After Effects Tutorial: Advanced Holograms

this video is sponsored by envato elements envato provides a huge library of creative assets such as graphic elements and templates stock footage music sound effects fonts and much more on top of that it offers unlimited downloads with an affordable subscription so if you're interested i provided a link down below in the description which will take you to their website and of course if you do decide to register i get to earn a commission [Music] hello everyone i'm very excited to welcome you to a new tutorial because one we recently hit 50 000 subscribers and two today marks the start of a new series called weekend visual effects [Music] with this series we plan on creating tutorials that cover different kinds of effects that you might have either seen on films or commercials we're gonna be utilizing after effects as always since that is the main software that we use and today we're going to be playing around with holograms [Music] so [Music] [Music] lots of cool stuff to cover as you saw from the breakdown video so i don't want to drag on for too long but i do want to mention that apart from after effects we'll also be using boujou which is a 3d tracking software and this is mainly due to the fact that it is a lot better compared to the built-in after effects tracker but no need to worry if you don't have access to buju since you're probably going to be able to get away with using the built-in tracker in after effects or any other 3d tracking software out there like synthesize or even pf track by the way let me know if you guys would be interested in an in-depth tutorial about boujou apart from that everything else that we're going to be covering today is native to after effects the footage that we're going to use is going to be included in the project files and you can download that by going over to the description down below and that way you can practice and also follow along if you have any suggestions for visual effects tutorials in the future then make sure to leave them down below with all that said let's jump right in and get started [Music] alright so here we are now in after effects and as you can see i have the original main comp open with all these layers and we're going to come back to this towards the end just to take a look at the other hologram versions that we have designed because mainly we're going to be focusing on the hologram watch design and then for the other ones we're going to go through all the techniques and effects that we use to achieve those ui elements but not in so much detail since that would take way too long to recreate each one of these from scratch and then animate them so let's go ahead and get started we're gonna go over to the materials folder and this is our hologram footage we're going to click and drag into the new comp icon and what this does is basically it's going to create a new comp for us based on our clips settings so you can see down here it says 25 frames per second and 7 seconds long you can also control click on the numbers here to alternate between the two different display styles and up here you can also see the resolution which is indeed ultra hd 3840 by 2160 if you want for some reason to change these or modify the settings you can right click on it go over to composition settings or go over to composition composition settings or even use the control k shortcut and we're going to be using a bunch of shortcuts along the way just because they do speed up the workflow and it's always good to know as many shortcuts as possible the next step is to track our footage and as i said in the beginning we will be using boujou which is a different software so it's not native to after effects but feel free to use any software that you might be familiar with maybe even try using the built-in after effects tracker but i personally don't really find it that good when it comes to object tracking but it is very good when it comes to environment tracking for example and to be honest with you i did play around with the built-in tracker for this specific footage and i didn't really manage to get any good results now before we go ahead and export our footage say this was log so it's like a flat picture profile well you want to make sure you color correct it first before sending it over just because if you don't have a contrasting image it's going to be very hard for the tracking software to differentiate between different areas so therefore you're not going to be able to get a really good track out of it again the resolution is also a good help so the more resolution you have the better and in our case it is 4k so if we zoom in here you can see that these details are actually quite sharp and then one last thing i like to do is to add the unsharp effect to do that we can either right click over to effect or even use the effect menu up here or even use the effects and presets bar over here on the right but what i like to do instead is use the fx console plugin which is from videocopilot.net and it is free so i would definitely recommend that you check it out so we can access it by clicking control space and that brings up this menu which we can then type in the effect so we'll say unsharp mask and just hit return now if we zoom in here and just toggle the effect on and off just focus on the numbers for a second so if we toggle off and then toggle on you can see it's very similar to the sharpen effect but much better since it only adds contrast to the edges of your details here on the footage you can even play around with the values here so say we set it to 100 amount well that just makes it pop even more but just be careful with this we don't want to overdo it so we'll set it back to 50 and next up we can just start exporting this now when it comes to buju it tends to prefer jpeg sequences or png sequences so let's go ahead and select this go over to composition add to render queue and then on the output module we can click on that go over to the format and we'll select jpeg sequence leave the other settings as they are and then hit ok we can also set our destination and then hit render all right so here we are now in buju and before we get started with the tracking process i again want to mention that if you guys would be interested in an in-depth tutorial about boujou then just let me know in the comments section down below alright so let's get started by first importing our sequence so let's click import sequence and then select the first one and then click open and that will import the entire sequence now let's take a look at the settings here and first off we have the move type and we have two options here so we have free move or nodal pan nodal pan means that you have a static camera that's just panning and tilting whereas a free move camera means that you have a camera that's not only panning and tilting but is also moving around in 3d space so let's click free move then we have the frame rate which remember it was 25 frames per second but before we set it to that let's just say for a moment that we have a clip that is 24 frames per second and we'll hit apply and you can see what happened the frame rate jumped from 24 to 25 and i wanted to mention this because i believe it is a bug within buju so in cases where your shot is not 25 frames per second you would have to set it back to 24 then hit apply one more time and then it would stay at 24. but let's just switch it back to 25 because that's what we have and hit apply and hit close now before we do anything else let's just first set the focal length of our shot and we can do that by going over to the focal constraint and this opens up the focal length menu now there's two important options here so we got the range which right now is set to constant but if we double click this brings up a menu in cases where you have a shot that doesn't have any zoom in it you would leave it at constant but if you have a shot that does zoom in and out then you would set it to varying so in our case we'll leave it at constant and then there's the type which right now is set to unknown and this controls the focal length and by leaving it at unknown booster is basically going to guess what kind of focal length we have once we click track features and we don't really want that because once we export our track and bring it back in after effects once we start putting in any elements or any layers in 3d space we might see that we have a say for example 20 millimeter camera and that would look very weird because it would have a very wide perspective so always be wary of that and always take notes about your shots whenever you know that you're going to track them later on so we'll double click on it and then switch over to a fixed value you can't really read it well so we'll just expand this and then the value is basically how many millimeters your focal length is so we'll double click on it and in our case it was shot at 50 millimeters so we'll type in 50 and we'll close it now if we click track features right away boujou would basically look at the entire scene and just track everything but what we want to do is just to isolate the watch we're going to use a poly mask so we'll click on that and then make some points around here so click and drag and point and point and point point if you go down here into the layers section you can see that the mask has been created and there's a keyframe that has been set at that same frame now let's go over back to where we actually see our character clicking on the watch so we know that we're gonna actually see the hologram from this point on so let's go over to frame 60 and we'll click and drag our mask by the way you can click the middle point here to move the mask around then you can click the left point here to scale it up and down and then also the right point to rotate it around you can see if we rotate from very close up tends to spin very fast but if we go over here you know you can spin it a bit slower so you can have better control over it scale it down just a bit modify the edges you can see down here in the mask or like the layers section whenever you adjust your mask it will create a keyframe automatically for you so we can scrub through time here and just move this over you can see another keyframe has been created and keep tracking this alright so once we have our mask tracked there's one more thing we have to do right now the mask is actually being subtracted from our scene so if we click track features everything would be tracked apart from the watch what we want to do is just right click go over to invert mask and that just isolates only the watch and now we can click track features and right away you can select if you want to track all frames or just a selected range so we'll click on the selected range and set the start value to 60. next up you have the advanced menu which brings up a few more options the first options here are the minimum and maximum search distance these are very similar to the tracking points in after effects where you would make a point and then adjust the bounding box around it so that the search area would be a bit larger and this would be useful for example if you have very fast moving objects in your scene where they would jump from one area of your shot all the way to the other area for example so in that case it would move in very large amount of pixels so increasing this would increase the search distance around the last known location of your object but in our case we don't really have a fast moving object so we'll leave it at default next up we have sensitivity and if you increase this normally you would have more points popping up and what's going to happen is it's going to look at very small details but it doesn't necessarily mean that the higher the sensitivity the better your track is going to be instead it could actually be bad for your track just because if you increase this all the way to 100 and say you have a very grainy footage well it could actually look at the noise patterns and just mess up your track completely so we'll leave it at default next up we have the feature scale and say you had a slightly out of focus shot well in that case you would choose large just because it would look at larger contrasting points but seeing as we have everything in focus we're just gonna leave it at normal then you have the channel select so you can only track by using the blue and green channel or the red and green or whatever and then finally you have the fast tracking option which i never use with all that covered we can click start and as you can see it did start tracking from frame 60 since that's what we set for the selected range now once we have a feature track what we have to do is camera solve this so we'll go over to camera solve and we'll leave it at all frames since it's going to ignore any frames that don't have any tracking features on them and then next up we have the advanced solve refinement so there's a couple more options here there's the optimized radial distortion parameters which takes into account any distortion that you might have in your footage so say you shot with a wide angle lens and then next up we have optimized camera path smoothness and usually you would turn this on if you have a very smooth camera movement so if you shot with a gimbal or a steady cam and so that would give you a very smooth tracking result but in our case we're trying to track an object which potentially has very small micro movements so let's now turn that on and let's hit