Eminem x Juicewrld - "GODZILLA" FULL TUTORIAL & BREAKDOWN | Adobe Premiere, Ae, C4D

welcome to today's tutorial guys welcome back to the channel guys today we got a fun one we're going to be breaking down give you guys my thoughts feelings towards lyrical lemonade Cole Bennett's new music video mmm Godzilla featuring juice world I watched this one time through already and my initial reaction was I think it's one of lyric lemonade's best music videos I've seen for them I thought it was really great there's a lot of reasons why I think that so we're gonna go ahead and break down what I like about it we're gonna talk about some things that you aspiring directors could pay attention to you aspiring editors could pay attention to and learn from this music video and then of course we're gonna hop into Adobe Premiere and After Effects and some 3d softwares after the fact and we're gonna show you how you can recreate some of the visual effects that you see in this music video on your own by yourself so sit back relax enjoy the video so right off the bat here our opening scene pretty cool concept for our intro you see you have these custom labels for the music video Godzilla whisky mm you can shoot on just a simple green screen and then just do a simple track to place them there we're gonna show you that later on and then they also play some faces in here as well so let's keep going forward here so we can talk a little bit more there's with full motion I'm not playing the audio here because of copyright reasons but another thing that I want to mention is how well the visual plays in with the audio so a lot of these lyrics are playing into what is actually happening on screen and gives this a narrative it gives this story aspect to it and then moving into our first scene here you have our first kind of crazy 3d visual effects place these 3d figures behind mmm here what they would have had to do is rotoscope a layer so that they could place him in front of our Godzilla 3d characters here which again we're going to teach you how to place some 3d walking characters like this into your videos what they could have done is they could have had this scene shot twice on a motion control rig the first shot would be just this just the camera moving at the same speed of the empty hallway and they could use that as a clean play for tracking in the Godzilla's and then they could have shot at the exact same way not change the continuity not move anything in the back here and had Eminem do his performance scene and which way you have one layer where you have your same hallway same movement but you have mm which you can isolate later in post and then your second layer just your clean plate now you have this shot coming right here you have a lot of blurring this is probably a lot of in-camera effects they could have put glass in front of the lens as you see here or they could have done some blurring in post to replicate to replicate this sort of look but if you want to create this yourself you can literally take something like a wineglass you can put your camera on a tripod use the handle to control it to get that up in your face movements add a ton of motion blur and then flash the glass in front of the screen you can also use some sort of blur effects and we'll talk about recreating all that in post later so moving on a little bit another really cool effect where we have Eminem's face pasted over some extras now we're gonna talk about a few different ways where you can do this some After Effects plugins some things like facial tracking everything we'll talk about that later moving forward here this is another really great scene that I like a lot this is the conversation to yourself where we have your stand-ins for each sort of angle so if we play this a little bit slower so if we play this slowly whenever we have this angle looking towards mm in the suit mm and I'm in the tuxedo you can have your stand-in here who is someone just wearing a gray head II someone wearing a gray hoodie maybe similar haircut but you're not seeing their exact face and then it swaps over to the side makes you feel like he's talking to himself as you can see here is the stand-in here is the stand-in no masking needed you just have to have an extra wearing the same exact outfit as mm for both scenes use some creative editing some handheld work here and piece them together to get this sort of conversation to yourself now you're maybe noticing the main effect going on here which is these crazy-looking eyes and I want to mention what I'm going to make creating this a lot easier on yourself is to not have this crazy movement that you're seeing here when you shoot the shot you can place your shot on a tripod and you can use an After Effects camera to do all that and add all the shakiness later on in post that way you have a nice clean plate where you can do all the tracking and nothing's gonna be messed up so that allows you to manipulate the eyes the face whatever it is you're doing later on we'll talk about some easy ways to accomplish it and some things you want to look out for whenever you are creating it now again going back to the art direction and set design you see you have the split kind of set here you have that initial grocery store liquor store area here you have your red carpet so a great way to visually represent the feeling that they're trying to express through the words in the song then we talked a lot about drinking they talk a lot about alcohol about addiction I'm not going to dwell too far into that but I do want to just point out with what the song has in mind this is a great shot to visually kind of explain that you're gonna see a lot more examples of this creative camera movement creative angles to express the story express the song a lot better as we move forward keep that in mind whenever you're creating your own videos a lot of people out there a lot of directors you get to your video shoot you have your one set here you set your camera up here and you just let it shoot just like this think about different creative ways where you can tell the story a little bit better or where you can create some sort of creative look creative angle even if there is no narrative something as simple as that can add a lot more to what you are trying to create now moving into this area here where we start drinking some more of the alkyl where we start drinking some more of the whiskey and we're gonna get some really interesting drunk looking effects and you'll see that on the outside with the blur you'll see that with this little RGB split that's happening on every one something like this is pretty easy to recreate with in After Effects within Adobe Premiere even keep in mind the reason why it works appropriately here I see a lot of people using effects like this the trails the disoriented looks in normal footage just because they don't know what to add so they just slap it on the reason why they're adding it here is because he just took is because it's playing in but the story he's kind of stumbling himself so it makes sense to add something like this so let's break this down scene by scene so I started to say it earlier but I kind of cut myself off the reason why I love this scene in particular and I think why this scene of him walking through the store makes the video so much better is because it's adding motion it's carrying you through its carrying you through the song through the story as you experience it and something like that is a lot better storytelling technique visually than just having someone stand there taking your camera and just recording them with a different background but you have your big RPG rocket launcher with some cool visual effects to play in with that and we'll talk about some of these Destruction V effects and you can even see some of the distortion going on here to kind of play in with that create the ripple and really add into the effect you got your smoke assets you got your fire your ember assets we'll talk all about that later on in the tutorial part of this so let's keep going through here here's where some of the coolest visual effects come into play so we've got this shot here which I thought was really awesome we're gonna talk about how you guys can recreate this so this is a really cool way to put a spin on a shot that's pretty static now you have this nice high angle here so that you can have a lot of the surroundings and then you have all of these really awesome VFX floating knives in the background here so we're going to talk about how you guys can create that yourself whether it's knives or whatever whether it's knives or any other floating object around a person it's actually pretty simple and then some more 3d some Lego blocks and they talk a lot about blocks in the lyrics so I think that's sort of an inspiration for that another awesome scene here some great camera movement overhead going into those knives and really getting up close and personal with them now you can create some of this line with some 3d simulation stuff we'll talk all about that in the 3d portion of this so this scene here is a great example of a lot of working parts within film production meshing and working perfectly together so you have all of your mm CDs you have your true swirled CDs as you see when we fly up here this really awesome CD mount set here with your overhead lighting coming down which production value wise art design wise super cool set you can see we have some floating CD versions in here in our foreground and you'll see as we kind of flutter up there's a lot more floating around this kind of reminds me of that 13 reasons why effect where you have the different Polaroids floating in space and this is going to be using one of the tools that we talked about for a lot of these effects in the tutorial port port and the tutorial portion which is your 3d camera tracker and then taking things and tracking them in the scene whether it's floating knives floating CDs so again what I like about the video so far production art design great very creative scenes a lot of cool stuff going on number two and this one I think is the most important of why I like the video so far let's clear up some space here be creative movements the camera angles it carries you through the story you're not just seeing a bunch of different scenes you're seeing the story literally taking place and you're being carried throughout it and then number three what I'm liking about the video so far is they use visual effects as a story making tool not just to slap it on and make it look pretty sometimes you have to know when something is oversaturated with effects sometimes you have to know when there's not enough effects a lot of people are kind of iffy when it comes to visual effects in music videos sometimes you'll just see pure cinematics sometimes you'll see oversaturated with effects and as we zoom along here we have really awesome set design again going back to the production value did a great job let's move back and you can see as the camera goes up just great timing with everything great frame blocking where he goes in at the perfect time all the lights turn on at the perfect time and then again you have your 3d CDs here which we'll talk about how you can track those in when you're using things like fire on the legs when you're using things like this floating blood that's disoriented this quick camera movement that's all things that are playing in with the way these song sounds and how it makes you feel so moving forward another really cool set in terms of the planning the set design you have this cool kind of gory liquid coming in here so we'll talk about how you can create some simulations that look like this blood and as we move forward they're used in this kind of track scene where we move out and then it moves back in to the butcher to the butcher part you see all the blood kind of floating in space so that's the same exact technique as when you have the knives floating in space and when you have the CDs floating in space you have that 3d camera projection but all in all beautiful scene I thought this looks super cool so moving on to here we talked about how you can add moons into your scenes in that little nas x4 breakdown tutorial that we talked about recently this is very this is very reminiscent of that where this is definitely a fake moon and then you have dr. dre as well and Eminem taking care of himself in that kind of self conversation pay attention to the camera movement because this is again what I'm talking about when I talk about creative movement not just carrying you through the scene matching the grittiness of the song you're not just gonna have a camera tripod and then just have em an Eminem talk if you have this quick fast-paced gritty you want the camera to be shaking put you in the moment and not only that but the visual is representing that with these stressful situations that you're seeing where you have kind of butcher cooler with all the blood flying around where you have all these knives pointing at you where you have this kind of stressful hospital situation here the panic you want to match that these are all great visual things to match in with the song and this is a definitely a smart witty thing to play off of his mouth literally shoots off his face here you got the big eyes again and if we kind of just go frame by frame you'll see this is the mouth layer just putting a mask around it they put a little some sort of you can even have to say a dust asset some kind of distortion asset here just to make it look like it's popping off and then they use this kind of blurred out technique which I've talked about in a tutorial before on my video I've talked about this in two different tutorials on my channel before to wipe away a facial feature in this case it's his mouth so we'll talk about that later on we'll show you exactly how to do that great video let's get into the tutorial aspect we're gonna show you guys some cool things that you can