[Music]
It's Copy Cat Friday!
What's up guys, Jordy here
for cinecom.net
and last week we were pretty excited to see
another amazingly executed music video
from Taylor Swift.
There's a lot from the music video clip that we
can recreate and show you guys how it was done,
but I believe what stood out the most were the
glitch effects and the Sci-Fi radar in Taylor's eye.
Let’s start with that last one.
After we analyzed the music
video, ready for it,
we setup all the lights and took
several shots of Ellen.
Ellen is actually helping us a little
as a student worker,
so now and then she's also
our model.
The shoot itself was nothing more
than just an extreme close up of her eye,
her mouth, a close of her face, a breast
shot and a medium shot.
After everything was shot, we brought it
into After Effects.
And for that Sci-Fi thing in her eyes, we first
had to motion-track her eyes.
If you can't locate the Motion Tracker,
head to the Menu, choose Window
and then Tracker.
Make sure that you have your clip
in the composition selected
and then you can click
on Track Motion.
Now, this will give you a tracking point,
which you can enlarge and move around.
The idea is to move this point
to your talent's eyes.
Now, tracking doesn't always go
as we want to.
There're two things that you need
to pay attention to.
First up is contrast and the
other thing are moving objects.
The After Effects tracker
needs contrast.
You can't track a piece of blue
tape on a blue wall.
So what we did was place a light in front of
Ellen and made sure it was visible in her eyes.
That way we had
a good contrast point.
And the second thing is motion.
You don't want anything to walk in front
of the point that you want to track.
In this case we asked Ellen
not to blink while recording.
If her eye lids would close,
it would cover the tracking point.
In this case the light
in her dark eyes.
So, back to After Effects.
Place the inside rectangle
over the light point in her eye
and enlarge the outer square...
...a little, to mark the area that After Effects
has to use to calculate the motion.
Once that's in place, just hit the Play
button from the tracker window.
If everything went well, the tracker
should do its job.
If the tracker went crazy, hit the Reset button
and make your tracking point larger.
When the tracking is complete, we're going
to assign this data to a new layer.
Go to the menu on top, select Layer,
New, and choose Null object.
It will appear in your composition.
And from the tracker window,
we can now click on Edit Target
and choose that null object
from the dropdown menu.
If you're working with multiple tracking points
it's suggested to rename your null object layers.
And then just hit Apply and OK
in the popup box that appears.
And that null object will now move
with Ellen's eyes
and we can use that Null object
to link other objects too.
Like the sci-fi radar.
Now, that radar clip is something
you could design from scratch
in Photoshop or even
in After Effects itself.
But that takes some time, and...
...why reinvent the wheel when Rocketstock has
an entire pack with more than 400 sci-fi elements.
Anything is possible with
Rocketstock's Interface.
You can just simply drag and drop
different elements,
change their colors and blending modes
to create something unique.
Now we actually have a playlist
of more tutorials with this pack.
You can find a link to that in the description
below and also in the cards up there.
And because Rocketstock
is sponsoring this episode,
they where so kind to give out
some samples for free.
The one that we'll be using today in this
tutorial can be found in the description below.
And to learn more about the entire pack,
make sure to visit the first link in the description.
Now we've chosen two radar
elements from the pack,
which you can simply drag and
drop into your composition.
Position and scale them so that
they match within your talent's eyes.
Then it's just a simple matter of taking the
whip tool from your composition's layers,
and dragging that to the null object layer.
And by doing this, we're linking the radar clips
to the null object, which holds the tracking data.
So that was the tracking part.
Let’s focus a bit more now on the details
of the actual radar.
First up I'm going to change the blending
mode of the two radar clips to Linear Light.
That way, they blend a bit better
with the actual clip.
The outer circle comes a bit
in front of her eye lid.
So we'll need to cut out
a piece from that.
Select the outer radar clip, then take
the Pen tool from your toolbox on top.
Now simply draw a mask
around the visible eye.
The mask has been applied to that
layer you had selected,
so when we open up the properties
of the outer radar, you'll see that mask.
Within the mask properties,
we'll increase the feather a tiny bit,
so that the edge isn't so hard.
Your talent is probably moving, so
we'll also need to track the mask.
But this is very easy though. There're two ways
to track a mask inside After Effects.
You could either do this manually. Just enable
the animation stopwatch for the Mask Path
and change your mask shape
each frame you move forward.
A second way, is by simply right-clicking
on your mask, choosing Track Mask.
And that will open up the Track Mask
window from which you can press Play
to automatically track that mask with
the movement of your talent's eye.
And that's all there is to track
a radar inside someone's eyes.
Now let's focus on the glitches.
Like we can also see in the actual music video,
the red, green and blue channels are offset.
And to be able to do that we will also
need to duplicate our clip three times.
Now of course, we want to take
everything that we've just created.
So we'll select all of the layers from our
composition, right-click and say Pre-compose.
Just hit OK and that will group
all of our clips together.
Now this group, we'll also
duplicate two times.
Simply hold down your control key
and hit D two times.
Then head over to your Effects Library
and search for Set Channels.
You may already drag this 
to all the three groups.
Select the first group, and then
from your Effects controls
we're going to set the green source to off
and the blue source as well to off.
The top clip will now only show
its red channel.
Now do the same thing
for the second layer,
but here we'll put the red channel to off,
the green stays at green
and the blue is set to off.
And the final clip will have its red and green
set to off and blue to blue.
Then head back to your layers and set the
blending mode for the top two clips to Lighten.
And this will blend the three color channels
back together like nothing happened.
But here's the cool trick.
If you would offset the position
from one of these clips,
which you can do from
the layer's properties,
you will see this awesome
RGB split.
So now you can just animate the position
for the two top layers for a few frames
so that it looks like a distortion.
And of course, since we are changing
the position of the clips,
you might wanna change the scale
of all three clips as well.
For example, set them all to 120.
And that is how you can create an
RGB glitch effect inside After Effects.
Thank you all so much for watching, and
if you would like to see us every week...
...with a new breakdown from a popular
music video or film,
make sure to hit that subscribe
button down below.
And like always,
stay creative!
We needed a lot of blue light coming
from the front for this shoot,
now, adding gels to our soft-boxes
is not that easy,
so we got a great tip from Robert over
at the Aputure user group in Facebook
and you can kinda create these cones
off from your gels,
they pop right on top of
your 120Ds or 300Ds,
and on top of that
goes your soft-box.
Like that!
Soft blue light!