start and there you go we finally have a camera solved so if we zoom in here by using the scroll wheel we can focus on some of these points and you can see that they do indeed track very well you can also switch to the 3d view and hold down shift and left click to orbit around or hold down shift and right click to dolly in and out and if we orbit around here we can also see our camera right there in the background and since we did not check the optimized camera path smoothness you can see that there are very sharp turns in some areas here so that's pretty good it looks pretty cool you can see how our watch has actually been recreated in a point cloud anyway we can go back to the 2d view and we can finally export this now if we were to export this into a 3d software so for example 3ds max maya blender well then we would export all of these points because they can handle them quite well now in our case we will be exporting to after effects which will then be imported as null layers and that can slow things down quite a bit so what we're going to do is just zoom in here and just pick a few points which we know we can use as reference so we'll select this one here we'll hold down control to add to the selection we'll select that one maybe a few more of these and then this one here and this one here is good we'll right click on the points and we'll click flag for export now once we go over to the export camera we can set the export type so this is the format and we can choose after effects and maya and basically they use the same format so click on that then the move type we have moving camera static scene which in our case is correct and then we have the export flag tracks only option so let's click on that and this will make sure we export only those points that we flagged and then finally we have the scale scene by value and usually when i'm exporting for after effects i like to set it to 1000 just to make sure things are nice and large and not so small because then if you have very small objects you know things can get a bit tedious with all that set up let's hit save all right so now we're back in after effects and i went ahead and imported the track data and as you can see we have it right here so we can double click on it and you can see we have a bunch of null layers and a single camera and we can go ahead and select the camera go over to layer camera settings and we can see that it is indeed a 50 millimeter camera just because we did set it up in the beginning before we did any tracking now let's hit okay let's just select all of them edit copy and then go over to the main comp edit paste or just use the shortcuts and right now we can't really see them just because i have hidden the ui elements and you can use the control shift h shortcut for that and this will make them appear and disappear now if we hold down control and deselect the camera then hit s for scale you can see that these are all set at five percent so we can set them back to 100 percent so we can see them a bit better so they're nice and large and right now you can see that there's a slight issue they're not really lining up now if you go back to the camera select it and hit u to bring up the keyframes you can see they actually start from frame 0. so what we have to do is go over to frame 60 since that's where we tracked from and then go over one more frame so he'll hit page down to go over to frame 61 and we'll click and drag those and we're doing that because boujou actually starts on frame one so frame one for boujou is frame zero for after effects you can see if we slowly scrub through here everything is actually lining up so there you go we have a very good looking track we can select all of these control a drop them down and then we can select just the nulls and we'll turn on the shy button here and then turn it on for the entire comp and this will basically hide any shy layers just so we have a very clean looking composition now we can finally get to the fun part which is designing the hologram now before we start messing around with the hologram designs just make sure you're set at 32 bits per channel because we will be using a bunch of color effects and a bunch of glow effects and so we're going to need maximum color accuracy and you can toggle that by holding down alt and left clicking so you got 8 16 and 32 let's start by going over to layer new solid or you can use ctrl y we'll rename this to watch base and we'll set the width and height to 1000 leave the color at white and hit ok then we'll select the rectangle tool here we'll click and hold on it and this will reveal all these other shapes or you can click cue to toggle between the different shapes and we want to be on the ellipse tool and then just double click and this will give us a perfect circle since we have a perfect square then we'll pre-compose this so we can go over to layer pre-compose or ctrl shift c we'll move all attributes and we'll call this hologram base pre-comp and we'll hit ok then we'll go inside of that comp let's just close the track comp here so it's not confusing then we'll turn this into a 3d layer select it we'll hit down w to bring up the rotation tool click on the x and hold down shift to snap it to 45 degrees and we'll just make it lay down flat on the ground also make sure it's right there at the center of the comp so that it makes things a lot easier to position them back in the main comp so back in the main comp you can see we can't see anything and that's because we did lay it flat the next step is to continuously rasterize this layer and what that does is it allows all of these layers to be treated as if they are inside of this main comp layer instead now we need to also turn this into a 3d layer and you can see everything is working properly what we have to do is position this to be in the same spot as the watch so what we're going to do is select one of these null objects we'll have to uncheck the shy button here so we can see these layers and we'll select that null we'll hit p to bring up the position copy the position so ctrl c and then select the hologram base here and ctrl v to paste it now what we're going to do is just rotate it so we'll click w to bring up the rotation tool and we'll rotate it and we'll scale it up and down just to like try to match it perfectly to the watch so we'll bring it over in z space a bit we'll orient it that way maybe orient the y something like that we can even hit t to bring up the opacity and bring the opacity down and we're just going to try to match the angle to be right there at the center so we'll hit s to bring up the scale and scale it down now what happens is once we have that set up in there we can bring the opacity back to 100 hit b to bring up the work area here and we'll just hit zero to ram preview and you can see that it is indeed following along pretty well now let's click on the shy button to hide those layers once again and let's go back to the hologram base pre pre-comp and seeing as now this is a pre-comp what we can do is just start creating a bunch of elements inside of this comp and they will show up right here now of course we do need to make sure we leave the base of all of our layers to be at the center since the anchor point of this comp is at the center as well and so that'll make things pretty easy to set up you know you don't have to hassle around we'll know that the ground level point is right here at the center so let's quickly just duplicate this make a few copies push them up bring this one one more time by the way i'm duplicating these by clicking ctrl d or we can select it and go over to edit duplicate then we'll select this one hit s maybe bring up the scale and if we go back here you can see that automatically updates and you can see there's this bounding box that's going to show up and that just lets you know how big this actually is within the comp itself now if you make some more drastic changes here so you can see what's going on maybe even select all of them hit t bring the opacity down oops let's just set this to third so we can preview a bit better or faster now once we have all that set up we can start designing our hologram so let's delete the other two layers set this to 100 and let's start playing around with a few things first of all we can switch to the top view and this way we can see our layer from top down now for the original design what i did was to have the base of the watch be a bit more intense around the edges so as if there's some light coming in from these edges here and then there's also a more intense core but then around the core it's a bit more faded so what we're going to do to achieve that is to go back here and we'll go over to the watch base that we have here and we'll double click m so mm this will bring up the mask properties we'll select it and then click ctrl d to duplicate and we'll set this bottom one to subtract and then we'll play around with the mask expansion just to like bring it in a bit something like that and then it will increase the feather and then we'll duplicate this hit mm once again and we'll delete the second one that we created then we'll double click on the mask scale it down and we'll hold down control and shift to scale it down proportionally so we'll bring it right there at the center and we'll feather this one as well and then maybe we can rename this to say core this one outer edge we can also duplicate the core one more time and we'll rename this to core big hit f to bring up the feather and feather it out even more just to give it a very smooth fall off and then we'll duplicate the outer edge one more time bring it at the top and then just decrease the feather so it's a very tight around the edges there and we'll hit mm to break up the mask expansion and we'll decrease the expansion and we'll also decrease the opacity a little bit of this outer edge so you can see it's a lot more intense around the edges and a lot more intense around the core here it's worth noting that from this point on everything that we do is very subjective so whatever it is that i'm designing doesn't necessarily mean that that's what you should be doing as well so it's just a matter of taste and also making sure that all of these elements make sense in one way or another now one last detail we're going to add is to duplicate the outer edge one more time and we'll hit f to bring up the feather and this time we're also going to be feathering the first mask here and when we increase this you can see that we're actually clipping on the edges since the bounding box of our solid is only one thousand by one thousand now we can easily fix this by selecting both of these masks and double clicking on them and we can scale those down until we no longer see any clipping and then we'll select the layer itself hit s and we'll increase the scale back up and now we have just a little bit of glow around the edges here finally let's select all of them and just set them back to screen so they blend with each other and we could also play around with the opacity values but i think it looks good for now and finally we'll give it some animation so let's select one of these cores duplicate it ctrl d bring it at the top and we'll call this reveal animation and we'll double click on the mask so we can scale it up something like that and we'll hit f and we'll bring it down all the way at zero maybe just slightly push it a bit something like that maybe scale it down so we make sure it's not clipping so what we'll do is set it to silhouette alpha and what this does is basically alpha mattes everything underneath it and what we're going to do is just scale it up until we can't see anything else we'll go over here at frame 0 hit the scale stopwatch and now we'll go over to say frame 15 and we'll put it down to zero percent therefore just revealing the entire base we can also select this and hit f9 to smooth it out and even right click keyframe velocity and maybe set this to 100 so that it very quickly reveals itself one more thing we can do is to actually animate the opacity of these so they look as if they're flickering so let's select one of them solo it out we'll hit t to bring up the opacity and we'll set a keyframe there at the beginning and we'll set it to zero percent now we can move forward or backwards by one frame by either hitting page up or page down so we'll go over to frame five we'll bring this up to 100 then we'll go back bring it down you go back again actually we'll just bring this over and leave it at 100 select all of them and hit f9 and that just smooth things out so if we preview it looks as if it's just kind of flickering and then finally coming to a stop and i'm thinking we could maybe even just make these a little bit faster so we can select them all push them over maybe 100 on that and we can just copy all of these but then that would mess up with the opacity values that we have here so we'll set these up we can set a keyframe for all of those and we'll copy all of these keyframes apart from the last one so we'll know what they end up with so we'll paste them on all of these and we'll just select all of these hit f9 right click keyframe velocity and set it 200 and we can unsolo that we can even click on these and just drag them over a bit now we can go back to the main comp just to see how everything is looking and at the start here you will notice that there's a black hole and that's because as we said every layer inside of this comp is going to be treated as if it is inside of this comp if you