Cheap Tricks | Wakanda Form-Ever (Black Panther End Titles Tutorial)

[Music] everyone I'm Hoshi and this is cheap Trick's [Music] since the dawn of film there have been some really cool paddle sequences I love these opening and closing bookends because they really showcase some visual creativity the artists who put them together off and have a little bit more freedom to experiment with new techniques older film titles showed off the forefront of film compositing and animation techniques with a lot of practical elements mixed in and naturally as we move forward in time we see more digital techniques being explored by some of these really amazing filmmakers a little while ago I got to see Marvel's Black Panther and sort of a lot of other people like a lot a lot of other people that means that a lot of people got to see it's awesome intro sequence and also this amazing end credits sequence set to a song that I can't possibly afford to license for this but it all centers around watt Condon vibranium sand this month I'm going to show you how to pull off the look of some of these vibranium sand sculptures first we're gonna take a crack at it using no third party plugins at all and then we're gonna really dive in and try to pull it off using trap codes form will also try to riff on some of these new skills along the way to create something different if possible now we're covering a lot of ground but you can always use the table of contents below to quickly navigate any of these cheap Trick's episodes before we begin a little bit of research on Wakanda technology is in order now what Conda is really secretive and really difficult to get a hold of but I've got something even better Jeremy Lasky co-founder and partner perception I'm dating in salvo founder and after sex I'm Java for I'm the chief creative director I'm rusty OTA I'm the art director your deception perception is a new york-based design firm that specializes in future tech eight UDS and GUIs and OMGs since 2009 their partnership with Marvel Studios has made their visuals some of the most iconic and memorable of lastic I asked them how they first came to work with Marvel Studios well it wasn't uh wasn't overnight I can tell you that you know it was a dream client that that we both had wanted to work with and for from the very beginning when we start a perception and there was no silver bullet it really just took persistence and tenacity well something you should know is that Jeremy's from Brooklyn uh from Queens so that never-say-die attitude New York they saw the passion and they saw the I think the the knowledge that we had for the characters as well we're always really eager to you know stretch our legs and try some new things and we're we're really fortunate because when we work with Marvel they take technology and the way it's representative news films really seriously working on Black Panther it was a really unique opportunity to think about technology from the perspective of a culture that's never seen healthy obi-wan Kenobi right and then remembers it was so far in the past that obi-wan Kenobi was was even a thought yet one of the things that that we really thought a lot about was was something very physical something very tactile something that felt like you know like you could pick it up and touch it and manipulate it sand or clay or water or any of any of these you know very physical things that you have readily available to you and then of course fueling that with you know with vibranium but if I brain iam just makes everything better it does well Conda is so much about this material this element vibranium which is this metallic particular substance that we were able to use to generate these Holograms and then of course to generate the main on n tidal sequence so it all flows together from from the same DNA of the film it's an infinitely malleable substance that you can use for for anything and and you can create any potential interface out of that the main on end title sequence was literally the last thing we did in what was a 18-month process working on the film but concept of vibranium sand being actuated by ultrasonic sound waves and whatnot you know in sound waves because vibranium right that all came from literally our very first discussion or our very first presentation that we had to director Ryan Coogler and the rest of the Marvel Studios executive team it's been an honor and a real privilege for us to want to be part of that inner circle I figured if we're gonna try to pull off a version of their amazing work using form and particularly I should ask if they've ever used the tools we did some stuff in our very first sort of proof-of-concept tests you know sand simulations using form yeah it's a lovely tool we'll look forward to seeing when you come up with I had an amazing time talking to these artists from perception they've got a really great story and if you'd like to learn more you should definitely check out their channel and enjoy some of their epic breakdowns and behind the scenes material but for now let's dive into the sand now my whole goal with this series is not to just teach you guys one specific defect each month I really want you to gain a skill set in our time together and hopefully give you the confidence to try out something you've never tried before now last time a few of you said that I moved a little bit too quickly so I'm gonna try to just breathe a little without making this seven hours long if you guys have any questions please ask them below I try to keep tabs on the comments also you can ask me on Twitter and I'll probably get you an answer to your question pretty