Ladies and gentlemen, boys and girls, welcome back. My name is notiansans. This, of course, is learn how to edit stuff. And today we are doing a visual effects breakdown of this scene from my art grid video editing contest submission. It's pretty cool. A lot of intricate little things going on here, camera movement, reflections, all that kind of stuff. It's going to be a really fun video. We're doing it all in After Effects today, and it's guaranteed to be a pretty good time. Now, for those of you that are returning subscribers, returning viewers, yes, the room I'm in is now different. I have moved to a new location, which is why I've kind of been missing from YouTube for the past couple of weeks. Moving with a baby and a dog is very stressful when you're an adult. And so that's why I was gone. So I apologize for that. But we're bringing the heat on this. Visual effects break down video for my art grid, video editing contest submission. And if you guys don't know what the art grid video editing contest is, I will leave a link down to the video scription below. But basically, you have to edit together either an ad spot, a music video or a movie trailer using only stock footage from art grid and only stock music from art list. And I decided to submit myself this year because I wanted the challenge you have until September twenty third to do it for yourself, but that's on you. Today we're going to do a visual effects break down from a scene from my video. Here is that scene again. And basically the plot of my music video is there is a guy who's like super sad about an ex-girlfriend and he's remembering her. And so he's looking in the reflection of this window and he's seeing kind of like old memories play out and it kind of burns out in a film burn. So we're going to do that today. Pretty technical. We're doing some camera tracking. We're doing some rotoscoping, some blending in, some mapping. It's going to be really fun. It's going to be super exciting. I'm excited. You're excited. Don't forget to smash that subscribe button. Give this video a thumbs up. If you are excited to learn some visual effects today and drop a comment in the comment section below and let me know, how fast do you think I talk? You know, I love I love hearing those. It's because I like coffee a lot. OK, we're opening up a Adobe after effects and we are getting started right now. All right, boys and girls, down to my timeline. I have two video clips. One is the guy looking in the reflection of this window and the other which is needed right now is the shot of the old memory of him, kind of like swinging his girl around. And so basically what we're going to do is we're going to put this video clip in the reflection of this video. Now, you can see it's kind of skewed off center, which is going to make it really fun and challenging for us, but not really because you've got your old pal now, OK? We're not anyway. So we're going to start off by coming up to layer and creating a new null object, because this is where we're going to place our hit, the enter key tracking data. It's always good to label your layers. So basically, we're going to track this VFX shot here. So we're going to come over to our tracker on the right hand side of Adobe after effects. And if you don't have this, you can come up to window and go to tracker here or you can come to workspace all panels and it will put all of these panels over here. But basically, you're trying to navigate to the tracker panel and click on track motion. And how this works is an area you're supposed to track, an area of high and low contrast. And I try to never track the subject unless I'm going to be putting something on the subject, because the subject moves a lot more than our camera. So basically a good way to do this is to find something in the reflection that's both high and low contrast. So I'm going to track this big kind of orange hot dog thing on our mirror. I'm going to put my tracker right around this orange hot dog. And this is the area in which you want to track. And the outside square is the area that's kind of looking for that information. And because my camera doesn't move too much, we shouldn't have a problem tracking this nicely. So before we hit track, let's go to edit Target. And let's Target are tracking data, which I now realize is tracking data. But hey, we're already deep into the tutorial. So tracking data click, OK. And now we are just going to track forward and it's going to track my orange hot dog right in that reflection. And this is the tracking data that we're going to use to kind of parent our footage, too. So the footage follows the movement of the camera. We are now done in. All we have to do is click, apply, apply dimensions X and Y. And now it will apply all of that tracking data to our null object. You can see here the position key frames are all set up and ready for us to go, which is fantastic. So now what I'm going to do is come over to the beginning of my composition and I'm going to click on my VFX shot here. And I'm actually going to pre comp this by heading shift control, see on my keyboard, and I'm going to move all attributes to a new composition. And now what I'm going to do is add cornor pins to this prekop. I have the video copilot effects console so I can hit control and spacebar to search for any effect in after effects I highly recommended. It's a very fast way to kind of like get stuff done. It's a free plug in from video copilot link in the video description. Fantastic plug in anyway. What we're going to do now is just kind of corner pen and I'm going to turn the opacity down by hitting T so we can actually see what we're doing. And basically, we're going to try to match the dimensions of this window so you can see that there's a hard line for us to kind of follow right here, which is really nice. So I'm just going to kind of corner pin this to the best of my ability. And I'm going to overlap that line, and I'll show you why in just a minute, but I'm going to kind of overlap the line. I'm going to, quote, open this to the best of my ability, and I have to kind of imagine where the window goes. But because we're on sort of like weird skewed angle, something like this would work. It's kind of like a sideways rhombus situation, which is totally fine. But basically what I want to do now is kind of move the footage into his eyeline, because right now it's kind of like in a weird spot. So what I'm going to do is just kind of move