have the collapse transformations option open until you add an effect to it so let's just add a tint effect real quick so control space tint and that now enables us to set these to whatever we want so if we go back to normal we can set it to add we can set it to screen whatever we want to do there's also the motion blur option here oh and that reminds me we'll select all these turn the emotion blur on for all of them and now that black hole has disappeared now we're gonna worry about beautifying this and colorizing it later on so we'll just shut off the tint effect and then we'll right click on this one we'll go over to reveal layer sourcing project and what we'll do is just ctrl d to duplicate that and we'll rename this to hologram watch tutorial and then we'll double click to open that and now we'll start working on the other ui elements first of all let's just select all of these and delete them and we'll start using some shape layers now so let's go over to the rectangle tool we'll select the ellipse tool and double click once again and what we want to do is have a perfect circle one more time so we'll go down to the ellipse contents and we'll delete the fill and then under the ellipse path let's unlink the size values and we'll set this to 1000 by 1000 just for consistency and then under the stroke we can play around with the stroke and now let's start creating a few different elements here first of all we're going to have to turn this into a 3d layer if we go back to the front view you can still see it but we're going to have to orient it upwards so we'll select it click w to bring up the rotation tool hold down shift and just flatten it out then we can go back to the top view so we can see it properly and if we go back to the main comp here we'll switch this to full view and we'll turn that off and we'll also shy all of those nulls you can see the metal of the watch has this sort of zigzag pattern around the edges so let's try and create that uh we'll go back to the hologram comp here and we'll rename this to zig zag and there's a very cool effect inside of a shape layers we'll just go over to add and zigzag and you can see that already gives it some zigzag edges and we can control the size so how much that just extrudes outwards and then the ridges per segment so we'll increase that quite a bit something like that but maybe we'll decrease the size there's also the option for the point so either corner points or smooth points so you have these sort of waves and i'm thinking the stroke width is a bit too large so we'll bring that down to maybe 20. we can come back to these and adjust them later on we'll duplicate this one more time now we'll rename this to normal circle we'll go down to the contents and for this one we'll delete the zigzag and we'll go over to the front view and we'll just bring this up a bit so it just sits right on top there by the way we can switch to two views and we'll leave this one on the left to front view and this one on the right to top view and then we can use both of these views to position them properly now let's duplicate this one more time and push it up and we could manually just match the amount of distance here or we could use math so we'll select the zigzag and the normal circle we'll hit p to bring up the position and you can see the position of the zigzag is right there at the center which is 1080 and then we push the normal circle up 800 and we just minus those and that's 280 so what we'll do is hit p on the normal circle two we'll do 800 minus 280 and that should give us the same amount of distance for both of those now for this one let's just shut off these so we can see them a bit better and we'll go down here into the contents and under the stroke width we're going to increase that quite a lot and we're going to go over to the dashes we'll just hit plus and we'll increase that and you can hold down control until you have this sort of perfect space between all of these dashes and we'll do big dotted lines then we'll duplicate this one more time we're not going to change the position this time around we'll do small dotted lines we'll go down to the contents one more time and under the stroke would just decrease this of course we're not going to be able to see it too well but if we select this one hit t to bring up the opacity and bring it down we'll decrease the stroke width until it's a bit thinner and then under the dashes we can even make some adjustments so we have a few more lines or rather something like that so the other way around and we'll decrease the stroke width and i'm thinking we'll go here go over to dash by the way you can search whatever properties you want so you can easily and quickly find them instead of having to drop down all of these contents and we can increase or decrease this so again hold down control to really dial it in because as you can see up here you know there's these duplicates and you wanna set it just right that's pretty much just a single layer i guess and then we can duplicate the normal circle one more time and bring it at the top sorry for all the auto saves you know i've had projects where i didn't save for a long time and the auto save function was every 20 or 30 minutes and basically i had to go jump off a building and then come back and then jump off again so what i did was just have it auto save every three to five minutes i think so there's that and then finally we'll rename this to thin circle bring up the position and we'll do minus 560 right now we'll turn these back on and we'll go over to one view and we'll switch to custom view and this will allow us to orbit around in a non-destructive way so it's as if we have a camera on our scene when in reality we don't so we'll switch to the camera tool and we'll click and drag to orbit around and that's pretty much our hologram design i'm thinking the zigzag is a bit too thick so we'll go down to the stroke width maybe set this to 10. again we're going to be playing around with these this one the thin circle maybe set that to 10 as well sorry if i'm going a bit too quick here but you get the idea once we talk about a certain feature that after effects has then from that point on i'm just going to assume that you know what i'm doing hopefully it won't be confusing for you guys i'm also noticing that these layers don't have motion blur enabled so we'll turn that on and now finally we'll go ahead and create the watch numbers and dots and all those extra details first of all let's go back to the active camera view and we'll click on the text tool here and we'll click and drag and type in one and we'll hit ctrl alt home to center the anchor point to the layer and then control home to center it to the composition itself then we can hit s for scale and bring it up so we can see it a bit better and for the numbers i think i used a font called roman font so let's see yep that one so you got these roman numbers now we're going to have to center the anchor point one more time and center it to the composition just because of the difference of the font and now we're gonna make 12 duplicates so we'll do one two three four five six seven eight nine ten eleven and we're gonna go ahead and just adjust these so that they match their corresponding numbers now for 10 for some reason it registers as 1 and 0 as opposed to 10 so we can just type in x because that's 10 in roman and then for 11 we'll do the same thing x and then 1 and then 12 x and two ones now let's shut these off for a moment and we'll go ahead and create a new solid so layer new solid make sure it's one thousand by one thousand and we'll do the good old double click on the circle and we'll go under the mask and we'll select the mask path and hit ctrl c to copy and let's just bring it at the top and we'll select all the number layers hit p to bring up the position and then we'll select the position for each of these so we'll do that and then just hit ctrl v to paste and this way what'll happen is if we turn them on and maybe just solo this 11 number it's gonna be animated around the circle now how can this be useful for what we're trying to do well let's just make some room here select all of these and bring them over to frame 0 and seeing as we have 12 numbers we're going to go over to frame 12 and with all of this frame selected we're going to hold down alt and click on the last keyframe and make sure the last keyframe falls on the 12 frame trust me this will all make sense in a second here pun intended now let's go over to frame 0 we'll solo all the other layers and we'll actually select them all maybe hit s for scale and we'll just scale them down a bit maybe to 150 bring the position back and we'll move one frame at a time and just uncheck the position keyframe so that they are all land within their respective positions so in this case up here we need to have 12 well we're going to uncheck the position value and it's going to be stuck right there now if we move forward this here is going to be 11. so we're going to uncheck the 11 position keyframe or stopwatch then keep going and keep going and there you go a perfect circle watch with numbers now in order to scale them up all at the same time without actually scaling them up from their own anchor point so we will leave them at 135 what we'll do is first off let's turn them all into 3d layers and also turn the motion blur on then we'll create a new null object turn this into a 3d layer and we'll parent all of those to our null and then what we'll do is just hit w bring up the rotation tool and then hold down shift and just orient it that way we'll unsolo all of these so we can see all the other elements maybe go back to two views this is the front view this should be the top view and we'll select the null and just make sure we bring this all the way at the top and again we can use math to just position it properly so that's 240 minus 280 if i remember correctly i think that's right looking at the top view here i'm thinking maybe we scale those down so that they fit within this inner circle here and maybe we can even select all of those just scale them down a bit we don't really want to make them too small because then you won't be able to notice but again it's all up to you next up we can even just duplicate this one more time and we'll copy the position of the null and paste it to that and we'll call this clock middle point or circle and we'll just hit s bring up the scale and just scale it down we can zoom in here see things are starting to slow down a bit hit ctrl shift h to hide all the ui elements and we can slightly scale it down like that and maybe hit stroke width and just put it to 20 maybe even 60. and then finally we can even have some lines for the hour indicator and the minutes indicator and we can do that by maybe going over to the rectangle tool make sure you don't have anything selected and then double click and this will create a rectangle based on your composition settings and then we'll go over to rectangle under rectangle path right click and convert to base a path and then we'll hit g to bring up the pen tool and we'll select both of these points so we'll hold down shift to add to the selection and then hit delete and now we have a single line here now we'll delete the fill because we don't need that and then for the stroke we can increase it a little bit maybe turn it into a 3d layer and maybe hit ctrl alt home to center it to itself and just copy the position from this null and paste it to that and we'll call this hours and of course we can't really see it yet on the top view and that's because its orientation is set to frontal so we'll have to click w hold down shift and rotate it upwards okay that's good and we'll make adjustments accordingly now we'll scale it down we'll use the scale you can see how easy it is to make adjustments by using multiple views and since we set it up properly in the beginning now we can work in a very easy and efficient way and then all the way back here at the main comp you can automatically see the update except we can't because we haven't imported it yet so we'll duplicate this then we'll grab the hologram watch tutorial here and we'll hold down alt and then click and drag and drop to replace it and this basically just puts it in the same spot and seeing as we kept the base of all of our layers at the center of our composition then we won't have to do any extra work maybe we'll just have to scale it up a bit so we'll see maybe 100 scale just trying to match it to the contours of the watch here so something like that um we'll switch back to quarter view and we'll turn the motion blur off and maybe even push it up a bit more we're definitely not going to be able to get the same result as in the original example but we'll do our best now if we go back here we'll continue working on these hours and minutes lines so we'll select it here on the top view and we'll hit y to bring up the anchor point and we'll click and hold down control to snap it to one of these sides here and we can hit p to bring up the position and we can set the x value to 1920 and that should put it right there at the middle and then we can hit s to bring up the scale again and just play around with the scale till we have something that we're happy with and from what i know hours are a bit shorter compared to minute lines hit r to bring up the rotation we're going to have to rotate the z so we'll do that we'll duplicate it we'll rename this two minutes and we'll hit s to bring up the scale and just scale it