learn from this like 3d characters flying things around you some different camera techniques everything from the basics to the advanced let's get right into it alright guys so for adding your face onto any sort of a label in this case it was the alcohol label here pretty simple we're gonna go to pixels calm I found some clips here of some close-up beer bottles these are all free to download link down below if you want to check it out I'm gonna go ahead and just download this one here what I'm actually gonna do is I'm gonna bring this into outer effects so let's just show you some of the more simple things first we're gonna work through Adobe Premiere and After Effects and then at the end of the tutorial we're gonna show you the 3d heavy things like tracking things in your scene doing the crazy stuff like the floating knives etc we're gonna go ahead and right click on this clip and click scale to frame size and then we're gonna right click on that and we're gonna go to replace with After Effects composition and of course I've said it a million times if you guys only have After Effects you can just open up your clip in After Effects but I like working with the dynamic links so once you're in After Effects let's go ahead and take a look at footage perfect because there's not a lot of movements so it's not gonna be too complicated I'm gonna right click on filters for my video capture device and just turn off the chroma key now you guys can see what this green screen is looking like and there we go I have a little green screen clip of me which we're going to use in place of the labels so let's get rid of the green in the background we're gonna go to our effects in presets here on the right and I'm gonna search for a little key light effects place that on to our green screen clip here grab the dropper and our effect controls and just select the green I can also change this little 3 dot color button here to alpha we can hide the bottom layer under screen matte we can kind of use those to try and make this as silhouette as possible like that and then we can bring back the color just change that back to RGB looking a bit better let's go ahead and bring back our bottom footage here just show the visibility and now we're able to place this where we want so I can select the layer click S on my keyboard to scale it and we'll just scale it down you can even create a little mask just clicking the square mask tool here if you're not seeing that click Q on your keyboard and then it was draw a little square around myself and I'll just roughly kind of position this where the label is guys so what I'm gonna do is just to quickly remove some of these words and just to kind of clean this out to be able to place my face over top of it I'm just gonna go ahead and select my original footage here and click ctrl D to duplicate it I'm gonna right click on that duplication and rename it to coverup and on that cover-up layer I'm gonna select my pen tool so click G or just grab it from your tool bar here and I'm just going to zoom in and I'm going to select the outside area here where this red lettering is no try and select the general area of that so now if we hide this you'll see that we have this isolated layer here with the add-on so let's go ahead and blur this a bit we're gonna go ahead and search for the Gaussian blur effect so search for that in your effects and presets and just drop that on the cover-up layer and then we're gonna grab the we're gonna grab the blurriness value here and just bump that up even past 50 115 I would say now you can still see the original label underneath it so what we're gonna do is click em uncover up and just ctrl C select the bottom layer ctrl V to paste that mask and then switch it to subtract so if we click you'll see the mask on the bottom layer it removes everything because it's on ad you want to change that to subtract now you see these kind of black edges here because there's nothing underneath these layers so what I'm gonna do is I'm just going to right click in this gray space and go to new solid and I'm gonna click this dropper select the yellow and click ok so now we just have a normal yellow solid here I'm just gonna drag this in a layer below everything so now we have the same color but we kind of have this jagged edge so we can click em on all these layers to bring up our mask options and if we expand that we can actually feather this a tiny bit on both of them so we'll feather this one as well until this is basically invisible can also grab the mask and just adjust however you may need so here's what that's looking like so far and if you wanted to take it a step further you'll see that with the lighting it gets a little darker on the right edge here so you guys can even look up a little gradient map gradient ramp effect and drop that on to your solid for our start color we can choose this lighter yellow on the left here as you can see for the dark yellow we select this dark yellow on the right now you can just grab the two little anchor points for this you'll see if we change this coordinate this little thing is moving so we'll put the end of the ramp around here and the start of the ramp which is right there around the left side so you can kind of create your own little gradient if you so choose and that's looking fine for now so let's bring back the footage of me and you'll notice I just kind of made this black and white to do that you can just search for the HLS effect color balance and just drop that here grab your saturation and your effect controls and just drag that all the way down or however you may like it now we're even going to do some more masking just to kind of make some more room for this I wanted to kind of be like that I'm going to do is select our original footage again control D will rename that to cover up to with cover up - we can click em and just delete any masks and you'll see it'll bring back the original footage this time we're gonna go ahead and mask out this kind of mineral water text that we got here [Music] so right about there's looking pretty fine again we're gonna add this over top so let's show this layer again and we'll kind of shave off these edges here now if we click em we can actually delete this mask one we made earlier so that we only have this new mask and then open up that new mask and then we're gonna feather that as well just to kind of alert those edges you can even grab your mask expansion drag it back you guys can mess around with whatever blending mode you think looks best this is going to blend whatever trying whatever sort of footage you're trying to mix here with the background color of the bottle and here is what that final result looks like pretty cool effect a way to incorporate props and yourself and it's a pretty easy composite to pull off alright guys so back in Adobe Premiere we're gonna work from the easiest worker way up like I said before so we're gonna show you some basic little blurring that you can do in post you can go ahead and just search for a blur effect there's a lot of different ones that you can work with you have everything from your channel compound directional Gaussian blur I'm gonna go some Gaussian blur here to kind of create that blur on the edges look I'm gonna hold down my Alt key and just click and drag up to duplicate my footage and just drag it into a video layer above we're gonna drag the Gaussian blur on to our duplicated layer and then in my effect controls in the top left you'll see here's my gosh II and blur effect we can go ahead and select any of these masking tools so I'll select is the pen tool here and kind of draw this sort of jagged area around the sides and actually see the blur we need to scroll down here crank up the blurriness you're gonna see the middle get all blurry let's go ahead and invert that so just click inverted and now let's kind of feather so it doesn't look like such a cut out so we can go to mask feather here and just bump that value up you'll also want to click repeat edge pixels so that this doesn't really fade out near the edge and we can feather that a lot maybe lower the mask expansion a tiny bit we're gonna build on to our next effect which is the sort of drunk disoriented and that's building and that's adding on top of the blur that we've already added so if you guys want there's a few things that we can point out I talked about the RGB splitting fringing that's going on in the sea there's a way where you can duplicate all the clips use this arithmetic effect to kind of split them all it's kind of an annoying process to do every time so I recommend if you're going for some RGB pick up a cheap plug-in or presets my color King presets here which are pretty easy to use the universe red giant plugins that give you some really nice RGB ones some sort of distortion ones as well as you can see just by using the presets with a few clicks if you drag and drop so I can change the scale here and add some of that RGB Distortion as you can see on the edges and then again if you want to check out some of the universe ones I like using the universe chromatic aberration plugin that they have because not only does it give you the fringing that you're seeing on the edges here but it actually gives you a lot of different lens textures a lot of different built-in blurs and we talked about this in my tutorial I made for the weekend heartless a lot of that was this crazy sort of echoing going on throughout you can do it with a simple echo effect which is built into Adobe Premiere and if you want to see my take on how to create a bunch of different variations of the echo trails made a video about five different Ghost trail effects and you'll be able to see these trails which are being created it's pretty computer intensive but as you can see looks pretty cool and adds into that disoriented look so that's with it on and I'll just flash it that's normal so as you can see pretty cool pretty cool pretty simple let's move on to our next effect when it comes through the face for placement there's three main ways that you can do this the easiest way to do it is by using a green screen I've seen a lot of people do it where they kind of cut the mask at the neck and then they track in and then they track in their own green-screen face using After Effects facial tracking tool or other built in trackers like mocha from Boras effects or even third-party plugins like this awesome plugin lockdown and then of course all the way to the advanced creating full 3d faces using photogrammetry tools and then tracking it onto the subject like you're seeing here in blockbuster movies you may be seeing that for this example here they use one of the more simple versions of doing it so let's hop back over into After Effects we're going to right click and then we're going to bring this into After Effects of course to do this you're going to need a green screen if you need a cheap green screen I'm gonna have an Amazon affiliate link below to the one that I use to record all of my tutorials you've got this green screen shots of our lady that we're going to swap faces and then we've got me doing my best impression of super creep of this mmm look here let me know if I nailed it or not so we're gonna go to our effects of presets here and we're gonna search for the key light effects go ahead and just drop that on to your footage here measurement settings click that and just set that to alpha and make sure that there's nothing showing underneath or you'll kind of get this weird looking like that or you'll kind of get it washed away like this so to the screen matte section you have your clip matte you have your clip black and your clip white we can just bump up the clip black but this is perfectly fine for now and we're actually going to only use the face of this clip do that we're gonna use After Effects facial tracking and this is very easy it's gonna create a mask of the face for us you want to select your circular mask tool in the top left if you're not seeing that you can click Q or alt click this whatever shape is here until you have your ellipse tool now just draw an ellipse around your face like that now once you've done that you want to click on your layer here click m to show your mask that you just created right click on that mask and click track mask now over here on the right your tracker window should pop up once you've selected that you're going to want to change your method to facial tracking detailed features and then just click play make sure your starting position here click play and you're gonna see it's going to create all these facial tracking details for my facial features and you'll see all the tracking data there and if we click off you'll see we have a nice little Robocop esque mask around my face and this is perfect cuz now we can just start blending and compositing this onto our other face but before we do that let's go ahead and hide this show the footage we're trying to bring on let's do the same thing let's get that facial tracking detail and that mask around her face as well so we're going to go ahead and just ellipse tool draw it like that right click on the mask that you just created on that layer click track mask facial tracking detailed features and then click play easy is that it's one of After Effects best tracking tools now we don't want to have two floating heads here so let's go ahead and just hide the mask so you see mask 1 is set to ad that means it's only showing the face none of the back just set that to none for now because we don't need the mask on her face we can keep the background now we can show my face here and we can start actually scaling it in compositing it so if we just click these little triangles open up our transform let's scale this up for now and if you guys want you can actually lower the opacity and just trying to I it up where things would go you can rotate it a tiny bit now there's a few initial issues here you'll see if we play this our faces aren't trapped together