That actually means I'm going to make a selection of everything that I don't want to have. For example, we can increase in radius to make it expand a bit more over the entire shots, also the y radius like that. Anyways, I'm going to go back to the view here and set it to two final results, and let's have a look when I'm going to enable the empty layer back, how it looks. If you go up to the menu here on top and select "Window," you could find all the different windows or panels listed down below. All right, grab your safety glasses and join me into the most amazing Adobe After Effects class in the universe. All right, now that we know how animations work inside After Effects, we can start to figure out where that glitch comes from. So I can go to scrap in my timeline, you will see that that flame is perfectly following my finger. If you are going to work with multiple lines, for example, if I want to change my texts, I could just double-click on to it and add a new rule to it. Now nobody sees that we had a tracking mark on our finger. They are bigger in file size, but the codec itself it's just much easier to handle within Premiere Pro final cuts or resolve or any other program that you're editing in. I'm going to drag this fire explosion now between me and the background and that way we have to fire explosion sitting behind me. We can also add a little bit of wind to it to make the raindrops go more to the side, or increase the opacity of those rain drops to make him more present. It will just help you to render stuff faster while you are working inside after effects. That's it's going to give you problems. If you want to have curved lines, then click hold and drag that point open and that way we can kind of create these beziers with our mask. Let's do that. We can just click in here to start creating a text. We're not going to track the camera because the camera is standing still on a tripod, but I am going to track the motion. That's why I'm going to head over to the temperature slider by moving that to the right side, through adding orange to that shots making it warmer. What I'm going to do with animate the glitch effect? You're going to work the exact same way and go to double-click in my projects panel, head over to my stock clips folder and right here, you can find a campfire, near body of water. The thing that we've seen in the previous lesson. I'm playing this right now, you will see that the glitch comes in, right as I'm doing this movement. But usually you want to work when a green-screen because it's the least common color that appears and clothing and of course it also doesn't come back and skin tones or anything else like hair or something like, for example, if you would take a red key already, yellow key, although it's our color things that come back into skin tones. The blocks or the cubes are currently set to big, so I'm going to increase this value to make some smaller cubes and up probably wouldn't have them at the same size, so set them both to around 50. This is a dramatic class, so we want to keep it dramatic in the background. These are the parts that we haven't selected. The first export technique is going to be final delivery. Blending Layers: I'm working on this 3D camera tracker guys, but it's not working yet. Moving on to the last example on how expressions could help us and that is going back to our landscape composite thing, something that we've seen in the beginning of our class, this is what we've created previously. Make sure to also enable the motion blur for that layer super important. So that is how you can make selections of your source files to work with them in the timeline. I can just go ahead, select this one layer and hit Control D to duplicate that layer. Let's open that up. Maybe re-adjust that mask a little bit more, there we go. Then just press Okay. Actually, sometimes it will be easier to create a negative mask like this in specific work environments. I'm going to look at you're picture every day and my think that apprentice did such a good job with me that he might become an expert and Adobe After Effects one day. If we'd say for each line, then that would mean that first the top line would disappear and then the bottom line, which is not so exciting, so I'm going to change this back to characters. We're going to choose the face tracking outline only. There are a ton of different ways that we can blend this clip with the clip below. Going back to my green-screen clip here, double-click onto it [inaudible] what you just did outside it is that we let the camera roll. If I'm looking at this animation right now, and to emphasize that even more, I'm going to put them closer to each other. It's a tiny fire, it seems. If you need to create a certain visual effect or something, most likely, you want to jump in here and search for that specific effect that you're going to need and then drag that over to your composition. It takes a lot of time to tweak it, to get it right where you want it to be. Adobe After Effects is such a wide program that it takes years to master. Select it and hit import. I'm going to take my rotation tool and I'm going to rotate it here on the x-axis to lay it on the floor, like so. It will then animate that glitch so that it comes in, as you can see right here, it's a short burst, so a little bit forward in time, I'm going to remove that glitch again and set those two values back to zero. Then we could also enable that right here. You can go to the front, to the back, we can rotate my hands, we can do everything with this and that's it. Now that is covered up, and the last thing I wanted to do is, enable motion blur for the text and to the two cover-ups and then enable the global motion blur. So these are your layers. The most important setting of all is this friend right here to screen color. That's