quickly in any case let me be a resource to you and if you see a question you know the answer to your resource to others let's help each other out speaking of which whenever possible I'm gonna try to share a whole bunch of files and templates with you just to get you started like this one for wakandan text it's a simple template for translating credits from a condon to Roman characters the nifty part is all you have to do is change the comp team title - and the cop will do its thing please check out the links below for that and samples of everything else I'm going to be talking about today oh and did I not mention that this is all Adobe After Effects last time I'm using Adobe After Effects it says at the top of the screen for like 90 percent of all right let's take a minute to think about what sand is like it's coarse rough and irritating and it gets everywhere how about a checklist instead the key features of these shots seem to be a colorful background gradient an awesome looking figure or landscape a surface that looks like sand its surface is speckled with particles there are a little glint scattered throughout it has clear direction of lighting and perhaps a nice rim light the movement and a lot of these shots comes from the camera and lastly we've got some really cool extras going on as well vibrations and sound input imperfections scattering wind effects all these coming together can probably produce some really pretty images and just going back to Indiana Jones for a second does Belloc shout out Wakanda to the natives alright first up let's see how far we can get just using After Effects procedurally organization is really important for procedural effects so let's create three comps right at the beginning I'm going to do HD 24 frames per second make sure I have enough time to play with let's call this first one a one source and then let's make two more and we'll call them Oh to sand if I and O three result we can start in comp o three now looking at that checklist from before let's create some sand sculptures all right colorful backgrounds no problem let's create a new solid make sure it's the comp size and let's call it BG that's industry lingo for Barry Gibbs now I used to use linear and radial ramps a lot but recently the four color gradient has been my jam I once thought like who would ever use that but turns out that I would it's just a little more interesting than a straight-up ramp and it can look really nice if you keep everything in a more simple color palette dial up the blend and the jitter now these exact colors don't really matter because it's something we're gonna do later when we're happy and here let's pop over to our comp one source in here we need something with good cinematic lighting I'll temp up a sphere using a gray solid and Cece sphere for now in here I can set the radius adjust the lighting settings and even play a little bit with the surface options for how the light is taken up by this sphere then I'm gonna add an effect called CC light sweep this is a total cheese ball effect to add little glint to titles or logos but I use it because it can help simulate a really controlled rim light I turned down the sweep intensity and turn up the edge intensity and width it's a 2d effect but I'm gonna make a lot of use of it today alright great now let's place our comp 1 into comp 2 here we're gonna convert this ball but something that looks more like sand first up let's add some rough and edges the key here is to have the scale really low the sharpness a little bit higher and the edge with not too thick at least for now now one problem with an effect like rough and edges is that if your layer touches the edge of the screen like this the edge of your screen is getting eroded too there are many effects like glows and blurs that have this edge problem and since many of them don't feature a repeat edge pixels option here's a great fix see see repet I'll apply an instance of this with a few hundred pixels set to unfold or slide and place it above the problem effect in your effect stack and voila no more edge woes all right it's gonna recenter everything and then back to comp 2 let's create a solid and place it under our source layer I'll rename the solid texture add the fractal noise effect to it set the fractal type to terrain crank up the contrast to 150 and the scale down to 1 now turn off this layer we don't need to see it add a second copy of the source layer on top of everything and add our good old friend from 1990 to texturize so this'll emboss a texture onto our ball so as the texture layer select the texture solid and make sure effects and masks is selected change the light direction to match the general direction of your source image and then adjust the contrast level to somewhere near 0.5 now add the effect cc ball action to the layer set scatter at 1 grid spacing to 0 and now we're looking kind of sandy so let's add in those glimpse alright so duplicate this layer and you can go ahead and delete the texturize effect turn the grid spacing and ball size to eight and turn the scatter to around 20 add Auto contrast which will punch up the values nicely and then down here in the layer stack change the blending mode to screen you might need to click on this button first or press f4 to toggle between switches and modes so select screen and then come down here and enable the track mat that'll eliminate any of the particles outside of your original alpha so these glints are neat and they really help complete that sand look let's add some glow to them set the threshold high like 90 percent and the glow radius to 5 and up the intensity a bit looking