back to my business card you can see it's show up there and of course it's going to move because it's all part of that pre composition so just like that we've already got a nice moving looking business card here and since this all has motion on it I can go ahead and enable the motion blur for this layer turn it on and then now you can see we've got some motion blur going on this text here and that kind of gives it more of that polished look I'm also going to clean this up by chopping this off by one frame here okay so obviously we don't want a read business card so we're going to go ahead and make this look a little bit better okay so I'm going to go view a new viewer that way I have a side-by-side comparison here turn this off okay so I want to get something similar to the business card here so I want to go to where there's no shadow so I'm gonna get rid of this text and I'm going to change the solid using the eyedropper and just pick one of these colors okay now obviously there's a bunch of grain dust going on here and ours just very smooth so we're going to add some noise and green add grain switches to final output so we can see all of it looks a bit much let's dial back down a little bit to about 0.5 green by default it's going to animate which I don't really want so I'm going to take the animation down to zero okay so now we've got a nice looking business card okay so if we go back and turn our layer back on you can see it's starting to kind of look like a business card alright so let's go ahead and add a couple things on here so text let's just put it in we'll make it black put that up corner and just get myself a little tag here okay and put this up in this corner and then we'll just say after-effects okay and we'll line it to the bottom okay and then we're going to go ahead and bring in our alien here looks good so he's kinda intercepting a little bit there a little bit smaller okay and then just for fun let's say stylize emboss and let's give them like a ten and then let's also make a black and white okay that way it kind of looks like it's pressed into the card okay so we've had all that stuff and of course it's going to translate out to all the motion tracks that we've already done so we get all the motion blur there you know we haven't done anything more with any of our tracking information we've done all in our composition here which is the beauty of using pre comps with trackers okay so that looks pretty good another thing we can really do then is say add a mask first fingers I want to get to depth in this but let's good idea here so let's go pen tool make sure roto bezzie Azon I'm just going to kind of trace his fingers here that I could see okay and then we want to turn our mask feather up just a little bit switch it over to subtract okay and then we're going to do some motion paths on it so let's go ahead keyframe mask path here and it looks like he moves up a little bit and then it off-screen okay so set our layer back to hundred percent opacity so now we have come in there as fingers are kind of getting masked out of the way that way it looks like he's actually touching the business card and I want to go too much into this some other stuff you could do probably is an original issue we've got some shadows going on here so we can add a black solid lower the opacity and go ahead and do some masking and some animation on that maybe change some of the brightness contrast you know whatever cleanup efforts you'd like to do but we basically seen here how to use the tracker panel to track a nice high low contrast area and get ourselves some good motion tracking so now that we've been introduced to the tracker panel let's take a look at one of the other options that available to us so I'm going to use a scene here where James Bond takes a look at a cell phone and we're going to replace the message on the screen here which is great for this next tracker because we've got basically a rectangular shape and we've got really good high contrast here between the dark and light colors so I'm going to go ahead and click track motion and I'm going to choose track type instead of transform like before we're going to say perspective corner pin so we're going to get four track points and these basically represent the corner edges of our square rectangle or whatever we're tracking this is useful for say a piece of paper a cell phone TV any type of screen type replacement you want to do so I'm going to go back to the beginning right when he first sees it in the frame and I'm gonna put these on each of the corners okay so we'll put this one here and this one up here same here and same here now there's not too much movement but just to make sure I'm just going to blow these up just a little bit okay so we're going to make sure our stop tracking set and track on through you see has the cell phones moving the track points are trying to keep it steady okay so screen went black it's fine that's all we want okay so I'm going to go ahead and create a new solid and just to start we're just going to make it 100 hundred I get white okay I'm going to edit target set it to my new white solid and I'm going to apply that information now the difference between the other one is that applied position and rotation because the two trackers we did in this case though it actually is going to apply an effect called corner pin which is going to stretch the edges onto all of our track points so if I click on corner pin you can see these are all the information you can see all the effect values up here and so it's basically a serie of tracking points on the screen here now we want to do that same trick we did before we're going to go ahead and turn this off and temporarily I'm just going to rotate this I'm going to adjust the width just make a little bigger and I'm just trying to kind of match what we're working with here okay that looks good all right so you want to so since I did that I'm going to have to go back now and reapply the data because the composition size changed and so if you do change it make sure you go back and reapply it because all the corner pinch stuff is based on the original composition sizes