up a bit and hit r and we'll just adjust the rotation we'll do i don't know so it's 145 so something like that i guess and then we'll select both of those one more time we'll type in stroke width and we'll set it to 15 because i don't want it to be so thick and we'll also turn on the motion blur for these two layers another detail i added in the original design was to have some points along each of the numbers here and to do that we're going to use the same method as before with all the numbers and the mask path trick so we can orbit around that looks pretty cool one thing that does bother me quite a lot and i think i'd actually fix this in the original design is that the circle here is not the same thickness as the lines so let's go ahead and make the clock middle circle a bit thicker so we'll search for stroke and we'll do double the size so 120 and another thing is i don't really want to see these lines inside of the circle so we'll duplicate that go under the contents and we'll add a fill effect and we'll rename this to clock middle circle matte hit the tilde key by the way to maximize any view your mouse cursor is hovering over and we'll just bring this on top of the minutes ctrl d to duplicate and bring it on top of the hours we'll select hours and minutes and we'll set it to alpha inverted and so now they'll be masked off and you won't be able to see them at the center there there's this sort of aliasing and edge going on here that's visible so let's maybe select those mattes and we'll scale them down just a bit and that'll make them disappear there you go that looks a lot cleaner now now let's go back to the custom view one and finally start animating this thing now we need to also parent everything to each other so that we don't have to animate all these things so we'll delete this we'll select all of these points we'll also parent that to the numbers controller and turn the emotion blur on for all of those and we'll also bring this one over which is the clock middle circle and we'll parent that to the numbers control as well now by adjusting the null you can see that everything follows along so let's control z to put that back in its place and we'll select the null then we'll select all these other circles we'll hit p to bring up the position set a keyframe and then we'll go back to zero and then we'll set a keyframe for all of those and we'll switch back to front view and what we're gonna do is deselect the bottom one and then just keep pushing these until all of them are just sitting on top of each other so we'll zoom in here make it go very close then we'll deselect the last one again we'll bring them close like so and we'll deselect that actually these are in the same spot so we're gonna have to deselect both of those bring them down and then deselect thin circle and one last time just bring all of the numbers right there on top i'm not worrying too much about the spacing here and now what we can do is select the last keyframes hold down shift add to the selection by selecting the numbers control as well and then right click keyframe assistant easy ease and then right click keyframe velocity and we'll do 75 percent and hit ok and this way they sort of all extrude upwards now i'm thinking this is a bit too slow so let's just first bring this all the way down here so it's not too cluttered and we'll select all these keyframes and bring them back to one second so it's a very fast animation okay so as far as the position goes it's looking pretty sweet now we can also go ahead and mess around with the opacity values and add some trim paths effects to some of these so for example the original zigzag circle what we'll do is go over here to the contents and we're going to add a trim paths effect and the trim paths effect basically just trims the path so if we solo this you can see it's just starting to come in from that side and i'm thinking that looks pretty good so we'll set the stopwatch there bring it at the beginning here and then go over here and set it 200 maybe ease that hit f9 keyframe velocity 75 percent maybe just go over by 10 frames and bring this over by the way just so you know we're probably going to speed things up from this point on just so we can animate things a bit quicker now let's solo the normal circle as well what we can do with this one is to actually animate the scale and the stroke width so we'll hold down shift and press s to bring up the scale while at the same time keeping the position value we'll hit the stopwatch and then we'll also search for stroke width hit the stopwatch on that and then clear the search and then we'll click u to bring up all of the keyframes and now we can see the stroke width position and scale keyframes and we'll go over to 20 and we'll bring these over like so go back a few frames and we'll just increase the stroke width and then decrease this all the way down to zero percent and we'll just push this over and we'll match that by the way whenever you're adjusting the keyframe velocity of keyframes that are not the same value so for example if you want to adjust the keyframe velocity of the stroke width and the scale at the same time you're going to notice that not both of them are being adjusted instead as you can see here if you right click on the keyframe velocity of the scale it's still at 33 percent you're only going to be able to adjust the keyframe velocity of the first value that you selected so keep that in mind you're going to have to adjust both of those manually or if you happen to have this flow plug-in which again is a third-party plug-in which you definitely don't need in this case but what it allows you to do is to save presets of velocities so let's say we control click bring them back to linear keyframes i have set up some presets here and we can set them all to 75 percent by just double clicking on them and this way you can set the velocity of multiple keyframes and different values at the same time it's a pretty handy tool to have again you don't need it but i'm going to use it since i do have it just to save ourselves some time now if we preview that you can see how that comes in so it's a pretty cool looking animation maybe we can even speed this up so we'll select both of those without moving the position because we want to keep the position consistent with all the other layers so we'll go to frame 15. next up let's bring up the dotted lines and we'll actually add the trim paths effect to both this and the small dotted lines as well so we'll go over to the zigzag drop down to the trim paths hit ctrl c to copy and then select both the big dotted lines and the small dotted lines go over at the beginning here and hit ctrl v i'm just thinking that we're going to have the dotted lines come in a bit later maybe just push those over and i think i also added a constant rotation to these dotted lines and the zigzag and the way we can do that is by going over to the zigzag for example and hit r to bring up the rotation and then let's see which one do we need to rotate so we need to rotate around the z so we'll alt click on the z rotation and we'll type in time times 50. so what this means is it's going to rotate by 50 degrees every second and i'm thinking that's a bit too much so tone it down to maybe 20. and then we'll copy this bring the rotation for the dotted lines as well we'll all click on that and maybe we'll give it some variation so we'll do 30 on this and then we'll copy that and then i'll click on this one we'll do 30 as well but we'll also add i don't know 180 degrees you're not gonna be able to notice this too much maybe if we increase the speed a little bit next up we have the thin circle at the top we'll hit s bring up the scale and we'll animate the scale of this too go over to one second bring this down to zero and we'll do 75 see how that looks moving on we finally have all the letters and numbers and dots at the top here and let's go ahead and get started with the hours minutes and the circle dot in the middle and what we'll do is select both of these and we'll parent them to the clock middle circle we'll actually bring this one at the top and we'll start by animating the scale of these right about here maybe you can start animating the clock middle circle and we'll actually parent these two as well so we'll animate the scale we'll go over to one second and five frames we'll set a keyframe there and we'll go back and we'll set the scale for this to zero and seeing as those are parented to the middle circle they actually scale with it now additionally i wanna push these over to 15 and then bring these over here just so i can see the animation and what i want to do is just decrease the x to be at zero on both of those so they also get extended like so of course let's also ease these so 100 and then finally we can just do a simple fade in for all of the numbers let's hit the tilde key we'll unsolo all of these and we'll solo the numbers and the dots as well and what we'll do is figure out the ordering of these so we want to have number one come in at the start so we'll go over to top view and we're also going to shift the timing by say for example four frames maybe and to do that what we're going to do is select all of these hit t to bring up the opacity set a keyframe and we'll set the opacity down to zero percent then we'll hold down shift and hit page down to go forward by 10 frames and we'll bring these back to 100 percent and then we'll hit f9 to easy ease those then we'll go over to frame 0 one more time we'll select number one hold down shift we'll select number 12. and i guess i should point this out that depending on how you select these so if you select them from the bottom up it's going to shift them from bottom up so number one is going to be the first and then you got number two and number three and number four whereas if you select them from the top to bottom the first layer is going to be number 12 and then after that is going to come number 11 and so on and so forth you get the idea so just make sure you select number one first and then select number 12. we'll move forward by how many frames we want to ship them from each other one two we'll hold down alt and close square bracket to trim them at the playhead then we'll right click keyframe assistant sequence layers and hit ok then we'll just click and drag and extend them and we'll do the same thing for these ones just make sure you select the bottom one first we'll go one two three alt close square bracket right click keyframe assistant sequence layers hit ok and then just click and drag okay so i'm pretty happy with the animation so far so let's go back to the main comp and let's just give it a quick preview here and it just looks so much better when you actually see it together with the footage and one last thing we can do is to actually animate the pre comp itself so we'll hit s to bring up the scale and we'll go over to four seconds set a keyframe there i'll bring it back i'll do i don't know maybe 30 and over on four seconds we'll even scale it up a bit more just because i think it's a bit small so and we'll select this one hit f9 and we'll do 100 percent maybe even push it to five seconds so it's a very smooth very smoothly comes to a stop all right so it's looking pretty cool now we're gonna go ahead and start beautifying this let's start by colorizing our hologram and to do that we're going to use an effect called color vibrance so color vibrance and this too is from video copilot it has a bunch of options here and it is totally free so let's delete the tin effect and let's start playing around with the colors so we'll switch this back to half resolution so we can see things a bit better there's the color so we'll set that to maybe a blue next up you got the vibrance which sort of acts like the saturation and we'll leave that at 0.5 just because i don't really want it to be as saturated then we'll leave the preserved luminance to one and we'll also play around with the brightness there's also this cool option which says fill empty background and if i turn this back to normal blend mode and turn the fill empty background on you can see it basically gives it a black background and this acts the same way as a solid composite effect for example so if we control space at a solid composite effect and turn this to black you can see what that does except if we just take a snapshot real quick uncheck that and fill empty background if you see the difference it's not really doing the same thing so it's a pretty cool effect it allows you to just fill that in and then finally you can set this back to screen and you can see those elements a lot clearer so without the fill empty background with the fill empty background and then next up we have the invert which just inverts the fill and then finally we have mat alpha which we can set to on and that allows us to boost the alpha so we'll do like 0.5 we could even animate these values so say at the beginning here before it actually pops up we could animate the brightness hit u to bring up the keyframe and then move forward in time here to about 315 set a keyframe and then for the first keyframe we can set it back to zero percent so that it actually fades up so the brightness you know becomes more intense uh next up let's just control space add a glow effect we'll uh increase the glow here and uh what we're going to do is just decrease the intensity quite a bit i'll just solo this out with the footage so that the hologram base isn't so distracting i want to have a very