good now on top of everything let's add an adjustment layer and then throw in another instance of CC light sweet I'll change the width to much higher turn the sweep intensity all the way down but the edge intensity at around 40 and maximize the edge thickness I can position an angle this trim until it's padding the desired effect alright let's throw this Santa fide comp into my oh three result comp and man do we need some better integration let's add an adjustment layer and add CC toner for the mid-tone I'm gonna choose a blue color for now but remember how I said the BG colors didn't really matter earlier here's why this top-level toner effect allows you to set whatever color palette you'd like in here alright now let's add some glow I'll turn the dial up to around 90% again and then turn the radius up to 25 and the intensity to about 0.5 then let's duplicate that glow and turn the radius up to like 250 and intensity a little bit higher where it looks like the object just kind of has some nice fog or light wrap around it we're getting pretty nice now so controlled blurriness would really punch this thing up create a solid called blur ramp let's add a gradient ramp a radial one then add a curves adjustment pulling it down and so the fall-off is a little bit more distinct you got a big black area and some white fringe on the edge back in my gradient ramp I'm gonna turn up the ramp scatter now let's hide this layer back in our top adjustment layer add compound blur select the blur ramp as the blur layer and enable effects and masks now you should see this really cool blur up here you can adjust this value to really whatever you want and because the blur is controlled by the blur ramp layer at any time you want you can dive down into this layer and adjust the points of this ramp to really control the blur as a last little touch I always like to add a noise effect at like 3 percent to give everything a little bit of grit let's import a copy of that after effects file double condom text 1 and then we can drag it right in here pretty cool I can even redo the text just by renaming the comp I just need to make sure I have a dash between the title and the name now if I want I can turn a couple of these layers 3d separate them a little bit and add a 3d camera with a couple of keyframes just kind of moving forward and to the side adding a little bit of parallax to this thing that makes it a little bit more interesting but it also makes it really apparent that the ball is pretty much just a static image of a sandy ball one thing that would add a little bit of life to this is to jump back into the sand if I calm and on the very top layer you can add in a fractal noise move it to the top of the effects stack then if you up the contrast and kind of lower the brightness and set the blending mode to overlay what you'll basically get is a fractal noise pattern blocking out some of those high light glint parts of the ball if I alt click on the evolution I can add an expression like timing times 150 and now when I press play you'll see that as that fractal cycles it's basically highlighting different glints of different times pretty automatically you can also alt click and add the same expression to the instability state of CC ball action on layer 3 and even to the evolution of the rough and edges effect on layer 4 and now if I play back I get just a little bit of boiling surface to this thing which makes it a little bit more alive you can see that now when we have a camera moving around it feels a little bit more like a natural ball of sand than just picking up a few different highlight points now I really don't want to get too far into the weeds on this particular project but if you were so inclined within the sanded comp you could animate all sorts of properties like the scatter on CC ball action on this bottom layer you could add the CC scatter eyes and add some scatter to these particles some of these effects even have things like twisting and rotation where you could move these particles around and get some kind of cool effects if you keyframe them just right over time and they'll propagate right into your result comm but basically if you wanted to you could simulate a bunch of different types of dispersed effects in here please feel free to play with that on your own figure out some cool stuff alright now here comes the fun part of working with a procedural comp you can throw literally anything into this source comp and check this out BAM over here in the result we have a SAN defied version of what's in the source layer and when you're searching for images for this you definitely want to find one with a nice high contrast and some side lighting that really shows off the dimension of whatever you have you can always adjust the curves until they look really cool in the final sand comp and one other thing that I found useful was in a Santa Fe comp to go to the top and ball action layer that's creating your glints and you can adjust the spacing and scale of these glints depending on the scale of your image now again because this comp is image based and procedural you can throw in anything you want and check out this you can get this really beautiful Santa fide look on top of any nice high contrast picture that you have now the cameras supposed to do a lot of the talking in these cases and because this is image based these guys are all flat if I move the camera around it's really apparent it's just a flat card now one method to try to get around this would be to import an image sequence or something that's already animated for instance this beautiful CG cat on a turntable once I