and everything okay so conceal X at his phone we get a screen here okay so I'm going to try to get the same color here we'll go with say this nice blue all right and I'm going to go ahead and precompose this now I want to leave all attributes this includes effects and everything else like that so in this case I want my corner pin effect to stay on this level if I do move all you'll see why this is a problem it's taken the corner pin and actually put it inside this composition so now we've got something like this which isn't very good because I can't edit this very easily so I'm going to undo that and instead now I'm going to pre-comp it and say leave all so the corner panels stay on this level and it's just going to take our solid now down to its own composition and again now this is nice because we can just work right inside of here and I'm going to say warning send this and we'll go banc gothic it looks nice okay I'm going to go ahead and add a stylized strobe I'm just going to use the strobes options to make layer transparent so what this will do is it will basically run a strobe light and make it transparent whenever the strobe runs so I kind of get this little flashing effect so when we go back to our main comp here it looks at his phone now it's telling them that there's a warning and so you can do a couple little things here you see here on the edges it's obviously curved so I can actually go into the pre comp here and I can come up and say a rounded rectangle while I have this selected I'm going to hold ctrl and I'm gonna double click and this is kind of gonna give me this little mask around the edge here and so to make a little bit nicer we can just kind of feather that a little bit and then maybe bring the edge back out just so it kind of fits in there nicely there we go okay so all of our tracking data now in this case we're not using a null because with the corner pin it's actually in effect and it's much more difficult to utilize a null when you're working with effect data whereas before we had position and rotation data so I've actually applied this directly to our pre comp and then here is where we're working with all the data and so corner pin effect is going to put all the stuff in the location we can change whatever you want trim the clip and then that's all we need to do like I said we can do this for a computer screen a piece of paper kind of any type of rectangular object this were most likely this will come in handy and again that's using the tracker with the perspective corner pin so we've seen some of the traditional tracking abilities using the tracker panel and after effects here what we want to do now is take a look at a little bit more of an advanced tool in this scene Natalia comes into the room with a bunch of computers to start working on them what we want to do is replace what's on this far-right monitor over here first thing you might notice is that as the camera pans it's going to clip the monitor right off the screen if I were to use a perspective corner pin tracker here second that any of these corners exits the footage area the tracker is not going to have any more information and it's going to basically break the geometry that we're trying to track so we need to use a much more powerful tracker in this case we're going to end up using mocha ae so I'm going to go ahead and click on the layer choose animation track in mocha ae now the screen that's going to come up will contain information about our footage the frames the frame rate I recommend that you use the smallest clip you can you can't really do any clipping or trimming of the layer ahead of time mocha is going to try to look at the entire layer so try to utilize a layer that's small and that has all the information that you need and then bring it into mocha it's very touchy on how you have your thing set up so this all looks good to me I'm hit okay it's obviously a lot going on in here but we're just going to do some of the basics I can click anywhere in the timeline here and scrub through I can use scroll up and scroll down Mouse so I can hold Z zoom in and out and I can pan around with the middle mouse button so the best way that mocha works is to go ahead and find a frame that's very clear and it's your starting point on where you're going to track and we're going to track forwards and track backwards so this frame right here looks pretty good I'm going to go ahead and draw my mask around the monitor that I want to track so I'm going to come up here to my X blind layer tool and I'm gonna start left clicking a couple of points around the monitor when I'm done I can right click and then make some final adjustments this isn't actually the corner pin tracking this is the tracking area so as long as it's around the monitor this should be more than enough we could even view our tracking area you can see that looks pretty good there it's going to catch all these edges which should give it some really good tracking data okay now if we show planar grid this is actually in correspondence with the corner pin track data so obviously this is incorrect because the planar grid is just facing straight onto the camera so we click the next button here we get the plane our surface so we want to put this right in the corner and this represents the location of our corner pin data so I'm going to put these at the corner of the monitor and as I'm doing this you're going to see the plane our grid start shifting around now that's at the corners here the plane our grid looks pretty good it's actually facing left and slightly upwards just like the monitor and so this is how we know that our information is accurate as far as Moke is concerned in its 2d 3d space here all right having done all that we're going to go ahead and click track forwards now as is tracks we can stop at any time if we want we can readjust some of the tracking information here by moving these handles which will drop keyframes although I don't need to do that because this thing is doing just a fine job so I'm gonna continue tracking all the way until it goes off the monitor now you can see already how well it's continuing to track the geometry of