this over here to his eyeline so that he's looking at the memory. And this perspective kind of makes sense now. So now the last thing I'm going to do is pick with this Prekop to our tracking date. And now that footage will kind of follow the camera movement very nicely. So now our footage is tracked to the scene and everything's looking real good. And now the next thing I me to do is add a mask to my footage so I can follow this line right here. So with that Prekop selected, I'm going to double click on my mask button up here and it will automatically add a mask to my video. You can't see it right now because the little mask overlay is toggled off. But now you can see that mask nice and pretty. And what I'm going to do is set a mask path keyframe. And I'm going to move this mask to line up with this hard line in the window. Came we're at frame one, by the way, so kind of line it up there real nice. Then I'm going to come to one second and I'm going to do it again and just adjust the mask a little bit so it stays within the bounds of that window. And I'm going to come all the way over to the end and do the same thing and just make sure that we're following this nice, hard line in the window. And then the last thing I will do is feather that mask. So it kind of blends a little bit more with that side of the window. And now the mask is kind of animating along with the camera. And we have a nice feathered edge along that side of the window. So now when I turn my opacity back up, you can see a couple of things are happening here. Right? We're going to have to roto his face and his hand. So it's going over this footage. And we're also going to have to make the footage look like a reflection in my favorite blend mode and after effects. Thank you for asking. I'm sure you're curious. Is color dodge for reflections? My favorite blend mode for reflections is color dodge. So we can come in here and go to our mode. And if you don't see this mode in AfterEffects, you can toggle and switch modes down here at the bottom, which should pop up with that mode . And now we can change this to color. Dodge looks pretty good. And we could also maybe try classic colored dodge, which is actually giving us a nicer edge here on the window. But I like colored dodge normal. So we're going to go with color dodge. And the reason I like it is because we can still see the original reflections that are in the reflection, as well as making this look like a reflection. And it's going to really look like a reflection when we hit T. I'm going to turn this all the way to zero so we can see our original reflections of his hand and his face here. And I'm going to slowly kind of turn it up to the point where we're not losing his reflection completely, but we're still seeing this reflection, so. Right, about 43 percent. But I like even numbers. So we're going to go to 42 percent. And that's looking good. So the next thing we're going to do is rotoscoping scope out his hand and his entire, you know, side of his face here so that our reflection layer isn't going over his skin because that doesn't look right . It has to be behind him in, you know, Zied depth or whatever. So I have tutorials on the Roto Brush to tool that you can watch. I have tutorials on runway Amle that you can watch. But what I don't have is a tutorial on Mauka Pro, which I've been really actually using a lot lately, specifically for the mesh tracking feature, which I'm going to demo today in this tutorial Mauka. You can do a lot of tracking and cool stuff with there. I have some tutorials on that as well, but I've never done a tutorial on Mauka Pro. So welcome to the mini tutorial about Mauka Pro. Yeah, I'm going to duplicate my bottom clip and drag it up on to top here. And I'm going to search for Mauka Pro and drop mauka pro right on that piece of video. Click on the Mocha Icon, which will launch, you guessed it, Melco Prep. So basically what I'm going to do inside of Mauka Pro and it works very much like Mauka. I'm not going to do a tutorial on every little nook and cranny of this thing. But basically, we're going to take our pen tool and zoom in here. And I'm just going to trace the outside of my actor. There we go. Actor Trace complete and you can see a nice little line around here, and I'm kind of cutting him off halfway down the body because we actually don't need to do everything. And, you know, why make your computer work harder than it has to do? But anyway, now that I've got this traced, what I'm going to do is come right down here to the bottom under our little like track, you know, Metrix down here. And we're going to click on Mesh, which is going to actually track a moving mesh inside a mock approach, which is really cool. And it will add all these other little points and stuff. And what I would recommend doing for doing human beings are things that are like really like kind of fluid. You know, when I think of MASH, I think of like that kind of thing, you know, is that my cool dance moves like and subscribe the thumbs up for the OK. So basically, I want to make this a uniform mesh and not this kind of like hodgepodge mesh that it just automatically generates. So down here under generation mode, I'm going to switch this from automatic to uniform, then click generate mesh. And as you'll see, it generates a grid of a mesh. And that's going to be much better track for us in the end. And you can change the mesh size by kind of rotating this down. Maybe we'll do a 24 mesh size and then you have to regenerate the mesh every time. So that looks like pretty good track points. I'm actually going to go a little bit lower and let's go to 20 generate mesh. That's looking really great. And then all you have to do, guys, is just track this forward. OK. It has reached the end of my clip and I realized that I started from the middle of the clip. You can see this little green arrow here. So now I'm going to go to my green arrow and just track backwards from that. OK, great. Once you are done with your track, all you have to do is click control as to save all of that data inside of Mauka Pro close, Melco Pro. And now I can come up to Matt and I can click on this little button that says create ai'i masks. And it will automatically mask out that footage. Based on my data from Mauka Pro, I'm going to solo this layer so you can see exactly what I'm talking about. And now I have a mask inside of after effects like I'm used to seeing. And it's all tracked keyframes every single