the second thing is we have this ugly looking line it looks like something from Silence of the Lambs where I just got my face cut off and put onto someone else's we don't want to Lake it look like that we want we don't want to make it look like that we want to blend it and make it look as realistic as possible so let's worry about the tracking first so that everything's in place now there's a pretty simple way of doing this we're just going to kind of link some layers because we've already because we already have the tracking information from our facial track let's open up our transform options for a top layer here and we have position we have scale we have rotation we have all that laid out and you see position hold down alt and while holding down alt you click this little stopwatch you'll see that these are turning red and you're gonna have this little expression here and it's saying transformed opposition we're gonna link the position of this face layer to the tracking of your eyes so grab this pick whip tool here the little lasso that now popped up click and drag that down to our right I enter this box you'll see it highlights go ahead and select that creates the expression and just click away and now you'll see it's following the movement of our face we just need to make a little adjustment to put it over the face but you see if you try and grab this and drag it onto the face it's not gonna work because our position is locked into place with the tracking data to the eye as you see here so we can't change any of this it'll just go back to what the track is so what we have to do is grab our anchor point and just change your values until our anchor point places our face where we ultimately want it and now if we play through you'll see we're getting a little bit closer to our end goal now all we really need to do is just composite maybe add a tiny bit of rotation where we need it a little bit of scale where we need it and do some mass cleanup so let's start with that so the first thing we're gonna want to add in here is our beard is being cut off and again this isn't very smooth so let's close everything to make it clean open up your first layer I'm even gonna rename this to face open up your face layer open up your mask and you see this is our mask around your face you see this feather option we can bump that up and that's just gonna blend it a bit but it's also gonna bring in some of the top part what we don't which we don't want so we can also take our mask expansion and just lower that try and find a good in-between of course this is all gonna depend on your footage it's gonna be different every time you'll see my hat it's kind of cut in there so I can just lower it tiny bit again but try and find the nice in-between of feathering and mask expansion to bring in something like the beard here what you can do is you can mass expansion but you don't want to bring in all this extra stuff as well so instead of doing that let's control Z let's just select that layer and we're gonna create our own custom mask where we want to bring in any feature that we may want like a beard so I'll just click here around the jaw area where my beard would be connect it here's what that's looking like and it's looking janky again because we need to open mask number two we created you can even just copy the settings so 27 pixels on the feather let's go ahead and do that and there you go so now this lady has a beard now all you need to do is just select mask to make a little keyframe on your mask path and just drag a bit and just make sure that the mask isn't really getting cut off as this moves along so you may need to make tiny bit of keyframes there but nothing crazy this one thing that's making this stand out a lot and that is the skin color mismatch you see and this in my clip it's a little bit more saturated a little more orange and a little more warm so let's try and emit let's try and match the original skin color with what we're pasting over top and to do that there's a lot of color correction you can go down the rabbit hole with it let's just keep it simple we're just gonna add a little brightness and contrast plop that on there and we'll add a little this goes a little HLS effect you can type color balance HLS drop that now going into your effect controls your brightness and contrast let's go ahead and just play with these settings until we can match and if you want to make it easier just kind of zoom in and just change these settings until you see a good blend so I'm gonna lower the contrast because this is way too contrast II that is basically all you need to know so in my final comp you'll see I just added a few more masks I did the same with ice did the same exact thing that I did with the beard except instead of adding a new mask on add I added another mask on subtract so if I go into my mask you'll see this masks on subtract just make sure anything at the top doesn't come in this one would definitely need a little bit more cleaning up I'll work on that now but if you have absolutely no movement or minimal movement like they did in the music video for Godzilla you're gonna have a lot easier time so that's really the key is you want to have it on a tripod you want to have as minimal movement as possible if you're going like this your face isn't probably gonna look that your face is probably gonna be flying all over like a pancake you want to keep it simple keep it locked on a tripod and make it as minimal movement as possible so that you can have a clean composite and again that's just using the simple basic tools which come available with After Effects you can try things like mocha you can try things like third-party plugins lockdown I'm not going to get too into that we'll talk about it in later tutorials but if you want to look more into it if you're having trouble check out the links that I've added down below and the resources and you may find some useful information alright guys moving on to the next thing we're gonna talk about a concept which we've talked about a lot on the channel in the past I'll leave some resources below if you want to check out the old way we did this we're gonna build on these crazy eyes that you see right here and of course here's the example from the actual music video we're not only going to talk about how to create the eyes but we're gonna talk about how to incorporate tracking which is very easy into this effect again if you want to practice this footage I found this on pixels comm link below I'm gonna right click replace with After Effects composition so now we're looking at the actual layer footage now we could right-click we're going to track and stabilize and you should see all of your trackers available to you so if you're not seeing them if they're greyed out you just need to double click on the footage until you're seeing this blue layer so we're gonna click track motion for this one it's gonna pop up our track point and our track or window here if you're not seeing that window view just find tracker make sure that's checked we're gonna place this on our right eye his left eye but I'm gonna just call it right eye because we're looking at it from the right and we're going to actually take the edge of this box upper box outer box usually goes wrong along the rim of the eye lower box usually goes along the eyelid that's just kind of my rule of thumb that I like to do for the track and before we actually fire this track up we're going to need to create a little placeholder for all of this tracking information so you have this giant grey space here or you can go to layer new null object we're gonna right click on that and all object and we're gonna rename this to right eye tracking info so this is basically just a placeholder layer to paste all of the keyframes all the tracking information which we're about to create so click back on our footage here if you need to you can even open up your motion tracker select your tracker now we're gonna pay attention to our tracker window here on the right or wherever in the workspace you're seeing it we're going to go ahead and click Edit Target and we're gonna change the target layer from whatever your footage is saying to our new null that we just created so right eye tracking info and click OK now what we're gonna do I'm gonna press play starting at my beginning position here and you'll see what it would look like if it was a normal track you see right here it's kind of getting messed up and the reason why it's getting messed up is because this particular shot was shot with a lot of motion blur you see as I drag along here it's in focus but as I move along there's tons of motion blur so depending on how your footage was shot here's even a better example if you don't have a clear crisp shot that was shot with a high shutter speed and it's gonna be very difficult to motion track so we're gonna have to kind of go in and tweak manually so it's kind of good that we're doing that just so I can show you the fix but ultimately if you are unset if your director who's doing this for if you're only doing the editing you're on set or if you're doing the VFX coordinator consulting on set always make sure that if you know tracking is going to be used you to shoot a faster shutter speed so that there's less motion blur if we just go by manually we can open up a track a window you'll see all the keyframes being made we can actually go ahead and fix this so it messes up around here so what you can do is you can just manually place this in the eye and this is the same as if you were making your manual keyframes so essentially we're not tracking anything here because the track messed up because of our because of our blurry footage but it's gonna be fine all we're doing is blowing up an area so as long as we just keep clicking in the middle of the circle circle and just dragging it to relative pupil area it's gonna be fine but again you only have to manually fix and do this if your footage is blurry if you can't get a clean track you click page up and page down to move frame by frame like I am click drag the box into the pupil area drag along here and your trackers in the area you want or of course if you have a clean track from the get-go you can go ahead and just click apply and it's gonna say X & Y dimensions that's fine click OK it's all applied to the null layer if there's any keyframes that you need to adjust again page up page down if anything's not center with the pupil you can just drag it zoom in here select our original footage and go to the effects & presets over here on the right and we can search for the Bulge effect I've already searched it here click and just drag that onto your original footage clip and now up and your effect controls and the top left go ahead and select that you may need to click this to see it and we have our bulge effect you see if you click you'll see where it's being affected now what we're gonna do is normally you can just click and drag this you can crank these up there you go but as we move along that spot is going to stay in place so what so what we're gonna do is link it to that tracking info so that it's following along with the movement of our face so to do that let's open up original footage here so click on the triangle and let's open up effects and then bulge and you're gonna see a bulge center here as you can select it you'll see where it's placed just because I kind of dragged it right onto the eye we're gonna hold down alt on our keyboard and we're gonna click the stopwatch at our beginning positions so like that the numbers should turn red that means it's ready to and you should see this expression here it's also popping up a few tools we have our pick whip tool the value that we're gonna link it to is actually the position in our tracking info so go ahead and click P that layer or again you can just open it up to transform here's our position everything is already moving correctly so we're gonna take Bulge Center we're gonna pick whip it click and drag and you'll see this box selecting things pick whip it to our position and it'll create the expression and I just click away and there you go now normally if you're working on normal footage that isn't scaled at all this would be right in the center but what I actually did was i scaled this from 4k footage to 1080p footage so all I need to do to adjust that you'll see if I select bulge it's actually tracked as I move along it's moving with the actual null but it's not in the exact place I want to fix that I just need to click down here in the expression editor and it's right x 2 and that'll fix that issue you probably won't have to do it but in case you do run into that there's a good fix so x 2 click it now it's in the right spot and if I move you're gonna see he has kind of a wonky eye but it's tracked now to design the eye it's very simple we just pop up to our effect controls with bulge in it we select original footage pop up to your effect controls where bulge is now linked and you're just going to crank up your horizontal radius and your vertical radius just like that do you get the look of the eye that you want you can also kind of taper it if you want so you now have a tracked bulged eye I'll play that through you guys can experiment again if there's any kind of jitteriness if there's anything messing up in there you just need to dive into the keyframes make those manual adjustments and again if you want to have the best and easiest possible way to do this take my advice with the shutter speed so that there isn't a lot of motion blur and you can get a nice clean track now for the shooting off a phase effect I've actually talked about how to wipe away features a wild backs in two different videos in my post Malone circles video as well as a random video I did way back in 2018 where in of wiping away the mouth I wiped away the eyes and the process I used is exactly the same so if you want to check out that full video it'll be down below and that video will actually