this monitor even though it barely has anything left to track on so once it's off I'm gonna go and stop it of course right the edge of kind of jiggles around a little bit but we get pretty much all of the monitor the entire way which is great so I'm going to come back to my starting keyframe and go forwards now I'm sorry backwards and we're gonna go ahead and do the same thing and we're gonna let this track up until it's off the screen and we can go ahead and keep our planar grid on the screen the whole time that way we can make sure nothing weird is happening while the tracker points are moving okay so we've got some really good tracking data here next thing we want to do is come down and go to export tracking data we have basically two options here corner pin or transform data transform data is useful if you want to track say someone's face or a moving object somewhere because this gives us position scale rotation in this case though we are doing some corner pin because we're doing a monitor replacement so we want to choose the one that supports motion blur this will include the same type of information to transform along with corner pin which will allow us to enable the native motion blur and after-effects so I'm going to copy the clipboard come back to After Effects now this is very important I have to go back to the first frame because in mocha you'll see we've got these inner and outer markers that you can move them around but if you just leave them by default it'll be the first and last frames so I want to make sure I'm on the very first frame I'm going to create a new solid and make it comprises a with my new solid selected I'm going to paste if I look at my settings here I have a corner pin effect that's been added along with some position scale rotation information this means that if I now enable motion blur on this layer I'm going to go ahead and get that movement into motion blur which is great so we got this great track here you can see our solid has been adjusted after I do a Ram preview here and so the corner pin data is basically brought the solid into the corners of the monitor in this case we do need to do some slight adjustments here let's go ahead and slightly increase our size and maybe just move the position over us a little bit okay that's fine all right so you can see in a matter of minutes we've already got a really good track right under that screen and it's actually pretty accurate up all the way and pass when it goes off the screens pretty incredible okay so now we want to start doing some modifications here so first thing I'm going to do is change the color let's go ahead and match this navy blue okay then I'm going to hit pre-comp this make sure you leave all attributes we want corner pane to always be on the top level okay now we go in here and what's the first thing we're going to notice this is a rectangle even though this is going on a square and that's because this was our original comp size so if I create a new solid that's a square go ahead and make it red so I've got a nice square here I want to come back here what am I going to see I'm going to see a squished square what's going on here well if I uncheck corner pin you can see everything looks fine but corner pins taking the corners of that layer and it's putting them up in the corners here so essentially I'm taking my rectangle and turning into a square which is then going to squish everything inside so those cuts becomes difficult to work with a little trick that we can do we can actually see in here too if we stretch this out and go back it'll start looking more and more like a square depending on how much we move it all right so undo that and what I can do is pre-comp this layer okay and then I'm going to go ahead and just have this layer grow so I'm going to do ctrl alt F which is the same as layer transform fit to comp and this is going to make it the full size and so when I go back now he'll be the full size now the good part about doing this is I can go into this composition and now I have my native resolution here so I have my original square so if I add some text here okay this is our working layer here's our size adjustment layer and here's our final comp you can see it looks really good so let's go ahead and do a couple adjustments here and get rid of this add a new black solid let me say text numbers gobank gothic left the line we want to say hexadecimal random and we'll put him right there we'll go ahead duplicate layer and move this one down okay to play it again and move him down and then I'm going to ahead and just offset these a little bit alright so this is basically what we've put together here so I'm moving numbers and this is all transparent background so it's going to go ahead and filter up to this layer which is using that nice royal blue that we made and since it's moving kind of fast I'm going to go ahead and say time posterize and put it just on 16 frames that way the numbers move a little bit slower so we come all the way back out here go ahead and ran preview this alright let's zoom in a little bit let's take a look so we've got motion blur turned on which is really important because if we look like say right here if we don't you're not going to get that nice motion blur that you would from the camera movement so there we go we've got our screen replacement we've got our numbers moving of course you can put anything you want there an image another video file perhaps any type of animation that you can come up with and it works really well because all the corner pin data is on the top layer the intermediate layer is obviously doing our stretching and sizing and then our inner layer is the one that we're actually working on and so that's a good way to do a screen replacement using a mocha AE we've taken a look at some of the 2d tracking capabilities available in After Effects now we're going to take a look at some of the 3d tracking in the scene here this gentleman is trying to get inside the mall and I want to go ahead and put a small message here on the window and I'm going to do that with the 3d camera tracker so go ahead and click on our footage go to animation and say