get the curves right on that you can see that as I play through every frame looks really cool it looks like the Santa Fayed version of that CG cat but there is one drawback when we get up close we can really see that the glints aren't really a part of the surface of that image they don't really track with it even though this cat is rotating a lot of the sandy surface is sort of staying behind and it's moving through it and that's just a limitation of this method 100% after-effects of creating this kind of an image but never fear it's time to pull out the big guns that's right wrap code four now we have a lot of great things already going for us in this template a colorful background some nice glows animated text and that custom blur rig so let's keep some of this stuff around but now we can create a true 3d particle array I'll add a solid call it form and then we'll add the effect form let's click on forms designer in here we have a real-time preview of our object and camera controls just like in the comp window it's even animating as well but for now I'll just pause it click on the base form block then up in the corner here we'll switch from the box grid to the obj model I can click on the choose obj button and select from one of forms included shapes I'm gonna go with the array dodecahedron because I mean how often you get a set dodecahedron for work purposes now what we see looks like a wireframe but if we move the camera in we can see that it's actually thousands of particles aligned along the edges of this 3d shape now there are multiple ways you can arrange the particles on or in your 3d model for this instance I want volume you can see that this fills the shape up with particles so let's click on particle type I'm gonna stick with sphere particles but turn down the particle feather click on the size block and now we can set our particle size to 1 and we'll turn up the randomness to around 30 you can see that the objects become a little bit transparent so we're gonna jump back to the base form block scroll down to the obj settings and increase the particle density to about 125 now it's important to not go crazy with your particle count as this will slow down the process and it really will have diminishing returns at a certain point for the color I'll select a kind of dark gray now let's move on to shading if I click on the word or move up here two blocks I can see some presets for any of the properties I'm adjusting I'll start with the heavy shadow let's and right away you can see something kind of cools happened now shadow lights aren't exactly real shading it's more like directional self shadowing of each particle in depth order creating a really great illusion actually will play more with it in a moment next up I can add a dispersed block by clicking here I'll just set it to one right now and that adds a little bit of roughness to the shape one feature of the sand that we played with earlier was those little glints kind of spread throughout the body of the object now playing around I discovered a whole bunch of ways to create these my favorite way was utilizing one of forms and newest features multiple instances just like with particular you can create multiple instances of form that all share the same 3d space and can inherit properties from one another down here I select the pulldown under the master form and say duplicate and now there's this whole new row of blocks with all the same settings as before since I want this one to represent the bright sporadic glints I'll change the particle color to white then in the first block I'll go to the obj settings and change the mode to faces and I'll turn that density down until it looks like just a few scattered particles as for the shadow lights I can go ahead and change their color to white then I could crank up their opacity turn down their size and pull the distance all the way to zero this will all help these glints pop even if they're in the darker areas of the object lastly as a bit of housekeeping I'm going to go ahead and click on the delete block for all of these blocks that I'm not using over here that way if I decide to animate them later all of these properties will be inherited from the master form now let's go ahead and click apply and return to our comp now a quick note in case you're new to form in the effects window we can manually adjust all of the settings that we've just determined with the designer from here we can set up any key frames or animation we want and do all of our fine-tuning I want to draw your attention to the very top tab called show forms this little area shows which of the multiple forms we're adjusting and you can see that the properties and controls below change depending on what you have selected so just be aware of this as you start making adjustments now back to our comp so we can really see what's going on I'm going to disable my top adjustment layer with the glows etc at first glance it seems darker than in the preview window and that's because we haven't set up lights in our comp yet I'll start by creating a spotlight but I'm going to call it shadow and cool huh as I move this around it looks like the light is affecting these particles by naming this light shadow what it's really doing right now is affecting the direction and intensity of the shadow lights and I'll be honest the illusion is pretty fantastic you can get really far with just using shadow lights if you want the light to really be affecting these particles we can do that too let's select our form layer go to the effect controls window and make sure that master form is enabled down below we can see forms