show you how you can use the clone stamp tool in Photoshop to be able to create this cut out here you see this is just a mask and then we're gonna track this part to the face by actually doing a little facial track like from earlier so to do that you just double click on the footage you go ahead and just select your lips tool place it over the face you're gonna do facial track detailed features only go ahead and press play and there we go there's our face track so we're gonna click P on our mouth plate layer alt click to link the position and drag it to mouth bottom like that click away and then of course all you need to do - and if we drag here you'll see it's linked but it's little offset to fix that it's simple just go to your transform here change your anchor points and just adjust it may need to change up your mask a tiny bit as well so you have your wiped away mask you have it tracked onto your face as such to actually get it to shoot off of the face and of course this is a straight forward angle to actually see it really shoot off and to use the elements properly like in the Godzilla music video you'd have to shoot at an angle cuz I'm just going to control Dene duplicate our original footage and I'm just gonna rename this to mouth we'll take that layer and we'll drag it all the way above everything else so it's on the very top now we're gonna only isolate the mouth here so I'm going to just take my pen tool and I'm going to make a mask around the mouth so now essentially what I have if I hide the visibility of all the other layers is that it's literally just cut out of the mouth and if you want you can go into your masks here and we can even feather a bit so take your feathering put it up a tiny bit soften it out a bit so bring these all back what you want to do now is we're gonna make this a 3d layer so enable this 3d cube switch and that's just gonna give us a little bit more transform options so if I open up my transform now you'll see this is without being a 3d layer this is with being a 3d layer now we have all the X rotation the orientation you have another axis here your z axis which we can move and that allows you to literally shoot the mouth off so all you need to do is at your starting position create your keyframes so select so toggle on all of these switches move a few frames over and if you want to avoid it kind of like wiping away like that you can even just right-click go to time and freeze-frame so now this is gonna be a permanent kind of mouth like that it's not gonna the the layers not gonna be moving and now as we just move a few layers it's kind of launched this at the camera will you can either click V grab the z axes and just shoot it or I mean you can do it manually grab the actual values drag it to the negative I'm just gonna grab the axes and literally just shoot it at the camera so it's gonna look a little weird but there you go so BAM we've now shot the mouth off and of course the original was at an angle I think this is pretty cool it adds on to that wiped away features and you don't have to just do this with the mouth I talked about doing it with eyes we talked about tracking it so there's a lot you can do with this it's pretty interesting if you want to add in maybe some of the like distortion that they did with theirs it's actually a good segue into where we're gonna talk about shooting fire out of your mouth or any other any of the other elements that they used in the video footage crate comm they have some great free ones that you can use all you need to search let's just search for maybe like shockwave of course Video Copilot has their own shockwaves check out some of the resources below it may be able to help you guys your ultimate Lea just looking for some sort of shockwave dust trail thing do they have torch flames sideways flamethrower this is gonna be perfect for our next effect shooting flame out of the mouth so we'll save that while we're at it so once some of those assets have downloaded just drag them into your project and let's go ahead and just kind of make this look normal we're gonna place this in the layer below the mouth and we're gonna click s on the smoke I just kind of scale it down you can put it on overlay soft light I think overlay looks good to kind of match the lighting again you guys can use your assets however you like change your blending modes try out different ones try and get a look that you ultimately like in the end all right fire coming out of somebody's mouth this is a pretty easy one we just showed you how to get the assets again you guys can use any diff you can even google it find your own it's very easy so we're gonna go ahead and create a new composition here and I just quickly took a little recording and here where you add so let's go ahead and start from scratch here first off step one you always get rid of the green-screen you don't have to do this with the green screen in the back I just shot what I literally had in front of me so here is our green screen footage we're gonna take that free flame asset that we just downloaded from footage crate or again wherever you want to find it so let's Seaside flamethrower I think this might be it here's what that's looking like we just click and drag to reverse that click s to scale it down start it right about there and we're going to create a mask on this layer so select the fire layer grab your pen tool or click G and just create a simple little mask to bring up your mask and put that on subtract if you want you can even mask path drag a bit as we open up a little bit wider you can adjust for that simple as that it's just a few it's just a quick second mask now to make this look a little more realistic in terms of realistic lighting we're gonna add a little bit of coloration just to kind of make it look like the source of the heat is really coming from here so we're gonna select our original footage here ctrl D to duplicate it and we're gonna rename this to red color now what we're gonna do here is I'm actually going to grab my pen tool again we're going to select this area and we're gonna go ahead and color correct it so let's go to curves search for curves and your effects and presets drag and drop the curves on to your red color layer and then in your fat controls we go to red and we're going to bump that up and it's affecting our whole face here because we have all these other masks so we can delete them except for our blue mask so now you see the red is only changing here cut out like so let's open up that mask 3 feather it and even add a little bit of After Effects glow aren't there to kind of sell and we're gonna go ahead and just change a little bit of the radius on the glow now all you need to do is keyframe your mask path drag along and you can just adjust the mask however you need to to make sure that it's not kind of out of the area and if you even want to kind of combine in some like skin coloration or look make it really look like it's coming from the throat control D on this will rename this to throat red and you can even just copy and paste the effects so we'll select red color here and we're gonna grab the glow and the curves and our effect controls control see it's a copy select throat red will hide all this and the effect controls ctrl V now we're entire fit now all of our body is red and all it takes is just a mask so grab your pen tool you can delete all these other masks so that there's no conflicting stuff going on here feather that out okay guys so just to show you what this process looks like on some better looking footage actually reshot this still did every single thing that I showed you on the whole process of adding the fire but but as you guys can see we added a couple little things which I'm going to talk about here so the main thing that we added was a few more assets on top I talked about how you can find this fire asset on footage crate or something similar to that sites so I actually added some embers and some sparks from the site just to kind of make the flourish the entrance of the fire a lot more dramatic another big thing which I added which helps to sell this scene a lot more is this kind of heat distortion so if I click into the main composition here you guys will see I have this layer here where I just added a mask just drop this little red giant universe heat wave plugin and if you pay attention you can see the distortion if you're looking here other than that and the few things that I just mentioned to you it's exactly the same okay guys now onto the 3d portion of this tutorial we're gonna be showing you some interesting things I'm gonna be using cinema 4d for the majority of this but you guys can use any 3d software you are familiar with we're gonna be doing a lot of basic things that a lot of 3d software's have the main things that we are going to show you is this circle of knives or whatever kind of 3d object you want around your subject tracked into 3d space we're gonna show you how you can create your own floating 3d CDs albums whatever it is and put it into your track footage and then we're gonna show you how to create something like 3d puke 3d Lego pew click in the music video so it seems a little bit intimidating especially if you guys are new to 3d but I promise you it's not that hard follow along we're gonna to make it as easy as possible for you guys so first off the number one thing we're going to need to do which is the same first step for every single one of these looks that we're trying to accomplish is we need to track the footage that we are working with so here's the footage we're going to be using I'm gonna go ahead and duplicate this so alt click and just drag up right click and we're going to bring this into After Effects so replace with After Effects composition alright so we have the clip into After Effects like I said the first step which is going to be the same first step for every 3d look we're trying to do is to track the footage so to do that so to do that you right-click on the footage you go to track and stabilize and you track the camera and this is grayed out may need to just double click on this until this option is available track and stabilize track your camera let After Effects do the work it's gonna get all the tracking information right so our track is complete if I scroll through here you're gonna see all of my little track points looking good everything is correct make sure that whenever you are doing this your shooting was not too much motion blur not too much shaky footage because if you haven't because if your track isn't clean if it isn't clear if it isn't crisp whenever you put your 3d assets saying they're gonna be jiggling all over and it's not gonna look realistic if there is a tiny bit of bounce or movement in your shot later on we'll show you how to stabilize everything to make it look smooth but for now what you need to do is go to your effect controls and click create camera now select your main footage here select the 3d camera tracker effect once more and we're gonna choose the position where we're going to want to track I'm just going to use my shirt here right click on this bull's eye and click create solid and then I'm going to open up the solids options here and we're going to just kind of change the orientation so that we have a general reference of where I am standing in the shot so that's fine the next step here is we're going to go up to file export in Mac's on cinema 4d exporter again I mentioned I'm gonna be using cinema 4d we're not going to be doing too much complex things in cinema 4d so if you use 3dsmax if you use blender if you're familiar with that you probably will be able to follow along if you understand the comps if you understand these concepts very well max on cinema 4d exporter and the reason for doing this is we're bringing this 3d tracking information into our 3d software that's the only purpose of doing this so we're gonna go ahead and just name the - tutorial knives here we are in cinema 4d I'm just going to quickly move myself over because our main options are gonna be over here alright so step number one like I said we're gonna form two file open and find that after fixed C for D file that we just saved so here it is tutorial knives track go ahead and open that up now what you're gonna see here if we just click play this is the exact track in 3d space from After Effects so it took that tracking information and it's brought it into After Effects here so if you want a better visual representation of this in the top right and your little object menu here you can open up this null and inside you'll see this is our 3d camera tracker from After Effects this is the track solid that we made so this is where I am in the shot and if you guys even want to see this better you can click off of this little camera object target here just zoom out you can use these tools if you're new to c40 or just the mouse wheel use your rotation your move click play you'll even see the camera moving in 3d space so if I was in a bird's eye view whenever this shot was whenever this shot was taken this is the exact camera move and you can see the little dips from the moving forward if you want to go back to that camera view you just click back on this target so keep this in mind this is a big thing because we're gonna click off the target when we want to put things in the scene you don't want to be in your camera view so you don't want to mess up the keyframes when you want to actually see what it'll look like through the camera then you click to your target and you see what it'll look like tracked into place so hopefully that makes sense if not don't worry we're gonna make it a lot more simple moving forward so you have your 3d tracking information in your 3d software the next is to get your asset or make your asset so if you guys know how to sculpt in your 3d software a knife is something that could easily be made I'm not gonna sculpt it myself I'm just gonna go onto the internet and find a 3d