tight glow so we'll do glow intensity one and the radius not so wide then we'll duplicate the glow one more time bring this down a bit do the same thing here actually see it's it's a bit too slow to work with so bear with me then we'll increase the intensity we'll decrease the threshold just a little bit and we'll also increase the radius maybe not so much maybe around there maybe bring the threshold back and we'll set this back to 0.1 and then we'll duplicate it one last time and this time just increasing radius like crazy so like 300 and we could maybe even just slightly reduce the threshold so we got a very smooth looking glow and of course you can always go back on these and just adjust them maybe decrease the threshold on the first one the first glow is very tight so it's probably going to be the brightest there and there's definitely some opacity values that i need to tweak so we'll go back to the hologram watch here and we'll select the dotted lines look at the big ones and we'll do t for opacity and we'll bring them back to five percent and we'll do small dotted lines to forty percent we'll do the thin circle at the top maybe fifty percent and we'll see how that looks because everything is a bit too intense right now so we'll do alpha boost one i'll go back to the hologram and we'll actually do the big dotted lines to two percent just because even though it's one percent here and you can barely see it because of all the glow effects and the alpha boost and all these things you can still see it quite a bit here in the main comp so we'll even do one percent actually there you go it's not so distracting right now and maybe even the small dotted lines will do that 10 so the focus is mainly on the numbers here now let's quickly copy all of these effects ctrl c and we'll unsolo these and paste it to the hologram base as well you know it's just disappeared and that's because the brightness is set to zero and wherever your playhead is when you paste things that's where the keyframes are gonna start so let's select the base hit u to bring up the keyframes and we'll just bring these over right at the beginning and we'll actually just delete these all together i think it is a bit too intense so first off let's just delete glow number one increase the threshold on both of these so we don't have as much glow and then also increase the radius so it's a very wide glow and we'll see before and after we'll copy the color code go over here paste it by the way later on we're going to look at how we can actually set up a global null controller that controls all colors in your scene that way you don't have to hassle around each layer and just manually adjust these colors you have everything in one place now we're already at a point where we could say we've got a decent looking hologram but it is a bit too perfect and in real life nothing is perfect so it's always good to try and implement that into our visual effects work and what i mean by that is to always try and match our visual effects elements to the look of our footage so for example in our case even though we have 4k footage if we zoom in here let me just solo that and put that to full you can see that the numbers are still not so sharp now let me just turn that off the unsharp effect by the way i forgot to turn that off and the unsharp effect is actually very slow up until this point we've been working with that on and that could have been the reason for all the slow speed here oh my god anyway as i was saying even though we shot this at 4k the numbers here they're still not 100 sharp and then secondly we have to try and think about how these elements would look like if they were there physically in real life so would there be any glow coming in which we already have would there also be some light being cast onto the arm here or rays being shot up from the watch maybe since light is bursting from the watch and when you think about all those details then it becomes a lot easier to create stuff that matches your shots and hopefully in the end the effect also looks cool because when it comes to visual effects as much as it is about realism we also have to consider the stylizing factor so let's go ahead and try to replicate the things that we mentioned so far starting with the base ray so let's select the hologram bass we'll ctrl d to duplicate that and we'll solo it out for a moment so let's control space and we're going to add an effect called cc light burst and we're going to bring this right on top of the glow effect so just before the glow number two and if we go back to quarter because this is also a very slow effect if we hit ctrl shift h to bring back the ui elements you can see that there's the center control and we can bring this at the bottom and then you have a few controls here so you got intensity ray length and burst now the burst is either straight you have fade and then center and personally i just like to set it to fade since it just keeps going in the direction that it's supposed to be going and it just fades off and then you also have the array length we can increase that to i don't know maybe 400 so we have a very long array i'm thinking that's a bit too much so we'll set it back to 100 and maybe we'll bring it closer here now the closer it is to the base the wider it is going to be so keep that in mind now what we can do is also animate these so we'll unsolo these and go back to the first keyframe here and we'll hit u to bring up the keyframes bring them over and we'll go over by maybe 20 frames set the keyframes there as well and then go back and just set these both to zero percent and then we'll select the layer itself hit t will bring this opacity down a bit just so it's not so intense if we just set it to maybe 30 and um just see the difference between it being off and then on that just adds so much man that just looks so much better now there's one issue and we can see that better if we sold it back on and if we move in time here seeing as the camera is moving well this is not a 3d effect so the center is going to stay in the same spot and as i showed you before depending on where the center is opposite of that is the direction in which the array is going to go so that means we're going to have to animate this to keep it in the middle at all times well that's a bit too much work so what we're going to do is use our tracking data from before to parent this to one of our nulls therefore it's going to stay in line with the camera movement so let's unshy the layers and we'll select them all so them as well so we can see them and we'll try to pick one of these nulls that are roughly in the center here so we'll do this one and now what we have to do is extract a 2d point from a 3d null normally you can't really do that you can't really say for example alt click on the center and maybe parent that to the position of that specific null because then you would get an error because this is a 2d value you got x and y whereas this one is a 3d null so you got an extra z value so what we have to do is actually extract a 2d null from this 3d null so to do that we're going to go ahead and create a new null object so go over to layer new null object then we'll select the null that we want to parent this to let's bring it at the top here we'll hit p on the 2d null all click on the position we're going to pick whip it to this null and now before you let go just type in dot 2 comp open parenthesis open square bracket 0 0 0. and now you can see that the 2d null is following the 3d null but the null itself is 2d therefore we can parent the center value to this position so let's just quickly rename this to re so we know which is which and then alt click on the center and we'll parent that to the position you can see that the light burst is right there at the null point now of course say you want to adjust this well you can't really make any adjustments to this because now this has an expression well what we can do is actually add some slider controllers to this so let's control space add a slider control and we'll do x duplicate that we'll rename that to y and we'll go back to the expression here and remember these are x y and z we'll leave the z at zero we'll select the x value parent that to the x slider and we'll select the y value and parent that to the y slider and now what happens is it's going to follow that point and we're going to be able to make adjustments to it so this way we can actually push it a bit to the right so it's sitting you know roughly in the center of the watch there so that's the solution to that now let's go ahead and unsolo these and try to do the same thing with the hologram watch elements so let's select the hologram watch duplicate that and rename that to ray as well bring it at the bottom there and we'll add an effect called cc vector blur so control space cc vector blur and we'll also bring this one right before the glow effect we can actually control a to select all of them and just drop them down and then just bring the vector blur back up now let's also solo this out so we can see what's going on and the way the vector blur effect works is it uses a vector map to determine the way the blur is going to happen so if we increase it right now things get a bit too crazy because it's using itself as the map but what we're going to do is actually create a gradient map to use with this effect so let's go over to layer new solid and we'll type in gradient vector blur map we'll make it comp size and hit okay we'll control space add a gradient ramp effect i'm sure you've seen this effect being used before so we'll switch the ramp shape to radial ramp then we'll swap the sides here so we'll set this roughly in the middle and we'll also swap the colors and you'll see why i'm doing this in a second so let's just unsolo this and we'll turn it off because we don't need to see it and back in the ray layer we'll set the vector map to the gradient vector blur map right now nothing is happening because it is using the source but we have to switch to the effects and masks so it uses the effects and now right away if we hit ctrl shift h to hide those you can see what's going on so if we increase the amount everything is being pushed towards the center here because that's the way the gradient ramp effect is set up now if we adjust this you can see what is going on and we got a very cool effect so the amount is how intense the stretch is so i don't know maybe we'll set it to 400 or something like that then there's the ridge smoothness and you know just play around with it until you get something that you're happy with but we'll leave it at default then you got the property and basically right now we're using the lightness since we want to take a look at the black and white values and if you set it to luminance it's basically the same thing but then there's the red there's the green channel there's also hue and there's saturation and these don't really do anything unless there's color applied to the gradient map so let's just bring it back to lightness and then maybe we can increase the map softness and what happens is if you see here at the bottom it just smooths out the corner there so we'll set it to 100 we'll leave it there so it's not so sharp at the bottom there and now if we move in time here you can see that we're going to have the same issue as before with the light burst center value because the gradient map here the gradient ramp is not sitting in the same spot so what we have to do is actually parent the starter ramp position to our null here i'll rename this to ray track just so we know where everything is standing and let's turn on the shy layers just so everything is a bit clearer hit p to bring up the position then we'll go back to the gradient map i'll click on start of ramp and then we'll parent that to the position and now that point should also follow along with the null now if we go back and turn everything back on let's just make sure this rays are just set to i don't know maybe 25 and you can see that does so much man oh my god that just looks so good oops let's bring it back whoops i'm getting a bit too excited here just try not to make things too obvious because then it can look as if you're just you know you're in love with a certain effect but if you tone it down to say 15 that looks a lot better if we go back to full resolution hopefully our computer doesn't explode now let's start adding some effects that will make this look not so perfect and first of all we'll start with the hologram watch and let's just collapse all of these and we'll add a fast box blur effect we'll just add like point one and maybe two iterations and we'll bring this all the way at the top here it just blurs things out and then all of these effects render afterwards and this is just to take off the edge a little bit then we'll add another effect which is called venetian blinds and we'll also bring this up after the box blur let's just solve this out for a moment and we'll increase the transition completion just so you can see what happens go over to quarter and basically these stripes get created so what we're trying to replicate is these old scanline effects as you see in most movies let's just try to set the angle to match with our object in our hand then maybe we can decrease the width so they're not so thick and just slightly add some feathers so i don't know maybe 0.5 or so next up we'll add another effect which is called scatter and what this does is basically just scatters the pixels of our layer here so