shading tab let's twirl that open and see what options we have if I look at the top of the shading controls and switch it to shading on now the light is affecting the particles your first thought is probably that this looks very dark you instinctively want to go crank up the light like crazy and that works but you could also take a peek at the shading settings in form form favors a more realistic lighting fall-off this nominal distance affects the fall-off of the light based on distance from the light diffuse affects how the light is really getting propagated through the shape at large you can also add an ambient light to the scene and dial up how much the ambient light brings up the particle color now just below here and the effect controls are the shadow let settings you can see that there are a handful of dials that influence how the light affects the shadow that look the color strength and opacity are pretty straightforward adjusting the size of the shadow lit can affect how wide each particle shadow is spread out and the distance is similar to turning up the distance on a drop shadow effect moving your shadow farther away from the actual particle depending on your 3d model the size of everything where your camera is all of these settings need to be played with each time until they create the look you're going for I'll be making a bunch of tiny adjustments as I go along to try to achieve that sandy effect take it from me when you work with children or animals and particle simulations you really just got to keep course-correcting depending on what they give you when I turn my adjustment layer back on I really don't like what's happening with the glows anymore so I'm just gonna kill them and start over on them because the shape is so skinny the background is actually really blowing out and covering up the whole shape so I'm gonna fix a little bit of that by selecting the a B colors option in the glow this is something you can totally play with yourself and figure out the setting that's right for you now remember that CC light sweep effect we are playing with a while back well it turns out it could really aid us in adding rim lights to this form object just like before I can dial down the sweep intensity dial up the sweep width and play with the rim settings just keep in mind that it's a 2d effect as you move your camera around but if you really finessed this and take some time you can probably end up with a really nice pop to some of the edges of this object I can easily add some keyframes to the rotation of this form object over time and get a kind of cool look all this stuff can look really cool and volumetric especially if you want to throw in some extra lighting effect like trap code shine to put some light beams through it or something I'll be playing around with that here and there later but this first example it really goes over almost everything that I'm doing in any of these examples to create these sand sculptures so now I'm going to do a really super basic overview of a handful of things you could do with an object like this once you had it there are many examples within the Black Panther credits where basically they're applying a layer map straight through a 3d object to create cool patterns on top of 3d objects or flat objects so I can clearly show off how these layer maps work I'm going to switch over to a layered sphere I only need one layer and a bunch of particles just like before I've tweaked all of the settings to make sure that this ball looks like a sandy surface and now I'm gonna play with applying those layer maps to it and with form this is as easy as creating a pre-cum that has a really cool alpha pattern you like bring that into your composition and then select it as a layer map for color and alpha and between these options get a really cool effect remember since you're using a pre comp you can animate that pattern to change over time or update it as you change your mind as to the look of your object lair maps could also be a really easy way to generate a cool background pattern made of particles as I said before the alpha channel of the lair map controls where particles appear if I throw in a simple image like this I can get an array of particles like this whether you're using a layer map to propagate through a 3d object or using it on a flat object to create the shape itself you already know how to create a comp like this so why not let that power an amazing particle engine on the other side let's take a look at that flat pattern from before now say I had a cool music track that I was using in a project I could import that music track jump down to the audio react controls with inform select that audio layer I could use the amplitude of that audio to drive any of these properties you can create five different reactors that respond to different properties of the sound and create all sorts of amazing things there's some motion graphic artists that have created some astonishing things making use of all of these properties together if we step back for a second and just scroll through here you can see just how many ways you can control this array of particles it's amazing and in the interest of time there's no way I could possibly cover all of these amazing features in fact I tried once and and it killed me I I died I'm dead now you can have my CDs I find that playing around and experimenting with all of these different settings on my own is the best way to really learn but if you're curious about any of the stuff at any real detail Harry Frank and Chad Perkins have got your back check out their amazing in-depth looks into all of the features