track camera first thing we need to do is scroll down advanced and say detailed analysis this will take slightly longer but give us much better results in our tracking data so what's going to happen is that while this is going and I can even pan through here in the background it's going to analyze each of these frames one by one when it gets to the end it's basically figured out all the tracking information for the scene it will then need to create a camera which we'll be able to use later on to create and simulate our 3d movement around the layers that we'll be placing in the scene now that that process is completed the first thing we want to check is our average error as long as we're under one pixel we're in good shape and at 0.78 we're just fine so let's start scrolling through here and seeing what we got we're going to see all these X's popping up all over the place now the larger and X is the closer it is to the camera while the smaller is the further away so we want to make sure that when we're choosing track points we're choosing ones that are appropriate to the distance from the camera if I choose one that's all the way in the background here it's not going to have the right movement that I'm looking for if I want to put something on say the entrance right here so it's definitely very important to understand the size differences in these X's we can also adjust these relative to each other if we are having difficulty seeing information we can also do the same thing with these targeting windows we can make them a little bit larger so the way we use this is that each of these represents a piece of information or group of pixels that the camera tracker was able to determine the movement location of and so since it can understand how this is moving and changing we can utilize this for our tracking information so in this case we want to work on this small window area right here so I can either just choose one of these track points left click and then I can right click and create my null but I can also try to do a section which will show up this bullseye and what it does it's going to take three track points kind of in a triangular fashion and show you a bull's-eye that is going to be the representative angle of those three track points now the tricky thing is actually finding one that will point in the right direction if I just chose one right in the middle here these are obviously pointing all over the place and not actually facing the same direction out that the window is so since I don't really like any of these I know that these corner points you get got pretty good tracking information on so I'm going to go ahead and choose those manually so I'm just gonna left click hold shift and then choose all these ones that look the same size to me and after just picking those three I can already see I have a bull's-eye target that's pretty much in the correct perspective angle of the window and so this I believe will work very well so we'll go ahead and right click and say create null and camera so this gave us two new layers we now have a new camera in our scene along with our track null the new camera if you look at its information has a whole lot of position and orientation changes if we look at the four views we can see in the top front and right that the camera is basically moving around in 3d space it's actually simulating the same movement of the camera in the footage itself the track null actually doesn't move at all the camera moves around the track null so at the beginning here if we look at the blue area which represents the z axis this is facing away from the window the angle here you'll see changes over time as we move further and further to the side of the window and this represents a good track so for example let's add some text here we need to make it 3d and then I'm going to hold shift when I move to the track mill that way the position gets copied and it shows up on our window then we'll go ahead and bring up the size of it and at this point we can even move it around okay so after we've done that we now have a text here on the window that you can tell the perspective angle of it's changing as we move around and this is exactly what we're looking for here the text isn't quite as squish as it is over here because the angle of the window has changed now that we've moved around it with the camera this is the basis of how the entire 3d camera tracker works that it will simulate that movement and allow us to place objects in 3d space in the scene and simulate what looks to be an object that actually existed in that footage so for example let's go ahead and make some modifications here and we'll say site down and we'll bring in our image all right make it 3d pair to our track null and we'll grow it in size move it down the window a little bit and then we'll bring our text and put it right below it okay so that now makes it look like we've got this small message sitting here on the window and make a little bit more interesting let's go ahead and change the blending mode of these to screen that way we get some of our background colors this will kind of give it a futuristic LCD type message and we'll also do our strobe light trick on transparency copy the head to the image okay so now it looks like we've got a LCD projection of this image and text right here on the window and as the camera angle changes again these objects don't move the camera moves around them but it basically simulates what it would look like if that image or object actually existed in that scene let's go ahead and take a look at a more advanced example of the 3d camera tracker in this scene from the matrix the camera pans only 180 degrees around a telephone that's sitting on a small desk so this is a good opportunity to see just how powerful the camera tracker is when we get this amount of movement another issue we're going to take a look at is the fact that this is a rather dark scene and the table itself it doesn't have a whole lot of contrast so as a baseline let's go ahead and get started and just go and add the camera tracker here and let's do its job and see where we get from there okay so now the track