knife model alright so here's the knife that I used this polished knife PBR I'll leave a link down below I'm pretty sure let's see it was free so there you go there are paid ones there's a bunch of free ones you don't have to use turbosquid if you just search free knife 3d model what you want to be looking for is the exchange is the format's available if it's available for cinema 4d project file or whatever project file that corresponds with your 3d software always go for that first but if not you always want to down an FBX or an obj so go ahead and click download on this I made a giant folder just for everything to do with this tutorial here so if I go over to my knife folder here where I saved the actual 3d model you can see I have my knife FBX and a folder with my textures so I can map everything correctly so let's show you how to do that grab your FBX and just drag it into cinema 4d like this if you don't want to drag it you can always file merge objects and find it what that did is it just opened up a new project with only our knife so now let's design the look of that circular knife thing and then we'll take it into our shots you can switch to the other project file just by holding V on your keyboard go to projects and still holding B so we can switch back and forth so let's work on our knife project so with our knife here let's first worry about actually texturing this let's first worry about actually texturing this so to do that we're going to open up that folder that has our textures and let's go ahead and check these out so you'll see base color base color black or if you want the wooden handle and then you also have a normal you also have a roughness map and diffuse a specular metallic if you guys are new to 3d you probably have no idea what that what that even means no worries we're gonna go ahead and create a new material so I'm gonna be working with the octane live viewer render engine for this you guys don't have to use octane you can follow along and just do it with the default renderer or maybe use redshift maybe use Arnold those are two other kind of 3d renders which you can have as a third party kind of thing I like octane because you can just kind of drop this thing and drop this live viewer fire it up and you have this kind of live render view here but again if you're just doing with a physical normal vanilla cinema 4d you can just double click into the texture here start loading in the maps like I'm about to I'm using octane so I'm gonna go to create shader see for dc40 octane material I'll double click on this material here and we can drag it onto the knife just so everything we do we start to see the changes for this texture in particular I'm actually going to change the material type from diffuse to metallic because I wanted to have the shiny reflective kind of metal-look to it now let's start loading in the texture map so you can go through here diffuse you see this is where you load your texture and just click these three dots it'll open up make sure you go back to wherever your knife textures are so knife FBX textures and we're gonna load this base color texture here into the diffuse so go ahead and do that next let's go to the specular here open up these three dots and load in the specular so spec loss knife specular click that open it now we can see our knife so we're starting to get there next let's go to the normal a load in the normal map that we have here it also has roughness so whatever corresponding layers that are available here we could go to roughness you can load those all in just like that and now if i zoom in here you're gonna see our knife it's starting to look pretty good if you want to change anything you can just pop into your texture check out the values but for now for what we're doing this is going to be an OK look for our knife now our job is to get this in a circle and then take that circle of knives and put it in our track scene so let's go ahead and talk so let's talk about how we're going to accomplish that so instead of control-c control-v duplicating the knives and painfully placing them in a perfect circle what we're gonna do is use this basic little 3d tool here it's under mograph so click mograph we're going to use a cloner so select that and you'll see in our object menu the cloner is now here to actually use that cloner select this knife object click and drag you see how it's left arrow down arrow you want to make it a down arrow and then release now the knife is a child of the cloner and the cloner is taking effect so you'll see it's now cloned our knife we now have three of them so let's click on our cloner and we can change how this is going to be cloned and we can put it in the shape that we want in the bottom right here you see our options through our clone or you can go through coordinates this is basically where it's positioned basic don't need to worry about that object this is what we're mainly going to work out of transform we're going to use this a little bit as well and then effectors we have our mode here we can change this mo from linear to object now what it's saying is we're gonna clone these in the shape of an object but you're gonna need to tell us what object you want first we're gonna want this in a sphere a circular sphere of knives if you want it a different object you guys can create a different object so we're gonna create a sphere just click and hold on this cube select sphere and then let's go ahead and just position this here so select our cloner again see under object this kind of blank tag here just click the sphere object click and drag it into there there you go we now have this kind of pinwheel of knives because it's cloning our knife object into this sphere so this I think actually looks really cool and you can do a lot with cloners but we're gonna talk about how to get our specific shape we want select the cloner for now let's just put it on random and we're gonna go to transform because this is how we can change the look of how the clones are behaving there's also this up vector it's set to none right now let's select that you guys want to click through this and you're gonna see it's going to align this depending on what axes you wanted to so positive Y negative Y this is gonna come in handy let's first go to transform keep it on positive Y for now go to transform and you see these options here position X Y C if I click and change that we're doing a bunch of crazy things this is your scale x and y if you want to kind of see what that looks like so we're doing a bunch of craziness and this is our rotation x and y for now we're only going to worry about our rotation and before we do that I forgot one thing an object our our distribution right now it's distributing from the vertex let's put that on edge and now we actually have a sphere little sphere ball so the knives are kind of compact right now it's literally just looking like blades so let's kind of pull them away from the sphere so you see our Z here click and just kind of pull that so I'm just taking my mouse putting it up I put it to around 361 now we actually have this kind of cage of knives around our sphere we can even move in you'll see what that looks like from the inside so you'll see the handles are making up the cage the blades are on the outside again looks really cool you guys can do a lot with this but we want the blades to be pointing inward to do that let's change our rotation now and you're gonna kind of have to mess around with it will change the H rotation and there we go so now we kind of like a coronavirus shaped knives you'll see what that is looking like spread that out more click and drag my Z and now we have a bunch of knives facing the circle and we'll zoom in here and again with the rotation these are kind of upside-down so there we go I just put up the piece to 260 so if you want to copy those values now all of the knives are pointing in directly towards the sphere now there's a crazy amount of knives here let's go back to object and remember how our distribution is changed to edge well that is corresponding to the actual sphere it's talking about the edges of the sphere object if you want to change that if we click on our sphere and we go to object here you'll see the segments if we just start clicking that down you're going to start to see that our knives are starting to kind of lower because we're lowering how many segments are in that sphere so now this is a little bit more manageable and again if you want to spread it out more you can click Knight you can click on your cloner and then go to your transform again put up the Z so it's really up to you but that really is about it if you want to you guys can always experiment with the different values you can create different looking shapes this is just how I did it my goal isn't just to show you how i did one exact thing or how or how somebody else did one exact thing my goal is just to show you the different tools on how you yourself could accomplish this you can customize it however you like but for now this is looking like a good knife sphere so I like the sphere but I don't want it to be showing in our scene so in our object menu we can keep it here we're not going to disable it we're not going to delete it we're just gonna double click these two dots so it's not showing in the render or the Edit so it's technically there but it's invisible if you select the sphere you can change the transform you can grab the rotation one thing I did just a quick little mention before we put this in our track footage is if you want the look where the knives are kind of going towards somebody if we click our cloner again our transform you can keyframe all these values just like in Adobe and after-effects so say this is our Z this is what's moving them in and out if I keyframe that at our beginning position we click make that a red dot drag for however long you want maybe 40 frames and we kind of make those inside and then you click again activate the keyframe what you'll see is here's our keyframes if we click play there you go so you can create animations like that you can do that with any of the values cool thing to know when it comes to customizing your stuff that you're creating with this so this is all good to go we're gonna click select everything ctrl C to copy and then hold down V and let's plot back into our track comp here will refire this up so again this is our camera tracking this is so that we can have everything match perfectly so pause this clicking your object menu ctrl V to paste so now this is gonna look crazy and this is where we kind of need to finesse everything place it exactly where we need it so this is why we use this track solid if you could have just exported the camera without a track solid but the track solids purpose is to show us where in 3d space we're gonna be putting this stuff so first step first before you go crazy start moving everything always click off your camera this is checked click off of it now we can freely move around do anything change things without our camera keyframes being messed up so again hold shift select all of this and then we'll just take our Z value and just move it to where this green target is you're going to need to use your controls here get familiar with everything and position that exactly where you need it around the green square now let's click back to our camera this is what its gonna look like in the camera view so now as you see we play it and the circle is completely tracked onto that sphere so again there for some reason our knives are just like very black but we're gonna fix that in a little bit so let's double click on our texture let's go ahead and just reload our maps because for some reason they kind of get lost around see they all turn black so let's reload our normal here and let's see let's reload I think that's it so we're good to go knives are looking normal we'll play that you'll see with our reflection they're even starting to reflect the green target here and we're gonna talk a lot about that because the reflection and trying to match the environment with what we're bringing in is a huge part into making this look as realistic as possible so I'm gonna give you guys another huge tip instead of going about this blind what you can do is make sure that your camera is enabled so it's checked you can press play to check and see if you are in the camera view you want to file save let's save as tutorial Knives tracked that's fine so file save you can hop back into After Effects here find where that cinema 4d project file is so Laurel knives so click drag that into your actual scene and now with that placed in your actual scene you'll see in a few seconds it'll pop up make sure this isn't a layer above and you're gonna see the outline of what you are creating in 3d space so this is a great way to make sure that your track is correct if we turn this on and off you'll see that these that these targets are lined up you can click play and you can kind of see a basic little render of what these knives will look like and this is key because you can do real-time changes so you see how the circle looks here obviously it's too small we need it bigger so all you need to do is say okay I need to make a bigger pop into cinema 4d you can select your cloner here go to your transform take your Z and just drag that up and then all you have to do is file save pocket pop into After Effects check it out a few seconds there you go so that's how you can kind of check and see when you need to make the changes check with the actual footage I know you guys are probably writing comments right now that you can put a background layer and cinema 4d of actual moving footage or just like a reference footage in my opinion I think this is easiest but of course it's whatever you guys are comfortable with playing through here you'll see how the knives are actually moving you'll see that it's tracked correctly now when it comes to actually designing the look of the