of trapcode form the possibilities are really endless but right now I'm gonna focus on trying to get my own custom obj models into form try to recreate the specific looks of some of those black panther shots now there are many online resources for downloading obj models some of them are free and some of them you can purchase many of the cool shots in the Black Panther may not end credits involve human characters sometimes human characters who are moving and then freeze into an action pose and while it might seem like animated characters could be a difficult resource to come by if you have an Adobe account you can download a free copy of Adobe fuse beta Edition this is a really user friendly program for assembling your own custom 3d character I'm gonna click on a bunch of different body parts and assemble a character for myself next I'm gonna export that model to mix mo mix mo is Adobe's collection of motion capture files and once I've uploaded my model to this website I can super easily apply a whole library of different motion capture data to this model that I got for free as soon as I find a cool animation that I like I can export that data right back to my computer it comes in as an animated FBX file but trapcode form wants an obj sequence that's basically a whole bunch of different object files that incrementally move to create the animation if you download a free copy of blender you can import your FBX model it comes in with the animation and you can export an obj sequence directly from this program if you want you could pick any specific pose for a still frame or a still obj that you want to import you could import just a head which I do in this one case you could go all out and save a full obj sequence I tried it with this man punching to utilize an obj sequence as your source for foreign particles simply go to import find your folder with the obj models and make sure After Effects is importing it as a sequence for use with particular and form and now we can tell form to use the obj sequence as its source for all the particles amazing right obviously I had to play a lot with my particle count the lighting positions and adding a few extra effects the specifics of all these will really depend on your model and how you place it but honestly these kind of results are phenomenal so a super quick recap of getting animated characters into form for free download Adobe fuse and create a character send it to mix ammo download it to your computer in blender export an obj sequence from your FBX file import those files into after-effects and now we can tell form to use the obj sequence as its source for all the particles this really is just an amazingly fast way to get some cool geometry into your VFX shot let's focus on another shot and tried mimicking I use the same pipeline as before shopping through mix a moment ill I could find a pose for a character that I really liked I knew this character is gonna be still so I really just wanted a nice prone pose just like before I exported the FBX to blender and then exported an obj from there I just wanted the one still frame so that's all I used in this cop with inform I was able to choose an obj by selecting the specific 3d model I'd just exported I up the particle count played with the settings just like before until I was getting that sand filled in look to create this motion background I use one of my favorite plugins fractal noise under fractal noise you can choose to create blocky particles and once you've done that you can play around to modify the shape and size of these blocks I also added in some slanting and some keyframes to the motion of this fractal so it doesn't look like you was whipping by I played with the camera and rotation of the character to create a kind of a dynamic look similar to the one in the movie I also knew that this was a confrontation so I ended up duplicating the model with inform once I had my second copy of the character I used the transform tools to rotate and position him a little bit farther back like a little showdown to refine the look of the lighting on the characters I used CC light sweep again just like I had before on these other instances in the original credits there are these graphic lines that kind of swipe between them I used the Box strings setting and down the down until it was just one laser bolt by using glow spheres for these particles and turning their brightness all the way up they combined really well with the comps glow settings to create these nice light swipes I decided to pre render my form layer just so I could work really quickly for the second part here I wanted to try to add some dusty particles blowing by for atmosphere and also make it look like some sand was blowing off of key spots of the character in the background to do this all I turn to trapcode particular once within particular I created one large system to blow particles across the screen I use these smoky particles and turned up their size and down the opacity just to give some atmospheric dust blowing by then I ran multiple other instances of particular from a small emitter emitting small particles of sand coming off areas like the shoulder or the hip and down toward the feet I topped these all off with universe camera shake adding a little bit of frenetic bumpiness to this shot and then I threw in a nice camera blur at the very end to let my text pop and here's the final result overall this took about an hour 20 the way back in the hundred-percent After Effects version of this effect one of the cool things I thought about the procedural approach was that you could use a photograph as the source and