we'll do i don't know maybe three percent and if we zoom in here you see how that affects the entire layer of course we want to try not to overdo this too much and then there's another option here called randomize every frame so you get this noise pattern going on and then you have grain horizontal or vertical we'll leave it at both this is similar to the blur dimensions in the fastbox blur so if we set it to horizontal and increase the value quite a bit you can see that it spreads out the pixels only horizontally but we want to set it to both and then let's set the scanner amount to 3. now let's quickly copy all of these effects and we'll paste them only on the base itself so not the ray we don't want to affect the rays so we'll paste them there and just make sure these are all after those effects let's select the ray comps set them to cyan and then these ones to orange i just like to keep things organized by labeling them with colors and also renaming them properly and i say that but i have here hologram for the hologram bass i'm thinking the venetian blinds aren't looking too good for me so i'm just going to shut that off we'll leave the scatter effect because that just adds a bit of scatter here so you got these pixels just to add some extra detail and we'll go over to the ray and we'll add a fast blocks blur effect because these rays are a bit too sharp for my liking so we'll do like two something like that because they're a bit too sharp and maybe even just tone it down a bit so we'll do like 10 another thing we could do is maybe add a lens flare to the watch here and we could do that by creating a new solid so right click new solid we'll set it to black we'll rename it to flare well control space type in lens flare and we'll switch the lens type to 105 okay that looks a bit better and i mainly want to have the colors of the lens flare to be a blue so it matches with the hologram so we're going to add a tint effect we'll do ctrl space tint and in this case we're going to map white to blue then we'll set this to screen so we can see it and we can even go over to the hologram here under the color vibrance we'll copy the color code and we'll paste it back here to the flare so it matches then let's go back to the lens flare and we can set the center there we're going to have to animate this so it follows along and to skip that we're going to do is actually duplicate the ray track here and we're going to rename this to lens track and we'll bring back the position go back to the flare we'll alt click on that and then we'll pick width this to the lens track and so this way we can actually modify the lens track to be in a different spot since we need it to be in the center of the watch so let's also adjust the y value here so we'll bring it roughly right there in the middle and um if you take a look at the lens flare here it's a bit too sharp so what we'll do is add a cc radial fast blur and we'll do the same thing with the center for this one we'll all click and parent it to the lens track position so it stays in the center and if we increase the intensity you can see it's just kind of like blurs it out from the center there you don't want to go crazy with it so if you set it to 100 it just blows it up but maybe something around 70 works fine so you see without and then with without width and obviously at the beginning here you don't want to see it so we'll animate the flare brightness go here at the beginning hit the stopwatch for that bring it down to zero percent and then move forward a bit and then bring it back up to 100 oops now at this point i'm guessing it's already a very long tutorial so let's go ahead and make it even longer another detail i remember adding is a sort of glitch effect right at the start where the hologram comes in and the way i did that was to use the turbulent displace effect so let's solo out the layer here at the top and we'll add the turbulent displace effect you got a bunch of controls here you got the displacement method so you got bulge twist and all these things first of all what we're going to do is select the horizontal displacement mode and we'll actually bring it right on top here so that the glow effects happen all the way at the end then we'll do an amount of 20 and we'll go at the start here and we'll set a keyframe there hit you to bring up the keyframes and we'll move over like so and maybe go over at this point where we can actually see the entire thing and we'll set it back to zero and we'll f9 that and 75 it now we're gonna duplicate this and what we're gonna do is decrease the size all the way down to i believe it goes down to two and we'll double click on the amount so that shows it up in the timeline here and we'll increase the amount for this one up to like extra crazy maybe just bring this over so it happens a bit sooner and i'm thinking the one at the top here is a bit too intense so we'll double click on that and we'll maybe push this over at the start so it happens a bit sooner it actually fades out a bit sooner and we'll even set the displacement amount to 15. so you see we have this sort of glitch at the start and then the glitch fades out and we're back to having a clean looking hologram finally we can go ahead and add some environmental lighting and we can do that one of two ways so either manually mask the arm here so we can add some light to it or maybe even use the roto brush effect which i did in the original version just to save me some time because i didn't want to go through it rotoscope the entire arm what is this like 67 100 frames and so i'll quickly show you how you can do it manually i'll show you how you can use the roto brush as well and in the end we'll just scratch all that because i'm just going to cheat and go ahead and copy the roto brushed layer from the original comp anyway let's create a new solid we'll call this arm matte we'll shut it off for a second we'll solo the hologram footage here and we'll bring this at the bottom now let's just set this to full so we can see everything a bit better and we'll just mask a single frame so we'll do something like that by the way when you click on these handles they get controlled at the same time but to separately control them you can hold down alt and you can see the icon switches and then you can click on it and now you can separately control it so we'll do it like that and then make a curve like so and there you go now we have our matte and now let's go over to layer new solid one more time and we'll do lighting hit okay bring this at the bottom click on the track matte here and set it to alpha matte now of course you can see here that it's not a perfect mask by any means but we'll run with it next up let's add a fill effect and we'll go over to the flare we'll copy the color code and paste it here mask this lighting layer around and we can feather that out like crazy and also set it to i don't know maybe add and maybe you can tone down the opacity and then we could maybe select both of those ctrl d to duplicate and then we can hit m to bring up the mask properties and then increase the expansion you can see how the edges here get seen just because the mat is not big enough and so let's also switch this to screen so it's not as intense and also decrease the opacity as well it's a bit more intense towards the middle here and then as it goes along it sort of fades out so you can even increase the mask for this one towards this edge and when we turn them back on and see the difference with and without the lighting and then normally you would go ahead and animate the matte here so you would set a keyframe for the mask path and then move forward by i don't know maybe three four frames each and then you would make adjustments here now that's one way to do it another way to do it is to use the built-in roto brush effect that comes with after effects so we can select the footage then select the roto brush tool and then we can double click on the footage here zoom out here and just start painting this in so the way it works is just you just start clicking and painting in and if you happen to have these contrasting points like you have the right arm here and then there's the black shirt it's going to be very easy for after effects to figure things out so add to the selection like so and then once you move forward and backwards by one or two frames you can see it actually follows along pretty well you can see at this point we also have the background covered so we can hold down alt and you can see the icon turns to red and that basically turns on subtract mode so hold down alt and just click on that and that just should remove things now of course it can mess things up so you can add them back in maybe subtract that part and you get the idea now once we go back here since we have the effect applied we can solo that and see what's going on then there's a bunch of other options like feathering you have contrast then you can shift the edge so you can choke the edge a little bit if you want if you zoom in here you can see what's going on all right so let's just delete this and let's go over to the main comp here and we're going to go down here and we'll just select this matte arm and we're going to copy the entire layer and then go back to the main comp of our tutorial and then ctrl v to paste and you can see it's trimmed there because that's where the effect starts but we can use this as the matte and we'll duplicate it bring it on top here and we can delete these math that we created prior and now if we solo these ones out now of course you would also have to animate the path of these lighting layers just to make sure that they follow the watch and one way you could do that is to actually parent them to lens track and then we'll select both of them parent them to the lens track and now they'll move with it so you don't have to actually animate that even this way we're actually making maximum use of the tracking data that we got from buju all right now finally let's take a look at how we can actually modify the colors of our elements without having to manually go in one by one into each of our elements and just take so much time and hassle around and copy color codes and all that well what we can do is go over to layer new null object and we'll call this global colors controller and we'll control space add a color control and we'll name this to watch base then let's double click on the color to reveal it in the timeline you can also do the same thing by right clicking on it and reveal in timeline and then we'll go over to the hologram base double click on the vibrance and we'll do the same thing on the ray version as well so double click on the color we can hit the tilde key to maximize the view on the composition here and we'll alt click on the color for this and then pick whip it to the watch base and we'll do the same thing with the ray and now if we go back to the view what's going to happen is whatever color we set here since we link them together then those are going to be updated as well so let's set it back to i don't know maybe blue now what about the elements of our watch here say we want to have the numbers be a different color compared to all of these circles well it's pretty much the same process so lock the effects controls on our global colors controller then we'll duplicate it and we'll say circles color we'll duplicate it one more time and then we'll say numbers color then we'll click and drag the hologram watch comp and bring it underneath all of our other comps you can actually stack them on top of each other then we'll go back to this one and then down here you can see even if we select any of these layers the effects controls are not going to change and that's what we want because we want to see this so that we can link them to each other now first of all let's think about how we would do this so say we add a fill effect to this top circle here and then do the same thing to all of these well it's just five layers and then we can link them one by one to these color values here and that wouldn't take too long but think about all the other elements that we have here well that would take way too long to link them up one by one what we can do is actually add an effect to the thin circle here so let's control space to add the fill effect we'll leave it at red by the way a new tab gets created here since we added to that but if we go back here it is still locked so let's go back to the effects controls and then instead of just copying it normally we can go edit copy with property links and then select all of these and hit control v to paste and this way all of those layers effects are now linked to this layer's effect and now we can double click on the color there to reveal it in the timeline and then go back to the effect controls for the global colors controller alt click on this pick whip it to the circle's color see what i mean so now if we change this then the circles inside get changed and we're going to do the same process for these ones um let's just add the fill effect to number one so we'll do fill and we'll do edit copy with property links and then we'll paste it to all these other layers and then for number one we'll double click on the color to reveal it in the timeline go back here all click on the color and then bring it back to the numbers control and that's pretty much it now let's just set the numbers to be sort of an orangish reddish color and we'll bring this back here and we'll go back to the main comp now you can see it's