knives there's one more step that we need to do first off we can uncheck this green track solid so this green little check here just click that you don't need that once we have the thing positioned where we want now these knives are looking good but they're looking a little like plastic knives I'm not looking like dangerous metal and I'll show you my first render here where I did without adding this next step I'm about to tell you you can see it looks kind of plastic it looks a little chintzy now here's the newer version and it doesn't look completely photo risk realistic but it does look a lot better there's a lot more reflections to add in those reflections you're going to need an HDR IMAX there's a few ways you can go about doing this you can just find a random one that's similar to your scene and drop it in there like what I did or you can buy some fancy equipment I think $300 where you can 3d scan you were scene and create your own custom HDR I'm apps wherever you're at so that is the best way if you have your hgri map from the exact scene if I had 3d scanned that area to get the HDR imap then the exact lighting of my scene could be replicated in 3d and it would look a lot more realistic but unfortunately I don't own one of those I'm probably gonna buy one soon to help improve the quality of the 3d content I put out but we're gonna just do a little custom one that's similar to our scene so to do that in octane I just go to objects hgri environments we loaded here everything's going to turn dark here's our octane sky and as this little HDR I tagged select that and in here is just an image texture so we need to load our HDR I into here click the image texture you'll see it says file name dot HDR now if you just go and look up HDR I check it out HDR I Haven HDR I'm apps you can find a bunch of these for free we'll see what those kind of look like skies I'm one that best matches the lighting time of day I'm gonna go ahead and just click my three dots here and I'm gonna find that HDR I and now it's loaded in so now you'll see if I kind of zoom in here you'll see that these trees are being reflected in the actual blades and the knives and it's just making them look a lot more realistic you can actually rotate the HDR eye if you want to kind of change the reflections select the octane sky and in our environment tag you'll see our image texture that I was talking about click into there you guys can change the power it's kind of like the brightness I'm another great tip change your type here if you don't want all the green in the reflection you can change that from normal to float and that's just going to keep the reflections but keep them black and white and I think for the knives this actually works pretty well so if i zoom here's what that looks like you can even see closely some like trees in the reflection of the hill so we have this HDR iron here but when I render I don't want to have this weird image in the background to make sure this is invisible technically it is but what you need to do is open up your octane settings or your project settings and slide down here to where it says alpha channel and we're gonna check that and you'll see it goes away but we still have our reflections I'm also gonna uncheck keep environment and while we're here let's go ahead and just set these get them out of the way you guys can change your you guys can change op direct lighting but I'm just gonna keep it because we're not doing anything crazy take your samples from 128 put them close to a thousand I've been keeping them at like 8:40 I think that's fine that'll just make the quality of your render a lot better it's not going to take too long I think it takes me like five minutes to actually render out this full scene so it's nothing crazy and that's good just important thing is make sure your alpha Channel was checked of course this is what it's gonna look like if it's not and make sure your samples are up okay and that is about it so if you guys like the look of it file save pop into After Effects you always want to check out what that's looking like when you are ready to render you pop into cinema 4d last thing let's add a little bit of lighting here just so it's not dark so I'm just gonna go to objects lights you can add a daylight I'm gonna add an area light so we don't want the light blocking the camera so we'll click on the light tag visibility so you camera visibility turn that off and you'll see this is where looks like light on light off so you can tell from that knife so when you're ready to render come up to your settings click this the great thing about doing this in After Effects in cinema 4d is since we brought in that After Effects camera with the After Effects track solid it completely just copy and pasted all of our settings here so our width and height we don't have to touch it frames just put that on all frames that's fine of course change the render to whatever renderer you're using so I'm using octane if I kept it on standard all the octane stuff the look of it wouldn't render it it would it would just look like this when it's rendered so I'm gonna change my renderer to octane right there now we go to save and this is where you want to save it so click these three dots and let's go back to our main folder Godzilla effects and anytime I do a render you'll see I have a folder knife renders this is what its gonna look like a bunch of images and as you scroll you see it's kind of going in and out so let's right-click make a new folder so folder tutorial knife renders and double click into that folder and just name it something so I just name it knife and whenever it renders it'll say knife zero knife one every frame so save it format I like to just do TIFF PSD layers this is a big one make sure alpha channel is checked on here as well as in your octane settings so now you can go ahead and click this button and it will begin rendering so check it out and we're gonna use that exact strategy here that we just did to create this to create our other 3d things so the way that we render set it up the way we bring in the tracking info everything's gonna stay the same except for how we design what three things going on so familiarize yourself with this process rewind it if it's tricky leave questions in the comments if you're stuck I'll try my hardest to help out people in the comments are always helping each other out so if you're stuck please don't I've already rendered this out previously so I'm not going to render it but even right click and show file and Explorer and you'll see now they're rendering out so once that's done what you want to do is you hop into After Effects you go to your project bin here you right-click and you go to import multiple files now you go to where you rendered everything so I did moving knife renders this is where we did so here's everything rendered out you can see all hundred and forty frames all you have to do is select the first picture you don't the highlight all of them make sure TIFF sequence is checked import as footage import and then you just click OK and then you click done now it opens up now it creates this for you drop it in there and check it out you got your knives in your scene alright so this is perfect now the only issue here is you'll see that there's some of these that are in the background kind of peeking through now there's two ways to fix this you guys can either go back and render a kind of depth passed and depending on what renderer you are using there's a lot of different ways to do this or what you can do is you can literally just mask it masking it for this was not that hard maybe took 5-10 minutes a little bit annoying but you got to do what you got to do one other thing you'll see that if I play this it's not tracked in it's kind of shaky and the duration isn't right as you can see in my project Bend frame rate it's 30 but this footage is twenty three point nine seven eight so make sure the frame rates are corresponding but if you just run into this huge issue where this is thirty but you did it all correct you can just right click interpret footage main and we'll just interpret this as 23.976 click OK and now you can just drag it out now it's properly tracked there's a little bit of jiggling from the handheld movement but to fix that so say you want to do an actor of X we right-click pre-comp this you want to add a warp stabiliser and this will take away your shakiness if it is a little bit of handheld going on this will make it smooth so just drop your warp stabiliser on to there again you can do this in Adobe Premiere with a dynamic link so this is stabilizing and should be good to go so play that out so our warp stabiliser is complete so after that we've completed our first 3d scene with our knives step by step and again we're gonna go we're gonna skip a little bit of these steps here because I showed you the workflow from getting the footage into c40 through tracking it to putting what 3d thing you want into the track space checking it in After Effects all the way to rendering color grading stabilizing that's all gonna stay the same the only thing we're gonna change in that process that I just showed you is instead of making a circle of knives now we're gonna make 3d puke we're gonna make 3d blood and we're gonna take that same workflow and now we're gonna take the 3d puke or the 3d blood and put it in front of our camera alright guys now on to the puke the Lego puke and - very different from the actual original music video I added a lot more actual slime actual puke and less Legos but we're gonna talk about how you guys can create these Legos how we can add the physics the dynamics of it hitting the ground how we can add in our shadows and if you actually look closely you'll see that I actually messed up because the puke kind of starts to flow out to float away and it makes it look like it's kind of hovering over the ground so I'm gonna go back and that but in the time being we'll talk about all the challenges you're gonna face how to create this look how to create these simulations and again it's not as difficult as it may look but I will say that you will need a plug-in to create a fluid simulation like this I'm using real flow for cinema 4d of course depending what 3d software you're using you guys can look into different fluid simulations there's X particles which is on the more expensive end and on the example and on the absolute cheap and there's Houdini apprentice version where obviously a completely different software a little bit more complicated but if you want something free and you want to create a fluid simulation then you can use Houdini again real flow works for cinema 4d so I recommend real flow and I'm going to be using real flow for this and for talking a little bit later how to create custom blood spatters but anyways we're gonna start the exact same way my first time shooting this if we just take a look at the footage I did it like this and obviously I would have to kind of really finesse everything I'd have to do a lot more masking and I would have to make it really look it like it's coming out of one exact point the benefit of shooting it like this where you reel over and you'll see in the music video they do the same thing they completely reel over and have his head kind of all the way at waist length is now you can just create a mask here you don't have to make it look like anything's coming out of the mouth you can just make it look like things are falling out and it's a lot easier to pull it off this way it's a lot simpler it's gonna make your life easier so if you're trying to do this don't just try and make stuff shoot out of your mouth be smart about it and I think this is the best possible way so right click track and stabilize track your camera camera is tracked we're gonna go ahead and create our camera you'll see it says no depth so that's fine again we're not moving forward and we're going to you see this kind of triangle bullseye here we're going to right click create our solid select that solid open up its transform options see your orientation we're gonna orient it so that's flat so we're selecting the general area of where this puke is going to land I'm even gonna kind of change it will grab the y-axis try and put it in front play that out see what it looked like so we're looking like we're puking onto this 3d track solid once you do that you go to file export cinema4d exporter click ok we go into cinema 4d we file we open and we open up what we just saved so tutorial pew comp and again here we are fire up octane or whatever render to view play it out and you can see again let's open up that null click off here you can see this is what the camera is looking like in the hands of my girlfriend who was filming this this is the shakiness let's create 3d puke and three Legos so let's start with the Lego so just like with the knives you can either create your own Lego or do it the lazy way we're just gonna find Legos on the Internet but about Lego food for $6 and Lego bricks set for $10 so if you guys are interested links to those will be below and you don't have to use the exact ones there's a bunch of different ones like this if you look up Lego food so this Lego piece project file like here there's actually cinema 4d project file for that so you can just double click on that once you've downloaded it um make sure you just download the cinema 4d and also there's a lot of plugins on the internet of things where you just click and make your own Legos pretty sure this project file was using one of those plugins so if you just google search whatever 3 software you're using Lego plug-in there's a lot out there there might be a lot of free stuff but we don't really need that what I need is this right here these connect the actual object of the Legos and this project problems delete all the sky the camera this is help if you want to actually like build your own or something well delete that I need these right here so I'm gonna