Datamosh 2 for After Effects - Mosh Maps Tutorial

[Music] what's up this is Danny from plug and play and today we're going to be going over the datamosh II mosh map markers this is a way to add much more finesse and control over your data mashes we do this by rendering out a separate footage file and looking at the black and white values of that file in order to determine which sections of your datamosh are being moshed imagine rotoscoping out certain sections of footage and only mashing over those certain sections or using a depth map to create an artificial sense of depth in your scene and using those black and white values to control the mashing of your datamosh really cool stuff we're going to cover all of it and more in this tutorial so stay tuned all right so we're inside of After Effects here and let's start going over the basic mechanics of how these mosh map markers work so as you can see inside of the scene I have this footage layer of some Drone footage of a parking lot and I sped it up a little bit here and then to the right of that I have these two different layers we're going to start out with this gradient layer here to get you guys an idea of how these mosh map markers work so let's go ahead and we're going to add a new mosh marker inside of datamosh 2 and I'm going to make it the length of this underlying footage here great and then let's go ahead and drop down this menu and we're going to toggle on this use map toggle here that is going to create a new map marker inside of our composition and the way that this map marker works is that it signals which part of the composition we want to additionally render and use for the intensity values of our underlying mosh here so let's go ahead I'm going to make this the same length of our original Mash marker here and I'm going to drag it over this additional layer that is just this gradient so now we have this set up let's go ahead and go back to datamosh2 I'm going to change this to be move vertical and let's set this to be negative 100 or so great and now that we have all of this set up I'm going to hit the datamash button so this is going to first render out our original footage that we want to have matched and again that's signaled by that original mosh marker so once we have that first footage rendered out it's going to look at the map marker and it's going to render out the footage that's underneath that map marker then it's going to take it into datamash2 it's going to Prime both clips for being data mushed and once we have those two clips primed it's going to strip out all of the information from every single frame of this map footage that we rendered out and it's going to look at the values of the black and white pixels and it is going to then Mash that first piece of footage that we rendered out according to those values so as you can see datamos 2 is doing the moshing right now so as you can see we just had that imported back into after effects and you can see that we have this kind of gradient mosh intensity going on here and again that's because with values from this underlying map footage that was rendered out the values that are 100 black will have zero percent intensity so that's why you can see on the left side of the composition here we are seeing no motion going on whatsoever and then values that are a hundred percent white will have 100 intensity and that's why we have the most amount of motion going on on the right hand side over here and then in the middle we have this gradient effect of different uh mosh intensity values being assigned to the correlating pixels being mosh so really cool way to get some granular control over what parts of the footage you want to have mashed and this is kind of the essence of what is going on with these map markers so let's go ahead let's try a different example I'm going to go ahead and turn on this grid layer turn it up to 100 percent we'll get rid of this gradient layer and now you can see we have a grid of black uh background and white squares so wherever these white grid squares or grid rectangles are we're going to have 100 mosh intensity so we can go ahead I'm going to use the previous render which means that we won't have to render out this original footage anymore it will just render out this map footage so let's go ahead I'm going to click datamash and let's see what we get dope so we just had that new mosh layer inserted back into our timeline and as you can see throughout this mosh the only parts of the composition that are being moshed are where those white grids appear so we have this really cool grid effect going on inside of our mosh layer and if I go ahead and I take this grid layer and bring it up top bring it over here and let's turn down the transparency a little bit you can see that wherever these squares are that are these rectangles that is where the Mosh is appearing inside of our composition so very cool stuff let's go ahead and jump over to example two so I have this footage of this cool dude holding this led triangle and it looks really nice backing up here and I'm thinking wow it'd be really sweet if we could start data mashing this footage but not where the inside of this triangle appears so let's go ahead and I'll jump over to our map layer here and as you can see I've gone ahead and let's turn off this fill effect real quick I've gone ahead and I've rotoscoped out the triangle from this footage and I've added this white background below it so when I add this fill now when we reference this in our map layer the datamash2 is going to be looking at every single frame and wherever there are black pixels there will be zero percent intensity or zero motion going on and whenever there are white pixels we will see a hundred percent intensity from data Mash appearing so let's go ahead we'll go back to Dana mash2 make a new mosh marker we're going to extend it to the length of our work area and then let's go inside of that mosh module and we will toggle on that use map feature right here and again we're going to extend that map to be as long as our footage is here or our work area and then I'm going to just drag it over to where this rotoscoped black and white footage starts to appear great and let's go inside of our uh preset and we'll go ahead and we'll go to zoom and let's do Zoom sign we'll do negative 80 here great so now that we have everything set up we're going to be rendering out this footage first and then the map layer the data Mash 2 is going to be looking at all of the pixels from every single frame and telling datamash where to mash that original footage that we rendered out so let's go ahead and hit datamosh sweet so after we got that data Mash completed we baked it using datamash2 and then it is automatically inserted back into our timeline and let's see how this looks so if we start playing through you can see that wherever that triangle is in the middle there's no motion going on but everything outside of that triangle is getting this super trippy uh sign Zoom going on and that's again all controlled by this map layer here where we are only moshing where there are white values and whenever there are black values 100 black values we have zero percent intensity which results in this super cool uh effect going on here so that's great really cool stuff that we can do while using rotoscoping and telling datamash2 which parts of the clip we want mosh and which parts we don't want mashed great so let's jump over to our next example here and in this one I have this beautiful woman just playing with her hair in this super cool rainbow light that's coming in across her face and for this effect we're going to use a a plug-in called depth scanner and what depth scanner does is it uses artificial intelligence to look at footage and come up with an artificial depth map of that scene so let's go ahead and go over to our mapped layer here and because this is running on Mac and because it's artificial intelligence it takes a little bit to