it for this lesson, that is what text is about and after effects. However, I would actually suggest you most of the time go with the Lumetri effects which can be found right here. Now I want to locate the point where I kind of make the movement off when the explosion should happen. This right here is astonishing. The real way to for After Effects CC, where you will dig into dig deeper. So just like before, like with the flame, I'm going to take the pick whip tool and drag it over to the Null Objects to link it to that one as well. These settings are, for example, the resolution. In order to do that, we can use these two buttons here down below. We can't really duplicate the adjustment layer, because that is not how it works. It's dancing a bit too much. But I just definitely wanted to show you guys that expressions are out there and what they do. Let's first start with the very basics of animations inside After Effects, before we can locate the glitch problem. The Lumetri color effects come with a bunch of options, we've got basic corrections ,creative corrections, curves, color wheels, etc. But if I'm going to mask myself out, that also means that the backgrounds will be gone. My shot, was shot a little bit more warmer, and that is because the in-camera temperature setting, which wasn't really the same as with the mountains. Precomposing is simply sets combining all of your shots into a group or actually into a new composition. This is going to be the red dot in the middle. Oh dear, it went wrong again. Let me give you an example. Here we had the actual campfire, then this John thing is actually the pond. Something's off here. The first thing you always have to make sure to do is that you are in the beginning of your timeline and you want to create your initial mask also at the beginning right here. So if I place my play heads right here on top of this clip, I'm not seeing the clip below because it lays below that. What I am working inside Adobe After Effects, it's mostly because I am tracking something. As I'm going to scrub through my shots here, you can see the movement that my camera is taking. Now lets reset this CTRL+ Z to undo my actions and it sends back on the floor right here. Then later on in this course we are going to create animations which have to be done inside the layer properties, so most of the time you'll be working inside here. You've just gone through the entire Adobe After Effects class, and you know what? When you install Adobe After Effects, it also comes with a program called Adobe Media Encoder. Just to be sure, I'm not going to play the tracking now, but I'm going to press on analyze one frame forward, and just see what it does. Then we want to say what's we would like to track, is that the position? Maybe it should go a little bit faster and move those key-frames closer to each other, and that is looking better. Generally you can see in here that CC Lens has been applied, and then it has a few options. One last thing, go back in time, close that null object here, collapse it, duplicate the normal clip. These points resemble an actual spot within the shot, for example, let's take out this point right here. In order to snap on that keyframe, hold down the Shift key which will snap our play hard to it. Now you will see that Null Object, which is a square, but actually does nothing, is now following my finger as I move it around. For example, you might want to go into your timeline on the bottom, but accidentally you click here on this close button and, buff, your timeline is gone. Anyways, we're going to set an in and an out point on this clip. We can also increase the drops to instead of 5,000 let's make that 10,000. Move that key-frame to the right because this is the ending key-frame. We can start with a small circle that might go larger over time, so let's decrease the scale of that circle. Look how high quality bat looks. Look at that. For example, you have a car that is driving towards the camera and you want to track the headlights to make them brighter. So let's rename that quickly. It makes certainly no sense. Then we're going to stop with only the technical stuff and actually create something. We've got some more font options. Also here I'm going to change the anchor point to the middle, remove the outline and change the text color to whites, there we go, and that's how graphics or shapes work inside Adobe After Effects. While I'm changing the scale of that circle. Anyways, let's get going with a second lesson. Clearly the text is white but let's say but let's say I want to make this more red text. There we go, now I am unrecognizable, and because the mask follows my face also will that mosaic effect. Because here comes some pretty cool things. I should be the example to you guys. Just look that up on your computer and you can fire it up. We're going to export this. Be careful guys. Let's continue now. I'm going to double-click on it. Then just close the brackets like that and just click away. You can see that we also have a part on the left side. Motion blur inside After Effect is a layer behavior. Let's continue with this. Maybe that shadow is a little bit too hard, so what we could do is go into our effects and presets, tap, anthem, go just search for blur. We can see it here a tiny bit. For example, rainfall in the landscape. These items will have multiple versions, such as an HD format and a 4K format. If you want to keep the proportions while scaling it like this then hold down your shift key and it will do so. Let's set that to 0.5 and see how that looks. Fortunately, there sits this water marker onto it and that is because it is not licensed yet, you actually need to pay to use this muzzle flash in your projects. Now, this position is not the only property that we can animate. Let's do that. I think that my searching area