is done we'll take a look what we have here I see we get me a lot of good information on the phone and then we have some information at the beginning on our desk area but as we get further away it just can't determine what's changing here and so we're not getting any track points now another thing I'm seeing is we're getting a whole lot of track information on the actors in the background so what's happening is that the camera tracker is trying to figure out what's changing and it will focus on certain areas so right now it's seeing a lot of information in the background changing its not caring as much about what's happening up front and so this is going to cause us an issue with trying to get a lot of good tracking information up front so we actually want to do is not track anything in the background here we want to just track the phone so in that case we're going to have to do some masking on one of the footage layers that's being tracked now unfortunately you can't actually do the mask on this layer that has the effect instead we're going to have to go ahead and precompose this we're going to leave all the attributes call this mask track okay and then we'll go into this lair now in here we're going to go ahead and just create a nice little mask around the phone okay and this would just limits some of the information that's being tracked I almost want to not include them as much as I can I'm really only concerned with the desk the phone is good too because there's a lot of good information that the tracker can use there in relation with the desk so we'll go ahead and just do some mask paths here okay so now we've got the background information is pretty much all transparent so the tracker shouldn't waste any time looking at any of that information so it's going to spend all of its computing resources on just the desk and the phone so we come back out to the main comp here we're going to go ahead and reset and we'll see what we get with those changes is we take a look at the track information we're getting here we're still not seeing a whole lot on the desk there goes up a little bit seeing some on the phone but it's definitely not looking in the background anymore so it's going to start focusing on just the foreground which is much better now what the problem is is that this scene is just way too dark for this tracker to figure out what's going on so just in the same way that we modified the information that we want to track we can do that with the brightness as well so we're going to come back into the layer that we add the track mask on and I'm going to say color correction and add curves basically going to do a contrast curve here which if I turn this on and off you can see it's just going to kind of blow out some of these colors make the brights a lot brighter and just add some contrast in addition to that too I'm going to also just bring up the contrast in general and then play around the try the brightness and play around the contrast a little bit until this kind of has a good set of color distinctions between all of pixels next to each other so now this looks much better in terms of visibility on what's actually happening so if I come back out to the main layer or reset one more time and now we'll take a look at the track points we get and suddenly we're seeing a whole lot more tracking information showing up on the desk now so we're no longer looking in the background for any of the track information and we're also looking at all this great contrasting information that's showing up on the desk and so by modifying the underlying layer in a pre comp we can then track on just that set of information so if I wanted to track say the people in the background instead I could also just get rid of the phone that way I get better tracking information for the background in this case though we want to put some text here on the table next to the phone so any of the track points down here would be pretty good I'm just going to go ahead and choose one of these create null and then let's add some text make it 3d again parent to the track null and then we'll increase this in size and then we'll take a look and we'll move over a little bit so there we go so let's see how this actually looks let's go ahead and bring him up a little bit I'll call him camera tracker and just make it close there switch fonts okay now we don't actually need this scene anymore we have our track information so I can go ahead and bring my original scene back in and just hide the mask track so now I've got my original scene with my camera tracker text here and you can see just kind of floating there next to the phone as we pan around so what can actually do is duplicate this layer and we'll come right to where he's facing directly perpendicular to the camera here and we'll just move him back a little bit and then we'll also switches color to say a light blue duplicate that layer again and move it back just a little bit more and then we'll make him a darker blue okay so now when we go ahead and enter the scene out we're kind of getting an idea here on the actual 3d day that's taking place so the camera is turning around and our font is actually maintaining its 3d perspective position while the camera moves around it and so if we had some sort of 3d objects in here we could plant them right to the desk and then use the track Knoll information to move around that object and make it look like it's actually sitting right next to the phone I hope you enjoy the video and learn something about motion tracking today so hi I don't mean it'll be sweet

Channel: matt01ss

Views: 380,532

Keywords: Adobe After Effects (Software), Motion Tracking

Id: XyHVcEuJvBw

Length: 40min 40sec (2440 seconds)

Published: Sat Feb 21 2015

Reddit Comments

[u/matt01ss]

I heard you all would appreciate videos like this. Also, here's a playlist of some other After Effects tutorial videos as well:

https://www.youtube.com/playlist?list=PLdgcshIMmaa2iNJ6BXf_JBARKA0cvXhaU

[u/jonsnow93]

Honestly a great tutorial. Kudos to you man, hope to see more tutorials in the future

[u/Cheski]

Thanks. Looks like I need to add After Effects to my repertoire...