actually the other way around so let's pick that from that and let's pick this from this but now you may be able to notice that the color is not quite the same as before it's a bit too blue it's a bit too muddy and we can fix that by going over to the hologram watch layer and just making sure that the color is set to white so that the colors here don't get affected at all but i'm also thinking that the colors themselves need to be adjusted so let's go over to the circles color maybe just brighten them up a bit and then grab that same color from that just to slightly get back to where we were before and i'm thinking that's a bit too red so we'll bring it back towards orangish yellowish okay so there you go that's pretty much how you would go about setting up a global color controller of course in our case we have only three controllers here but say you want to have full control over each individual circle well you would have to make many duplicates and link the fill effect of all of those layers one by one obviously that could take a bit of time in the beginning just to set things up one by one but trust me in the long run it makes total sense and it's totally worth it because then you would be very efficient it would be very easy to get different kinds of looks and combos in a very short amount of time by just having everything locked into one controller okay so apart from that maybe we can go ahead and create a new adjustment layer and add a curves effect i'm thinking there's just too much gamma right now so we'll add a bit of contrast maybe even just decrease the opacity of these a bit too intense type in cc for color correction and we'll do hue and saturation maybe decrease the saturation a little bit i don't know we'll add a vignette cc vignette and this is actually a pretty cool effect it's the same as using masks and just setting it up manually but now you have an effect and there's also this very cool value here which you can increase all the way up to 100 and it says pin highlights and so it just gets rid of any vignetting in highlights and what we can do is actually put it right here decrease the amount a little bit just tighten up just to like put the focus right there in the center and maybe on top of all that we can even add some noise maybe do four percent right now we're at quarter so it's going to look like there's a bunch of noise but if we switch to full it's not going to be so noticeable and i'm thinking just a bit more contrast i think the noise is a bit too much at the moment so we could really just tone that down a bit maybe two two percent and then one last thing is that remember in the beginning when i said that i shot this at a slightly higher shutter speed for less motion blur well we can add that back by either using the pixel motion blur effect which is built into after effects and if we solo out our footage find a spot here where we have lots of movement so maybe at this point you can see there's still some motion blur but not too much well what we can do is control space add the pixel motion blur and you can see what happens basically it adds fake motion blur it just calculates the movement within the scene but there's some samples here that can be seen and that can be easily fixed by increasing the shutter sample so we'll do like 15 we could maybe even just tone it down a bit to i don't know shutter angle of a hundred so before after before after of course there's also the third party paid option which is real smart motion blur and compared to this it is a bit faster and it is a bit more precise so if you happen to have that then definitely use that instead of this one alright so as far as the entire process goes i think we've pretty much covered every step next up we're going to go ahead and take a look at the other hologram designs except we're not going to be recreating those from scratch since that would take way too long rather we're going to go through all of the different types of techniques and effects that were used to create those elements and also touch upon some animation parts for some specific elements just to see how the animation was set up think of it as sort of a commentary walkthrough if you followed along until now you're probably going to be able to understand everything else from this point on but if there is something that you don't quite understand then feel free to ask any questions down below in the comment section and i'll do my best to help you guys out all right let's now move on okay so now we're back at the original main comp and as you can see down here i have all the same compositions as we had before now apart from these we also have a few other versions so let's go ahead and take a look at a few of these so we'll shut off the hologram watch and we'll select the hologram map and turn them both on and remember this is the main layer and then this is the array layer and if you take a look up here we basically got the same effect supplied same thing goes here so let's go ahead and go inside of the hologram map pre-comp so double-click and now we're right inside so let's take a look at how we set these elements up we're on custom view one so if we hit c to bring up the camera tool we can orbit around freely hit h to bring up the pan tool so you can move around and then zoom in and out with the scroll wheel and now let's start off with these sort of stripes that represent an island we'll go down here scroll down we've got island one two three four five and if you take a look at the effects you basically got a stroke a roughened edges effect turbulent displace and then the fill effect which controls the color and just as before i actually link these fill effects to the global null controller so i can control the colors back in the main comp now if we just solo this out and then turn on the mask visibility you can see that i just drew a simple mask that sort of represents an island and if we hide the mask right now we can tweak the brush size for example and the stroke effect basically just makes it so that you have a stroke going along your masks and you can choose that up here at the path or if you have multiple masks you can switch between them or even use all masks so if we check all masks go over to the mask properties here so we click m and say we duplicate this ctrl d and then we can just select one of them and just rotate it like so and say we didn't have all masks checked well we can increase the brush size and by the way right now it's the opacity is very low so if we hit t we can bring that up or we can control z and just increase the exposure right here this is just for the view by the way so if you hover over you can see that it says effects view only so this won't do anything to your render but it is quite useful to just crank that up whenever you have elements in your shot that are very low in opacity but you don't want to go through the hassle of just adjusting the opacity values just so you can see them there you go now we have a stroke going along only our first mask we can switch to mask number two or we could say all masks now let's go ahead and go back to where we started so we'll go ctrl z a few times now let's look at a few more options here so we got brush hardness which is pretty self-explanatory same with opacity then you got the start and end value and if we hide the mass visibility one more time if we increase or decrease these you can see what happens it's pretty much the same as the trim paths effect so you can animate the end value or the start value depending on which way you want it to come in then you have the spacing and if this goes all the way up to 100 you can see that there's pretty much a lot of spacing going on so you get these dots but we can bring that down to zero percent since we don't want any of that spacing next up we have the ruffin edges effect and let's just turn off the turbulent displace and the roughen edges for a second and you'll see the difference basically the roughen edges just roughens things up a bit so if we zoom in here and toggle on and off maybe go to full resolution just to give it a bit of texture and then you have the edge type so depending on what kind of look you're going for so you can switch to cut and maybe increase the border this border value is sort of the intensity value and so if we increase that a lot and then take a look oops that's too much take a look at the difference between cut maybe spiky but then you got a few other options here but we'll just go back to the defaults and then moving down we have the turbulent displays which i added just to give it a bit more turbulence and you can see down here i got some amount and a size displacement type is set to default which is turbulent and i think i play around with the evolution on each of these copies so we don't have the same pattern going on and then also if we solo out the other island layers and go up to the stroke you can see the difference here since not only are they decreasing in opacity so if we select all of these hit t on top of that i also adjusted the brush size so you can see the one at the top has a brush size of 20 then it's 15 13 10 and 7. but that's all there is to the island layers so let's just collapse these unsolo them let's go back to the reset exposure and there's these dots here which are using the cc star burst effect we can't really see it here on our pre-comp but you can use this exposure value one more time to just boost the exposure and there you go you can see them now now if we solo this out we'll take a look at the cc star burst effect and let me just quickly actually go ahead and create a new solid just to show you guys how that works so we'll add the cc star burst and right away let's unsolo that you'll notice that we can't really see anything and that's because the cc starburst effect takes the color from the solid color so we can go over to solid settings switch this over to white first of all we have the scatter value which basically controls how much they are scattered in 3d space if we set this to 0 we're gonna get this pattern since there's no scattering going on next up we have speed which is sort of the velocity and if this is anything over zero it's gonna have some movement to it so let's bring it down to zero and then you have the grid spacing so if we increase that we have bigger dots and then you have the size so you can scale that down to have more distance between these layers and then obviously you can scale up the entire comp or the entire layer to make the dots bigger as a whole so that's the cc starburst effect and what i basically did was to have a copy of the island and use that as a mat so you can see the the shape goes around here the same as the islands we had before then we also had some grids so if we select the top grid here and solo that out and i basically use the grid effect first of all we have the size from and if we change to corner point it's going to use the corner value but if you want to keep everything symmetrical you would switch to width slider so now you have perfect squares and then you can control that with the width size you can see that i also animated that so if you double click the squares are a bit smaller and then as they come into place they get a bit larger so you know we can demonstrate that even more by doing this you see how those scale down then you have the border size or the thickness then you have the option to invert the grid on top of that you also have an option to feather the lines so either horizontal lines or vertical lines then let's take a look at the road element so what i did was to go over to the top view and just draw a shape that goes along the grid that we created and i basically did this by using the pen tool and if we click g to bring it up you can click on a point and then instead of just clicking over here you might not really have a straight line well what you can do is hold down shift and this will create a perfect horizontal line and then do a vertical line so you can hold down shift again and that will create a perfect vertical line now of course you wouldn't want a fill effect on this so if you go down here under the shape 2 that was created we can uncheck fill and then play around with the stroke since this one has a dash effect and i just added a trim path effect to animate it to come on then we have these plus icons which are just a couple of lines that cross each other all right let's select the road and we'll delete the other path that we created and we'll collapse that and we'll go over to the custom view one you can also see that we have some text here which is positioned in front of the entire island and now finally let's take a look at how i set up these location icons we'll go over to layer new solid we'll rename this to location set it to 1000 by 1000 and hit ok then we'll solo it out and we'll double click on the ellipse tool to make a perfect circle and then select one of these points and then hold down control and shift to scale it down proportionally we'll move it up a bit and then we'll select the bottom point and we'll move it down and finally we'll just click and hold on the pen tool and we'll switch to the convert vertex tool now if we click on the bottom point that should switch it to a linear point as opposed to having curves and now finally we do also need to have a hole right here in the center so we'll double click on the ellipse tool to once again create an a perfect circle we'll double click on that we'll scale it down we could have even