open this up this connect object here I'm gonna right click and I'm gonna click current state to object and it makes this and this is what I want and you can do that for all the different ones this is 2 by 5 2 by 7 and use the textures they have just drop red blue now I did this for all of them so we have our Lego pieces and our goal is to make them be puked think about what we're actually gonna need to accomplish you guys can look at the footage of my tutorial you can look at the music video of the Godzilla music video our solution for that again you guys can keyframe it all make it drop but it's not going to be that easy so similar to how we clone the knives for the knife sir we're going to omit the Legos so to create that emission and essentially what it is is emitter is just an emitter is just particles being fired into one direction you can choose what the particle is in this case we're gonna make the particles these Lego blocks simulate tab here go to particles and you'll see emitter go ahead and click that now we have this little emitter object so you can press play and this is what the emitter is doing so this is the direction the particles are going and we're gonna go ahead and change that around so let's click our rotation tool flip this around grab tool pull it up rotation tool though we want the particles to go down go to the beginning press play perfect we have our particles raining down on our Legos now let's turn those particles into Legos let's first of all let's give this some more distance now to do that similar to the cloner we need to make these pieces here children of the emitter so click select them all and then just drag see that down arrow drop into the emitter now this is gonna play you're not gonna see it to actually see it be emitted click the emitter and just click show objects now this will disappear and it's gonna start raining bricks like that and that's as simple as that now all you really need to do is change around the settings until you get what you ultimately want another thing I want to mention is the way that these are gonna turn out you guys can actually click on your emitter here let's change something let's change some of these settings first so your birthrate editor this is basically gonna say like I asked how many of these bricks it's doing so if we put this all the way up to like 40 let's put it up to 30 go to the beginning you're gonna see like a tower of Legos come out life time don't need to touch that speed this is an important one because this is gonna be how fast the puke is coming out the Legos are gonna be coming out so you may need to tweak this number a little bit depending on your footage but for now let's just put it up to like 300 so we have that happening maybe put that up more let's maybe make it 600 and if you guys went to this end scale variation speed variation lifetime variation if you just put up these percentages it's going to add a little bit more randomization to how these are drawn so it won't be his uniform the scales are gonna be changed a little bit the speeds are gonna be changed and that way it doesn't look like you're just kind of telling the computer to drop Legos it looks a little bit more random so that'll help for the pukey look if that makes any sense click on emitter emitter type I put this on cone and you don't want this to be a wide area because we want this to look like it's coming out of our mouth so you can put this on 10 centimeters for both now it's kind of falling in a more uniform area and they're all kind of facing up so so maybe just select some of these and change the rotation so that some of these are kind of crooked I'm trying to just like randomize them play now you'll see everything's looking a bit different you guys can really mess around with that in terms of the spacing you kinda just have to tweak it of course you can maybe transform a bit there you go so pretty simple it's like one tiny control and you guys can probably just tweak around and get the basic so that's pretty easy now the next thing that we need to accomplish here is this is just gonna fall to kingdom come we need to actually create our floor here you need to actually make the little plane of where this is gonna hit the ground so let's take this emitter control see let's hold down V and just pop into that project of the tracked composition so this one we already have a track solid down to where the floor should be so we can just ctrl V to paste and let's just position it now so we'll click off our check and this is all the way up there so hold down shift to select all of these to make sure that nothing gets left behind and now we're going to try and just get this over to the track solid kind of like that so double-click this go back to frame 0 click in your camera press play and look now you see the blocks are hitting our thing so let's go back and first of all these blocks are way too big the coordinates you see our x y&z for our scale s is for scale let's make each of those 0.5 so we're gonna decrease the size by half so you can just control the pace in that 0.5 and let's do that for everything so click here coordinates scale if we I'll save and let's do the same thing let's get our reference hop into After Effects and let's go ahead and just drag in the composition here it should say tutorial puke comp so let's see what the Legos are looking like press play and they're actually just based off blindness it's actually kind of coming in the right area because you'll see we want it to start like right here but obviously it starts right away so that's an issue it's falling all the way down so that's an issue we need to hit the ground so there's a few issues we need to address here so let's start with making it to start where we want it to so if we drag here we wanted to start right there is when I would start puking if you see here this little time stamp you'll see there's our time zero seventeen and that's actually seventeenth frame so this bottom-left number is the frame so on our seventeenth frame that's when we want this emission to start go back into cinema 4d you've got our emitter be mitr here and remember the speed that we were talking about right here how 600 first of all let's put that at 400 and then let's go to the 17th frame where we want it to start keyframe the visibility as well so let's put it at zero here move to our activation frame 17 but 100 again that's what happens if you don't click it in make sure it's red now we play it and there we go so now it's emitting at the frame rewind so if we file save now you'll see it doesn't start puking until we want it to obviously the everything's still messed up we still need to change a lot of things but at least that problem is attended to now let's make it so that it starts bouncing off the ground go into cinema 4d we're gonna create a plane here so hold and click on your cube create a plane shape let's click off your camera so we don't mess anything up now let's bring this plane over and this is why we bring in these track solids because this is giving us our reference for where the puke is going to land so we'll place the plane right over that track solid like that's and we're gonna go ahead and make this bigger so click scale so now we're gonna add dynamics to this so this way when these Lego bricks hit this plane they're not just gonna pass through them like they are now they're gonna bounce off and react like it's a Lego being dropped on the floor so you'll see right now it's passing through but let's add the dynamics and it's pretty easy we're just gonna add tags so let's hold shift click and select all these connects which is our Lego objects you can write rename them no Lego if you want right click simulation tags rigidbody and go to the beginning now we're gonna go to our plane here and if you want here let's rename everything's - no one's confused or rename this to ground now we've added the rigidbody to our Legos and that's just telling the simulation these Legos now have physics so if the interact was something that it's told to be a hard surface it's gonna bounce off it so let's tell this to be hard circuits let's right-click on the ground let's go through simulation and make that a Collider body and now let's just play and see how that looks so now they're gonna admit they're gonna admit they're gonna hit the ground and they're not just going to pass through and if you guys won if you don't want plane to be visible in after-effects because you're gonna see that this plane is gonna pop up but it's gonna take a lot of viewing space away as you can see if you want that to just only be there but not visible you select it double click these dots so they're red so technically it's still there it's still gonna react like it's a floor but it's not visible so there you go as you can see and we're gonna make this a lot more realistic as we go we're gonna add shadows so you can see if it's in the air there'll be a shadow on the floor and it's kind of a little bit too close and again they're too big I can spend another 3 hours of video just explaining all the little tweaks that we add it's gonna be different for all the footage so I'm not going to show you perfectly what to change you guys are gonna have to change it based on your footage but I'm gonna show you how to get the simulation so say it's a little bit too close so I need to move it close to the camera very simple anytime you're doing a simulation I also recommend if you're gonna move something around always start at the first frame to click this button before you move anything just so you don't mess anything up pop out of here grab the z-axis we'll move it a little bit closer a little bit further out and coordinates here let's make this like 0.84 our emitter scale and that's kind of like the master scale for all the Legos that'll just make them a bit smaller all right so that is the simple basics if you want to add in the Lego food like I did what I did was I just ctrl-c ctrl-v to copy and paste the submitter I deleted all of these Legos in that pasted emitter let's rename this to food emitter and then I brought in the Lego food FBX as you can see I just textured all of these just by creating like cinema 4d glossy materials as you guys can see put them all into place and then drop them into the emitter and then just place that emitter over top of the other emitter that way you can get the food the only thing I need to show you here is how to add the liquid again there's gonna be a lot of tweaking on your end it's gonna look different you need to position it just kind of imagine that starts here and we're gonna make a mask later on so it doesn't matter if it's kind of leaking over the area it doesn't have to be perfect we'll make a mask later on and fix everything but add in the dynamics position it where you need make the emitter customize everything how you want it but let me take you through the basics it's not that difficult it's not that difficult so what we're gonna do here let's click off of this and you could do this in another project and then drop it on your target later if you want if you find it easier I'm just gonna do it all in this composition so when it comes to real flow once you've downloaded the plug-in you're gonna see if I click here I can just click this scene button it's gonna kind of set this up for me now let's do the same thing we've been doing with everything let's position this scene target over top of where we're doing everything this is exactly the same to how we created the emitter for the Legos we're gonna go to real flow and then just create a circle emitter and you're gonna just set it up the same you can actually find where you place your original emitter and you can match up the circle emitter to where your Lego emitter is so find the positioning of your Lego emitter and place your circle emitter you're also going to want to make that smaller because it's going to be coming out of your mouth it's not going to be like a giant valve of water opening so this is what our liquid emission is looking like you'll see these little raindrops dropping we're gonna customize this so select fluid here and here's where you can change a lot and again I recommend if you want to fully customize depending on what type of fluid you're making there's a lot of tutorials where you're gonna really get in depth with the customization or you guys can mess around with these a lot but what I did to make it more slime like not watery I made this density 600 and again you can change a bunch of these you can experiment it's really up to you now let's do the same thing at this mission here so that it starts when the Lego starts so that's frame 17 you see our speed keyframe that moved to 16 make it 0 keyframe it so you should have 0 particles BAM flip the switch just like that we got the particles coming down at frame number 17 now we need to do the same thing it's literally the exact same thing that we did with the Legos we need to add the dynamics we need to make we need to make these particles hit the floor we don't need it to pass through it I'm just gonna make another plane and this one will be the real flow plane so we'll name this real flow plane and we're gonna place this in the exact same area here so and then what we're gonna do is this time we're gonna add the real flow dynamics tag and it's the same as like the Collider object but for real flow so right click instead of going to simulation you go to real flow right here real flow tags Collider and again if you want to change your friction your bounce you can but let's just test it and see if these particles are now hitting the plane and perfect so that's what we want but next essential step really is actually adding the liquid so you can see what it's going to look like and making the liquid so to do that go to real flow you click measure and then it Auto pops this up all you need to do is click blocking it but right there build mesh click that and for some reason the mesh