frame. And now I just have a mask and footage that I can work with. So I'm going to come in here and zoom in and I'm just going to feather this. How much? I'm going to feather this six pixels. That's looking pretty good to me. And now when I come in here, I can unfollow this. Now we have our Actos base outside of our reflexion layer. And now this looks a lot more believable in the grand scheme of things. So we're going to do the exact same thing with his hand. All right, and there we go, we have successfully rotated out our actor, his hand and his face, and he is now looking at the reflection of his past life with his girl that he lost. And we're getting somewhere. This is looking really, really awesome. So now the last thing that I want to do is just really kind of button up this reflection a little bit more since this is looking good. And then we'll add the film burn effect as the memory kind of burns away. This is art. This is art school kids. I don't know what to tell yourself now because we prekop to this layer is going to make it a little bit easier for us to do these effects. So first off, I'm going to add a fast box blur to our reflection, because it is way too in focus. I'm going to change this blur amount to four. And that's going to give it a nice blur on our reflection there. And that's looking really nice. And then what we'll do is double click into our prekop. And then this is where we can add our film Burn now. I like to use an adjustment layer and I like to use the why can I spell today burn? I like to use the Börse Effects Continuum Bernt film. It is part of the Borissov X Continuum plug set. You guys probably don't have that, but I'm going to demo this and I'm also going to demo how to do it with a matte as well, which is free. You can find a bunch of those mats on line, but I like the board specs continuum. All of it. And Saphire, all of it's great. All the börse of stuff is great. So basically what I'm going to do is come over here and turn the animation two percent done. And then I'm going to come to you right about here where I want it to start. And I'm going to change the Dunnam out to zero. And I'm going to go all the way to the end of our clip and change the percent done amount to one hundred. So now we kind of have this like film burn, kind of like happening out here. And I can change the the shape of this under the shape slider. So now we have this thing kind of burning from the outside in. And now when we click back over into our visual effect, you can see here that the film Burn is burning away his memory. And if I had to be really nit picky with this, I would say to go in and kind of adjust the mask here on our feather, which we can do very easily by just turning the mask expansion down so that that's not hitting that hard line, as you see. And that's looking pretty good. So let's play this. Looking at the old memories and then it burns away. Wow. Art. But as I said earlier in this Tauriel, this is very technical. There's a lot going on here with the tracking in the rodeoing and the reflection in the corner bend. So if you follow it along. Congratulations. I'm super, super proud of you. We've been going for quite some time now. This is kind of a long tutorial, but I think it's going to be worth it. Real quick, if you don't have the Börse effects continuum stuff, let's just pop open that adjustment or the composition there. Let's delete that. And I went and pulled a set of burn film transitions off of Envato elements. I will put a link specifically down here to the one that I pulled, but that is just a nice little burn film element right there. And all we have to do with this with a matte is a play set map to this layer. Turn it from alpha channel to luminance. And now you can see that we have a nice little growing mat and then click on our video underneath and set the track mapped to Alpha Inverted Matte, which will now burn it away into alpha land just like that. So I'm going to start it a little bit later down here, maybe at one second, and it burns away just like so. And now when we go back to our visual effects shots, we have the same thing happening here. It just doesn't have the pretty colors around the burnt edges. But this kind of looks like venom, kind of like weird stranger things, darkness creeping in. So whatever. Pick your poison here, kiddo's. But that's how you do this tutorial. This is the steps that I took to do this effect in the video that I haven't released yet that I'm going to be putting on my channel for the art grid 2021 edit challenge. I challenge you to enter the editing challenge, which you do have until September 23 to submit your entry, 30 second ad spot, movie trailer or music video. Pick your poison. You can go and sign up for free on art. Great. And just use watermarked footage to make your entry. But I would recommend doing it even if you don't submit, because it really is a challenging topic to do the edit on. And I had a lot of fun with this, and I can't wait for you guys to see my video, which I'll be posting probably sometime in the middle of the week, Wednesday, maybe. So be on the lookout for that anyways. Man, I like to ramble. I hope you guys had fun during this tutorial. A lot of complicated, cool little things happening in after effects here. So I'm hoping that you learn something new today in one of the processes. And if you want to use mauka approach, I'll put a link down in a video scription blow for you to check out Mauka Pro. If you've never used mauka in general, mauka is free inside of after effects. So I would recommend playing around with that. And yeah, we did some cool stuff today. Make sure you threw a comment in the comment section below. A thumbs up on this video. Smash that subscribe button. I moved into my new place now, so be prepared for more videos from your boy Nodi and Sandes now that I'm all moved. We're having some fun with this stuff. I think I'm out of things to say, oh, link tree link in the video description below as well, if you guys want to support me, support yourself. There's a lot of cool goodies down there and ways to support your boy, my social media, all that stuff. Contribute to my coffee addiction by picking up Envato elements or a subscription epidemic, sound or juice, all the good stuff, a small portion of that goes to me and I use that small portion to find my caffeine addiction. It is an addiction for sure at this point. All right. That's it for me. I will see you in the next one.