you'd get that really cool sand look one of the very last things I'm going to show you how to do is this really cool approach to photographic elements with inform if you've worked much with 3d software or renders you're probably familiar with depth rendering that's basically a form of an image where anything that is brighter is technically farther forward these can be used for compositing elements into a 3d scene and they're also used heavily when converting 2d movies into 3d movies I'm going to use this amazing image of Sheree as an example within Photoshop I painted a fake depth map on top of this photograph really just guessing which parts of the image stick farther forward and which take farther back a little call back to that wrinkle and time episode you could use this depth map as a displacement map to the original image and check this out now just like I said before this is one of the main components to converting 2d movies into 3d movies and in that same vein we're gonna convert this 2d image into a 3d particle array using form I now have two images that are the same dimension one is the color photograph and the other is that depth map I can place those two elements down here on the scene and disable them for now within a new instance of form I'm going to create a big sheet of particles using the Box array now down under my layer maps under color and alpha I can select the image layer select RGB alpha to RGB alpha and have that map over X Y and check it out zooming all the way in we can see that all of these particles are taking their color and their alpha from the original image I'm going to go ahead and dial up the particle count until we get something that basically is a representation of that photo all made of particles if I go down and dial up the dispersed effect you can see that these are really particles all interacting in 3d space they're fixed and I can move a camera around them and do some cool stuff but what about that depth map let me show you something amazing you can do with it just below color in alpha in the layer map section there's a displacement tab if I tell form to use individual XYZ displacements for the Z displacement I can choose my depth map just like with the image I map it over X Y whoops looks like it's got to be inverted but watch as I turn up and down the strength now I was just guessing when I drew my depth map so some things are a little bit off in fact I can jump back into Photoshop or in After Effects and try to play with my depth map a little bit and try to get that a little bit more refined a better approach might have just been blurring the whole thing but in any case I can now use the strength of that displacement map to effectively extrude those particles until they're kind of representing the depth of the original object we can combine this with all of our knowledge of what we can do inform with all the different particles including importing a music file and perhaps linking up the displacement to the beat of this music maybe we'll add a little delay so it starts the bottom and works up through the top we could go back to that original setup and combine her with a colorful background and the blur maps and stuff like that to give this a really cool look and heck if you invest a little more time than the ten minutes that I did you can get some really detailed amazing results very very last thing I want to go over with you and this is really important to me is that you take this amazing software and run with it now you know how to import a 3d object and have this really cool array of particles so why not try that with some different types of particles like spheres or cubes in fact form and particular come with some really amazing sprites and just browsing through them might open your eyes to something you've never thought of before you could create a cat out of bubbles or a cat out of leaves you could create a really cool graphic look out of giant particles some of the sprites are even animated like this one for fire you could make a whole object out of fire you could you can make a dodecahedron out of fire then you could mix that with some stock footage or do something just just really there's there's so many things you can do don't stop at just making sandy looking things play with form to create some really unique 3d objects I promise just playing around with it for half a day we'll get you some results that you would never even imagined beforehand oh there's a lot of stuff but uh once I get going I just really can't just thank you so much for hanging out with me and learning all about sand as we make our way through these tutorials I really hope that you guys come out the other side and some skills you never had before because remember that mimicking these effects is a great learning experience but don't stop there I believe that you can do great things and it never hurts to have a few cheap tricks up your sleeve man I really enjoyed Black Panther I think things are really looking up for that whole Marvel gang oh yeah oh yeah maybe we should cover infinity war next time

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Keywords: Red giant, visual effects, vfx, motion graphics, filmmaking, color correction, compositing, tutorial, gaming, after effects, adobe, premiere pro, final cut pro, trapcode, magic bullet, universe, pluraleyes, particular, mir, movies, video, training, how to, diy, maker, iron man, ilm, vlog, blogger, content, youtube, creator, vlogger, vlogging, action movie kid, black panther, marvel, avengers, perception studios

Id: LOLw7eL0_po

Length: 44min 33sec (2673 seconds)

Published: Wed Jun 06 2018