actually process the renders but as you can see when we just drop this effect onto our original footage layer we get this really cool depth map that's generated using artificial intelligence and rendered inside of After Effects here and this can be great for using this uh map functionality inside of datamash2 because we can then use these Luma values these brightness black and white values to control the moshing inside of our scene so I dropped on this effect here are some of the parameters I've used again I'm keeping it pretty similar to the defaults and then I'm actually inverting it because the original output from depth scanner provides the closest objects to the camera at White values and then the objects further missing as black values so we're just going to invert that so that the closest objects in our scene are not being mashed at all or only being mashed a little bit with this grayscale value going on here and then these further most portions of the scene this white value that we have here where we will have all of the motion going on so if I go over to datamosh2 as you can see I've already set up this uh this scene for the mashes I've got the zoom sign going on I added the map and I added the map section to be over that depth scanner effect and once we have all of this set up I'm going to keep the intensity at 100 and if I render this out which I actually did just before this tutorial you can see that we get this really trippy clean datamosh going on and this is happening where only the background is really being mashed and these closest the closest objects in the scene have that black value so they are therefore not being mosh at all very quick very easy to do we're just dropping this effect onto some footage assigning uh the proper black and white values and we're we are getting this beautiful output and this can be done very quickly and just below this we have have another render that we did and this is where we are having the original output of depth scanner where the closest objects in the scene not being inverted so they are white and as you can see they have the most mosh intensity here so we get this really weird looking uh data Mash here but super fun super cool again possibilities are endless with a workflow like this cool so let's jump over to our next example here second from the last and as you can see in this example I have this footage here of uh some Drone footage of a scene and again I'm going to be using the depth scanner tool on this in order to get an artificially made depth map that I can then use to control the moshing with datamash2 cool so for this project I actually am using two layers of footage here both of which have the depth scanner effect on it but with depth scanner you can do something really cool which is called slicing so again this effect is pretty resource intensive may take a little bit to render especially here on Mac which I just launched used to be Windows Windows only now we have mac capability inside a depth scanner so Bravo good job guys great so on this topmost layer here we have the depth scanner effect using the slicing mode and we are just keyframing between the uh maximum values of zero and one hundred percent here and what that does if I turn on this layer you can see that this tool is slicing through the depth map and it is able to render uh just certain slices of a depth map that it artificially generated so we're taking that depth map that is being sliced here and we are then using an additional depth map to use as a track mat for this slicing that's going on so we have this original depth map that is looking like the one that we generated from example four but we're only showing that for where this slicing is going on once we have this set up and again I already have this set up with data mash2 with our intensity at negative 300 I have the use map set up I have this slicing going on here and as you can see I'm just scrubbing through here and we're just slicing different portions of this depth map and then mapping the original depth map to that mat that's the workflow here but anyways I'm going to go ahead and hit datamash I've actually already done it so we can just pop open the rendered footage here and get an idea of how this effect is going to look once we have it all rendered out in datamash so as you can see we're going through the the um the slicing of Def scanner and we are going to be only moshing for when that slicing comes on so we get this really cool effect that adds this artificial depth to our mosh here and we are also applying the depth map RGB or Luma values to the intensity of that mosh so we get this really cool slicing datamash effect here where objects that are further in the scene have a lower intensity than the values closer to the scene which gets this really cool Parallax almost style here going on depth scanner and datamast2 one combined can do some really cool stuff the sky's the limit with this type of stuff you can get super creative with these different moshes using these two effects combined together but let's pop over to example seven for this example we're actually going to be using just a picture so no footage inside of this one instead of using depth scanner maybe you don't have it it maybe you are looking for a free alternative you can actually accomplish this depth matte effect using a picture and using Photoshop here is the depth map that we generated using Photoshop and I'll show you all how to do that real quick if we go to the original footage here the original photograph we can just do open with Photoshop cool so here it is and then if we go and we're going to apply a neural filter to this and that is located in the window menu filter and then neural filters select it we can go ahead pop this open and you'll have to download the depth blur effect here but we can turn that on this is originally for just adding like this artificial blur to your scene using the depth neural effect so as you can see we have like this really cool blurb that's added but we what we actually want is just this output depth map only and as you can see this is what it generates we import that back into after effects and we're going to use that as the map layer for this Photograph so if I go ahead set up the scene and inside of datamash2 you can see that we already have the move vertical effect we have the intensity at negative 250 and then most importantly we have this use map toggle and we have all of the markers set up accordingly and then once you've data match this we'll just pop this open because I've already done it you can see that we're getting again this really cool Parallax effect almost with our mosh because the values that are furthest away in our scene have the widest values which means the most intense and the objects that are closest in this in the composition like this hotel are not being mashed at all because of how much of the depth map is black during this portion of the of the footage so really cool stuff there's a bunch of different ways that you all can implement this this is just a few of them the sky's the limit with this again really you can try this with text effects with rotoscoping with uh you know different you know let's call it a fractal noise that you are uh rotating through the evolution of and assigning just random parts of the footage to be mosh so so much different cool stuff you all can do with this I hope that I've given you some insight into how this effect of datamas2 Works how you can use it in your own workflow and uh yeah if you have any questions feel free to reach out to us we're always happy to hear from fans and from fellow After Effects enthusiasts who want to get the most out of After Effects so thanks again for watching have a great day I'll catch you in the next one peace foreign [Music]

Channel: Plugin Play

Views: 19,473

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Id: aj-o1cyZkPA

Length: 18min 32sec (1112 seconds)

Published: Wed Nov 23 2022