is a little bit too big, because After Effects thinks that these shadow here in my hand is the tracking point, which could be the case because this also has a big contrast. Keep your mouse here on the Stop button if anything else goes wrong. If we click on it, we disable it, which worked the same as just disabling a layer within your timeline, and you can see that it matches a ton better now with my shots. I can show that to you by changing the view in my Canvas right here on the bottom, you can see one view, but then go to change that to four views. I'm going to reset this text back to the left site. It wasn't my fault. There's no reason to dive into the settings of that codec. You have multiple duplications, but maybe different parts from the same clip. Now it seems like a more natural shadow coming from the awesome texts. Rotating this clip goes a little bit different. Look how beautiful that is, this is a place that I want to live in. That is going to be super important because I cannot mask around this flame because one frame forward or a couple of frames forward, that entire frame has changed. Don't redraw your entire mask, you can just invert it from here. Now, not only we can change these values from here with any properties, but if you click on the clip right here, you can also visually change that within the composition itself. I'm going to select that. That means a minimum of 32 or a maximum of 52, which gives us a range of 20. So you don't always need to set your in and out points in the beginning, but it does help you to specify more what you need. Maybe, it wasn't such a good idea to color correct everything dull. Let's grab some tape here and hang you to the wall in my laboratory. All right, so this mountains are already making my shot look at ton more interesting, but I'm still not liking those clouds, so going back into my project window, double-click right here, and I'm going to locate some clouds that I've also downloaded from the Internet, click imports and I'm forgetting something here. You know what? Select everything in your timeline, right-click, and choose precompose. Let's render death clip and see how it looks. To undo your action; simply hit Control Z or Command Z if you are working on a Mac, we can also click and hold the click on this rectangle tool to find out more tools. Just click on that, which will show you the map of the key. [inaudible] here, my very first apprentice, he actually lost his hands while doing so. This can be really roughly just around that fire like so. Like always just Alt click on the stopwatch right here to start writing your expression, we can already go ahead and delete that thing. Let's call this lesson number 1 because this is the very first lesson. This is nothing more than just a composition that has been added into a composition. Let just hit imports and dragged it over into a new composition. We have two squares in my tracking point, the inner square defines the tracking point itself, that one can be a little bit smaller like so and the outer square is the searching area. Again, we are going to use that adjustment layer. Again, I'm going to drag this into my footage folder, expand that and from there, drag it into my compositions timeline, a beautiful campfire that we are going to blend in as well with my scenes. I'm going to click and drag that to the left to decrease the white to make it less aggressive. In the next video lesson, we are going to prepare ourselves to create something stunning inside aftereffects. Unfortunately, After Effects can't do that because it is not really designed for final delivery, but there is a little bit of a workarounds to its. Expressions are small pieces of codes that we're going to insert within After Effects, and those codes will execute a certain commands, such as the balance effects. For starters, I'm going to click "Back" on that Animation Stopwatch to delete all this key-frames. This class does not cover boring technical stuff, but rather practical examples and real situations. The are rain drops are actually distortions of the shots. Of course, a black shadow on a black background doesn't really reveal itself. So even from our timeline, we can trim this clip to either of the sides and thus changing our in and out points. Let's hold down the Alt key on your keyboards and click on that stopwatch. Maybe let's create that. A good rule of thumb is to always use your shift control or Alts key whenever doing something with your mouse, and it's not going the way that you want to. Unless you're here to learn every single technical detail, I'm a man of practice, I like to invent stuff like my wetter machine over here. On the bottom right here, we can see the duration and we can change that too, for example, 20 seconds. For example, right here, we could find a very nice muzzle flash. It's now going to take this clip right here and change its position. It sits in our scene right now, but it's not looking so realistic. If you click and hold down your mouse, you also get a vertical type text tool but we're just going to create a horizontal type texts which gives you the text tool click anywhere in your composition and you can start typing anything you'd like in here for example, my first text. There are two other options and those are Apple ProRes or DNx. I was actually just graduated myself from being an apprentice. Then finally for the resolution, we're just going to pick the same resolution as that we've been working inside After Effects. But inside After Effects there is no camera, so that means that we could also make animations without motion blur. The Graph Editor in our timeline. Now let's play this right here, and the circle goes bigger plus it changes in position. I'm going to drag this clip into a new composition. 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