duplicated the original one that we had just to make sure everything is in the right spot but it doesn't matter there seems fine and now finally we can set this to subtract and there you go we have a location icon now of course you would then go over to make this a 3d layer and then position it properly and animate it but that's pretty much it now let's delete this and let's just take a look at the animation values real quick so we'll just make sure nothing is selected and we'll hit u on the keyboard and this will bring up every single keyframe that was animated now if we make some room here you can see what's going on now for most of these elements i only animated the primary effects such as the position rotation and opacity but then there's some effects here that i tweaked as well for example with the grid like i showed you before i animated the width of the grid to be a bit smaller and then as it scales up it becomes larger then with the road we have a trim paths effect which is serving the purpose of revealing the road i also adjusted the size of the starburst effect as you can see here one thing i remember doing is having these plus icons to constantly rotate we can see that if we hit r to bring up the rotation and there's an arrow here because we have set up an expression and if we just solo this out bring back the view here we can go over to top view and you can see it's constantly rotating and we can do that by adding an expression to the respective rotation controller so in this case it's the z rotation and i basically just added the time times 30 value and what this says is basically it's going to spin by 30 degrees every second so if we go over to zero seconds you can see the z rotation is at zero and if we go over to one second it's at 30 degrees all right so that's all there is to the map design let's now take a look at the weapons design alright so right away you can see that there are some similarities between this one and the watch hologram and that's because i did copy the elements over and then just did some modifications to them and on top of that i added these weapon icons together with the arrows which are all animated as if to say the character is swiping through them now one more thing that you might not be able to see right now is that i have a base circle right below the weapon here and we can see that a bit better if we once again increase the exposure since it is very low in opacity but it is visible back in the original comp and if we go over here we can select that this is the circle and then it has a matte right at the center so it's kind of like faded towards the core and then more intense towards the edges we'll go back to the default exposure and we'll take a look at the weapon icons first of all we got the text which is pretty straightforward then we have the arrows on the sides and you can create these arrows by either using a solid or a shape let's just select the rectangle tool make sure nothing is selected and we'll double click then we can go down to the rectangle path right click on it convert to bezier path and we'll hit g to bring up the pen tool we'll select the mask and we'll turn the masks on and we can maybe select one of these points and just delete it and we can center this over by the way you can turn on the title action save and just make sure it is sitting roughly in the middle like so and then you can just maybe scale it down make adjustments turn it into a 3d layer and so on and so forth so let's delete that and take a look at the weapons icon so well you can see down here it says ak-47 mac10 and glock well those are all in their own pre-comp so if we double click on one of them you can see what that looks like and if we right click reveal layer source in project we can see the original image and i got this from google but it will be provided in the project file so don't worry about that just in case you want to use it and if we double click to open this up and turn on the transparency here because it is transparent and all the icons are black and i got a bunch of icons here we got some pistols whatever and i just used three of them and put them all in a single comp just to position them properly and then duplicated this comp and just set the visibility to be on and off for their respective comps as for the animation we can go back here and if we have nothing selected hit u one more time and then hit the tilde key to maximize this view you can take a look at all of these keyframes first of all we have the circles here scaling up and having their stroke width adjusted opacity as well so let's collapse these and then hit the tilde key again maybe make some room so we can see what's going on and at the same time we can talk about the animation we'll even solo all these elements and basically i have everything parented to the glock layer and i animated the position and scale at the start to come up and scale up and since the text is parented to it it's going to follow along and then you can see here there's this position shift which goes from left to right and the mac 10 is also parented to it together with the text so it just moves along and i also animated the opacity to go to zero percent for the glock and then come up to 100 for the mac 10 and then it continues and it does the same thing also the arrows i just animated the scale i set the anchor point to be at the left side here so when it scales up it scales up from that point and just to make it look like the arrow is being pressed now on top of all these elements i also added a matte layer and just masked it around around this area so it doesn't go off into the distance so you can see what happens if we uncheck the alpha matte when this moves over and also just turn the opacity up to 100 it just comes in out of nowhere but that's all there was to the weapon design now let's finally take a look at the globe hologram now for the globe hologram it did turn out to be a bit more complex compared to the other ones mainly due to the fact that i used the cc sphere effect which is a 2d effect but we had to come up with a solution to make it seem as if it was indeed 3d now normally i wouldn't go through this hassle i would probably just use a 3d software for any 3d models or i would even use element 3d for example but we have to keep in mind that not everybody has access to a 3d software or paid plugins for example so we had to come up with a solution now let's quickly take a look at how that was set up as far as the effects go they are pretty much all the same let's just first take a look at the pre comp itself and then we'll come back and see how we set up the cc sphere effect so we'll double click on the globe here and then we can uncheck the transparency let's just start off by toggling the visibility for all of these increase the exposure so we can see the dots and if we select this you can see i just used the same effect as before this is the star burst effect on top of that we have a grid which is also using the earth texture as a matte and the earth texture is this one and we'll solo that out just so we can take a look at it real quick and if we reveal in project double click on it you can see this is the original texture and again i'm going to include this in the project files but i just got this off of google somewhere and then if we go back i did add some effects here so if we go to the effects controls first of all this was not transparent so it was black and white let's just turn these off and turn off the luma key effect you can see that the white is not transparent so what i had to do is use the luma key effect so we're left off with only the black parts on top of that i added the cc ball action effect and what this effect does is basically just turns any texture you have into this pattern of dots and you can play around with these settings and i just tweaked these two values so you got the grid spacing and you got the ball size it's pretty similar to the starburst effect and then finally i just added a fill effect to make that pure white now for the earth matte i used all the same effects except i did not use the cc ball action effect because if we do that and unsolo everything turn this to black you can see what happens basically we're also matting those dots and that gives us a very ugly looking effect so we're gonna have to turn that off and if we turn the earth back on you can also see what happens with the simple choker effect so select the earth matte and this is without the simple choker and then if we choke it around the edges we just give it a bit more room to breathe here and then finally let me just reset this i just added a top and bottom fill which is pure white just added a few masks here to fill the grid so we get that top and bottom so you can see that's this spot and then finally i added an adjustment layer with a linear wipe effect which basically just wipes everything from the bottom up and you can see i also animated the anchor point value here to make it seem like it's also spinning constantly and then one more value i think i animated was the thickness of the grid here so you can see that at the start now let's go back to the main comp and take a look at the cc sphere effect so that's right here we can actually solo out the globe layer here so first of all in order to set up the globe to actually act as if it is indeed a 3d layer what we had to do was to first off turn it into a 3d layer then we would right click transform auto orient and then make sure it's oriented towards camera and then we're going to add some expressions to the x y and z rotation values and the way we can do that is by alt clicking on these and you can see they are already red so the expression has already been added well let's all click and uncheck all of those and we'll go back to default and now let's go ahead and double click on the rotation x and this will reveal them all in the timeline so let's get started with the rotation x we'll alt click and type in look at then we'll type in this comp dot active camera dot position comma position then we'll move forward to the right and we'll open square brackets and type in zero and then let go then we'll copy this entire expression so we'll select it all ctrl c to copy do the same thing for the rotation y we'll just paste it just make sure you change this value to one and then the same thing for rotation z and just make sure you change this value to two and now it's gonna follow along now what happens if we say want to adjust the rotation of this since now it's linked up to the position of the camera and we can't really animate it well the way we can fix this is very similar to how we set up the 2d track nulls with the 3d track notes before so what we can do is add these slider controls up here which is the x y and z rotation and what we have to do is just go over here click space type in plus and then just pick whip this to the x rotation and then do the same thing here plus pick whip it to the y rotation and then same thing again and then on top of that we're adding all of these values so if we increase this you can see how we can actually spin it around all right next up let's take a look at a few options that the cc sphere effect provides so first off we got the radius which basically controls the scale of this whole thing then we have a render mode and currently set to full so we can see both sides of the globe and then moving down we got the light and shading menus which i basically set it to zero just because i didn't want to have any shading apart from the globe itself i also duplicated it and created a separate comp which has a simple white solid with a couple of masks here that feather the top side and then use that as a texture for the cc sphere effect which allowed me to create this sort of energy shield around the globe and i basically made it slightly a bit bigger and i set the render mode to outside only because if we set it to full we can see both sides and then it gets too intense so i don't really want that we'll go back to outside and i believe i also adjusted the opacity here and as for the animation i simply animated it to reveal from the bottom up so you can see if we scrub through time here it just kind of reveals from the bottom and we can see that a bit better right over here so you can see how the masks are just being revealed from the bottom up well all right guys that's pretty much it as far as the tutorial goes i tried to cover pretty much every step in as much detail as possible but hopefully you don't mind me speeding things up in certain areas just because we have to keep in mind the length of the tutorial as well but again if you happen to have any questions then just leave them down below in the comment section and i'll do my best to answer them with all that said let's now move on to the outro of this video alright guys thanks for watching and being patient all the way through weekend visual effects is a series we plan on continuing every weekend or at least every other weekend so if you have any visual effects tutorial suggestions then feel free to leave a comment down below also if you'd like to see more videos like these then consider subscribing and hitting that bell button to be notified whenever a new video comes out thank you once again for watching and i'll see you next time [Music] you

Channel: Broken

Views: 1,020

Rating: 4.9370079 out of 5

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Id: J7gnZBCHGB0

Length: 106min 30sec (6390 seconds)

Published: Sun Oct 03 2021