is like all the way down here so let's just select it and position it to be where we need it to so here comes toothpaste basically right now hits our plane and it's let's customize the look of this we're gonna click on measure resolution you can keep that low bump your radius up and again don't put it up too much you will need to really experiment with this because sometimes this is where it can get difficult because you're not gonna see this just by file saving and popping over since it's a plugin my initial run I made this way too thick on the radius and it literally looked like this giant like slime coming out of my face so again this is going to be different depending on your footage how you shot it find one that works if you need to do like a little testing phase what you can do is you can play out the simulation here instead of rendering the whole animation having to wait just go to output just render like one frame and see how it lines up if you know what I mean now for the actual slime for the texture of it right now it just looks like brick we're gonna go to create shader c4d octane material and we're gonna change this material from diffuse to specular now all we're gonna really do here is the transmission let's go ahead and just add a RGB spectrum to do that click this little triangle go to effects go to cinema 4d octane and go to RGB spectrum click into there and now we can change the color so make kind of like greenish puke ish yellow so if you drop it on there here's what that looks like it's specular so it's kind of like glass we want to mix of that so we want it to be like glossy paint like but also a little bit like slime see-through so to do to find the perfect mix instead of just doing this let's control Z we're gonna make another texture so shader material now on this one we're gonna make this one a glossy and then let's just change the diffuse color so we'll go make this one even a little more yellow like that so now we have old shrek boy here and we got glassy Shrek now let's mix those create shader octane octane mix double click that drop in our Shrek texture drop in our glass texture and we have puke and of course you guys can change however you want if that's to see-through you guys can put it more towards the glossy to the right if it's too whatever you guys can customize it's all up to you you guys can put image textures or like weird puke chunks if you want so let's turn our Legos back on so we have our Mitter it's extract that back on play it and we'll see how everything works together so we have Legos we have vomit the Legos are falling a lot faster than the vomit so let's fix that click our mitr and our speed here you'll see the keyframe drag it back we had it at 400 let's put it at think even 200 would be good make sure that's read so I'm actually just gonna go to my original comp here just to kind of save some time so that I'm not explaining all the little changes of values for hours on end so this is the ultimate this is the composition that I ultimately used in my final product you can see it's a lot more contained in terms of the area everything again it just took a lot of experimentation a lot of changing the values and I can't just show you mine because it's going to be different for your footage unless you completely replicate the footage so and the last thing I need to show you before rendering a very very important step is adding a shadow catcher so since this is going to be bouncing off the ground all these pieces here we need to add shadows onto that or it's not gonna look realistic to add these shadows it's actually really easy so you'll see that we have these planes here that we made earlier and they're just hidden so that they're not in the renders but we still have things reacting with them so this plane right here show it looks red rice is what it normally looked like this is what the Legos are bouncing off of turn that into a shadow catching plane so create shader c40 octane all I need to do is go down to common click shadow catcher the end drag that on to your plane see even in my octane render here if i zoom in you'll see this now has shadows it's kind of hard to see now only the shadows are showing and you guys can render like normal once you have that ready let's get this ready for X or we're gonna do similar to the knives go to your octane settings samples put them up to close to a thousand I did 7:30 turn on alpha shadows or turn on alpha channel very very important make sure your alpha channels checked turn off keep environments you guys can add lighting here I'll show you my lighting setup for this similar to what I did with the knives I got a light here like there make sure everything's looking perfect for your standards now in terms of settings put it on octane renderer save again we're gonna make another folder here just make a folder named puke renders or whatever renders do the same with the knives if you're if I'm going too quick here rewind to the knives where I fully talked about it check your alpha check your alpha channel make sure it's on all frames and you're good to go you don't have to add on to the measures I think this will measure I think this will render out with octane but if not whatever render you're using like sometimes when you're doing a plug-in sometimes we're using a plug-in on this you may need to right-click on the measure and go to see 40 octane tags or here's Arnold tags or redshift tags just add an octane object tag now once you're done rendering drop that into after-effects make sure everything's lined up make sure everything is proper everything's tracked correctly and go about masking and again this is why I told you at the very beginning if you have if you're reeling over as opposed to trying to have it shoot out of your mouth it's gonna be a lot easier to pull this off just simple masks like this that's the easy part the harder part is masking your legs out so that it's not really messing with that if you want you can even put 3d like leg like objects there so that the slime will react like it like it splashes up against it that's an option but I didn't do it that is the bulk of the difficult stuff so if you made it this far congratulations the rest is gonna be very easy we just need to show you how to make the CDs walking Godzilla's and and floating blood all right guys let's talk about how to add in our walking and Godzilla model let's go ahead and right-click on our footage track and stabilize track the camera as usual so we can go to our FET controls here click create camera and our 3d camera tracker will pop up let's also select here we can select an artifact controls the 3d camera tracker and let's just kind of put a rough area for where we want this Godzilla so and then maybe one over here so these are going to be our reference points so let's go up to file export Maxon cinema 4d exporter click OK here now when it comes to actually finding the Godzilla model you pop on at turbosquid cg trader you guys can search for Godzilla and 90% of the time it's gonna be a little tricky to find the exact model here so shout out to this guy here Hakan he actually posted this on sketchfab and i'm just gonna use this as an example but this is a blender model rigged animated perfectly what we need just to just to show you the example so you need to find a animated version of your monster or you need to animate it yourself if you want to animate the walk cycle yourself it's not that difficult but it is time consuming click download 3d model I downloaded blender which is free and it's super quick to install it takes like 5 seconds to install blender I just went file open open this up in blender as if you click Play down here you can see what it's looking like then what I did is I just went to file export and FBX and you don't really have to mess with the user's name it's make sure that baked animation is checked so let's bring in our tracked composition here open up our Godzilla tract that we just exported from blender the FBX so here's what that's looking like double click into there I'm gonna change this to a glossy material and then in my diffuse we can actually bring up the textures that came along with this model here drop the skin texture into the diffuse want you can drag it on to Godzilla here and drag the normal map on to there and it's looking pretty good select all of these in the top right ctrl C to copy and we're gonna hold down V and go to our add Godzilla comp and then select our object bin again ctrl V to paste let's pop out of our camera so we can position this where we once and this is way too big for what we're going for so so we're gonna hold down shift and just select the armature and the circle here so this is everything making up our Godzilla model we're gonna hold down alt and click G just to put that in a null so we can transform it without messing anything up we'll just name this Godzilla and we're actually just gonna go to coordinates see how it says one here let's make this like 0.4 for everything there you go so the reason why we put in a null so that we're not scaling one thing and messing up the rig if you put it in the knowledge will scale everything so if we press play here they should still be working fine and it's smaller so that's how we can do that properly this is still really big maybe 0.1 so 0.14 all of these ctrl V to paste it's looking a lot better let's maybe put this where we can see it here's what that looks like click back to your camera view if you want to reference the side you can just check these tracks all it's off for now file save that pop into After Effects and let's go ahead and just drag that cinema 4d project file once you've dragged into that file you'll see what it's looking like in our scene so let's try and line that up better you'll see it's a little bit too high up here and we're gonna grab our of Godzilla null and just lower its file save probably would have been a better idea to actually place these track solids on the ground and that should be okay so let's just make it move forward with the walk cycle instead of pacing in place so what we can do is we can just click this little auto keyframes button that's right next to my face click that at our starting position here and then just drag to the end and then with your null selected you can grab the Z position and just kind of move it forward now let's see what that looks like well press play you see we made a key frame of our Godzilla moving forward alright so now let's create a little plane for the ground so that we can create some realistic shadows hold down on this cube and click on plane and let's click off our camera view for now if you guys want you can see how far you're really going grab this plane and we're gonna go and place it right at the feet of our Godzilla a little bit longer now you can see the shadow that's being created here automatically and we can add in some simple lighting here so we'll click off this for now and we'll just add in a little object lights octane aerial a make this ground a shadow catcher object very easy we just go to che cinema4d octane material and then in here you just go to common turn on shadow catcher and drop it down it's also go to our acting settings here turn on alpha Channel and now you'll see that this goes when you turn off keep environment so that we can see our shadows bump up our samples to around a thousand and that should be good though let's go up to our settings here output this is all good to go I don't think we need all these frames I'm not gonna ride the whole length 120 that's gonna save here let's create a new folder for this render so we'll go to this main Godzilla effects folder let's find this folder here double click and we'll name this Godzilla and click Save you also want to check on your alpha channel here tip is fine change this to octane or whatever render you are using and this should be good to go so now we can go ahead and click render now for the blood this is also very simple there's two ways you can do it you can use 2d assets of green screen blood or whatever that you find you can just drop it into after-effects no need for any 3d software as long as you check the 3d layer button it'll follow your 3d camera and it'll float in 3d space so you can position it that way or if you want to be more technical if you want to create and tailor the blood to your liking you guys can go into cinema 4d use real flow like how we did with the the vomit the slime earlier and there's actually a good handful of tutorials on YouTube on how you can create blood using real flow so you can customize the splatters there's a bunch to really go in for that of course there's so many different types but if you guys want I'll leave links below and you can tailor your own and make your own you guys want to replicate that same look where the blood is kind of suspended in midair you guys can even find a place you like right click go to time and then just freeze-frame it and then of course since this is a 3d layer you guys can move it to position it wherever you want and as we move forward you'll see the camera will walk right past it I hope you guys did enjoy the tutorial a lot of new information new 3d things as I learn more I'm excited to pass that on to you and hopefully open up some new doors so you guys can explore some cool stuff learn a lot of cool stuff anyways guys thank you so much for watching thank you much for supporting and I'll see you guys in the next one

Channel: Max Novak

Views: 64,612

Keywords: tutorial, max novak, eminem, juicewrld, godzilla, lyrical lemonade, vfx, breakdown, asap, ferg, floor seats, 3d, adobe, premiere, after effects, mega tutorial, cole bennett, awge, music video, magnolia, playboi carti, hidji, photoshop, editing, best effects, preset, pack, plugin, zoom, trippy, edit, meme edit, how to edit like, how to make a music video, justin odisho, cinecom, corridor

Id: 6JzNPEqr0WU

Length: 104min 29sec (6269 seconds)

Published: Fri Apr 10 2020